The Nigerian singer acknowledges Fela Anikulapo-Kuti’s legacy but says his childhood exposure to Oliver De Coque shaped his personal connection to Nigerian music.
By HillsNews Entertainment Desk
Nigerian singer and music producer Augustine Miles Kelechi Okechukwu, popularly known as Tekno, has drawn attention to the influence of highlife legend Oliver De Coque on his musical upbringing after comments comparing the late guitarist with Afrobeat pioneer Fela Anikulapo-Kuti circulated online.
In remarks attributed to a HOT 97 interview, Tekno explained that although he respects Fela’s contribution to African music, Oliver De Coque holds a more personal place in his musical history.
A statement circulating from the discussion includes the declaration that Fela was not his king and would never be his king, while identifying Oliver De Coque as the musician he considers his king.
However, Tekno’s fuller explanation offers important context.
He acknowledged Fela as a musical legend and credited him with influencing his 2016 song Rara, while explaining that Oliver De Coque’s records were more familiar to him during childhood.
The distinction has brought renewed attention to the different musical traditions that shaped generations of Nigerian performers.
Why Tekno Chose Oliver De Coque Over Fela
According to the interview account, Tekno traced his admiration for Oliver De Coque to the music played in his family home.
He explained that his father frequently listened to the highlife musician, making De Coque’s songs part of his early exposure to Nigerian music.
Tekno also referred to growing up in Bauchi, northern Nigeria, in a family with Igbo roots.
His comments suggested that musical influence is often shaped by language, family background, geographical location and the records available during childhood.
For Tekno, those circumstances meant that Oliver De Coque’s music had a stronger presence in his early life than Fela’s recordings.
His preference was therefore presented as a personal connection rather than an objective ranking of the two musicians’ achievements.
Tekno Acknowledges Fela’s Influence on “Rara”
Although the widely circulated statement emphasised his preference for Oliver De Coque, Tekno also recognised Fela’s importance.
He reportedly described Fela as a legend and acknowledged that his own song Rara drew considerable inspiration from the Afrobeat pioneer.
Released in 2016, Rara incorporated musical elements associated with Afrobeat while addressing social and economic concerns in Nigeria.
The song remains one of Tekno’s notable releases from that period.
His acknowledgement is important because it demonstrates that recognising one musician as a personal favourite does not necessarily mean rejecting the creative contributions of another.
Tekno’s comments distinguish between music that influenced his childhood and music that later contributed to his development as an artist.
Who Was Oliver De Coque?
Oliver De Coque, born Oliver Sunday Akanite, was one of Nigeria’s prominent highlife musicians.
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Known for his distinctive guitar style, he became closely associated with Igbo highlife, a musical tradition that combines guitar-driven arrangements, local rhythms and lyrics reflecting social and cultural life.
His recordings gained popularity among audiences in southeastern Nigeria and beyond.
De Coque’s music was also recognised for its energetic performances and the use of traditional influences within contemporary highlife arrangements.
Throughout his career, he released numerous recordings and helped sustain the popularity of guitar-based highlife music.
He died in 2008, leaving a catalogue that continues to be remembered by listeners and musicians.
Tekno’s comments have placed renewed attention on De Coque’s contribution to Nigerian popular music, particularly among younger audiences who may be more familiar with contemporary Afrobeats performers.
Fela Anikulapo-Kuti’s Place in Nigerian Music History
Fela Anikulapo-Kuti remains one of the most influential figures in African music.
The singer, bandleader and political activist played a central role in developing Afrobeat, a genre combining elements of West African musical traditions with jazz, funk and other influences.
His recordings frequently addressed political power, corruption, social inequality and government accountability.
Fela’s music also became associated with political resistance, particularly during periods of military rule in Nigeria.
His influence extended beyond the country’s borders and continues to be recognised by artists, music historians and international audiences.
He died in 1997, but his recordings and political commentary remain prominent in discussions about African music.
Tekno’s preference for Oliver De Coque does not diminish these documented contributions.
Instead, his remarks raise a different question: whether every Nigerian artist should be expected to identify Fela as their primary musical influence.
Understanding the Difference Between Afrobeat and Afrobeats
The discussion also highlights a distinction that is sometimes overlooked in conversations about Nigerian music.
Afrobeat, associated with Fela and drummer Tony Allen, developed through extended instrumental arrangements, complex rhythms, prominent horn sections and politically conscious lyrics.
Afrobeats, the broader term commonly used for contemporary African popular music, includes a wide range of styles and influences.
Modern Afrobeats draws from highlife, hip-hop, R&B, dancehall, Afropop and other musical traditions.
The terms are related but should not be treated as interchangeable.
Tekno belongs to a generation of Nigerian artists whose music developed within this broader contemporary landscape.
His acknowledgement of both Oliver De Coque and Fela illustrates how different historical traditions can influence a modern performer in different ways.
Why Tekno’s Statement Has Attracted Attention
The phrase about Fela not being Tekno’s king is particularly striking because of Fela’s established reputation.
When presented without the rest of the interview, the statement can appear to dismiss the Afrobeat pioneer’s importance.
However, the fuller account suggests Tekno was making a distinction between public recognition and personal musical experience.
His comments also raise questions about how Nigeria’s music history is presented to younger listeners.
Fela is frequently discussed because of his international influence, distinctive musical innovations and political activism.
But Nigeria’s musical heritage also includes important contributions from highlife performers, juju musicians, fuji artists and other regional traditions.
Oliver De Coque represents one part of that wider history.
A discussion about musical influence can therefore recognise Fela’s pioneering achievements while also examining the contributions of musicians whose work shaped particular communities and generations.
A Personal Preference, Not a Historical Verdict
The central point in Tekno’s explanation is that his preference reflects his upbringing.
He did not grow up in exactly the same musical environment as every other Nigerian artist.
The songs played in his home influenced his earliest musical experiences, while other artists contributed to his creative development later in life.
That distinction helps explain why he could identify Oliver De Coque as his king and still acknowledge Fela’s influence on Rara.
The two statements are not necessarily contradictory.
One concerns personal attachment; the other concerns artistic influence.
Neither requires listeners to dismiss the historical achievements of the musician they personally admire less.
Conclusion
Tekno’s remarks about Oliver De Coque and Fela Anikulapo-Kuti have reopened a discussion about the musicians who shaped Nigeria’s popular music.
While his description of Oliver De Coque as his king has attracted attention, his acknowledgement of Fela’s influence provides important context.
The singer’s account reflects the role that family, culture and childhood listening experiences can play in shaping an artist’s musical identity.
For listeners, the discussion offers an opportunity to revisit both musicians’ catalogues and examine their different contributions.
Tekno’s preference is personal, but the musical legacies of Fela and Oliver De Coque extend well beyond any one artist’s experience.
Editorial note
This article is based on comments attributed to Tekno in a HOT 97 interview and subsequent online circulation of those remarks. The original interview recording and exact wording of the viral quotation should be checked before publication. Statements about Tekno’s personal influences are presented as his account, not as an objective ranking of Nigerian musicians.