Fela gave me total freedom – Ghariokwu recalls iconic collaboration

Nigerian visual artist Lemi Ghariokwu has warned that the growing neglect of album credits and cultural archives is putting the contributions of music professionals and Africa’s creative history at risk.

Ghariokwu, popularly known as the “King of Covers”, said the music industry’s increasing focus on superstar artistes and social media had overshadowed the instrumentalists, producers and other professionals whose work shaped recordings.

Speaking in an interview shared online by The Nollywood Reporter (TNR), the artist said the disappearance of detailed album credits had weakened the documentation of music history and denied many contributors recognition.

“One of the things we have lost is the culture of documenting everyone who contributes to making an album,” he said.

“In the past, you could buy an album, give it to somebody, and they could read the credits at the back. That is what is missing today, and it is not good for posterity.”

Ghariokwu, whose career includes more than 2,000 album artworks, said public attention was now largely concentrated on leading artistes such as Burna Boy and Wizkid, while the musicians behind their recordings remained relatively unknown.

He recalled that audiences once visited Fela Anikulapo-Kuti’s Afrika Shrine not only to see the Afrobeat legend but also to appreciate musicians such as drummer Tony Allen and other instrumentalists.

“Today, it is largely about social media and the biggest stars. That is one of the negative aspects of this era,” he said.

The artist also called on African institutions to take greater responsibility for preserving the continent’s cultural heritage, warning that foreign organisations and individuals could shape the historical narrative when Africans failed to document their own achievements.

“It’s very important that we share our own narratives. Outsiders have always shared our narratives with their own agenda,” he said.

Ghariokwu argued that Nigeria should establish stronger systems for preserving the works of its creative professionals, suggesting institutions such as the National Museum and the Centre for Contemporary Art at the National Theatre as possible locations for safeguarding artists’ archives.

He disclosed that one of his works was held by the Museum of Modern Art in New York, but said no Nigerian cultural institution had approached him about preserving his archive.

“We are not ready yet, but we shouldn’t give up. We have to keep preaching until people become conscious and decide to do the right things in Africa,” he said.

Although widely associated with Fela, Ghariokwu said the 26 album covers he created for the late Afrobeat pioneer represented only about one per cent of his career.

He described the collaboration as a defining part of his professional journey, saying Fela gave him considerable creative freedom because he trusted his understanding of the music.

“Fela gave me total freedom. He didn’t direct me or give me a concept of what to do because he knew that I understood the music,” he said.

He also recalled how Fela once rejected an artwork he had prepared for the album J.J.D. in 1977, prompting him to produce another design based on the musician’s preference.

However, unwilling to discard his original painting, Ghariokwu used both designs on the double-sleeve vinyl release, placing Fela’s preferred artwork on the front and his own on the back.

He said Fela was surprised when he eventually revealed the two designs, telling him, “Lemi, you hit me below the belt.”

Beyond his work with Fela, Ghariokwu discussed his approach to designing Davido’s 5ive album, saying he interpreted the artiste’s personal journey through visual elements that included five fingers, nicknames, musical symbols and a tarot card.

He said his work was driven by the artistic possibilities in music rather than whether he agreed with an artiste’s ideology.

“Love is an ideology. Jolliness is also an ideology,” he said, explaining his approach to Davido’s music.

Ghariokwu also disclosed that he had continued working with younger Nigerian and international artistes, including highlife musician Obi Original and New York-based Big Sopi.

He said he sometimes reduced his fees to support emerging musicians but maintained that there were limits to how far he could go.

The artist said vinyl records were also experiencing a resurgence, particularly in the United States, creating fresh opportunities for album-cover designers.