PORTABLE should ring a bell if you are a music lover and, if you are not familiar with the artiste, “Zazu Zeh” is a phrase you must have heard recently.
Just like when Bella Shmurda was elevated to a new level with his collabo with Olamide, social media has a new slang in “Zazu Zeh” after Olamide collaborated with Portable to release the remix of a song named after the slang itself. It’s on the lips of people across various demographics —young, old, male, rich, female, upper-class, poor, educated, illiterate, and celebrity— because it is apparently very catchy. However, a dark spot in the background of this rising star and his ‘stroke of luck’ makes us ask a few questions about the influence of this new act in a music industry already notorious for propagating unsound ideas to listeners.
Portable's background does not spell adoration. He allegedly led a life of crime for a while and had been accused of stealing an iPhone and a tricycle in Lagos in the past. Habeeb Okikiola, Portable, is now one of the raves of the moment in the entertainment industry for his song ‘Zazu Zeh’ featuring popular singer and rapper, Olamide Adedeji. He has also performed at a couple of concerts with A-list artistes such as Tiwa Savage and Wizkid, but his lyrics, like many others before him, are questionable. “Poco Tu ah, Poco tu ah meh meh meh, Zeh!” is one of the lines in his song that makes no sense to his fans but they will listen anyway. The song also contains disturbing lyrics such as “Kala, zeh/Daju, Zeh/Wuwa Ika, zeh” and “Emi ni werey olorin” which reference or celebrate unruly behaviour and criminality.
Talented Portable is emerging a big brand that will most likely metamorphose into a cult icon. But the worry is, like many others before him, he will pay no attention to meaningful lyrics. Instead, he will explore slangs that will hypnotize the youths and also screw deep into their reasoning thereby harvesting a new pop-culture with the potential to augment the societal ills that are already too much a burden to bear.
Our government is overlooking the dangers of regulating music content from musicians who promote a life of vagrancy and criminality consciously or unconsciously. Many young persons who are involved in international internet fraud today are encouraged by subliminal messages in mainstream music from some artistes who sympathise with these criminals. More songs are showing disregard for moral support and a larger part of the audience who know no better are mentally reconfigured to live without productive principles. If we allow our young people to continue consuming musical content without discernment, the psychological wellbeing of the future of our society is sure to be compromised.
