Afro‑Jùjú Legend Sir Shina Peters Claims He Holds More Evergreen Songs Than Michael Jackson
Nigerian jùjú and Afro‑jùjú pioneer Sir Shina Peters has stirred controversy and conversation after asserting that his musical legacy outstrips that of the late “King of Pop,” Michael Jackson. Speaking on the *The Honest Bunch Podcast, the 67‑year‑old musician declared: “The only thing you can show for showbiz at the end is how many evergreens you have produced. To my credit, I have four evergreens. Even Michael Jackson has just two: ‘Off the Wall’ and ‘Thriller’. So, if I have four, I am accomplished.”
For Sir Shina Peters, this measure of success is steeped in cultural definition. In multiple interviews he’s emphasised that for musicians, especially within Nigeria’s evolving music space, true legacy resides in songs that remain relevant across decades and become integral to social gatherings, radio playlists and the collective memory of listeners.
Sir Shina’s journey began early:,he honed his craft in the church, later joining the bands of legendary figures like Ebenezer Obey and General Prince Adekunle before forging his own path with Sir Shina Peters & His International Stars. His genre‑defining breakthrough came in 1989 with the album Ace (Afro‑Jùjú Series 1) which layered fast percussion, electronic keyboards and saxophone into traditional jùjú rhythms, a move that broadened the genre’s appeal across generations.
Over the years, he released albums such as Shinamania (1990), Experience (1992) and Dancing Time (1991) that many fans regard as “evergreens”, songs and records that refuse to fade. In his view, these records, which continue to resonate decades later, are the true measure of musical immortality.
By contrasting his work with Jackson’s, Sir Shina draws attention to differing definitions of musical legacy. Michael Jackson’s global sales, awards and chart records are indisputable. However, Sir Shina argues that within his context — where songs become woven into the fabric of cultural life rather than just commercial hits, the benchmark is different. He contends that Jackson’s catalogue of “evergreens” stands at two (he names Off the Wall and Thriller), while he has produced four.
He also lamented what he perceives as a drop in industry standards, claiming that many contemporary artists in Nigeria have moved away from building songs that endure. “The industry’s been bastardised by the new wave of artists,” he said.
The Debate Around “Evergreen”
Sir Shina’s bold claim has sparked lively discussion across social media and entertainment circles. Some applaud his confidence and invite a deeper conversation about how legacy is measured in different musical contexts. Others see the comparison as hyperbolic, arguing that Jackson’s global impact and catalogue of hits exceed the two albums Sir Shina mentions. According to one estimate, Jackson’s Thriller remains the best‑selling album of all time, and his subsequent albums Bad (1987) and Dangerous (1991) also produced multi‑platinum sales.
What emerges is a broader question: Are “evergreens” defined by global sales and charts, or by longevity within a culture, local relevance, and sustained presence in social memory? Sir Shina’s answer falls on the latter side: a song that still fills dance‑floors, radio playlists and communal celebrations decades later is a true classic.
This moment invites reflection on the state of Nigerian music. Sir Shina’s critique of the new generation points to concerns about artistry, production quality and lasting relevance. His journey suggests that originality, technical craftsmanship and cultural resonance matter deeply in building a lasting legacy. And it underscores that what counts as “classic” can vary significantly across musical traditions and cultures.
Whether or not one agrees with the exact number of “evergreens” Sir Shina claims, his statement does more than create headlines, it re‑frames the conversation around musical legacy in Africa. It calls on artists to think beyond immediate success and ask: Will my music still mean something in 20 or 30 years? Will it be part of someone’s memory at weddings, celebrations, or on the radio when my generation is no longer in the spotlight?
In a world where streams, virality and algorithm‑driven metrics dominate discourse, Sir Shina Peters reminds us that the true test of greatness may be timeless relevance. And with that benchmark in mind, he believes he has not only competed, but surpassed one of the icons of global pop.
