There is nothing the streets love more than seeing one of theirs win. For this reason, profiles who play the role of “actor” in such stories do not miss out on the chance to talk about the more difficult times when music productions permit. “I go Alaba I buy lapi/I hustle for 6 months I no get money/Shoutout to my niggas wey dey sub for me,” sings Bella Shmurda on Vision 2020 (2019), featuring Olamide, a father figure for this class of artists. Other times, they add tales of crimes like internet fraud and the substance abuse they indulged in during their struggles, or now partake in as a result of the empowerment that their newly acquired wealth provides them. “Sometimes, food no de give man joy/But Canadian Loud, the feelin’ is different” was T.I Blaze’s manifestation of his source of euphoria, cannabis, intoned in his 2021 track, Sometimes.
A unique vibe is however introduced when these artists infuse spirituality into these experiences. They transcend from street narrators to street preachers who don’t necessarily lean towards any religion. The hustle culture is their religion. Hard work, gratitude to the supreme being, hope in their efforts, and belief that brighter days will emerge—these are the driving forces behind the Afro-Adura subgenre.
Over the last decade, Afrobeats has continuously been divided, with each fragment creating a new approach to the reception of music. The Afro Rave fans love the pace that artists like Rema provide, while Stans of “Afro Emo” cling to the melancholy their favorites allow them to drown in. This variation is what has kept the genre relevant over the last decade, and to some amount solidified its global stand. Afro Adura, in its stance, is celestial, otherworldly, and prayerful. The subgenre is largely characterized by the slum/street culture, slow pensive instrumentation, and often harmonic chants uplifted with hopeful lyrics that are mostly delivered in Yoruba. Songs in the Afro-Adura genre are made to motivate and inspire “hustlers” to embrace discipline, hard work, patience, and gratitude to the Supreme maker as steps in the attainment of a final flourish—financial expansion. The craft is a tough one to commit to, with a long list of Afropop singers scratching its surface like Asake, Zlatan, Zinoleesky, MohBad, Qdot, and Victor Ad, while a select few like Seyi Vibez and 9ice have made it part of their core sound. However, a new star is breaking the limitations of the genre. Ayo Maff, a native of Bariga, is revamping the entire concept of Afro-Adura.
Bariga (a local council development area under the Somolu local government area in Lagos) is a suburb in Lagos whose ragged living conditions are the obverse of its high level of creativity. Bariga has always been lit up with cultural performing arts, dance, and music, delivering some of the best Afrobeats personas in this generation. Olamide, 9ice, and Lil Kesh.
Born Mafoluku Ayorinde Ayodele, Ayo Maff fell in love with music as early as his primary school days. His first performance was for his then-headmistress. The present Philosophy major undergraduate gained mainstream recognition in 2023, after his two-pack release Jama Jama/ Another Day. Less than a year later, Ayo earned his first hit song, Dealer with Fireboy DML. With rising acclaim and cosigns from the likes of Davido, Olamide, and Kiss Daniel, Ayo Maff immediately became high on the next-rated watchlist, with high anticipations on what he had next. Recently, he released his debut project, MAFFIAN, a 16-minute-long project with the same title his small but devout fanbase is called.
In the wide spectrum of present “Afro” subcategories, Ayo Maff has the ideal characteristics of an Afro Adura singer. Continually calling himself a “preacher man” during one interview, Ayo Maff channels the hardships and tumultuous experiences from his formative years to his lyrics, investing tales relating to the loss of his dad, adapting to life with a stepfather, and stepping up as the family’s provider an early age. A treasure hunt would not be required to find allusions to spirituality in Ayo Maff’s songs, and he takes the persona of an activist in some of his songs. His two-pack release, Street Anthem/7 Days was directed towards the prevalent corruption in Nigerian law enforcement agencies and criminal injustice. On Street Anthem, he sang, “EFCC leave my brothers we are not scammers/NDLEA Wetin happen, we no kill person.”
What is most interesting about Ayo Maff’s style is how he is morphing the procedures of making Afro-Adura music. The esoteric subgenre is slow, solemn, and reflective until Ayo Maff is on the mic. He tells his tales joyfully. It is disparate but no less impressive. While most of his tracks are made with Amapiano beats, others come with cheerful pop synths and drums. On 8 Days, where he hammered on the non-discriminatory motion of death, he employs pacey drums that are catchy enough to enthuse you about the narrative he’s on about. In addition, he incorporates contemporary street fashion into his music. In his teaser videos, you can see him and his brothers—as he commonly calls his entourage—dressed in unique styles, with Bandana scarfs, a general symbol of street groups.
Although Ayo Maff infamously exalts drug and substance abuse on his tracks, if you ask me, he is making Afro-Adura music exactly how it should be made. The central theme is hope, and few things are as hopeful as up-tempo music. The solemnity that forerunners have maintained in their songs is not invalid, but it might be time for tales to be told with a different register. Ayo Maff’s rocket of a career has been pleasing to watch. From the streets of Bariga to the architect of a new era in music, Ayo Maff is certainly going to big places.
Favour Overo is a multifaceted writer, a literary lover, and an acute logophile. He spends his free time discovering new things, listening to podcasts, and watching the best team in the world; Liverpool Football Club.
