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| Image: The Republic |
Sonny Okosun: The Prophet of Ozziddi
By Williams Patrick Praise
Sonny Okosun (1947–2008) stands as one of Nigeria’s most significant musical icons, a man whose career transitioned from the rebellious rhythms of rock and reggae to the soulful depth of gospel. Known primarily as the leader of the Ozziddi band, Okosun used his platform not merely for entertainment but as a vehicle for social justice, Pan-Africanism, and spiritual liberation.
Early Life and Musical Beginnings
Born on January 1, 1947, in Enugu, Nigeria, to parents of Esan heritage from Edo State, Okosun’s early life was marked by both cultural richness and personal struggle. His childhood was characterised by modest means; he once recalled that his family ate rice only a few times a year when his father received his salary.
His formal education was brief, as he was drawn to the world of entertainment from a young age. Influenced by Western rock icons like Elvis Presley and The Beatles, he taught himself to play the guitar. In the mid-1960s, he formed his first band, The Postmen (sometimes called the "Local Beatles"). After fleeing the Eastern region during the Nigerian Civil War, he eventually joined Victor Uwaifo’s Melody Maestros in 1969, a tenure that allowed him to tour internationally and hone his skills in fusing traditional African rhythms with contemporary pop.
The Birth of Ozziddi
In 1974, after a brief stint with a group called Paperback Limited, Okosun formed the band that would define his legacy: Ozziddi. He chose the name from an Ijaw river god, but to Okosun, the word carried a deeper meaning: "there is a message."
Ozziddi
was more than a band; it was a musical genre that synthesised:
Afro-beat
and Funk:
Capturing the energy of the Lagos music scene.
Reggae: Providing a rhythmic backbone for his protest lyrics.
Highlife: Staying rooted in his Nigerian heritage.
The Voice of Liberation
By the late 1970s, Okosun became a global voice against oppression. His 1977 hit "Fire in Soweto" became an international anthem against the Apartheid regime in South Africa. Unlike some of his contemporaries who focused on internal Nigerian politics, Okosun’s gaze was often Pan-African. He sang for the release of Nelson Mandela and the end of colonial rule across the continent.
His commitment to these causes earned him a spot on the 1985 anti-apartheid album "Sun City," making him the only Nigerian artist featured on the project alongside global stars like Bruce Springsteen and Miles Davis. Other notable hits from this era included "Papa’s Land," "Which Way Nigeria," and "African Soldier."
Transition to Gospel
In the late 1980s, Okosun underwent a significant spiritual and professional shift. He transitioned into gospel music, adopting the title Evangelist Sonny Okosun. This new chapter was remarkably successful; his 1994 album "Songs of Praise" became a massive hit, selling millions of copies and revitalising his career for a new generation. In 1998, he founded the House of Prayer Ministries in Lagos, where he served until his passing.
Death and Legacy
Sonny Okosun passed away on May 24, 2008, at Howard University Hospital in Washington, D.C., following a battle with colon cancer. He was 61 years old.
Even years after his death, his influence remains potent. In late 2025, his family announced plans to remix his classic works for 2026 to ensure his "message" continues to reach younger audiences. Okosun is remembered not just for his melodies, but for his belief that music should serve a higher purpose—to unite, to liberate, and to heal.
Here is a chronological look at the most influential albums from Sonny Okosun’s career. His discography is a roadmap of his evolution from a revolutionary "freedom fighter" with his Ozziddi sound to a spiritual leader in the gospel scene.
Key Albums and Milestones
Year |
Album Title |
Significance |
1976 |
Ozziddi |
The debut that introduced his "Ozziddi" (there is a message) sound to the world. |
1977 |
Fire in Soweto |
His most famous international hit; it became a global anthem for the anti-apartheid movement. |
1977 |
Papa’s Land |
A powerful critique of land ownership and colonial displacement in Africa. |
1978 |
Holy Wars |
Explored themes of religious and social conflict, blending highlife with rock. |
1983 |
Which Way Nigeria? |
A poignant social commentary on the political direction and economic state of his home country. |
1984 |
Liberation |
Continued his theme of Pan-Africanism and the struggle for independence. |
1994 |
Songs of Praise |
His transition to Gospel; it sold millions of copies and defined the later half of his career. |
2000 |
The Ultimate Collection |
A comprehensive look back at his Ozziddi years, introducing his classics to a new generation. |
The Evolution of the "Ozziddi" Sound
To understand these albums, it helps to see how Okosun layered his music. He didn't just stick to one genre; he created a "sonic collage" that made his message accessible to different audiences.
The
Foundation:
Highlife rhythms from his West African roots.
The Pulse: Reggae beats, which he adopted because he felt reggae was the "true music of liberation."
The Edge: Rock and Funk influences (guitar riffs) inspired by his early love for Western pop.
The Heart: Lyrics centred on Pan-Africanism, Black pride, and later, Christian faith.
A Legacy Continued
In late 2025, several Nigerian contemporary artists began sampling "Which Way Nigeria?" to address modern economic challenges, proving that while the man is gone, his "Ozziddi" message remains as relevant as ever in 2026.
Sonny Okosun’s music was often described as "conscious" because it mirrored the struggles of his time. Below are the lyrics and the deep historical roots of his two most iconic protest songs.
"Fire in Soweto" (1977)
This song was the spark that turned Okosun into a global figure. While many Nigerian artists focused on local issues, Okosun looked South, toward the brutal Apartheid regime in South Africa.
The Lyrics
"I looked at my people dying in Soweto
I looked at my children burning... Fire in Soweto, burning all my people
Fire in Soweto, burning all my children."
Historical Context: The Soweto Uprising (1976)
The song was written in direct response to the Soweto Uprising of June 16, 1976. Thousands of Black South African students marched to protest the mandatory use of Afrikaans (the language of the oppressors) in schools. The police opened fire, killing hundreds of children.
The Impact: Banned in South Africa: The song was immediately banned by the Apartheid government, but it became an underground anthem in the townships.
Pan-African Solidarity: It showed that Nigerians felt the pain of their South African brothers and sisters, bridging the gap between West and South Africa through music.
"Which Way Nigeria?" (1983)
By 1983, Nigeria was at a crossroads. The "Oil Boom" of the 1970s had ended, and the country was spiralling into economic hardship and political instability.
The Lyrics
"Many years after independence,
we still find it hard to start.
How long shall we be patient before we reach the Promised Land?
Inefficiency and indiscipline is ruining the country now
Corruption here and there and everywhere, inflation is very high.
Which way Nigeria?
Which way to go?
I love my fatherland;
I want to know which way Nigeria is heading to!"
Historical Context: The Second Republic's Decline
When Okosun released this, Nigeria was under the civilian rule of Shehu Shagari. However, the government was plagued by extreme corruption and the 1983 economic crash. Just months after the song's release, a military coup led by Muhammadu Buhari overthrew the government, citing the very "indiscipline" Okosun sang about.
The Impact:
A National Question: The phrase "Which Way Nigeria?" became a permanent part of the Nigerian lexicon. Even today in 2026, it is the most quoted line whenever the country faces a leadership crisis.
Patriotic Protest: Unlike purely angry protest songs, Okosun emphasised his love for the country ("I love my fatherland"), making his critique feel like a plea for survival rather than an attack.
Feature |
Fire in Soweto (1977) |
Which Way Nigeria? (1983) |
Primary Genre |
Reggae-Fusion |
Highlife-Pop / Afro-beat |
Target |
External (Apartheid) |
Internal (Nigerian Leadership) |
Tone |
Mournful & Revolutionary |
Frustrated & Patriotic |
Global Status |
International Protest Anthem |
National Sociopolitical Anthem |
The enduring power of these songs is why, as of early 2026, we see so many young Afrobeats artists returning to Okosun’s "Ozziddi" philosophy to talk about modern-day issues.
