Highlife Remixed: Today's Artists Are Reimagining Classics for a New Generation (Part 2)

The New Architects of Highlife

Umu Obiligbo

For some, carrying on a legacy can be daunting, but for brothers Chukwuebuka Akunwafor and Ifeanyichukwu Okpuozor Obiligbo, it seems like second nature.

Their music honours their grandfather, Chief Akunwafor Ezigbo Obiligbo, a renowned music icon known for the ‘Egwu Ekpili’. After his death sometime in the ‘80s, his music remained popular into the early 2000s. However, that popularity was largely confined to those who knew him in his lifetime or had grown up listening to his work. For some millennials, it was music from their childhood, played by their parents or grandparents. It was clear that there was a disconnect between that time and a newer audience.

In 2014, under the name “Umu Obiligbo”, the duo released their first album, Ife Di Mma. Their music is not just about preserving the past; it was something old we had heard before, yet somehow new and fresh, a paradox that sparked curiosity, and so a new era was born.

Flavour N'abania 

Chinedu Okoli’s music is the product of a symphonic merge of highlife with other genres. Depending on the song, it could be dancehall, Afrobeats, or R'n'B. His music is infectious. He carved a niche for himself and remained committed to it, even when his sound was not considered mainstream in Nigeria.

However, in Eastern Nigeria, he was a big deal. Perhaps there's something about his music that resonated with many African and Caribbean audiences as well. His song “Nwa Baby” from his 2010 album Uplifted was sung mostly in Igbo, yet it transcended borders and cultural divides, amassing a devoted fan base. 

It’s easy to credit him as one of the first to embellish the highlife sound to appeal to a younger audience. As he said, “That's what I've been doing over the years, trying to modernize Highlife, trying to recreate it and give it some kind of modern sound that everybody can vibe to, not just the old, young, middle class, and of course other continents, not just Africa.” Judging by his global fan base, he has been a success.

The Cavemen

Brothers Kingsley Okorie and Benjamin James know a thing or two about reimagining a sound. Their take on highlife music or "Highlife Fusion” introduces a fresh perspective while paying homage to the past. They have sampled old Highlife classics from the likes of Oliver De Coque as creatively as they have crafted their original works.

Talking about their role in “reviving” highlife music, Kingsley says, “Our goal is to be the bridge between the past, the present, and the future. So, how do we do that? We maintain the sound, but we add new contemporary tweaks that were not there then”.

With their music, there’s a heavy afrobeat and jazz undertone.  Combine that with soulful vocals, and what you have is an experience described as a listening treat. It is different, it is new; it is one of the many sounds of modern highlife music.

Collaborations

A unifying thread among these artists is that they do not shy away from collaboration. It is more than a marketing move. Collaborating across genres such as Afropop, Afrobeat, and rap, while singing in indigenous languages like Igbo, they manage to create music that is both rooted and accessible. Allowing audiences to find something that resonates in every song.

These artists are not just working with peers; they are also paying tribute to those who came before them. “Egedege” is one such intergenerational collaboration. It brought together Flavour, Phyno, Larry Gaaga and the legendary Theresa Onuorah. During his African Royalty European Tour (London), Flavour had Bright Chimezie join him on stage. Simi similarly honoured juju maestro Ebenezer Obey with a remake of ‘Aimasiko’.

In a culture steeped in respect for elders, most view these gestures as “giving flowers to legends while they’re still here”.

Honorary Mention

Chike

Although the Boo of the Booless is not primarily a highlife artist, his nostalgic incorporation of highlife into his music is something he would not deny.

Chike Ezekpeazu Osebuka is a perfect example of how artists are reimagining sounds that we grew up around. Proof that the lines of genre boundaries are blurring. His work is a medley of R'n'B, Afro-pop, and highlife. Rather than abandon tradition, he uses it as a foundation for personal expression.

Conclusion

Highlife is a chronicle of Nigerian history and culture. By reawakening this genre and restoring its relevance in a world that has moved beyond its original context, today’s artists ensure that this legacy is neither lost nor forgotten. Their efforts spark curiosity in those eager to discover what the original sounded like.

In all the creative ways they have found to express it, the sound cannot be said to have been watered down. They have simply kept Highlife alive, long enough for it to adapt, captivating new generations with as much warmth and magic as it did generations before.

 Playlist 

On our playlist this week, we’ve placed the old and the new side by side, we hope you enjoy it.

Egedege – Larry Gaaga, Flavour, Phyno, Theresa Onuorah

Osundu – The Cavemen

Ejina Uwa Nya Isi – Celestine Ukwu

Sokoto – Umu Obiligbo, Bisa Kdei

Odiro Easy – Flavour

Adaugo – The Cavemen

Culture – Umu Obiligbo, Flavour, Phyno

Nwa Baby – Flavour

Watching Over Me – Chike, Zoro

Egwu ndi Nne – Umu Obiligbo

Uwa Ngbede Ka Mma – Mike Ejeagha

Awele – Umu Obiligbo, Flavour

Biri Kam Biri – The Cavemen

Chukwuebuka – Ayaka Ozubulu

Mabuza Mabuza – Zoro

Osondi Owendi – Chief Osita Osadebe

Biri Ka Mbiri – Chief Oliver de Coque