That singular effort of Dady Showkey’s release of his debute album ‘Welcome’ rocked the Nigerian music scene and helped kick-start a new dawn in the music industry. Much more, that singular effort of Showkey, snowballed into somewhat of a musical revolution among Ajegunle youths who now clearly saw light at the end of the tunnel.
Expectedly, Showkey’s effort brought him fame and wealth and it became a reference in the Ajegunle musical history- it fuelled the ambitions of the youths to do better than Showkey, who had nicknamed his brand of music and dance steps as Galala, even though it was more of raga music.
The emergence of Friday Igwe (a.k.a Baba Fryo) on the scene with his hit music ‘Denge Potz’ further heightened the hope and aspirations of more youths in the area to become successful artistes. More than adding impetus to the fast growing music scene, Baba Fryo’s brand of reggae music was refreshingly flavored with ethnic rhythms that endeared to scores of music fans across the country and even beyond.
Notwithstanding its lyrical weakness, the album enjoyed relative success and acceptance in the Nigerian music scene. Following the success of his hit debut solo effort, Daddy Showkey, returned with another huge hit Dyna, just like Fryo, who continued his success story with Notice Me, which sold massively across the nation.
Unfortunately, however, after the release of the albums, both Fryo and Showkey have not been able to re-enact the great musical forms of sweet dancing and singing cultures they pioneered in Ajegunle. Their failure to sustain their musical heights has attracted remarks from music critics. Some argued that professional indiscipline could be responsible and for some others, they could have run out of ideas.
In 2007, John Asiemo or Daddy Showkey’s music career suffered a setback, following an accident that adversely affected his spine. The incident forced the fun-loving singer to quit the music scene for awhile.
Commenting on the issue, a renowned music producer and musician John Oboh, fondly called Mighty Mouse, observed that the emergence of new acts like African China, Danfo Drivers, Raymond King, Rayan T and others has redirected the style of Ajegunle music. He further revealed that the music has shifted gear from slangs and disjointed jargons to what is now described as Ajegunle Pidgin English language.
Much more, the lyrical contents are now made socially relevant and meaningful. “I think we’re getting somewhere now,” he explained. “The youths are now beginning to educated themselves through their own music, which is a clear signal that Ajegunle music could be the much needed tonic to turn the face of the Nigerian music culture,” said Mouse.
In the same vein, award-winning music producer, Nelson Brown, who discovered the famous Plantashun Boiz, remarked that Ajegunle has remained the heartbeat of the nation’s entertainment industry.
In recent times however, the foray of new and fresh acts like Marvelous Benjy, Jogodo, Adaz, B’Clean, Danfo Drivers, African China and Don Blaze among other talented young stars, is now viewed as a thoroughly refreshing fillip to the pedigree of Ajegunle ghetto. One of Ajegunle’s vibrant artistes, African China, was singled out as an artiste to watch due to successive achievements on every album of his since the debut Crisis. But the party seems to be over, even before it began.
For the average person, the music group Danfo Drivers, summarily sums the God-given talents of the youths from the ghetto. This group is today highly rated for its unique brand of music. With the likes of Marvelous Benjy, Jogodo, Macaroni, Nico Gravity, B’Clean, Adaz, DonBlaze and Rayan T, winning honors and accolades within and outside the shores of Nigeria.