Truth Musical
MD Kojo Samuel has had a hand in some of the biggest live pop moments of our times. But he feels that his musical heritage has helped him along the way… Profile by Will Simpson
There’s no doubt it was a moment. Stormzy’s Glastonbury show was remarkable not just because it was the first time a British urban act had headlined the festival – nor even the way it seamlessly mixed grime, pop, gospel and ballet – but the fact it genuinely was as good as everyone wanted it to be. Certainly, it united critics, fans and even politicians to hail it as a triumph, and confirmed that the South London rapper is now in that rare space that few artists ever reach: not just at the top of their game creatively, but also commercially successful and critically adored.
All photos: Joseph Branston. © MU 2019
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But the performance was nothing if not a team effort, and two weeks later the man responsible for fitting all the show’s musical parts together is sitting in front of me in a South London pub. Kojo Samuel is the Musical Director for a range of acts such as Plan B, Jess Glynne and Rudimental. He claims he felt no pressure prior to Glastonbury, even though it was his debut show with Stormzy. “From my point of view it was just something exciting to do,” he shrugs. “I’m from a different generation to him, but growing up in that hip-hop era I know what usually happens with those shows, and I always felt there was an opportunity for those things to be better.” Both artist and MD had agreed they wanted it to be a multi-part extravaganza involving a DJ, live band, dance, interludes and spoken word
The Musician • Autumn 2019
that would still, despite all that, retain a fluidity. A cast of 90 people were involved in all – an organisational feat that went far beyond those of the other Pyramid Stage headliners. “I think that considering the scale of it, to do that first time without any hiccups of note – well, I felt everyone felt pleased that we managed to get through it and pull it off.” In the blood A career highlight then, but one he’s spent many years working towards. Music is in Samuel’s blood – he’s the son of PP Arnold, the soul vocalist and studio stalwart whose long career has encompassed work with a small army of high profile acts (see p21), and Calvin ‘Fuzzy’ Samuel, bassist to Crosby, Stills, Nash and Young, among many others, and a stellar musician in his own right. “Music was always there. It was never pushed, but I guess you want to follow in your parents’ footsteps, especially when you’re younger. You grow up around rehearsal rooms and studios and you want to be involved.” The first instrument Kojo gravitated to was the keyboard. He worked his way through various school bands, but when he moved to the UK in the late 80s he decided that, rather than pursuing pop stardom, he’d move into production work. Thus began a period working in the r ‘n’ b/pop field, helming tracks for Mica Paris and the 90s boy band Damage. “I did everything that you
