Veteran reggae star, Orits Wiliki is not ready to leave the music scene anytime soon. While many of the musicians who rose to fame alongside him have either retired from active performance or moved away from the spotlight, the legendary singer continues to record music, encourage younger talents and speak out on issues affecting the country and the entertainment industry.
For Wiliki, music is more than a profession. It is a calling, a platform for spreading his faith and a means of speaking against injustice. Even after decades in the industry, he insists that he still has work to do.
His recent activities show a man who remains interested in the future of Nigerian music. He is still concerned about the quality of songs being released, the opportunities available to young artistes, the protection of musicians’ intellectual property and the need for music to contribute something meaningful to society.
One of the most important things Wiliki has continued to do is make himself available to younger musicians who need advice and guidance. His studio remains a place where upcoming artistes can learn, seek direction and receive encouragement from someone who has experienced the highs and lows of the music business.
Over the years, he has worked with and mentored several musicians, including Zigzag, Ras Kimono, Majek Fashek, The Mandators, Chris Mba, Isaac Okafor and Alex O. Some of these musicians became major names in Nigerian music, while others built their reputations through years of hard work.
Wiliki understands what it means to come into the industry without the support needed to develop one’s talent. He remembers a period when record companies took responsibility for recording, promotion and distribution. Today, many upcoming musicians have to raise money themselves, pay for studio sessions, promote their songs online and struggle to get the attention of the right people.
This is one of the reasons he wishes he had more financial resources to support the young talents he encounters. He has spoken about meeting gifted musicians who look up to him for assistance, only for him to discover that he cannot provide everything they need.
Despite these limitations, he continues to encourage them to develop their craft and take advantage of the opportunities available through the internet and social media. He believes the new generation has access to tools that were not available when he started, even though competition for attention has become much tougher.
One thing Wiliki has made clear is that he has not abandoned music. In fact, he has continued to record and build a collection of songs that he hopes will remain relevant long after he is gone.
In December 2023, he released a 20-track double album containing songs he described as gospel-inspired. Rather than treat the project as a single release and move on, he explained that he intended to promote the songs individually, giving each one an opportunity to find its audience.
One of the tracks he was pushing in early 2024 was Yahweh. He was also working on music videos to give some of the songs a stronger visual presence.
The project reflects the direction he has embraced in recent years: using reggae and Afro-reggae sounds to communicate spiritual messages. While many listeners remember him for socially conscious classics such as Tribulation, Conqueror, Mubalamumbe and Fight The Fire, Wiliki believes that the spiritual message has always been part of his music.
He has often explained that people sometimes focus on the reggae sound without paying enough attention to the words. To him, the genre has always offered room to speak about faith, oppression, poverty, leadership and the struggles of ordinary people.
His latest musical direction is therefore not a complete departure from the past. It is an extension of the ideas that have shaped his career, with a stronger emphasis on the gospel message he says has inspired his writing from the beginning.
Wiliki has also made it clear that he does not intend to stop recording simply because he has spent many years in the industry. He has spoken about keeping an extensive archive of material, including songs that are still being developed and others that have not yet been released.
His ambition is to continue creating music that can be heard in the years ahead. He has pointed to the lasting value of the works of international and Nigerian music legends whose recordings continue to reach new listeners long after their original releases.
For him, the lesson is simple: musicians should not stop creating because immediate financial rewards are limited. A song may not become successful when it is first released, but it can find a new audience later.
Another issue Wiliki continues to speak about is the place of reggae in today’s music industry.
The genre no longer enjoys the same level of mainstream attention it received during the years when he, Ras Kimono, Majek Fashek, The Mandators and other reggae stars dominated radio and record shops. Afrobeats and other contemporary sounds have taken centre stage, and younger audiences may be more familiar with current pop stars than with the musicians who helped shape earlier generations.
But Wiliki does not believe reggae is dead. He sees music as something that changes with time, taking on new influences while retaining its ability to communicate ideas.
He has argued that reggae artistes need more airplay and publicity, especially because the genre has traditionally provided a platform for addressing social problems. In his view, music can do more than entertain people at parties. It can encourage reflection, challenge injustice and give listeners a different way of looking at their circumstances.
He also recognises the achievements of younger Nigerian musicians. While he has criticised some of the messages contained in contemporary songs, he has praised the new generation for developing a distinct Nigerian sound that audiences can recognise around the world.
For Wiliki, both observations can be true. Nigerian music has achieved remarkable international success, but that success should also create room for thoughtful lyrics, different genres and musicians who want to use their work to address social issues.
He believes the industry should not become so focused on commercial success that it ignores the cultural and social responsibilities of music.
Wiliki has become increasingly outspoken about the lyrics and messages of some contemporary songs. He worries that certain songs promote values he would not want young children to adopt, particularly where the lyrics appear to celebrate drug abuse, violence or other harmful behaviour.
His position comes from his own experience as a broadcaster before he became a full-time musician. That background gave him an appreciation for the role radio and television played in shaping public taste and introducing listeners to new music.
He remembers a time when broadcasters paid close attention to the artistes they played, the meaning of their songs and the stories behind their work. He believes that approach helped listeners understand music beyond its rhythm and entertainment value.
Today, the ease of recording and releasing music has opened the door to more talent. An artiste can produce a song at home, upload it online and reach listeners without first securing a traditional record deal. However, Wiliki believes this freedom also makes it important for artistes to think carefully about what they are putting into the world.
He has encouraged younger musicians to write songs that can stand the test of time. In his view, a successful song should not only attract attention when it is released; it should also leave something valuable for listeners and future generations.
He is not arguing that music should stop evolving or that every artiste must follow the same path. Rather, he wants young performers to consider the long-term impact of their work and the kind of legacy they hope to leave behind.
Wiliki has never been a musician who keeps social issues entirely outside his work. His songs have often reflected his concerns about poverty, oppression, poor leadership and the difficulties faced by ordinary Nigerians.
He has continued to speak about these issues in his public comments, arguing that the country’s natural resources and potential should translate into better living conditions for its people.
He is particularly concerned about the widening gap between the wealthy and the poor. He believes that unemployment, hunger and the lack of opportunities can leave young people vulnerable to crime and other social problems.
For Wiliki, these issues cannot be separated from the messages musicians communicate. He sees artistes as people who can help society examine itself, question its leaders and give expression to the frustrations of citizens.
One of his songs, Don’t Blame The Youth, has particular significance in this regard. He has explained that it addressed issues such as hunger, insecurity, banditry and the conditions that can push young people towards desperate choices.
His position is that society should not simply condemn young people for their actions without examining the circumstances around them. He believes leaders must also take responsibility for creating an environment where young Nigerians can find legitimate opportunities to build their lives.
This activist side of Wiliki remains an important part of his identity. He wants his music to entertain, but he also wants it to challenge listeners and encourage people to think about the future of the country.
Away from the studio, Wiliki has spent a considerable part of his career advocating for musicians’ rights, particularly in the area of copyright and royalties.
He has served as chairman of the Musical Copyright Society Nigeria, an organisation concerned with protecting the rights of music creators and ensuring that they receive payment when their works are used commercially.
The issue is important to him because he believes musicians should be able to benefit from the value their songs create. A recording can be played on radio, used in public spaces or exploited in other ways for years, yet the person who created it may struggle to earn a reasonable income if the right systems are not in place.
Wiliki has spoken about the long struggle to establish a stronger copyright structure for Nigerian musicians. He believes that artists should have the right to determine how their intellectual property is managed and that the industry needs transparent systems for collecting and distributing royalties.
He has also argued that Nigerian musicians should be able to earn from the use of their works beyond the country’s borders. In an era when songs travel across streaming platforms and international media, he believes the industry must be organised well enough to track usage and ensure creators are properly rewarded.
The wider issue is one that affects both established musicians and upcoming artistes. Many young performers concentrate on getting their songs heard, but may not fully understand the business arrangements that determine how they earn from their work.
Wiliki’s advocacy reflects his belief that talent alone is not enough to sustain a music career. Artistes also need professional support, fair agreements and reliable systems that allow them to benefit from their creations.
While Wiliki remains outspoken about music and society, he also has a personal side that is important to understanding the man behind the familiar dreadlocks.
In December 2024, he and his wife, Rebecca, popularly known as Becky, celebrated 30 years of marriage. The milestone offered a glimpse into a relationship that has endured through the demands of a long career in entertainment.
Wiliki marked the anniversary with a message reflecting on their years together, describing the shared love and companionship that had sustained their union.
His views on family life have also been shaped by his upbringing. He has spoken about losing his father when he was still young and having to become more responsible for his younger siblings. His father was a Baptist minister and musician who used music as part of his religious outreach.
Wiliki has explained that his father’s death influenced his own decision to use music to reach people. He saw it as a way to continue a mission that had already been part of his childhood.
His long dreadlocks have also become an unmistakable part of his public identity. He has said he has maintained his natural hair for nearly three decades, and while it attracts attention, keeping it in good condition requires considerable time and expense.
For many fans, the hair is part of the image they associate with the reggae star. Wiliki himself acknowledges that it has become one of the features by which people recognise him.
At this stage of his life, Wiliki appears determined to keep creating, mentoring and speaking about the issues he believes matter. He has not announced a retirement from music, and his public comments continue to point towards a future in which recording remains central to his plans.
He also wants upcoming musicians to understand that a career should not be measured only by immediate popularity or the money earned from a single release. He believes passion, patience, creativity and a clear sense of purpose are essential for anyone who wants to build a lasting name.
At the same time, he recognises that the industry must do more to support its talents. Better funding, effective copyright protection, professional management and opportunities for different genres could help musicians build sustainable careers.
For Wiliki, the work is far from over. He still has music to make, young talents to encourage and opinions to share about the society around him.
After decades in the business, he continues to approach music as something larger than fame. It is his means of expressing faith, challenging injustice and connecting with people who may never meet him personally.
And when asked whether he intends to keep making music for the rest of his life, his answer remains firm: it is music all the way.
By Emmanuel Daniji
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