Why I took break from social commentary, addressing national issues

Falz, a Nigerian rapper, singer, and songwriter, is acclaimed for his socially conscious music that addresses issues of bad governance and societal ills.

Beyond his music, Falz made a significant impact during the #EndSARS protests in October 2020. He actively participated in the movement against police brutality in Nigeria, solidifying his reputation as an artiste who uses his platform for advocacy and change. His notable tracks include “Wehdone Sir,” “Child of the World,” “Talk,” and “Mr. Yakubu.”

On 7 June, Falz released an extended play (EP), “Before The Feast,” featuring artists like Adekunle Gold, Odumodu Blvck, and Phyno.

During a private listening party for the EP, he discussed the themes and inspirations behind his new work. Falz stated that the six-track project is taking him to a place where his songs will be very immersive.

Falz further explained that the songs in this project are quite different from what he’s done before, as he is now focused on creating music that fully represents a new beginning.

In an exclusive interview with PREMIUM TIMES, Falz discusses his EP, evolution, and musical activism.

PT: You’ve been absent musically for a while? Why is that?

Falz: I had a hiatus; I needed to time myself. I have realised that it’s essential to rest. Since 2014, I have been getting mainstream, and it’s been so hot. I have never really intentionally taken a moment to halt. This is 2024; I needed to come different ten years after my baby album.

My EP is our first step towards that. It’s symbolic; I’m trying to represent something more metaphorical. It’s a newfound confidence. That gold represents the feast. On the table, I am with some gold food. For the feast, it’s coming into the know of who I am. It’s self-awareness, a newfound confidence.

PT: One of the tracks has samples and afrobeat movement; was it intentional?

Falz: Everyone I have worked closely with knows I have a particular affinity for core Afrobeat. Growing up, I listened to Fela because my father always played it. And I sampled it on “Chop the Life.” If you go back and check my previous records, there is almost that one track that samples afrobeats.

PT: In an industry often driven by trends, how do you balance maintaining your authentic voice and style with achieving commercial success?

Falz: I think the key word there is balance. So, I strive to achieve balance in everything that I do. Yes, the world is driven by trends, and I do want to stay as authentic as possible, but I still have to find a middle ground because I can only be partially removed from the trend at some point in time. Also, I can’t enter the trend so much that I lose my authenticity. So, I found a middle ground; I kept my essence while somehow tapping into the trend. I don’t have to suck myself into the trend that I lose myself in, but I can see what elements I can bring. This is what’s popping, okay? How can I tap into that? How can I make what is popping up about who I am?

PT: Your music spans multiple genres, from hip-hop to Afrobeats. How do you define your musical identity, and do you feel pressure to conform to a specific genre?

Falz: I would define my identity as diverse, rich, experimental, brave and bold. I do things that people would be afraid to delve into. I enter into experimental sounds, sounds that are new. And I also try to do things you wouldn’t expect me to do.

For example, on my last album, I sang all through. It’s just me; I always want to do things differently. So, my music identity is diverse. That’s the word that best captures it.

PT: In this EP, you avoid addressing social issues as usual. What prompted this change?

Falz: You will see that guy. But I do not want that guy to get to a point where he is seen as ‘you guys just dey complain’. I do not want to ever get to that point. That is why I am pausing, just complaining. I want to rearrange how I am doing it.

So how am I doing it? Am I doing it in a way that makes everybody sad? We already know that we are in wahala. Why am I further soaking you in that emotion? I want to bring you out of that emotion, and am trying to do that.

I did not comment on what is happening in Nigeria. What differentiates this project from my other works? This may be the project, or there is no atom or iota of attack or commentary regarding the happenings.

As I said, that would have been out of place because of the theme and the direction. I need help finding lyrics or a brief mention right now. That is definitely what differentiates this project from the rest.

PT: Rappers can be metaphorical in their lyrical content. Your lyrics are often known to tackle serious social and political issues. Do you ever face challenges or pushbacks when addressing these topics, and how do you navigate that?

Falz: This is Nigeria. The pushback is mostly from people who know what they are doing is wrong but feel guilty about being spoken to—either the people I’m talking to or those on their side. But I think most people realise those lyrics are the gospel, so there’s never a reason to push back.

Some people feel afraid to associate because they think that is controversial. Activism is not contentious. It is just staying on the side of the oppressed, staying on the side of the victim. You know, and that’s what I try to do. I express compassion and don’t care about what pushback may come. That’s not even my concern.

PT: Should we then liken it to the threats Fela faced?

Falz: I don’t think that I would have gotten that level of pushback that he got because that’s an entirely different era. I’ve been doing a lot more deep reading into his life experiences.

I have not experienced the percentage of threats he faced, but that was his character. Sometimes, he went to look for trouble because that was just his character. It was good trouble, but he went to look for it.

For example, in the Dodan barracks incident where, he carried the coffin of his late mother to the barracks. He marched with people, they took it, and they went to drop it there. It was symbolic because he felt they had killed her. After all, yes, the soldiers did throw her from the storey building, and that was how she died from her injuries. He went there.

Yes, I would come out at moments when I need to speak, but that is a brave move. That’s why I said I don’t know whether I have done or received half of the pushback he received, but also because he went looking for that challenge.

PT: How do you ensure your sound evolves with each project while staying true to your core as an artiste?

Falz: I don’t want to lose my essence as an artiste. I pay attention to retaining my core. I try to identify the things that matter most to me. Are they still there? Okay, cool. What am I trying to change?

Am I changing that? Do I still feel like it sounds like me? If it still sounds like me, as long as it does, I’m very ready to do anything. That has always been me, and I’m open to experiments. What kind of sound do I feel like I like? What do I want to try? What might sound nice? But we’re good to go as long as it still sounds like me.

PT: How do you handle situations where the critical reception of your work differs significantly from the fan reception? Could you please let me know which you prioritise and why?

Falz: I consider everything. Fan reception is almost always positive. But when a critical reception differs, I try to listen to what they are saying. If it makes sense, I’m very accepting of constructive critique; however, it’s in the trash if it doesn’t make sense.

PT: The Nigerian music scene is highly influential globally. How do you see your role within it, and what impact do you hope to make on local and international audiences?

Falz: I hope to inspire a new generation of artistes who want to make music with a genuine message. I want to encourage; I hope that people will listen to my music, making them feel alive and significantly impacting how they live their lives.

Like I said, I’m big on lyrics, what I’m saying, and the message I’m passing on. I hope that message gets through and materialises into something else in their lives.

PT: What are some of the biggest challenges you’ve faced in the music industry, and how have you overcome them? Are there specific obstacles you believe need more attention or change?”

Falz: One of the biggest challenges is ensuring that we present authenticity while also not ignoring trends. Balancing authenticity and trends that’s a huge challenge.

I need to ask how I do it so I don’t lose myself. But as I said, I find that balance, and that’s how I deal with it.

PT: What do you think is the most exciting thing about you that people don’t know about?

Falz: I am a shy person. When I say that, people are surprised. I’m an introvert. I’d rather stay in my house. I get expressive when creating in the studio due to my introverted nature.

PT: What’s your one piece of advice for upcoming artistes?

Falz: Don’t stop believing, regardless of how hard it might be. Don’t stop trying to make yourself better.