On July 3, 2023, the book E File Fun Burna: The Incredible Stagecraft of Burna Boy was released by The Jide Taiwo. Taiwo has been a writer and music journalist for over a decade now and has witnessed the continuous evolution of Nigerian music from what it was in the 1990s till now. He spoke to Acada on the newly released book, his previous book, History Made: The Most Important Nigerian Songs Since 1999 as well as thoughts on the current state of the music industry.
As a music journalist and writer, what inspired you to focus specifically on Burna Boy’s stagecraft for your latest book?
Well, by the nature of my career, I ask questions and provide context. The context is that in recent years, the artiste has elevated his craft so much that it’s impossible not to acknowledge. The day he sold out Madison Square Garden in New York inspired it specifically. But the import of that Burna Boy stands out among his peers, even if it’s marginally so among the Big Three – that is, him, Wizkid and Davido.
In “E File Fun Burna,” what aspects of Burna Boy’s stage presence and performances were most captivating and worth documenting?
The book is only six chapters long and each one zeroes in on a particular factor. The most striking is the entire production of his set. It’s almost like a movie scene with a lot of moving parts that function together to create an unforgettable experience for the audience. It’s not an easy thing to do but as we’ve seen with the success of Burna Boy, the reward is great. I think the incorporation of talking drums into his performances also gives them a unique flavour.
Your first book, “History Made,” delves into the history of Afrobeats music. How does your new book tie into the broader narrative you presented in your previous work?
I said it when History Made was published that it was important that we document these contemporary times and not take them for granted. The real-time nature of the internet can confuse us into thinking there’s no need to make a deliberate effort to record our history. However, the reason we’re able to know foreign cultures is that the owners of those cultures codify them and record them for several generations. What History Made did was to put the right information and background to what eventually became Afrobeats in 1999 which is generally regarded as the take-off point. Similarly, E File Fun Burna gives context to the artistry of Burna Boy so that when he performs at Glastonbury, people understand where he’s coming from.
With the rising popularity of Afrobeats music globally, why do you think it’s crucial to document the genre and its cultural impact?
It is essential that we are the custodian of the music genre and its culture, otherwise, we’ll lose control of the narrative; which as we’ve seen throughout history, is something that has plagued Africa. With Afrobeats which is a modern invention, we have all the tools to ensure that history is not distorted and that the world receives the right information and context of our music and times. I’ve seen journalists from international media who are enamoured by Afrobeats but muddle up the facts because there’s no source to find them. We can blame them only for so long: the responsibility of documenting is strictly ours.
How do you think the state of Afrobeats music has evolved over the past decade, and what challenges and opportunities lie ahead for the genre?
The beautiful thing about Afrobeats is that each successive generation takes off from where the last left and pushes it further. I grew up in an era where DJ Jimmy Jatt used to supply artistes with stripped-down instrumentals to record. Now we live in an era where global figures like Timberland and Swizz Beatz are falling over themselves to work with our stars. It can be surreal. Also, add to the fact that today’s technological advancement makes anything possible; then you know that the opportunities are limitless. The challenge to me is that if we do not recognize the opportunities that the music business offers, other people who have more experience might swoop in and put their ownspin on things.
As a writer invested in documenting Afrobeats music and pop culture, what do you hope readers will take away from your books? What impact do you hope to make with your work?
It’s actually less about me than it is about the culture, the music and its practitioners. My hope is that everyone who comes in contact with any of my works in books, films, podcasts, media and business understands the power that our culture holds. It goes beyond just me as a person. There are many more people who have perspectives that the world needs to see and for those, I hope that my work spurs them to create theirs. By and large, I want the world to be clear whenever they come into contact with my work, that this thing of ours is immensely powerful, and that they need to pay valuable attention to us.
