‘Celia’, Tiwa Savage’s latest album, opens with a plea; an almost indistinct imploration to be pleasured. The album begins with an upbeat sound, thick with blue vibe, titled ‘Save my life’, which both communicate the recommended dependence of a subject on another, and the abject transference of self-satisfaction to another person.
‘Celia’ progresses from a plea to an expression of weakness, titled ‘Temptation’, featuring Sam Smith. Then takes a sharp turn to ‘Ole’, a call-out featuring Naira Marley.
Those are three great songs in a row. But the fourth is even greater. It is a definite dancehall stirrer and an easy to learn and unforgettable art, titled ‘Koroba’ meaning, bucket, according to the internet.
‘Koroba’ starts off with a rallying beat, bursting with promises to excite and entertain, and fulfils that promise a little too well, from beginning to end, that it diverts attention away from its deep end. That is how we all missed the song’s analysis of the character of Nigeria’s leadership, since it gives a look into the financial disparity between Nigeria’s political class and its citizens, and how that disparity birth, then nurture, trouble.
In the story, the main character’s response to the prevailing economic hardship in the nation, is an unwilllingness to suffer, and a devise to swindle the corrupt, who is responsible for the stated hardship. Her swift turn to politicians, as her way out of money problems, stand as a statement of how politics has been spurned into a money making scheme, but also shows how the misuse of citizens, by politicians, is a normal course of action, in the place of national development.
‘Koroba‘ is a benevolent thief type of story, and we’ve been dancing to it completely unaware of its point.