CultureCritic talks to Femi Kuti...

As the eldest son of afrobeat pioneer Fela Kuti, Nigerian singer and saxophonist Femi Kuti has done a fine job of upholding his father’s musical legacy. The influence of the afrobeat style has been widely felt in western pop, from Paul Simon to Vampire Weekend. Femi began as a performer in Fela’s group before launching his own successful solo career in the late 1980s. His new album, Africa for Africa, is a politically confrontational and rhythmically compulsive response to the current state of his homeland. We spoke to him about his heritage, his music and his hopes for the future…

Africa for Africa has a more stripped-down production style than your previous work. Why did you take this approach?

I’ve always wanted to go down that road. At the beginning it was very hard because major labels want enhancement with technology, to be in competition with the market. Now that people in the industry are less sure, I can experiment with my sound. I’m happy that many people are saying that it is refreshing to hear.

What is the songwriting process like for you and your group? Where does it normally begin?

Everything begins with me and ends with me, fortunately or unfortunately. I hear the melody – a horn part, for instance – and if I like it, I think of a bass part to go with it. Then I think of the chords and the kinds of beats I want – slow, up-tempo or hard – and I give the drummer his parts. The person who is most free to improvise is the percussionist, and he solves a lot of problems while playing percussion, so I don’t interfere there. Then I think: what kind of title do I want? What is the meaning of this melody? What is the music saying to me? When I find what it is saying, I develop a title and work around the title. 

How do you feel your spirituality guides your music? You have spoken about adhering to a belief in a creator, but not in religion…

I think everybody has to ask about the purpose of life and study virtues – patience, tolerance and things like this. These are the things that guide me in my life ­– not God, but understanding the universe. When you see a human from a plane, they are hardly visible. We are like ants. Then when you land, you find we are so arrogant and pompous and disgusting with our attitude that something must be wrong with our teachings. If we mean nothing, then we need to really be cool, calm, patient – not arrogant. There’s nothing to be proud about. Those are the things that guide me in my music, and in my life generally. Of course, sometimes we have to be proud. Sometimes pride takes over. You have to correct yourself all the time along the way. This is the kind of spiritual development I’m talking about.

Your concerts are famously energetic, and the audiences like to go wild. Is there a concert that is especially memorable for you?

Yes, the one I did in Paris three years ago, which was just for the press and invited people. It was to present a new album and I was thinking: how are they going to receive this album? Because it’s so raw, I was kind of worried that they wouldn’t like it. We had played Paris four times already that year, so everybody was like, ‘oh, they might be bored of you’. Then a huge crowd turned out, who were really excited, and the numbers went down very well. So, that is sticking in my mind.

How do you feel about the influence afrobeat has had on western pop music, and has western pop had any influence on afrobeat?

Yes, I think it works both ways. I’m happy that afrobeat has had an amazing influence on a lot of people. That means we live forever. We never die. It’s exciting. I know afrobeat has had a very major role in hip-hop. You cannot be anything but happy about that. It’s special because from when I was a kid, I remember always thinking that this is good music. We did hear The Beatles, we did hear music from America – we had all kinds of music – but we all came back to conclude that my father was at the top of the list. So, from a young boy, to be saying, ‘I really think my father’s music is special’ and to now, at 48-years-old, to hear people saying my father’s music is special…

What is the current status of the New Afrika Shrine, the club originally opened by your father that you have maintained? Has it reopened following its closure by the authorities last year?

Yes, it is open; it is functioning. We had a very big festival there, which we have every year – Felabration. My sister organises it. We had hundreds of people over one week. Many of the great Nigerian bands played. King Sunny Ade was there last year and Kwam 1 was there this year. Then we have the hip-hop. It was full of entertainment and dance and was very successful. That’s why the government has tried to close it. We have had huge success with people coming to the place – not forgetting the international pressure from people who always write about it. When it was closed, we had so many of our fans writing and calling to ask for it to be reopened, and putting pressure on the government. The Shrine is a symbolic place. I’m happy it’s open again.

You are regarded as a cultural ambassador for Africa. Are there any other artists whom you feel do a particularly good job of representing the continent, in a political and sociological sense?

Yes, I would say Youssou N’Dour, Baaba Maal and Hugh Masakela. Some may not be as political as my father or me, but are very concerned with the problems in Africa. They might say one or two things [about politics], then go back to a love song and then come back [to politics] again. They are very good ambassadors for Africa.

If your music could instigate one single political action within Africa, what would it be?

To unite Africa immediately, breaking down all the colonial structures and all the barriers. To be one currency, one people, one love… to build Africa and make Africa the envy of the world. To be like paradise. It should be dance, music, love and everything, and then everybody will want to come to Africa.

Are there any non-musical art forms that influence what you do?

Life, mainly. Just life. I can be inspired sitting here talking, and thinking about what my life and music would be like if I lived in the UK. And my children give me a lot of inspiration – just seeing them happy or feeling their pain, always hoping for the best and praying for them. I was walking in here for the interview and I was thinking that in a few years my son will have to do this. I said a few prayers in my mind, hoping he can live up to this big heritage, such a powerful heritage. I pray that God gives him the strength. So it’s life, generally.

Which elements of your father’s political message are you keen to maintain, and how do you feel your political message differs?

I think it’s basically the same, the message – that there’s poverty and there’s corruption. I don’t think I will be successful in achieving the dream in my lifetime. If my father hadn’t done what he did, I would probably be very naïve and nonchalant about many things, so it’s important I stand firm in his teachings. However, they’re not his teachings, necessarily. He learned from Malcolm X, and he learned from Marcus Garvey and Lumumba. He learned from reading the facts about Africa. He made sure I had this information. But I am his son, so there has to be a difference. There is a generation gap and information is different. I’m more anxious, probably. He was more certain and nonchalant about many things. Although there are differences, there are also many similarities.

How do you feel about the stage adaptation of your father’s life, currently showing at the National Theatre? 

I saw it on Broadway and it was fantastic. It is great that it has opened at the National Theatre. Everybody needs to watch and know that story. It’s not Snow White and the Seven Dwarfs; it’s true. People need to know history and the facts about what has happened. If they don’t know the story, something important is missing.

Femi Kuti’s ‘Africa for Africa’ is out now on Wrasse Records. To read more about it, click here. A short tour of the UK begins on 27 November.

Fela! at the National Theatre runs until 6 January 2011. To read more about it, click here.