By Ade Iyamoye
In the theatre of Nigerian politics, few characters command the spotlight with as much flair, drama, and mystique as Senator Dino Melaye.
A man of many contradictions; outspoken yet cryptic, flashy yet focused; Melaye has mastered the art of political performance. His latest appearance on Facebook, captured in a trending video, is yet another masterclass in symbolism, satire, and style.
Draped in an immaculate white Agbada adorned with three upward facing houses, Melaye strolls confidently as a Yoruba Gospel song plays in the background: “Come and tie me a girdle, you host of heaven…” It is not just fashion.
It is performance, a coded message to both allies and adversaries. The outfit itself speaks volumes. White, often associated with purity and a new beginning, could be his way of signaling progress or rebirth. The three houses suggest construction, growth, and possibly political realignment.
Interestingly, the colour scheme bears a striking resemblance to that of the All Progressives Grand Alliance, a party popular in the southeast. While Melaye has never publicly aligned himself with APGA, the subtle nod may suggest a desire to speak across regional and party lines.
It could be a deliberate political tease, typical of his unpredictable brand of showmanship.
The choice of music, too, is telling. The repeated invocation “tie me a girdle” evokes a sense of divine empowerment.
In a political environment often plagued with uncertainty and betrayal, the girdle becomes a metaphor, a call for strength, protection, and readiness. It is not just a song. It is a declaration.
Melaye’s flair for drama has often been dismissed as mere vanity, but to view it only as such is to miss the deeper strategy. His flamboyance is a political tool.
In a space where many rely on policy documents and press statements, Melaye uses visuals, fashion, and culture to speak to the people. He is aware of the power of optics and capitalises on it fully.
Moreover, his style allows him to remain unpredictable and almost mythic. One moment he is singing in his mansion, the next he is quoting scripture in designer wear. Through this spectacle, Melaye positions himself not just as a politician but as a political brand, one that is hard to ignore.
At its core, this video is a study in political symbolism. It blends cultural heritage with modern political commentary, using fashion, music, and movement to communicate what words often cannot.
In doing so, Dino Melaye reminds us that in Nigerian politics, performance is not a distraction. It is the message.
And for Melaye, that message is clear. I am still here. I am still relevant. And I will be seen.