Royal Tradition and Entertainment Clash: Olu of Kemta Orile Criticizes Taye Currency’s Performance at Olubadan Coronation
A storm of controversy erupted after the coronation of Oba Rashidi Adewolu Ladoja as the 44th Olubadan of Ibadan, Oyo State, when the Olu of Kemta Orile in Odeda Local Government Area of Ogun State, Oba Adetokunbo Tejuosho, raised strong objections to the music delivered by celebrated Fuji artiste, Taye Currency. The event, held on Friday, drew prominent personalities from across Nigeria and West Africa—underscoring the significance of traditional leadership in the region.
A particular moment in the ceremony became the subject of intense discussion after a video went viral on social media. In the clip, Taye Currency is heard performing the Yoruba phrase “Were la fi n wo were”—broadly meaning “madness is best handled with madness.” The lyrics, while familiar to many fans of Fuji music, triggered a heated debate about the appropriateness of entertainment choices during such sacred cultural events.
The Clash of Culture and Entertainment
Oba Tejuosho, responding to journalists on Saturday, criticized Taye Currency’s performance, describing the song choice as “disgusting and uncultured.” According to the monarch, the lyrics failed to reflect the depth of respect owed to Yoruba tradition, especially during the coronation of a highly esteemed king.
“The throne of our ancestors,” he explained, “is not a stage for mockery, nor the coronation of a great monarch a subject for careless entertainment.” Oba Tejuosho argued that every element of a royal coronation—from protocol to performance—should reinforce the dignity, integrity, and historical importance of the event. He expressed regret that Taye Currency’s music, instead of “admiring and serenading the Crown,” delivered what he considered “classless and unbefitting lyrics.”
The Stakes of Modern Royal Ceremonies
Monarchical installations remain a powerful testament to Yoruba history, unity, and prestige. Such events often feature elaborate rituals, opulent attire, and attendance by distinguished guests, including heads of state, political leaders, and foreign diplomats. The coronation of Oba Rashidi Adewolu Ladoja was no exception, attracting dignitaries from all walks of life, including President Bola Ahmed Tinubu, according to official records.
In many communities across Southwest Nigeria—and within the greater West African context—royal ceremonies act as both moments of communal celebration and cultural preservation. Music, dance, and poetry carry deep significance, narrating stories of lineage, valor, and spiritual continuity. However, as traditional events garner nationwide attention and even live global broadcasts, debates have emerged about balancing entertainment, cultural expectations, and the sanctity of ritual.
Yoruba Music: Bridging Entertainment and Tradition
Fuji, Juju, Apala, and other indigenous genres have long provided the musical backdrop to Yoruba social and royal life. Iconic Nigerian musicians such as King Sunny Ade, Commander Ebenezer Obey, and Wasiu Ayinde Marshal (K1 De Ultimate) are frequently entrusted with performances at high-profile traditional events, selected for their nuanced understanding of both protocol and artistry.
Oba Tejuosho used the opportunity to urge event organizers to be more discerning in their selection of artists for royal ceremonies. “Music in the royal court,” he stressed, “is not mere noise, but an offering of homage to history, culture, and authority.” The king advocated for lyrics that exalt and uphold tradition, citing the adage “Sekere loba njo”—the sekere drum (a symbol of Yoruba royalty) dances solely before kings—as a reminder that both words and rhythm carry weight at the palace.
He also referenced alternatives such as Rasheed Ayinde (also known as Merenge), noting that “calmer artistes” might offer performances more aligned with the dignity required at such gatherings. According to Lagos-based event organizer Tayo Bamidele, “Choosing performers who understand the cultural context of coronation is crucial—music can either elevate or dampen the spirit of the occasion.”
Public and Expert Reactions: Balancing Respect and Progress
The Olu of Kemta Orile’s remarks have received mixed feedback across Nigerian social media platforms. Some agree fully with the monarch’s appraisal, calling for a renewed appreciation of tradition and more rigorous oversight of event programming. Others, however, argue that music—from whatever genre—reflects contemporary tastes and that Fuji, in particular, has always served as a form of social commentary, sometimes with sharp wit or double entendre.
“The debate highlights a broader tension,” noted Ibadan-based cultural historian Dr. Mobolaji Ogunseye, “between preserving the solemnity of royal tradition and adapting to a rapidly changing music and pop culture landscape. In Yoruba custom, words are powerful, and performances at sacred functions must be carefully curated. But music is evolving, and sometimes, boundaries get tested.”
Events in Global and West African Context
Royalty and music intersect across Africa in various ways. In Ghana, for instance, chieftaincy installations often blend traditional drumming and praise chants with contemporary influences, sometimes creating similar debates about standards and appropriateness. As West African traditions increasingly attract attention from the international diaspora, stakeholders continue to grapple with how to both honor heritage and appeal to younger, cosmopolitan audiences.
As Nigeria stands at the crossroads of tradition and modernization, many believe that the role of cultural custodians—royals, elders, and performers alike—will only become more critical. Whether it be at an Ibadan palace or a Lagos concert hall, the discussion around what constitutes “respectful” entertainment will likely shape the future of national and regional ceremonies for years to come.
Conclusion: The Ongoing Conversation
The incident at the Olubadan’s coronation has opened a valuable dialogue about the roles of art, tradition, and modernity in Nigerian and West African society. The challenge remains: how can organizers and performers honor time-honored customs while acknowledging the vibrancy of today’s music scene? As more communities seek to balance these expectations, one thing is clear—royal occasions require careful thought, sensitivity, and a commitment to preserving the dignity at the heart of African heritage.
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