{"id":119686,"date":"2023-03-07T13:51:20","date_gmt":"2023-03-07T11:51:20","guid":{"rendered":"https:\/\/pan-african-music.com\/?p=119686"},"modified":"2023-03-07T16:33:34","modified_gmt":"2023-03-07T14:33:34","slug":"nigerian-protest-music","status":"publish","type":"post","link":"https:\/\/pan-african-music.com\/en\/nigerian-protest-music\/","title":{"rendered":"A soundtrack to Nigerian protest music"},"content":{"rendered":"\n<p class=\"has-drop-cap\">Music has always served as a means for artists to air grievances and to speak against the ills plaguing society. Today, corruption weighs heavy on the shoulders of Nigeria and the country\u2019s government is infamous for depriving its citizens of basic amenities. In 2020, there was a nationwide protest against police brutality which birthed the #EndSARS movement. Yet there has remained to be any considerable change and Nigerians, particularly the youth, are eager to effect a change in the upcoming elections. As Nigerians anticipate the elections, we decided to come up with a list of political and protest songs that reflected the state of the nation at different political eras. From the violence-based military regime of the \u201870s-\u201990s to the civilian era of the early \u201800s till now, here are songs that remind us of why we should cast our votes.&nbsp;<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Fela Kuti - Sorrow Tears &amp; Blood (Original Extended Version)\" width=\"500\" height=\"375\" data-src=\"https:\/\/www.youtube.com\/embed\/tj1wpNuQRaM?feature=oembed&#038;autoplay=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Sorrow, Tears And Blood (1977) &#8211; Fela Kuti<\/strong><\/h5>\n\n\n\n<p><a href=\"https:\/\/pan-african-music.com\/en\/tag\/fela-kuti\/\" data-type=\"URL\" data-id=\"https:\/\/pan-african-music.com\/en\/tag\/fela-kuti\/\">Fela Kuti<\/a> is internationally recognized as the father of Afrobeat whose music heavily criticized the government and Nigerian elites. \u201cSorrow, Tears And Blood\u201d is a 10-minute track that calls out the unjust killings that occurred in the era of authoritarian and totalitarian rule in Nigeria and Africa more broadly. Even though the song was originally made in response to the 1976 Soweto uprising that led to the deaths of over a hundred students, Fela also sang about the oppression and brutality that he and his family faced in the series of raids on Kalakuta Republic (his family compound) by the Nigerian police and army who eventually destroyed the singer\u2019s home.&nbsp; In January 1977, a major festival was held in Lagos. It was the second World Black and African Festival of Arts and Culture (FESTAC), celebrating African music, art, literature, dance and drama. Fela, however, condemned the festival as propaganda, ultimately pulling out and staging his own festival at the Kalakuta Republic. The government warned performers and attendees against attending but they defied the warning, including Stevie Wonder, one of the festival\u2019s headliners who was performing in Nigeria for the first time. On \u201cSorrows, Tears And Blood,\u201d Fela sang \u201c<em>Hey yeah. Everybody run, run, run. Everybody scatter, scatter. Some people lost some bread. Someone nearly die. Someone just die. Police dey come, army dey come. Confusion everywhere.<\/em>\u201d It happened during the military era when Olusegun Obasanjo was head of state and Shehu Musa Yar\u2019adua was his deputy &#8211; both men became Nigerian presidents accordingly in the later years.&nbsp;&nbsp;<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Sonny Okosuns - Which Way Nigeria?\" width=\"500\" height=\"281\" data-src=\"https:\/\/www.youtube.com\/embed\/0wsS_TsG6Sw?feature=oembed&#038;autoplay=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Which Way Nigeria? (1984) &#8211; Sonny Okosun<\/strong><\/h5>\n\n\n\n<p>The leader of the Ozzidi band, Sonny Okosun was one of the leading vocal Nigerian musicians around the late \u201870s to mid \u201880s who used his music as a channel to challenge the government. \u201cWhich Way Nigeria?\u201d highlighted several issues troubling the nation as well as the unfulfilled promises made by leaders to the people. He urged Nigerians to be more active in socio-political matters and not sit idly while the country goes to ruin. He released the track in 1984 shortly after the military coup that saw the incumbent President Muhammadu Buhari become the head of state. He pondered about the country\u2019s development years after gaining independence, singing in a mellow tone \u201c<em>Which way is Nigeria heading to? Many years after independence, we still find it hard to start. How long shall we be patient till we reach the promised land? Let\u2019s save Nigeria so Nigeria won\u2019t die. Which way Nigeria? Which way to go?<\/em>\u201d<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Veno - Nigeria Go Survive (Tabansi Records Nigeria - 1984)\" width=\"500\" height=\"375\" data-src=\"https:\/\/www.youtube.com\/embed\/RI7ahoxNDFc?feature=oembed&#038;autoplay=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Nigeria Go Survive (1985) &#8211; Veno Mariaghae<\/strong><\/h5>\n\n\n\n<p>Things were particularly rough in the country at the time when the song was released. Oil prices had taken a nosedive which caused a drastic reduction in the country\u2019s national budget. As a result, the economy witnessed a steep decline and people\u2019s livelihoods were greatly affected as they clamoured for basic amenities. It was also in the same year that another military coup took place when Chief of Army Staff Major-General Ibrahim Babaginda overthrew General Muhammadu Buhari. Veno Mariaghaee\u2019s \u201cNigeria Go Survive\u201d served as an anchor for Nigerians &#8211; many of whom had grown desolate &#8211; evoking hope in the midst of political and economic crisis. With a honeyed voice, she sang \u201c<em>If them thief our oil ooo. Even if them burn the oil ooo (Nigeria Go Survive). I say if them drink the oil ooo. No matter how them try ooo (Nigeria Go Survive). Our roots them strong for ground ooo. Ancestors no go gree ooo (Nigeria Go Survive).\u201d<\/em><\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Majek Fashek - Police Brutality\" width=\"500\" height=\"375\" data-src=\"https:\/\/www.youtube.com\/embed\/EVf8gmyo-Ss?feature=oembed&#038;autoplay=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Police Brutality (1989) &#8211; Majek Fashek<\/strong><\/h5>\n\n\n\n<p>Nigeria experienced a reggae boom in the \u201880s and \u201890s that saw the rise of several artists who used their music as a weapon to protest against the government. One of those reggae artists is Majek Fashek, whose real name is Majekodunmi Fasheke. Majek released his debut album <em>Prisoner of Conscience<\/em> in 1989. \u201cSend Down The Rain\u201d might have been the album\u2019s commercial hit, but it was \u201cPolice Brutality\u201d that showcased Majek\u2019s sensitivity towards the pain of the masses and the Benin-born singer adeptly depicted it on the track with his powerful vocals and conscious lyrics. \u201c<em>Insanity. Dem they loot dem they shoot. Dem kill all leaders of tomorrow. This dem insanity has cause a lot of disunity in community. Dem dey loot dem they shoot. Dem kill all leaders of tomorrow,<\/em>\u201d he croons on the 5-minute track. Majek Fashek became the people\u2019s favourite as he continued to release albums that represented the average man\u2019s state of mind.<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Lagbaja  - Suuru Lere #Yoruba Music\" width=\"500\" height=\"375\" data-src=\"https:\/\/www.youtube.com\/embed\/01zvnAivCbU?feature=oembed&#038;autoplay=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Suuru Lere (1999) &#8211; Lagbaja&nbsp;<\/strong><\/h5>\n\n\n\n<p>\u201cSuuru Lere,\u201d which is Yoruba for \u201cPatience is rewarding,\u201d is a sombre record and typical folk music with arresting melodies. The track was released a few months after former head of state Olusegun Obasanjo became the president in 1999. Lagbaja vocally expressed his trepidation over the Nigerian political elite and their misuse of power, their greed and propensity for corruption, all of which have majorly contributed to the massive decline of the nation. The military regime of the tyrant leader Sanni Abacha had left a huge mark on the country before Nigeria returned to civilian rule. Singing solemnly in Yoruba, Lagbaja posed a set of rhetorical questions: \u201c<em>Ki\u2019lawa se? Se\u2019jo lawa f\u2019aye gbo? Ki\u2019lawa se? Se b\u2019aye lawa je n\u2019ibi. Eje a f\u2019iyen le k\u2019e je a jaye ori n\u2019ibi. T\u2019oba d\u2019ola, k\u2019a maa ba wahala wa lo<\/em>\u201d which loosely translates to \u201c<em>What did we come to do? Did we come to listen to stories? What did we come to do? We have come to the world to enjoy. So, let\u2019s leave all our worries and be merry. When tomorrow comes, we\u2019ll continue with our struggles.<\/em>\u201d The singer who always wore a mask and never for once revealed his face captured the average Nigerian adult\u2019s outlook on life with those lyrics. Why waste your time fighting a lost cause when you can seek solace in the little joys of life?<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Jaga Jaga\" width=\"500\" height=\"375\" data-src=\"https:\/\/www.youtube.com\/embed\/h2uh1ItR0os?feature=oembed&#038;autoplay=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Jaga Jaga (2004) &#8211; Eedris Abdulkareem<\/strong><\/h5>\n\n\n\n<p>There was a significant change in the Nigerian soundscape in the early \u201800s as indigenous music gave way to hip-hop-influenced Nigerian pop music. At the forefront of that wave was Eedris Abdulkareem whose music stood against Nigerian politicians and their shortcomings. He was very vocal in his criticism of the Nigerian government and when he released his highly-controversial record \u201cJaga Jaga,\u201d the rapper invoked the wrath of president Olusegun Obasanja who later banned the song from airing on radio stations. The country was at that time rife with political, ethnic and religious conflict. The local government elections which were held in 2004 were marred by bouts of violence that led to the deaths of dozens of people. Despite the ban, the track continued to gain momentum and became an anthem on the streets. The song conveyed the experiences of the everyday Nigerian. \u201c<em>Nigeria jaga jaga. Everything scatter scatter. Poor man dey suffer suffer. Gbosa gbosa, gunshot inna di air.<\/em>\u201d The rapper is known as one of the first mainstream Nigerian rappers.<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Mr President\" width=\"500\" height=\"375\" data-src=\"https:\/\/www.youtube.com\/embed\/Natmak1LhHE?feature=oembed&#038;autoplay=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Mr President (2006) &#8211; African China<\/strong><\/h5>\n\n\n\n<p>A timeless record, \u201cMr President\u201d shattered borders and was a nationwide hit. Evolving from reggae, African China\u2019s style of music was known as Galala which was made popular by a bevy of artists such as Daddy Showkey, Marvellous Benjy, Baba Fryo, and it became a staple in the Nigerian music industry from the early \u201800s to the mid \u201800s. Growing up in the ghetto area of Lagos, African China drew inspiration from his daily experiences and his music perfectly embodied the struggles and suffering of the people. \u201cMr President\u201d was conscious music that was at the same time vibrant and danceable. He painted a picture of the violence that was happening everywhere in the country, questioning the leadership and morality of leaders as he sang \u201c<em>Mr President, lead us well. If you be governor, govern us well. If you be senator, senate am well. If you be police, police well well, no dey take bribe.<\/em>\u201d The song was an illustration of Nigeria\u2019s ailing state, brought about by political unrest and sheer violence.&nbsp;<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Asa - Jailer\" width=\"500\" height=\"375\" data-src=\"https:\/\/www.youtube.com\/embed\/HIobCyXn2_o?feature=oembed&#038;autoplay=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Jailer (2007) &#8211; Asa&nbsp;<\/strong><\/h5>\n\n\n\n<p><a href=\"https:\/\/pan-african-music.com\/en\/asa-album-v\/\" data-type=\"URL\" data-id=\"https:\/\/pan-african-music.com\/en\/asa-album-v\/\">Asa<\/a> is known for her poetic and cryptic style of music and when she released her self-titled album <em>Asa<\/em> in 2007, one of the tracks that immediately resonated with the people was \u201cJailer\u201d. The track conveyed a profound message about the rampant oppression in Nigerian society. Asa highlighted the paradoxical state of oppression, vocalizing that both the oppressor and the oppressed are in the same boat: \u201c<em>I\u2019m in chains, you\u2019re in chains too. I wear uniforms and you wear uniforms too. I\u2019m a prisoner, you\u2019re a prisoner too, Mr. Jailer.<\/em>\u201d The lyrics on \u201cJailer\u201d were as literal as they were figurative. Asa made mention of prison guards and jailers while pointing out that every human being has the same fears and that we are all essentially equal regardless of status or class. She took a shot at Nigerian political elites who treat the masses with disdain and deny them of their rights as citizens, but will suddenly turn around when it\u2019s election season and offer people peanuts to gain their votes. 2007 marked an important year in Nigerian politics as Musa Yar\u2019adua became president.<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Wande Coal - Se Na Like This\" width=\"500\" height=\"375\" data-src=\"https:\/\/www.youtube.com\/embed\/tn3OiLVj294?feature=oembed&#038;autoplay=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>Se Na Like This (2009) &#8211; Wande Coal&nbsp;<\/strong><\/h5>\n\n\n\n<p>As much as Nigerian pop evolved over the years, giving rise to artists like <a href=\"https:\/\/pan-african-music.com\/en\/tag\/wande-coal\/\" data-type=\"URL\" data-id=\"https:\/\/pan-african-music.com\/en\/tag\/wande-coal\/\">Wande Coal<\/a>, who is recognized as one of the early creators of Afrobeats, Nigeria\u2019s problems only continued to aggravate. On Wande Coal\u2019s debut album <em>Mushin 2 Mo\u2019Hits<\/em>, \u201cSe Na Like This\u201d garnered attention for its conscious lyrics. The song delved into the issues afflicting the country which have hampered its progress and development. While corruption was the order of the day, it was in that same year that Boko Haram, a terrorist Muslim group, and Nigerian security forces clashed in Northeastern Nigeria, resulting in over a 1000 deaths. Wande Coal touched on the terrible state of the economy, singing \u201c<em>Se na like dis we go de dey (Na like dis we go de dey). I no fit wait oh make things for change oh. Now make we join hands make am beta. Once upon a time dem tell us say 1 dollar is equal to 1 naira.<\/em>\u201d Although Yar\u2019adua\u2019s tenure wasn\u2019t characterized by violence, his battle with chronic health issues prevented him from performing in that capacity of a president.&nbsp;<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Falz - This Is Nigeria\" width=\"500\" height=\"281\" data-src=\"https:\/\/www.youtube.com\/embed\/UW_xEqCWrm0?feature=oembed&#038;autoplay=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>This is Nigeria (2018) &#8211; Falz&nbsp;<\/strong><\/h5>\n\n\n\n<p><a href=\"https:\/\/pan-african-music.com\/en\/falz-johnny\/\" data-type=\"URL\" data-id=\"https:\/\/pan-african-music.com\/en\/falz-johnny\/\">Falz<\/a> has distinguished himself among Nigerian rappers as he uses his music to pass commentary on socio-political issues. Drawing inspiration from American rapper Childish Gambino\u2019s emotive track \u201cThis is America,\u201d a song confronting several issues including systemic racism, racial violence, abuse of power by the police as well as gun violence and mass shootings. \u201cThis is Nigeria\u201d addressed societal issues such as the constant SARS brutality that Nigerian youth endured, drug abuse and incessant killings by Boko Haram. In the music video, Falz made a visual representation of many of the issues he addressed. In one scene, there was a character representing a Fulani herdsman beheading another man &#8211; the scene incited a Muslim group who claimed that it was insensitive and highly provocative.&nbsp; At the time that Falz released \u201cThis is Nigeria,\u201d Nigerians had started to get frustrated by the ongoing crisis in the country. There was a school kidnapping that involved over 100 girls of Government Girls Science and Technology College. They were kidnapped from their school hostels somewhere in the Northern region of the country. Falz broached the condition of the Nigerian society and how unfavourable it can be, rapping \u201c<em>This is Nigeria. No electricity daily o. Your people are still working multiple jobs. And they talk say we lazy o.<\/em>\u201d<\/p>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe title=\"Burna Boy - 20 10 20 (Audio)\" width=\"500\" height=\"375\" data-src=\"https:\/\/www.youtube.com\/embed\/68rvZWARzew?feature=oembed&#038;autoplay=1\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h5 class=\"wp-block-heading\"><strong>20 10 20 (2020) &#8211; Burna Boy<\/strong><\/h5>\n\n\n\n<p>October 2020 will forever remain an unforgettable month in the history of Nigeria. The <a href=\"https:\/\/pan-african-music.com\/en\/tag\/end-sars\/\" data-type=\"URL\" data-id=\"https:\/\/pan-african-music.com\/en\/tag\/end-sars\/\">#EndSARS<\/a> movement that brought the Nigerian youth together to protest against police brutality was marred by uncontrolled violence. Soldiers opened fire on peaceful protesters as they scampered for their lives, causing several casualties at the Lekki Toll gate. Even in the face of endless evidence, the Nigerian government continuously denied their involvement in the violence that transpired as they devised numerous tricks to dissuade Nigerians. <a href=\"https:\/\/pan-african-music.com\/en\/endsars-protesters-songs\/\" data-type=\"URL\" data-id=\"https:\/\/pan-african-music.com\/en\/endsars-protesters-songs\/\">The event inspired a number of artists<\/a> who immediately took to the studio to record their pain and frustration. <a href=\"https:\/\/pan-african-music.com\/en\/tag\/burna-boy\/\" data-type=\"URL\" data-id=\"https:\/\/pan-african-music.com\/en\/tag\/burna-boy\/\">Burna Boy<\/a>\u2019s \u201c20 10 20\u201d appeared to be the most poignant as the Afrofusion artist gave a recount of the depressing event, \u201c<em>Twentieth of October 2020. You carry army go kill many youth for Lekki. Na so water o, water runaway my eye. Nothing you go talk wey go justify the case of their murder.<\/em>\u201d The #EndSARS movement restored faith in some Nigerians who believe that we can effect change as long as we maintain a united front. For some other Nigerians, it served as a cue to migrate out of the country because of the government\u2019s unaccountability. The government not only denied their involvement, they refused to address the matter publicly nor did they reach out to the families of the victims.&nbsp;<\/p>\n\n\n\n<div style=\"height:50px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p>Last week, Nigerians took to the polls in an effort to control their fate by making the right decisions and voting for the leaders that have the people\u2019s best interests at heart. As the results come in and a new president is confirmed, this soundtrack serves as a reminder of the ongoing struggle Nigerians will have to attain political freedom, social justice and a better Nigeria.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Nigerians went to the polls to usher in a new era of Nigerian politics. As the nation comes to terms with the results, PAM has provided a soundtrack of protest music to highlight the country\u2019s historic and ongoing struggle for political justice.\u00a0<\/p>\n","protected":false},"author":130,"featured_media":119752,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[7833],"tags":[20359,26763,23741,23663],"location":[8172],"yst_prominent_words":[8403,8414,8447,8435,8501,9006,15648,8399,8543,8438,8619],"acf":[],"_links":{"self":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts\/119686"}],"collection":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/users\/130"}],"replies":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/comments?post=119686"}],"version-history":[{"count":0,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/posts\/119686\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/media\/119752"}],"wp:attachment":[{"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/media?parent=119686"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/categories?post=119686"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/tags?post=119686"},{"taxonomy":"location","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/location?post=119686"},{"taxonomy":"yst_prominent_words","embeddable":true,"href":"https:\/\/pan-african-music.com\/en\/wp-json\/wp\/v2\/yst_prominent_words?post=119686"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}