“A lion will not give birth to a goat”
Seun Kuti’s performance at the Fine Line in Minneapolis confirmed the truth of this Nigerian proverb Friday evening, July 26th when he and his band, Egypt 80, spent over an hour and a half on stage delighting and educating an audience of more than 300 people.
The band took stage around a quarter to ten, playing two numbers before Seun Kuti appeared on the keyboard. He then moved to the mic, repeatedly shouting “What’s happening Minneapolis?” Kuti returned to the song Coffin for the Head of State, a tribute to his father, Afropop King, Fela Kuti.
The number’s repetition in riffs and words, built both excitement and expectation as it crescendoed and did not disappoint the audience. Kuti’s music, as it has been since he stepped into his father’s shoes in 1997 at the age of 14, is layered and complex, designed to entertain all and activate those whose eyes and ears are open to the message.
The fourth number, Kuti told us, marked the first time he’s collaborated with Damian Marley, the youngest son of Bob Marley, King of Reggae. The single, Dey, released only days before, was relatively short, lasting six minutes. It’s the song that gave this current tour its name: I’m too busy being myself.
To preface the song, Kuti declared, “You are not here (at the Fine Line) because of me. I am here because of you. I am here to serve you.” He gestured widely, arms raised overhead, fingers pointed into the audience.
“You see,” he continued, “for coming out tonight to see me, you are the best people in Minneapolis…but I digress.”
Kuti often digressed, a favorite phrase of his throughout the evening, to expound upon classism and the onus every African should feel to advance the continent and the African diaspora.
Love & Revolution, showed up next on his setlist. It’s a 15-minute number that they’ve played for many years, but it hasn’t lost its edge. Kuti played his saxophone, the dancers brandished their props of fans and feathers, shakers, and tambourines.
Without hesitation, this led into their sixth song that had Seun running around stage, his arms in the air as if swatting away wasps. His shoulders rolled and flexed, his back to the crowd. He bounced with energy as he peeled the song, Emi Aluta, off with intensity.
The complexity of the songs stunned me. The music is anything but casual and finger-snapping. The saxophone, trumpets, guitars, keyboard, percussion, dancing, backup vocals, all amalgamated into the genius that is this Lagos-based, Grammy-nominated band.
Opening band, Fanaka Nation, offered a contrast to Seun Kuti & Egypt 80 in tone and presentation. Fanaka Nation, one of my favorite local bands, consistently engages the audience with rapport-building techniques such as call-and-response, small intimate conversation, and ego-stroking of the crowd. It’s very effective.
Three-quarters of the way into his hour-long set, Fanaka Nation called up Ugandan rapper, King Swank, and they finish the set, drawing the audience in as close to the stage as possible.
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About Susan Budig
Susan is based in Minneapolis and reports on general assignments for Mshale with a focus on entertainment. In addition to reporting, she is also a writer, poet, teacher and coach.
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