Nigerian rapper, actor and social media star Falz released his sixth studio album, The Feast, in 2025.
Few Nigerian popular musicians have shown as much versatility and staying power as the man behind the #ElloBae and #WehDoneSir social media trends. For over a decade now, Falz has been marrying musical skills and social activism with digital savvy and comedy.
His rise to global prominence was solidified with his 2018 song This is Nigeria. But it began in 2014 with Marry Me off his debut album Wazup Guy.
As a young artist known for his video skits, he created an online challenge ahead of releasing the song Ello Bae (Hello Babe). In it he tries to romance a woman who appreciates him and his ambition, but is looking for a man with money. It remains a common hashtag when TikTokers post about love and money.
In 2017 he released Wehdone Sir (Well Done, Sir), a witty takedown of people with fake glamour lifestyles. #WehDoneSir is still used on social media to satirise pretentious individuals.
Falz would become known for his unique blend of hip-hop and Afropop, but what really made him stand out was his skill at infusing humour into his socially conscious, often revolutionary, songs.
It’s often argued that Falz is a natural heir to Fela Anikulapo-Kuti. He was the Nigerian music legend and activist who helped create the Afrobeat movement (a precursor to today’s Afrobeats).
Like Fela, Falz packs his music with playfulness and satire while also stirring public consciousness with activist lyrics. Both call for action against the oppressive political class. In 2020, when young Nigerians took to the streets to demand an end to police corruption, Fela and Falz were both part of the inventory of #EndSARS protest songs.
As a scholar of Nigerian hip-hop, I have published papers on Fela and Falz and how they have shaped protest music that responds to social challenges in Nigeria.
So, who is Falz, and how has he spread his message – and come to be the political voice of his generation, as Fela was to his?
Who is Falz?
Falz (real name Folarin Falana) was born in 1990 in Mushin, Lagos. He is the son of a respected human rights lawyer and activist father, Femi Falana, and lawyer mother, Funmi Falana. In fact, his father was Fela’s lawyer, defending him against charges brought by the state.
Falz also qualified as a lawyer, but chose instead to pursue his interests in music and acting. These multiple skills feed into his productions on diverse levels. Beyond his songs, he is also very active on Instagram and Tik-Tok, where he establishes trends, especially around his songs and films.
His character in Ello Bae, for instance, struggles with English, using big formal words in unexpected ways, finding comedy in his faux Yoruba inflections. It would be a trademark of the #ElloBaeChallenge and would enjoy renewed public attention when Falz was cast in the TV series Jenifa’s Diary playing a similar character.
In 2016, Falz won best new international act at the BET Awards in the US. Numerous other awards would follow. His albums have received commercial and critical success. His roles in movies have further solidified his status as a multitalented entertainer.
Activism
Falz does not shy away from living the talk. He took part in the 2020 #EndSARS protests and his work repeatedly tries to steer the government towards addressing socio-economic challenges.
Soon after the protests, he released Moral Instruction. On the album, the track Johnny depicts the everyday experiences of Nigerians. This is Nigeria, a localised version of US rapper Childish Gambino’s This is America, depicts Nigeria as a country struggling with corruption, lawlessness and social injustice. A stark contrast to its potential. The video reflects a breakdown in law and order, corrupt officials, and the struggles of young people facing limited opportunities and resorting to crime.
Falz has used his platform as a celebrity and his background as a lawyer to call for social justice and for young people to make a difference.
Fela and Falz
There have been a number of pretend heirs to Fela’s throne of musical consciousness. Many of these have either not lived up to the hype or have fizzled out.
However, many popular Nigerian artists leverage Fela’s ethos through sampling his beats and lyrics. This is evident in Falz’s musicography too.
My study on the lyrical and thematic connections between Fela and Falz songs compares a number of tracks. Fela’s No Agreement and Falz’s Talk, for example, both draw attention to social inequality and systemic challenges in Nigeria.
Fela’s song was produced in the context of a military regime while Falz’s was within a democratic dispensation. But both speak of a crisis of leadership in Nigeria, as is the case in many postcolonial societies. What particularly links Fela and Falz is that both are unrelenting in their revolutionary struggles and determination to ensure an equitable Nigerian society.
Religious leaders are not spared criticism. Echoing Fela’s Coffin for Head of State (1980), Falz’s Amen (2019) points to the deceptive practices and complicity of religious leaders in poor political leadership and endemic poverty. Both critique the double standards that have become normal in the country.
Falz’s Follow Follow (2019) addresses current realities in Nigerian society – a lack of personal conviction and independent thought and the mindless following of social media trends. Integrating lyrics from Fela’s Zombie (1976), the song is about asserting one’s identity. It also rehashes Fela’s Follow Follow, mocking those who allow themselves to be led blindly by others.
To make sure his advocacy resonates, Falz co-opts his listeners through a call-and-response strategy. A phrase is sung and the next phrase answers it. This way, along with catchy lyrics, the audience become active participants.
This also echoes the traditional Yoruba chant-and-refrain rendition used by musicians, poets and bards to engage their audience. Its possible nod to the indigenous is also at the heart of his faux Yoruba accent, a style that downplays his prestigious upbringing and connects him to ordinary people, much like Pidgin did for Fela.
But echoes of Fela don’t in any way take away from the creative force of Falz’s work. Rather they reinforce his critique of how the postcolonial Nigerian state has failed to live up to its promise.
Into the future
While Fela was unrepentantly anticolonial, Falz is sublimely hybridised. His mixture of talents and views creates a pulsating pan-African consciousness that’s able to exist in a global contemporary world view.
His lyrics and videography are aimed at the masses – especially young people – who have the most to gain from positive social change. In this way Falz can be said to represent a generational conscience. He uses his empowering songs to motivate his fans to take their destinies in their own hands.
