Revitup! June/July 2015 by REVitUP!

REVitUP! 06/07 2015 N2,000

THE RISE AND RISE OF NEO-SOUL MUSIC IN NIGERIA

NAYOSOUL THIS SISTA’S GOT SOUL!!!

NO ROOM FOR ECCENTRICS itUP! REV SADE ADU NNEKA KEZIAH JONES ATTA ‘LENELL’ OTIGBA LINDSEY ABUDEI CEF 06/07 2015

REVitUP! Enjoy and have access to unlimited music: interviews, news, history and lots more! info@reviloco.com T. (+234) 818 455 3331, 818 515 3111

REVitUP! PUBLISHER AND EDITOR-IN-CHIEF OLIVER ENWONWU oliver@reviloco.com DEPUTY EDITOR LUCIANO UZUEGBU

EDITORIAL

At Revilo, it has been our job for several years to promote the best of African culture through our various platforms of music, film, design, and publishing. Naturally, as lovers of the visual arts in all its forms, the move towards promoting other artistic media has been a long time coming. That being said, we are proud to announce the birth of RevitUp!, the first magazine focused on the promotion of alternative, contemporary African music.

luciano@reviloco.com CONTRIBUTING EDITOR OMOLADUN OGIDAN ladun@reviloco.com ASSOCIATE EDITOR WILLIAM IFEANYI MOORE william@reviloco.com ART DIRECTOR YUSUF ARIYO DESIGN AND LAYOUT ABDULRAZAK BOMBATA

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Cover

REVitUP! 06 2015 N2,000

THE RISE AND RISE OF NEO-SOUL MUSIC IN NIGERIA

NAYOSOUL THIS SISTA’S GOT SOUL!!!

NO ROOM FOR ECCENTRICS SADE ADU NNEKA KEZIAH JONES ATTA ‘LENELL’ OTIGBA LINDSEY ABUDEI CEF

Image: Nayosoul. Photo: Aham Ibeleme

Rev it Up! is published bi-monthly by Revilo Company Ltd.

R E V I L O

Revilo Company Ltd 24, Modupe Alakija Crescent, Ikoyi, Lagos T: + 234 818 455 3331, 809 802 7583 info@reviloco.com www.reviloco.com Rev it Up! does not assume responsibility for unsolicited manuscripts, photographs or illustrations. Copyright worldwide of all editorial content is held by the publishers Revilo Company Ltd. All rights reserved. The opinions

As the continent’s music industry continues to grow, we at Revilo believe it has never been more important to highlight the works of outstanding musicians taking creative risks and producing quality sound. In an industry where radio play and television time is reserved for artists sticking to set industry standards, we believe as champions of quality work, we have a responsibility to stand up for the many talented African acts around the globe doing so much to push the musical envelope. On behalf of Revilo, I would like to thank all those including our contributors, readers, sponsors and media partners, who have all played huge roles in making this dream a reality. With a focus on the rise of neo-soul music in Nigeria, our introductory issue centers on what we perceive to be a loss of variety in the African music industry, which may have been hijacked by the monotonous sound of Afro-pop. We have carefully put together a group of African artists from around the world, who are creating new possibilities for music from the continent. This includes already established names like singer and songwriter Nneka, who has just dropped her third studio album and Keziah Jones, King of Blufunk. In Sound Check, we review some of the latest and most exciting albums today, from Nneka, Diana Bada and Sierra-Leonean homeboy, Patrice. To keep you glued, there are also in-depth interviews with promising acts Nayosoul, Lindsey Abudei, Cef and multi-talented producer Atta ‘Lenell’ Otigba, while crooner Nonso defines what style means to him. Feel free to leave your comments for our contributors and editors on our website. We hope you enjoy reading RevitUp as much as we have enjoyed putting it together. Thank you!

Oliver Enwonwu

expressed in Rev it Up! are not neccessarily those of Revilo Company Ltd and are published without responsiblity for errors or omissions. Revilo Company Ltd accepts advertisements from advertisers believed to be of good repute, but cannot guarantee the authenticity or quality of objects or services advertised in its pages.

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Revilo operates its own music label and is a content owner and artist management company focused on providing audio and visual entertainment for alternative music lovers all over the world. We represent artists whose music is also socially conscious while providing platforms for them to share their ideas and background about their works.

R E V I L O M U S I C www.revilocomusic.com

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REVitUP! 06/07 2015

News Features

14 The Rise and Rise of Neo-Soul Music in Nigeria 20 No Room for Eccentrics 10 Nayosoul: This Sista’s Got Soul!

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Interviews

Nneka: Living Her Fairy Tale! Keziah Jones: King of the Blufunk Atta ‘Lenell’ Otigba: A Man for All Seasons Up Close with Lindsay Abudei

In Every Issue Style File Oldies but Goodies Next Big Act Sound Check

Photo: Aham Ibeleme

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GALLERY

Ndidi Emefiele, Untiled, 2015, acrylics, mixed pen,compact disc and fabric on paper, 80 x 70cm

24, Modupe Alakija Crescent, Ikoyi, Lagos, Nigeria T: +234 8184 55331 | www.omenkagallery.com Opening Hours: Monday - Friday 9am - 6pm, Saturday 10am - 4pm

NEWS NNEKA: NEW ALBUM OUT

TONY HARMONY: THE DEATH OF A STAR It is with a solemn heart that we mourn the loss of Tony Harmony, born Anthony Akpovowovwo. With a career in entertainment spanning from the 80s till his passing in May 2015, his death is truly a loss to the industry and the world at large. Outside of entertainment, he was a well-known humanitarian with the African Unity project aimed at promoting peace across the continent. He will be truly missed. Photo: http://thenet.ng/

BEZ: A TRANSGENDER PARODY

ASA: A FEAST FOR YOUR EYES Nigeria’s musical golden girl Asa, working in collaboration with JM Films has dropped two visuals to further promote her already critically successful album Bed of Stone. Satan be Gone sees Asa exude her class dancing in a church, while Eyo takes it to the streets with brilliant directing to produce visuals so seamlessly put together, it feels like one take.

Photo: http://www.nairaland.com/797475/top-7-queens-nigerian-music

After two years of silence, Nneka releases her third studio album My Fairy Tales. A mixture of reggae, jazz, and Afro-pop, with a splash of Motown. Fans will be pleased to know the singer has retained her signature sound, and hasn’t compromised her lyrical content. A more detailed review of the album is available in this issue. The visuals for her two lead singles My Love, My Love and Book of Job are also out. Check them out.

Photo: http://thenet.ng/

Following the transformation of Bruce Jenner to Cathylin Jenner, a couple of Nigerian artists, including Bez took the satirical route to expressing how they felt about the situation. While there were a few to choose from, the photograph of Bez captioned “Call me Hajiya Bezlinna Buhari Jenner” had to make it here because…well you can see it for yourself.

Photo: http://en.wikipedia.org

ABRAHAM MUINDA: A SPRING OF HOPE As the story of struggles surrounding refugees dominate the news, the LIRS Migrant and Refugee 2015 Leadership Academy have decided to do something positive to show refugees that there is hope and life for them away from home. Abraham Muinda, a singer/song writer from Congo who migrated from Kenya, brings a message with his music— “Love is a verb”. http://blog.lirs.org/

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Omenka is Africaâ&#x20AC;&#x2122;s premium art, business and luxury-lifestyle brand, published by Revilo Company Ltd., as a quarterly print magazine, an online digital platform and an iPad application. Through its well-tailored content, Omenka aims to position Africa as the hub of an increasingly globalized world by stimulating interest in art from the continent as an asset class, while cultivating taste and defining emerging trends in contemporary visual culture and living, among a new generation of urban thinkers, collectors and enthusiasts.

IkĂŠ UdĂŠ, Sartorial Anarchy #31, 2013, pigment on satin paper, 116.1 x 92.71cm, edition of 5, 3 AP. Courtesy: Leila Heller Gallery, New York

NEWS AYO: CATCH HER IN EUROPE If your appetite demands something less festival-like and more inner room, Ayo will also be touring France Sat, Jul 11 – Wed, Jul 22, and Belgium Fri, 31 Jul – Mon, 03 Aug. See www.ayomusic.com for more.

Photo: rench-music.org

PATRICE: CATCH HIM IN EUROPE

Photo: Aham Ibeleme

REVILO MUSIC SIGNS NAYOSOUL Revilo Music signs Nayosoul. Nayosoul is a soul/jazz singer, whose interest in music was inspired by listening to her grandmother and sisters sing in the choir. She has since become an accomplished songwriter, with her music becoming a fusion of the sounds of today and her primary love for jazz and soul. With instantly recognizable hits like Destiny Train, Ole and Veronica, Nayosoul is presently working on her next album. Revilo Music is proud to represent this talented Nigerian-born beauty. Welcome to Revilo Music, Nayosoul!

If you do find yourself in Europe next month and in need of some good live music, don’t miss Patrice and his guitar in Neuchatel, Switzerland Sun, Jun 14, Worms, Germany Sun, Jun 21, Laupheim, Germany Sat, Jun 17, and Arras, France Fri, Jul 3. More dates available on www.patrice.net. Photo: http://www.reggaeville.com/

TRUTH AND ART: FILM BY SUNARA BEGUM On Thu, 11 Jun, The Centre of Contemporary Art (CCA), Lagos staged a screening Truth & Art, a film by visual artist Sunara Begum, at its premises in Yaba. Held in collaboration with the MUSON Centre and Goethe-Institut, the evening was accompanied by music and a panel discussion, between Begum, Tunde Jegede a world-renowned composer, producer, cellist, kora virtuoso, and the present Musical Director of the MUSON Centre, as well as Bisi Silva, curator and CCA Lagos Director.

Photo: http://www.theafricanguild.com/

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FEATURES

THE RISE AND RISE OF NEO-SOUL MUSIC IN NIGERIA By Luciano Uzuegbu

Neo-soul suffices as a marketing categorization of a kind of music, which fuses soul and contemporary R&B, not to mention, jazz and Afro music. According to Dimitri Ehrlich, it is by definition, “a paradox”, since “neo means new” and “soul is timeless.” But it is handy for entrepreneurs like Kedar Massenburg, former CEO of the American-based Motown Records, who coined the term neo-soul in the 1990s, following the commercial breakthroughs of artists such as D’Angelo, Erykah Badu, Lauryn Hill and Maxwell.

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Photo: Aham Ibeleme

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Driven by commercial pressure, these artists hit the market en masse with a brand of songs devoid of socially conscious lyrics and conveyed in digitalized voices and instrumentation, all of which contrast sharply with neo-soul music and its timeless qualities. Photo: http://http://liveofofo.com

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FEATURES To come to terms with the concept of neo-soul, we recall Miles Marshall Lewis’ declaration in the 1990s that it “owed its raison d’être to ‘70s soul superstars like Marvin Gaye and Stevie Wonder.” It will also serve us well to add to the list, names such as, Prince, Tony! Toni! Toné!, Terrence Trent D’Arby, Joi, and Mint Condition, whose music in the ‘80s, deviated from the conventions of the time. In the UK, neo-soul gained prominence with the success achieved by Sade, a Nigerian singer and her band in the ‘80s, with music that featured a sophisti-pop style, incorporating elements of soul, pop, smooth jazz, and quiet storm. This ushered a flood of new acts from the

late 1980s and early 1990s that included Soul II Soul, Caron Wheeler, The Brand New Heavies, Jamiroquai, and Lisa Stansfield. In the recent past, it would seem out of place to locate neo-soul music in the Nigerian musical landscape, where notable breakthroughs in the industry celebrated efforts from other genres including hip-hop, Afro-music and R&B. Popular local artists like Tuface Idibia, D-Banj and P-Square are all distinguished as having collaborated with various international brands including Akon, R Kelly, Rick Ross and Snoop Dogg, winning some awards in the process. Success here would seem relatively too easy on the platform of a brand of hip-hop and R&B, blended with Afro-music that aligns with the Afro-centric consciousness of the local markets in Nigeria and the larger African continent. Driven by commercial pressure, these artists hit the market en

masse with a brand of songs devoid of socially conscious lyrics and conveyed in digitalized voices and instrumentation, all of which contrast sharply with neo-soul music and its timeless qualities. A peep back into the 1980s dubbed the golden years of Nigerian music, reveals the emergence of the naturalness associated with neo-soul. Dora Ifudu, Onyeka Onwenu, late Christy Essien Igbokwe, Bongos Ikwue and Harry Moscow, in their eclectic soulful and often live performances, may have laid the foundation for what will eventually be built upon by later generations of Nigerian soul singers. Of course, worthy of mentioning is the pioneering creativity of their producer, Lemmy Jackson, who had a hand in producing almost all the major acts of the ‘80s and early ‘90s. Asa, the debut album by singer and guitarist, Asa released in 2007, arguably announced neo-soul in Nigeria. It is however, instructive to trace earlier efforts by Age Beeka, and Lucia Egbuna, better known as Nneka. Beeka’s debut album Age in 2003, featured chart-topping classics like Angelica and Girl of My Dreams. In 2005, German-born Nigerian singer Nneka released an EP Uncomfortable Truth in far away Austria. Asa was born in France, but was raised in Lagos, Nigeria. Her metaphor-laden lyrics and soulful rendition fused with R&B, Afro-music, jazz and funk speak of rich musical influences by major acts like Fela Kuti, Aretha Franklin, Marvin Gaye and Lagbaja. Her work also reveals the input of the exceptional Nigerian producer, Cobhams Asuquo, whose visual impairment does little to hamper his ingenuity as a songwriter, producer and promoter.

Photo: http://www.nigerianbestforum.com

Cobhams Asuquo’s is largely credited with improving Asa’s lyrics and providing the direction that galvanized her talent to break boundaries on the Nigerian scene. Her singles Eye Adaba and Jailer were instant hits that consolidated her presence locally while cutting her much international recognition. She would go ahead to sign for Naive Records in France, where her first album was released to critical acclaim, culminating in her winning the prestigious French Constant in Award in 2008.

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Photo: http://www.blacknaija.com

Born Emmanuel Bezhiwa Idakula in1983 in Jos, Bez is a male neo-soul singer, whose emergence offers some balance in a genre seemingly dominated by women. Also partnering with Cobhams, the multi-instrumentalist Bez, styles his music as ‘’alternative soul’’, a tendency shared by many neo-soul singers, who do not think that there was anything extinct about soul music in the first place, how much more, its renewal. In 2011, his debut album Super Sun was released and just like Asa’s, steered in the Nigerian audience, an increased consciousness of soul music. His hit single titled Stupid Song also made a video premiere on the BET network. Ego Ihenacho, popularly known as Ego, featured as a back-up singer for the masked Afro-jazz musician, Lagbaja, before settling for a more self-fulfilling solo musical career. Pop and R&B offered her a platform, but there was always an overbearing tendency for her to tilt towards neo-soul. Her latest album, First Steps, with songs like I believe and a remake of Fela’s Water undoubtedly, places her in the neo-soul bracket. Once again, the production credit here is reserved for Cobhams, a name that also surfaces in the works of other neo-soul artists including Djinne (first West African Idol winner in 2007), Timi Dakolo (his runner-up), Omawunmi (runner-up in MTN Project Fame, 2007), Praiz (former P-Square back-up singer), Waje and Kween.

Photo: http://iamtheplagiarist.blogspot.com/

Photo: naijacampus.com.ng

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Diana Bada is arguably yet another emergent Nigerian singer in the neosoul mode. The Russian-Nigerian artist, with her band called the D’Expressions, already has two albums to date. The second titled Be, features hit singles such as Pressure Island and Open Up Ur Eyes. We can also speak of Nayosoul in the same vein, blazing the trail of neosoul music in Nigeria. Born Odunayo Ayorinde, her interest in music was nurtured from childhood in her local church. Today, she is an established soul/ jazz singer and songwriter. With her music rooted in jazz, soul, blues and urban sound, Nayosoul readily cites singers like Asa and Nneka as influences. She reveals her singles Go Where You Are, released in September 2013 (with its music video released in June 2014), drew inspira-

Photo: http://dagif.com/wp-content

The booming Nigerian entertainment industry is one, which should expand its focus towards possibilities and benefits offered by this somewhat neglected genre.

tion from Asa and Bruno Mars. IBK Spaceshipboi, a proficient hand who has already carved a niche in the country’s growing music industry, produced the song. In 2014, the video was nominated for the Best Soft Rock Alternative Nigeria Video. Nayosoul has also been featured twice in TW Magazine and named one of Nigeria’s next great soul/ jazz singers. She has also performed at the Lagos International Jazz Festival in 2014, and recently signed a management deal with Revilo Music. The booming Nigerian entertainment

industry is one, which should expand its focus towards possibilities and benefits offered by this somewhat neglected genre. A few producers like Cobhams Asuquo and Atta ‘Lenell’ Otigba are already tuned to this focus, experimenting largely with neo-soul music. With more emergent names like Kenny Sawyer, Kaycee, Stella Bulero, Jessica Bongos-Ikwue, Bemyoda, Lindsey Abudei and Grandsun, all produced by the multi-talented Atta, the future of neo-soul and alternative music in Nigeria appears secure. Investors can also take advantage of this trend, which enriches the

musical taste and appreciation of growing audiences. All over the world, artists have a duty to maintain the highest musical quality as demanded by the neo-soul culture. Un-swayed by ephemeral commercial persuasions driving hurried products and quick returns, they must strive for only the best, which may yet again place them on the world map as already demonstrated by artists like Sade Adu, Seal, Lemar and Tunde Baiyewu of Lighthouse Family, who have all already inscribed their names in gold.

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Photo: http://exclusiveafrica.net

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NO ROOM F OR ECC E NTRIC S By William Ifeanyi Moore

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One of the greatest ironies in the Nigerian music industry is that the average Nigerian is quick to complain that so many mainstream artists sound the same, but yet the underground act trying to carve out a signature sound remains a starving one. In fact, going beyond just the sound of music, even on a lyrical level, we find most popular songs revolving around everything but issues that matter in our society. One could almost make an argument that Nigerians have no ears for socially conscious or existential lyrics. But then what about the famous Fela Kuti, I hear you ask? That was then, this is now. Let me explain. As far as my father is concerned, what passes for Afro-pop music these days is just a lot of mumbling over ridiculously

Photo: http://staugustine.com

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When I try to defend the sound of my generation, he breaks into a long list of artists from Osita Osadebe to Sunny Ade, and of course the legend that is Fela Kuti.

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similar up-tempo beats. On more than one occasion, he has suggested that producers be paid more than singers for a song. When I try to defend the sound of my generation, he breaks into a long list of artists from Osita Osadebe to Sunny Ade, and of course the legend that is Fela Kuti. Then he would ask me to listen to these artists and see how different they sound sonically. After that, he would pose a challenge that I name only five artists today in the mainstream market with distinctive sounds, a task I am always shamefully unable to complete.

same is the case with Nigerian music. The country is neither short of talent nor is it lacking in diversity of sound, but you will not be hearing any of this on the radio.

This got me thinking about how in just one generation, we have moved from valuing originality and lyricism, to glorifying what I would best describe as ‘bubblegum’ music. At first, I thought it was a classic case of nostalgia, as depicted in the Woody Allen film Midnight in Paris, where Owen Wilson plays a writer that finds himself in the ‘50s among the company of Ernest Hemmingway and other classic writers of the decade. Caught up in excitement and filled with contempt for the literature of his time, he sees this as the golden age of writing. In a twist of events, he is transported even further back with a woman he met in the ‘50s, to the Renaissance era. Coincidentally, she views this era to be the golden age of literature and refuses to leave. It is very common for the perceived classic nature of older works to outshine the brilliance of modern creations. This can also be seen in hip-hop music, where the ‘90s are considered the golden era and anything since then is just an attempt to be as good.

The overly commercialized state of the music industry that has artists paying for radio spins, has all but completely killed the upcoming, independent artist with an alternative sound. In this hyper connected age, the public has become the taste maker of what is promoted as popular music, so it comes as no surprise that material with questionable content and repetitive patterns has taken over the industry. There is also the current social condition of the country to contemplate. Immediately after independence, Nigerians enjoyed a relatively high standard of living. Travel was not restricted, exchange rates were pleasant, and institutions flourished with social perks including free education and even state sponsored allowances for students. It only seemed right that people would pay attention to the likes of Fela Kuti when things began to change for the worse. Fast-forward to 2015. For most young people, governmental corruption and broken institutions represent not just a familiar reality, but the only reality they have ever known. The last thing the youth want is a reminder of these bitter truths that greet us at every waking moment. An artist can consider selling hope, but even that will be viewed as a pipe dream by a deluded citizen. The only option left is for music made to numb the pain of existence. This is exactly what the popular music of the day helps with—escapism.

On second thoughts, I realized this was not a matter of nostalgia. Every era has its greats, but these days we have an elevation problem for musicians and the arts in general. Any fan of hip-hop music will tell you that the art form is alive and well. However, you would have to hit the underground scene to find what you are looking for. Unfortunately, the

Looking at theories like Marlow’s ‘Hierarchy of Needs’, it becomes clear that with the current level of education and economic instability of the average Nigerian, existential angst and philosophical musing over music, is a luxury for a select few. After all, the beauty of art is only a reflection of the consumer’s understanding.

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NAYOSOUL THIS SISTA’S GOT SOUL! By William Ifeanyi Moore Photos: Aham Ibeleme

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The only way I can describe my discovery of the gem that is Nayosoul, is like finding an oasis in a desert after travelling for miles chasing illusions of mirages. Sometimes your friend recommends an artist to you with a track or two, then you go seeking the rest of the singer’s catalogue, only to find out a more or less a two-hit wonder or a dependence on good producers. This is not the case with Nayosoul. Not to be mistaken with the Nigerian Born neo-soul singer of a similar name Nayo, Nayosoul is a Lagos homegrown singer that will make any African proud of where we are going artistically. As with quite a lot of soul singers, her musical odyssey starts from the church, where she was already taking solos at 14 years old. By the time she was 17, she was writing her own songs, which were mainly with Christian themes, as they were written to be performed in church. Through the years, without a doubt, she has grown and matured into a woman with a wealth of knowledge and experiences to draw from. This is evident in her lyrics, but even beyond the words she weaves and the voice she carries them with, there is the often overlooked skill of tone arrangement, more popularly known as ‘flow’ as popularized by

With Nayosoul’s frequent use of Pidgin English and soulful rhythms, she is bound to have the home crowd gravitating towards her.

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rap music. While Nayosoul is far from a hip-hop act, like British indie blues singer Eli Ingram and the genre-versatile Ed Sheeran, she seems to have mastered the skill of manipulating cadences. I for one would be interested in seeing her perform some hip-hip covers. Nayosoul takes you back in time to the days of jazz, soul and blues while keeping it fresh with an indie rhythm that will have her melodies stuck in your head on first listen. With numbers like Go Where You Are, it is apparent that Nayosoul is not just a singer, she is also an artist schooled in the history of a craft she has come to master from the writing to delivery. The only question is whether the African market is truly ready for her. Coincidentally, she has cited Nneka and Asa as major inspirations to her music making process. Both acts of course, enjoy commercial success with a larger fan base outside of the country. With Nayosoul’s frequent use of Pidgin English and soulful rhythms, she is bound to have the home crowd gravitating towards her. If you are not yet a Nayosoul fan, it is just a matter of time. All in one, we have a lyrist, singer, vocalist, and performer. She is definitely one to watch and here at RevitUp, we have our eyes on her.

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INTERVIEWS

N N E K A LIVING HER FAIRY TALE! By Luciano Uzuegbu True to her calling and her name, neo-soul, alternative-pop sensation, Nneka is back with a bang! As revealed in this enthralling chat, the Nigerian-German born artist braces the demands of a grueling tour of Nigeria, Europe and the United States to promote her new album, My Fairy Tales while shaping the future of the Nigerian music landscape.

Tell us briefly about your family, growing up and education? I was born and raised in Warri. My dad is from Anambra State; my biological mother is from Germany and my stepmother, the woman who raised me is from Ekpoma. I have seven siblings. My father used to be an architect back in the days. He’s now a pensioner. Education-wise, I studied Archeology and Anthropology in Germany at the University of Hamburg. Prior to that, I did my primary and secondary education in Nigeria. They were both public schools. The first was Delta Steel Company School in Aladja, while the second was called Demonstration Secondary School, College of Education. When did you start your musical career? I only started music when I left Nigeria for the first time at the age of 18. I went to Germany for the first time on my own, in the sense of making the choice myself. After a year and a half, I became more interested in nurturing my so called talent, using it as a kind of therapy to ease my being away from Nigeria, and having to cope in a country I never had anything to do with. In spite of the fact that I am half- German, there was a language barrier between

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cultures. I didn’t get along well with the system. But with time, my love for music made life easier. Has it always been music for you? It was mainly between music and my studies. I had always wanted to choose one, that’s why I insisted on finishing my studies. The good thing about the music was that it helped me finance my studies because I was not getting any money from my parents. I toured and performed while writing my dissertation and thesis, and participating in seminars and presentations amidst two extra jobs. It was quite intense. You are known for your alternative music fusing soul, R&B, pop, reggae and funk. What influences your music? Basically, I think everything influences my music; life, books, people including other musicians, traveling and my concern for other things besides music. I get inspired by things that have nothing to do with music. I mean, from the outside perspective, everything is music at the end of the day. Very dry things like biology eventually find form in my music (laughing). Your first EP Uncomfortable Truth was released way back in 2005. What

inspired your songs and how were they received in Nigeria? Yes! I chose to release the EP then. I didn’t have any intentions of releasing any music professionally, but just wanted to release something. It was not that successful for the record company at that time, but personally, it was a success because it was my first time. It’s very personal, as well as political. I stressed issues of the Niger Delta, growing up in Nigeria, culture and intercultural issues including the problem of being mixed and not accepted as a full Nigerian or German/ European. The EP is about my experience in Europe and how I was able to overcome racism and prejudice. Its also about sharing my experiences with other people, at the same time, trying to empower those who have been through similar experiences to be more positive. Have you had any releases in Nigeria, and if yes, what do you consider the challenges of Nigerian-based musicians? In general, the fact is artists who have conscious messages always have problems being embraced here in Nigeria. For example, Fela, Femi and Seun are more acknowledged outside of Africa than within. I guess that’s also

Photo courtesy: Nneka

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Photo courtesy: Nneka

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INTERVIEWS because of the genre of music they do. Everybody is already confronted with the reality we go through on a daily basis – lack of electricity for instance. Despite the fact that Nigeria is one of the largest oil producing countries in the world, we don’t have refineries; presently, we have fuel scarcity. People don’t want to hear all these daily things that confront them in music. They would rather have music that makes them drift, have a drink and forget their sorrows. Many people don’t necessarily want to embrace us because we are not those types of artists. That is not to say our music is not embraced at all. I think seven years ago, we were more unpopular. These days, I feel that there is a specific crowd that is concerned and appreciates what we say, and the way we say it. For some time now, I have also seen that the youths — the generation after mine (laughing) are becoming more politically informed, outspoken and express themselves freely. This was something we never had; we were forced to obey and respect the system in fear. If you spoke then, there were repercussions. I also think the Internet has helped us a lot. What is your assessment of the Nigerian music industry with regards to the quality and production of songs? It’s surprising good these days, I must say, in the last 3 to 4 years. I’m shocked though I mean the contrary, as I’m more into the underground and see what’s going on. Recently, I booked a studio here to record part of my album. My last record before now was also partly done here. Obviously, I had to buy the equipment and set it up in my apartment. So it’s possible to do proper production, if you have the facilities, knowledge and expertise, and if there is light (power). On the last record for instance, if you strip down all the music instruments, you’ll hear the sound of the power generator underneath the vocals. That also added to the ambience of the music and I just had to leave it like that (laughing). MI, Burma Boy and D’Banj for example, all do their mixes outside Nigeria;

Another thing is that, everyone thinks they can become an artist these days. Everyone wants to get out of poverty and madness through music. At least, it’s good they are doing music, instead of becoming militants and taking to the streets like in the Niger Delta. Music can be a way of expressing your frustrations in a positive way. in America or London, though the recordings are done here. However. there are some good studios around where I still do things. But when it comes to the business aspect, we need proper record companies. We have a lot of piracy going on — that’s the major wahala! We don’t have artist rights; we have to pay to be on the radio. Things are tedious when it comes to that. Another thing is that, everyone thinks they can become an artist these days. Everyone wants to get out of poverty and madness through music. At least, it’s good they are doing music, instead of becoming militants and taking to the streets like in the Niger Delta. Music can be a way of expressing your frustrations in a positive way. There’re also lots of talents out there we need to support. Hopefully, we artists can nurture the industry by providing proper facilities or institutions (studios) where other upcoming artists can work. What record label are you signed to or have you worked with? I’ve been signed to Sony Music for about 12 years. I have not worked with any other record label, even though I’ve worked with artists from other labels. However, I also use my own record label called Bushqueen Music. It has been in existence for over 4 years.

I have two artists now and I’ve just released my latest album on the label. The Nigerian music industry is the biggest in Africa, but when it comes to the content of the music, I think a lot still has to be done. Who am I to judge? But there are kids out there listening and watching; we need to think about that. Everybody kind of sounds the same these days, using audio tune. Even you can sing. I can take you to the studio and make you a star. All you need to do is sing, and I go over your vocals with some device to straighten them out. Even, the biggest artists use it these days. It’s crazy! What project are you working on at the moment? Currently, I’m touring. I’ve just released my lastest record, which is a project. It is called My Fairy Tales with 8 tracks. Just for this project, it is specific and decidedly Afro sound. It’s different from what I’ve done before. The next project will be different as well. I’ve just finished a tour of Europe, come to Nigeria and performed at the Jazz Hole. I also did the album launch here. I’m heading for the United States to do a month-long tour, and to festivals in Europe. So literally, I’ll be on the road for the next 3 months again.

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INTERVIEWS

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KEZIAH JONES

KING BLUFUNK OF THE

By Luciano Uzuegbu Photos: Kelechi Amadi-Obi

Enter His Majesty, the self-styled King of Blufunk, Keziah Jones. From busking in the streets of London with his guitar to dropping several albums as canons of his musical destiny, Keziah represents the funky soulbrother whose brand of music harmonizes the African and Western cultures in an enduring eclectic paradigm. In this time-out, he shares the story of his over 23year struggle with not being Olufemi Sanyaolu, his association with some of the biggest names in funk and pop music like his manager, Phil Picket of Culture Club, Lenny Kravitz and George Clinton of Funkadelic.

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You were born Olufemi Sanyaolu, how did you come about the name Keziah Jones? I’ve been interested in doing music since I was 8 years old, but I became more serious about it when I turned 12 or 13. And that was because I met a friend, a Nigerian who was also interested in doing music. Then, in late ’70s and early ’80s, it was cool in the UK. I hadn’t met any other Nigerian who was thinking in that way. He was just like me, but a lot more out-going and very forward; I was very shy. As we wanted to do music, he said the first thing we should do, is to have a name. He had already created a very ‘cool’ name for himself. As a young guy, I had to create one to. I made mine up because I wanted to have a persona that could do all things, which Olufemi Sanyaolu couldn’t because his family and upbringing wouldn’t let him. Keziah Jones is just a way of being all things I really wanted to be without any hiccups. That’s how the name came about. Though you were born in Nigeria, it appeared London had the better of your childhood since you had to go there at age 8 to study. How has the London experience shaped your growing up? My school for a start was in Gloucestershire, the second one was in Somerset, the third in Surrey and around 1988, my last one was in London. It was like a tutorial prima school, where you just retake all your O’ and A’ Levels. That’s when I began to experience London. I arrived at the school when I was about 16 years old. My best friend

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INTERVIEWS whom I told about you earlier on, was going to do music with me, but his parents took him and kept him back home in Nigeria. The school was one of those liberal and experimental ones in London; you do what you want, wear what you want, smoke and so on. It was great! Because my friend was gone, I was forced to explore London by myself. It shaped my character in a sense and made me independent. The whole Keziah Jones idea became a fact. When I discovered a few clubs to play in, people asked me my name and I told them Keziah Jones. I became Keziah Jones by all intents and purposes. London at that time was like a fertile ground for a lot of musicians and artists. It was a big squatting alternative life; you squat in a building with photographers, musicians and artists as part of the whole scene. As a young person trying to find himself at the time, London was the perfect place. I opened my eyes up to different things and cultures, through different realities, living from hand to mouth. It definitely shaped my whole outlook. As an instrumentalist, singer and songwriter, you’re largely a performance person. Can you share your musical tour experience across the world?

... I wanted to have a persona that could do all things, which Olufemi Sanyaolu couldn’t because his family and upbringing wouldn’t let him do. My first tour was with Lenny Kravitz in 1990. He did an European tour for about 4 months and I supported him. That was Lenny’s second album, so he picked 20,000-seater capacity places all over Europe. I also did a solo using my experience from buskin on the streets of London, which is basically me in front of 20,000 people, with just a guitar. That same psychology worked as I toured other parts of Europe, before going to the US to support George Clinton of Funkadelic for about a month. Then I started doing more of my own tours with my band, from 1992 to 94. And till date, I’ve toured basically everywhere including Australia and America. You also write poetry, draw, take photographs and produce films. How do you satisfy your diverse inclinations and how fulfilled are you? I won’t classify myself as a visual artist; I’m a musician first and foremost. I use literature, writing and drawing to explain things I can’t in music. If I can’t find the lyric I’m looking for when I’m trying to write a song, and get stuck, I will draw a version of it, then go back to the song and finish it. The words, music and images all work together. If I can’t sing it, I can visualize it; if I can’t visualize it, I can describe it. So, I do a lot of drawings, which I stash away, but they’re just tools for what I can’t do musically. How well is your music received in Nigeria? I’ve been doing music for over 20 years. There are Nigerians who

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INTERVIEWS

are aware of my music. They have been able to get my albums because they travel around a bit, and brought them back home. The other group is made up of people around my nephew’s age —22 to 23-year olds, who basically share my music because I’m their uncle. There are also Nigerian musicians who are aware of my music because they’ve done their research. On that level I am known but not on the level of the mass market, though you can sometimes hear my music on the radio. I’m known amongst musicians and people who should know. In the past few years, I’ve been trying to have an influence on the Nigerian scene by producing other people. This time, not through being a musician, but more from shaping someone else’s music. I also signed up to a few other online Nigerian music-sharing platforms for my music to get around. So far, so good, but it’s not on the mass level because I don’t think the kind of music I make is on the mass level. What’s your experience working with Phil Picket of Culture Club, and do you consider your association with him pivotal to the development of your career? Following the departure of my friend, I was left in London by myself. I began busking on the streets after leaving that school in central London. I started playing on the street because I thought there was no where else I would get the most experience. I disappeared for years from friends and family. Eventually my family found me and took me back home. I made a deal with my father that if I don’t become a musician in 2 years, I’ll come back to work for him. So he allowed me to go back to the UK. I had two years to make something happen. I continued busking on the streets, trying to make the right connections.

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I was trying to find a way to not only bring my ‘Nigerianness’ into my music, but to also make it inclusive of modern music. So I called it blufunk.

Towards the end of the two years, Phil Picket saw me playing on Port Bella Road, and as a result of several conversations, became my manager. We got the Lenny Kravitz tour, got a deal signed, and my music took off from there. So Picket has been totally central to my musical career. Because he was a songwriter and a musician himself, he helped me understand how everything worked – deals, contracts, lawyers, performances and presentations. He had learned all these things over the years. In fact, before Culture Club, he had a band as well, in the ’60s and ’70s.

to question a lot of things like being sent to Europe to study Economics, Politics and Law. When you’re a teenager, you start questioning a lot of things. So, Free Your Soul is my declaration of intent. Once I was allowed to go back to Europe to pursue my musical career, I had to be successful or end up in a life that I didn’t want to be in. We should all free our souls and be allowed to be what we like. That was about 20 to 25 years ago. Now the reality is that parents are pushing their children to music, photography and sports because they’re seen as viable economic endeavours. In those days, they would ask,“Which kind music?” (laughing). You call your brand of music Blufunk — a blend of blues and So things are changing. funk. What influenced your genre? People used to ask me when I played in the club, “What kind Rhythm is Love was your first single. Could you share with us of music do you play?” Then I said it was kind of breezy and your preoccupations in that song? funky because I like Funkadelic, Slide Stone, Jimmy Hendrix I was in love with this girl; she was the ultimate at that time and Robert Johnson. But I’m also into Fela’s functional, ethnic as far as I was concerned. But she was with somebody else. groove because of the meaning behind it. I was trying to find I was just trying to explain myself; it was more like a letter a way to make my music relevant to where I’m from and about the things I would do to her if I could. also to the new people who don’t know where I’m from. So I called it blufunk because African-Americans created blues. What is your assessment of the Nigerian music industry in They came from this west coast, probably from the Nigerian terms of the quality of songs composed and produced? coast, and funk is what they created after blues, gospel and London has had several years of setting up structures like jazz. Funk is to me, like an inter-pollination of Yoruba and studios, guitar shops and a pool of people you can call on, West African rhythmic elements. I was trying to find a way like engineers for live production and singers. In London, a to not only bring my ‘Nigerianness’ into my music, but to whole structure is built around music; they’ve had a long time also make it inclusive of modern music. So I called it blufunk. to do that. With the way I was playing the guitar, the percussion and the baseline at the same time on the street, I had to make the In Nigeria, because we’ve just started, there are only a biggest sound to sound like a band. That’s blufunk as well; few structures here and there. So it’s just a question of it’s a technique of playing the guitar. It’s also a musical genre degree, I don’t think there is any less quality. London is more that basically comes from this West African coast of course, developed; Nigeria is just getting herself developed. mixed with African-American cultures. What are you currently working on? What inspired your song Free Your Soul, and does it hold any I’m just finishing a tour for my last album; I have been doing significance to your personal life? that for about a year. Now I want to write another album, so Very much so! Earlier, I told a story about when I left school basically I’m about to start composing. What’s that going to and was playing on the street. My family found me, took be like? I don’t know because I leave my mind open. I’ve been me home and refused for me to go back, just as my friend’s picking up my musical ideas over the past 3 years, travelling family did to him. I had been dying to do music since I was 8 around. And when I sit down in one place for four to five years old, but wasn’t allowed. I started asking why I couldn’t months, then you’ll have to ask me that question again. If be allowed to express what was inside of me and why I there’s going to be any direction it’s taking, it’ll be more should be anything else like a doctor or lawyer. I continued authentic, more original and more Keziah Jones!

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INTERVIEWS

As time wore on and music production took center stage, ‘Atta Lenell’ came to represent my brand. There it is. Mystery solved.

You were born Atta Otigba, how did you acquire the name Lenell? That was something that just sort of happened. Lenell was a stage name I adopted as a performer before I even started producing music. If enough people get used to something, it tends to follow you around — so it eventually stuck. Afterwards, the moniker became the infamous middle name in quotes (Atta ‘Lenell’ Otigba). As time wore on and music production took center stage, ‘Atta Lenell’ came to represent my brand. There it is. Mystery solved.

By Luciano Uzuegbu Photos courtesy of Atta ‘Lenell’ Otigba Creativity lurking in musical artists manifests in song writing, singing and instrumentation, all of which are harmonized in production, itself, another channel of creative release. While each domain suffices to blow its practitioners to stardom, only a select few have demonstrated an enviable mastery of all these spheres. Nigerian-born Atta ‘Lennell’ Otigba is a veritable example of such rare excellence, with a mission to transform his generation with his dedicated talent. This interview brings to the fore, his persona, as well as his first-hand assessment of the Nigerian music industry.

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Though you were born in Lagos, you spent your formative years in Prague, Czechoslovakia. How has this varying cultural influence affected your work? To be honest, I’m not sure it has. Perhaps on a subconscious level? I don’t know. But the truth is that I picked up the vast majority of my musical experience here in Nigeria. Music has such massive cross-cultural potency anyway, that I really don’t think it matters where you live these days. If you have ears, the right access and you’re open enough to the unfamiliar, then it will come to you. As a music producer, singer and multi-instrumentalist songwriter, when and how did your musical career begin? I was 9 when I began piano lessons. By the time I was 12, I was sold. That’s where my journey began. Everything

from then up until the present, is just one long continuum to me. It’s all grey. I have always been about music. I have always been an active performing musician in one way or another. Perhaps the only important ‘checkpoint’ was the moment after graduating with a computer science degree, I decided to make producing audio the central focus from a professional perspective. You also compose scores for motion pictures and perform live, how are you able to manage these? Perhaps the greatest hazard in this particular line of work is its time consuming nature. Add to that, the fact that quality takes even more time than usual to create, then and you get the picture. Nonetheless, I try to do as much as I can with the time that I have. Working on film scores is such a delicate and demanding thing, but it’s extremely satisfying in the end. That satisfaction is probably the drug that drives most of us creatives. It’s also a bit of a challenge juggling other people’s music with a desire to make my own. I must confess that I’m more

Yes, it influences my producing and my musical vocabulary in general, but no more than jazz or hip hop or rock do – they’re all just things I know.

than a little guilty of putting my personal projects on the backburner in favour of working with other people. You started off as a classical pianist, how did you get into music producing? It was very simple. I had written a song for the guitar and I had this big, dramatic idea for my performance. However, I needed a backing track to pull it off while I played the guitar part and sang. So I went online, downloaded some software and a few tutorials, and made it for myself. The performance was brilliant; everyone went on about the recording, etcetera. Then I realized I had all the tools I needed to start the long journey into audio production and audio engineering. I went back home, sat down, had an epiphany, and just like that ‘hey presto!’, a producer was born. Do you still play the piano and does this musical genre influence your pres-

ent practice? Yes, I still play. Playing the piano is just one tiny cog in the wheel that is my musical education. Yes, it influences my producing and my musical vocabulary in general, but no more than jazz or hip hop or rock do – they’re all just things I know. How come you live in Abuja, considering the music epicenter is in Lagos? We can’t all live at the epicenter can we? To be fair, I appreciate the legitimacy of the question, but it’s not a concern for me. It’s a small price to pay for the clarity of thought and creative unobtrusiveness the capital affords. A lot of the

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INTERVIEWS artists I work with are Lagos-based anyway, so I hardly think a 30-minute plane trip’s distance is going to isolate me from any ‘action.’ There are pros and cons that come with a choice like this, but I think that in this hi-tech environment of ours, it all evens out in the end if you do your homework. I grew up in Lagos and I enjoy the bright lights of ‘Gidi’ as much as the next guy. The Lagos scene has a whole lot of exciting things going for it. But for now, I’ll hop on a plane as often as I need to. Thank you very much. Which artists have you enjoyed working with most? That’s a tough one. I’ve worked with a lot of talented people. Definitely Lindsey, whose voice is almost surreal at times. Bemyoda’s material is also utterly sublime and was loads of fun to work on. Then there is Jessica Bongos-Ikwue, super-talented and an absolute joy to work with. Also Cef – probably one of the most original musicians I know, as well as Jon Oogah. More recently, I’ve really enjoyed working with Nana Aisha, another talented songbird who sings like a dream. But to be honest, it’s hard to call names because I’ve somehow been blessed with a plethora of like minds walking through my doors lately. What do you think is the future of neo-soul and alternative music in Nigeria, amidst the euphoria created by hip-hop and other mainstream sound? Nigerian music is on the rise; it’s undeniable. Over the past few years, I’ve seen an unbelievable leap in the quality of available material right before my eyes. And I think it will only get better. We’re experiencing something really special. Something that years from now, people will be able to refer to with the words ‘I was there.’ I think genres are secondary to this reality. Everyone has an audience. Some audiences are larger than others. But for the most part, each audience is as legitimate as the next and deserves attention. So I’d say the future is good for those genres you mentioned. As long as the music scene continues to thrive, there will be good hip-hop. There will also be bad hip-hop. There will be good neo-soul. There will also be bad neo-soul. We the industry folk, just need to focus on one thing — making good music. As a versatile producer with a lot of

international exposure, how would you compare producing in Nigeria with Europe and the United States for instance, in terms of expertise, logistics and costs? That’s a complex question. Expertise is what it is, wherever you are. But some things are easier to come by depending on where you are. For instance, if you live in Nashville, you won’t have a problem getting an epic guitarist to play on a song, though you’ll have to pay him what he’s accustomed to. If you live in Nigeria, you’re going to need to think about

power generation over the course of an 8-hour session (The odds are not in your favour for 8 hours of non-interruption). All things considered though, the truth is that in 2015, things are very different from what they were a decade ago. Anyone can make music. You just need a laptop and an Internet connection these days. It’s the same wherever you go; Europe, Asia or America. The real difference is in the experience and vision of the mind behind that laptop. As for the price of that, well… I leave that to you.

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INTERVIEWS You work majorly with Nigerian artists and a few from the larger African continent. Do you also produce for artists outside Africa? Yes I do. Again, the Internet makes it a piece of cake to collaborate on a project over long distances. I’ve worked with one or two artists, as well as a couple of short film projects in exactly this manner. Which production of yours strikes you as the most challenging in terms of the amount of work put into it? That’s another difficult question. Each project presents new challenges. As you learn from those, old problems become easy and new ones appear to take their place. So it’s a matter of taking each project as it comes. I honestly can’t name any in particular. In general though, working on film tends to be a little more time consuming, considering the volume of work required and the impossible deadlines. You have a tendency for the more natural things about music, like letting the voice and its emotion drive the song, or as with videos, aligning the scenes uniquely with the essence of the song. Indeed, no synthetic exaggerations. How has this impacted on your artists? It seeps through into the music. Like attracts like, so the majority of musicians that gravitate towards me, tend to have similar viewpoints in that regard. As for the few that don’t, I tend to find diplo-

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matic ways to get them to modify their workflows to align with my philosophy. Two thirds of this job is about diplomacy and being a shrink. I guess that’s just the way it is.

work their socks off, year in, year out. It’s a disservice to ourselves and a wasted opportunity to show the world and each other, just how much talent is hidden in this peopled corner of the world.

What is your assessment of the Nigerian music industry, in terms of the quality of songs composed and produced? I think for an industry as young as it is, it’s doing pretty well for the most part. Granted, there’s a lot of sameness going around in certain camps, but that’s the way it is in any creative industry, anywhere in the world. The important thing is that there are also many people who are constantly trying to make better music than the status quo. I think this means the industry is healthy and that we can only get better, whether they succeed or not. It’s merely a matter of time. There’s a lot of good music out there. It just needs to be found. If I have a bone to pick with anything, it would be with our awards system. I think that an honest, functioning, mature awards system that truly rewards innovation, is essential to the development of a healthy creative environment. Imagine there was no Cannes Festival or Academy Awards. Hundreds of great films would never have happened – the only movie anyone would make would be the formulaic, ‘samey’, generic films, guaranteed to make the most money. You simply cannot continually reward mediocrity and turn a blind eye to the folks who

There is a saying that ‘sex sells’ and it’s all too easy to see musical videos laced with brazen, sexual scenes and lyrics. Do you think producers share the larger blame for this because from the beginning, they have the moral responsibility towards the public? A producer’s job is largely interpretive. He is not responsible for an artist’s message. What he does is create the vehicle that conveys the message. He may perhaps occasionally modify it to suit the vehicle, but whatever sexual innuendos or blatant sexual suggestion exists in a song, is the artist’s prerogative. So no, I don’t blame producers for any of that. If there’s any blame, it belongs to the bearers of the message – the artists. What is your assessment of the National Broadcasting Commission (NBC) regulations with regards to controlling the audio and visual broadcast in Nigeria? I’ve got mixed feelings about that. In the main, I think they serve a useful purpose. My reservations are best captured by a Spielberg quote: “There is a fine line between censorship, good taste and moral responsibility.” All good things have the potential to be overdone and regulatory bodies are quite capable of over doing

it. On the flip side though, the truth is that in all fairness, someone has to draw the line somewhere. Most of us didn’t freely see or hear the sorts of things 8-year olds today are inundated with. It’s a different world, and it’s not fair on them. So I appreciate the efforts of the NBC… as long as they do their utmost not to cross that ever so thin line. What progress have you made with finishing your own EP, given your preoccupation with producing works of other artists and clients? In other words, when are you likely to launch your EP? It’s coming, I promise. What threat do you think piracy poses to the Nigerian music industry and how have you been able to deal

with it? This is another interesting one. My two cents? Music piracy – specifically the Internet variety, may be unfortunate. Some might find it more than a little annoying, but it’s a reality and it’s not going to go away for a long time. The

same way CDs have given way to streaming sites and mp3s. The big labels hate it but they can do nothing about it; that ship has sailed. I think that it’s time we accept the nature of the ecosystem around us and figure out new ways to survive and thrive in the world as it is, not as we remember it, or would like it to be. Whatever happens, there will always be people who love and support great material. I honestly think we need to rethink the entire music business model then figure out a better way for the independent (or not quite independent) music creative to make a ton of money. The old way simply will not work anymore. The sooner we accept that and start building from there, the better. Yes, piracy does hurt us creatives, But if you’re honest with yourself, you’ll know that its is not the reason you haven’t succeeded. That’s nothing but a tired old excuse that needs to be put out to pasture.

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INTERVIEWS

UP CLOSE WITH

LINDSEY AB U DE I

By Luciano Uzuegbu Photos courtesy of Lindsey Abudei

She only asked for 4 years, but it was more than enough to stamp her unique blend of soulful rhythm on the Nigerian music scene, much to the chagrin of the massive audience consumed by the deluge of over-flogged genres like Afro hip-hop. In this revealing interview, we get to know much about this supremely talented Abuja-based songstress, including her drive and thoughts about her fans world over.

Tell us briefly about your family and growing up? I was raised in Jos by parents who are avid music lovers.I literally woke up almost every morning to music playing at home. Given that you attended the University of Jos, one wonders if you studied music there? How did you start your musical career? I studied Law. I started my career shortly after I was done with secondary school and had just gained admission into university. I met Jude Abaga, Jesse Abaga, and Ruby during that period. We had jam sessions and recordings under the Loopy umbrella while we were all in Jos. As a proponent of neo-soul and alternative music, you would have realized that the demand for mainstream genres including R&B, pop and hiphop is relatively high. Does this discourage you in any way, and how well is your music received? No,it doesn’t. It is not exactly an easy path to follow but it has been worth it so far.The reception to my music has been pretty warm. It shows that more people are paying attention to other genres besides pop that has taken the mainstream. Do you think artists like Jessica Bongos -Ikwue, Bemyoda and Nayosoul can flourish without

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compromising their ideals? Yes, I do. How challenging has it been,becoming an independent singer as opposed to backing-up other artists like you have done in the past? I don’t think either can be put in comparison to the other.It is all part of honing my art and developing my career. Your performance of a popular song, Palaver, by Nigeria’s Afro-beat exponent, Fela Anikulapo-Kuti is phenomenal. Could you let us in on your musical influences? May I make a correction and say the cover I did was Fela’s Trouble Sleep, Yanga Wake Am. I have a bunch of influences like Stevie Wonder, Roberta Flack, Sade, Norah Jones and Lauryn Hill. Regarding your rich, soulful vocals and societyconscious lyrics, have you ever been likened to any notable singer and if yes, who? Yes. Indie Arie. How would you compare the impact of your EP Brown, released in 2013 and your current single, Out the Magazine? I don’t think impact can be measured in just one fraction of

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The reception to my music has been pretty warm. It shows that more people are paying attention to other genres besides pop that has taken the mainstream. time.I guess that is for time to tell. What is your experience working with the multi-talented producer, Atta ‘Lenell’ Otigba? He is an amazing musician and producer with whom I have good chemistry. That tells it all. How important is the Abuja locale to your musical career with regards to working with influential people in the industry, who are predominantly based in Lagos, and have you had to change your location to meet the demands of your production?

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If there’s a musician or a producer I want to work with,I go to wherever he or she is. If that isn’t possible, we could work something out virtually. What project are you working on at the moment? I am working on my album at the moment. What is your projection for the Nigerian music industry in the next 5 years? More space for other genres besides pop to play in. Better promotion and support for live music. Better structures for the industry.

INTERVIEWS

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OLDIES BUT GOODIES

SADE ADU By Luciano Uzuegbu

Awards won

6 Nominations

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Helen Folasade Adu, better known as Sade is a multi-award-winning British-Nigerian singer, songwriter, composer, and record producer, with an enduring career that began since1983. Her genres include smooth jazz, soul, R&B, quiet storm, sophisti-pop, soft rock and adult contemporary. Arguably one of the world’s most celebrated female musicians, and Nigeria’s most successful female singer, Sade was born on January16, 1959 at Ibadan in Oyo State, Nigeria to Adebisi Adu, a lecturer in Economics and Anne Hayes, an English district nurse. They met in London, were married in 1955 and moved to Nigeria. They later separated, and Anne returned to England, taking four-yearold Sade and older brother Banji with her to live with their grandparents just outside Colchester, Essex. When Sade was 11 years old, she moved to Hollandon-Sea, Essex, to live with her mother, and after completing school at 18, she moved to London and studied at Saint Martin’s School of Art. Having studied Fashion Design and practiced modeling briefly, Sade began her musical career as a back-up singer for a band named Pride, during which time she attracted attention from several record labels. This culminated in her leaving Pride and forming her own band by her name, Sade. Their debut album Diamond Life, released in 1984, became an instant commercial success, selling over six million copies, to rank as one of the top-selling debut recordings of the ‘80s and the best-selling debut ever, by a British female vocalist. Subsequent albums released by Sade sold multi-platinum. Promise (1985) peaked at number one on the UK Albums Chart and the US Billboard 200. It went on to sell four million copies in the US. Stronger Than Pride (1988), Love Deluxe (1992) and Lovers Rock (2000), all went multi-platinum in the US, though Sade took a break before their releases, to debut in the film Absolute Beginners. After the release of Lovers Rock, the band embarked on a ten-year hiatus in which Sade raised her daughter. The band would return with their sixth album Soldier of Love (2010), which became a commercial success and won a Grammy award. Sade has worked variously with such international record labels like Portrait, Epic and RCA. Blessed with a contralto vocal range, she has been nominated six times for the Brit Award for the Best British Female singer. In 2002, she was bestowed the Officer of the Order of the British Empire by Prince Charles at Buckingham Palace for services to music, and she dedicated her award to all Black women in England. In 2012, Sade was listed at No. 30 on VH1’s 100 Greatest Women in Music.

Photo:http://www.huffingtonpost.com

itUP! REV 06/07 2015

NEXT BIG ACT

CeF By Luciano Uzuegbu Photos: Bolu Adelabu

Multi instrumentalist, singer and song writer, Cef Echefu radiates a strong appetite for reaching new heights. With a rare, quaint talent that relives the past in today’s unmastered eclectic shifts, Cef makes a bold statement that spells the future of Nigerian music.

Can you cast a background to yourself – your family and growing up? I grew up in a community where everyone was your mother and your mother was everyone’s mother. Discipline, respect, fellowship, love and friendship were core values we had to live by. How did your musical career start? It started as a seed, tiny hints from childhood, nothing clear and elaborate about a musical career, but gradually it started to manifest and later on, I heard the Lord call me to go on this path. As a multi-instrumentalist, are you trained formally on how to play musical instruments, and

which is your favorite? I have no formal training. I was enrolled into a music school at a young age but after the second lesson I was done. The music is a gift to me, the Creator is my teacher. All instruments I play have their place, just as the feet are not more important than the hand. All parts make the body. As a jazz player whose performances are markedly influenced by folklore, how would you describe your kind of music? It is ‘spirit music’, my spiritual journey and experience, which transcends any form or genre. There is no box to its form or kind. The spirit moves in ways we cannot see, so too the music. How challenging is it to stage late

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night concerts? The Lord is our strength. It’s sometimes challenging but when you’re focused and on a mission, its hard for even you to stop yourself. You are a part of the Art Ensemble of Lagos. What is your group about and how did you become a member? The Art Ensemble of Lagos is a connection between the old and the new. As a group, it transcends a musical band. It’s a light for Nigeria, Africa and the world at large, as it seeks to use music to heal, guide and champion cultural and spiritual relationships amongst people.The Art Ensemble of Lagos was conceived and set up by Tunde Jegede, a master musician and great mentor. He basically brought young musicians with different musical backgrounds to work together. I’m blessed to be one of the few who were chosen. Have you had solo performances outside of your group, and if yes, can you share any notable outing? Yes, I have and still do. I believe every opportunity I have had to share light through music, has been note worthy. I have played at the Lagos Black Heritage Festival and the New Horizon concert

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series. But one outing of note if you insist, was playing for a group of young children on the streets of Abuja and another at a village in Rivers State. Have you also collaborated with other artists? If yes, who, and on what songs? I have not. Which artist can you easily point to as having influenced you? A lot of musicians; it is like saying what food have you eaten that has made you grow. The good, the bad and the ugly have influenced my music. What project(s) are you working on at the moment? I’m just working on what I have to do (laughing). What is your projection for the Nigerian music industry in the next 5 years? I am not a member of the industry but I think the industry will be what it will be. I only hope that true artists and the called are able to shine their lights and manifest.

I believe every opportunity I have had to share light through music has been note worthy.

NEXT BIG ACT

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ONLINE.COM

Omenka Online is the global source for up-to-date news, information, and expert commentary on African art, music, architecture & design, literature, performing arts, fashion, luxury-lifestyle, and culture & travel. In addition, Omenka Online has launched 5 international online magazines on the above topics that allow you stay connected to the latest trends, as well as explore new innovations by the most prestigious brands. We also invest heavily in content production and origination and our content is delivered via our online magazines, social media and video channels.

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STYLE FILE ...with

Nonso

By Ladun Ogidan

Up and coming singer/song writer, Nonso Bassey has been known to stand out from the crowd with his distinctive style of music and fashion sense. From customized tees and brogues to his signature beanies, Nonso knows the importance of a good look especially when you are always in the spotlight. In this chat, he tells us about a few of his ‘must-haves’.

How would you define your style? I don’t know...My style is simple, comfortable, classic, and a tiny bit trendy. Who is your favourite all-time designer/icon? Style-wise, Tinnie Tempah. The dude’s got style. What is your one must-have fashion accessory you can’t leave home without? A good perfume. What item in your closet do you wear the most? A fitted tee, jeans and brogues are my style. What is your greatest indulgence? A bottle of perfume. Tell me one thing you would never be caught dead wearing? I wouldn’t be caught dead wearing underwear to sleep at night. What did you wear for your first public performance and what is the least convenient clothing to wear when on stage? My first big performance ...I wore a red jacket designed by my friend Xogie, a black tee shirt and jeans. The least convenient performance outfit? Tight clothing. itUP! REV 06/07 2015

SOUND CHECK

Artist: Diana Bada Label: Boulevard Entertaiment Released:2015 Rating: 4/5

Review By: Luciano Uzuegbu Indeed, the Nigerian music landscape has its narrow doors open to a few emergent but unique voices like Diana Bada, whose socially-conscious lyrics and strong personal sound run against the prevalent, popular music laced with sexual undertones that choke our air waves. Diana Bada continues on a musical path that traces the novelty of neo-soul proponents such as Erykah Badu, Lauryn Hill, the Floetry duo, and in Nigeria, Asa and Nneka. With her distinctive and seamless fusion of R&B, pop, hip-hop, funk and occasional reggae and jazz, she pushes the envelope of neo-soul further than when she first encountered it. The 12-track album titled Be, the second for the Nigerian-Russian singer, draws its strength from hard-to-ignore numbers like Pressure Island featuring rap hooks by Godwon, Couple Bags, which offers the rhythmical and vocal temperament easily comparable to Lauryn Hills’ and Better, a performance accentuated by its reggae flavor. There is also Moving On, featuring

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Wura Samba that reminds you of the African side of Diana Bada, not just for the few Yoruba lines she reels out on it, but also for its hybrid of local and Western drumbeats. This is just a teaser thus far, until you shake the ‘wineskin’ of Diana’s repertoire, where she waxes philosophical on the mind-blowing track, Open Up Your Eyes. In all, Diana’s themes of love, self-consciousness and a resolute approach to life, keeps you absorbed to their virtues while you nod and wind to her excitingly melodic rhythms. Diana’s face beams with pride when she talks about her inspiration while growing up. She reveals her Russian mother was a singer who kept a band that included Diana’s maternal grandparents. The inspiration for Diana couldn’t have been more as her father, till he passed, maintained an impressive music collection. Early enough, she started singing and during her university days as a Business Administration student, was already touring Europe on concerts. She also took music courses in voice training, while learning how to play instruments like the piano and guitar. On her return to Nigeria, Diana plunged into full-blown recordings, and now has two albums to her credit. She attributes this success to not only being focused and hardworking, but also taking good advice from music icons like Tee Mac. Diana’s debut album Wardrobe Sessions released in 2011, set her off on what has so far been an assuring musical jour-

Photo courtesy of Diana Bada

ney. It caught the interest of a Nigerian audience willing to accept the reality of her revolutionary genre in our music landscape. It is on the merit of Wardrobe Sessions that a follow-up album from her was widely clamored for. According to the artist, “My new album Be is an interpretation of experiences and challenges, which I have faced through my growing from the first album, as well as in the music industry till now. I was particular about my sound and style not being modified to fit the trending music of these times but staying true to its roots. At the same time, I incorporated my understanding of connecting with my listeners through creating, and life’s occurrences… I was particular about my recording process and wanted as pure a sound in terms of the live music mix and vocal recording. I was also very excited about working with instrumentalists, DJs and producers from different parts of

THE RISING OF THE SON Artist: Patrice Label: Supow Music Released: 30th August 2013 Rating: 4/5

Review By: William Ifeanyi Moore

Only four tracks into Patrice’s Rising of the Son, and I knew it was going to be one of those albums I would end up recommending to anyone that would listen. If you already haven’t heard it, and you are a lover of music, you will not be disappointed. Opening with a short intro where Patrice talks over a guitar, the first track Alive kicks off with what I would best describe as reggae-rap (not to be mistaken for reggaeton). With a smooth hypnotic flow, he raps “I have risen from the dead/how could I ever put a … on my head/I’m sorry Mama if I made you sad/ Cupid pulled his arrow out/greedily to death I bled”. Over a reggae beat with drums reminiscent of Kanye West on College Dropout, this song sets the pace for an album rich in style, texture, and poetic lyricism.

the world.” In comparing both albums, Diana explains “The pieces in Wardrobe Sessions are an introduction to my world of music and Be is a continuation of me showcasing my beliefs, my truth, and my reason. Each piece on the Be album is uplifting and inspiring, hence the title ‘Be’. Be true, be you, be strong, be great, be the best you can be.”

of Lupe Fiasco’s The Box from his debut album Food and Liquor. Another infectiously catchy tune. My second favorite song comes in at track 5, Hippies With Guns. Patrice starts to slow the pace on the album here, and as hard as I try, I cannot seem to think of one particular genre to group this song. The lyrics bare Patrice’s soul as an artist and the sound draws you in to listen to every word. A masterpiece of a song by any standards. God Bless You at track 6 took me by surprise reminding me of Jake Bugg (older listeners may think of The Beatles). While this might not exactly be one of my favorites, the attempt at diversity is certainly worth a mention. And who knows, if you are a fan of the aforementioned artists, you might just fall in love with this number. A few tracks pass by where we see Patrice hone in on his reggae sound including a track called Lover Man, where reggae meets hints of electronic music. Here, the lyrics display Patrice’s skill as a writer with ironic juxtapositions at every corner. This is a song that must be heard to be appreciated.

The second track Cry Cry Cry follows with a vocal effect that will remind listeners of The Killers. This tune is infectiously catchy from both a lyrical and melodic standpoint. It is one of those songs you simply can’t get out of your head.

My favorite track Venusia, comes in at number 10. If you are a fan of Passenger, you will love this too. The beat is smooth, the delivery sweet, and the lyrics perfect, with imagery that will leave you wanting more even after the track has expired. A must listen.

Track 4, Boxes touches on the subject matter of how societal structures create constructs that have us thinking in boxes. The sound has a Bedouin soundclash feel to it and the lyrics had me thinking

With more reggae and ‘jazzy’ songs, the album whines down to a slow and relaxing end. If you have not heard of Patrice before now, please do yourself a favor and check out this album.

The Be album is not only inspirational for her growing legion of fans, but also, for Diana as it underlines her efforts to be truly who she is, believing in herself. In her words, “Life has taught me to know that it is the same way we came onto this Earth, the same way we will go. I try to keep things as simple as possible. Sometimes we tend to complicate ourselves based on society and pressure around us. But I think that if we just think through what we need, we will all go far.”

itUP! REV 06/07 2015

SOUND CHECK

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MY FAIRY TALES Artist: Nneka Label: Bushqueen Music Released: 2nd March 2015 Rating: 3.5/5

Review By: William Ifeanyi Moore

In an industry where the mass appeal of sexually lurid content sweetened with catchy rhythms, powers sales and assures relevance, it is comes as no surprise that artists are constantly either watering down their craft for financial success, or mastering a working formula for longevity. Daringly, Nneka has always stood on the opposite side of this spectrum and her latest offering My Fairy Tales is no exception. Now, I will admit to have struggled to get into her previous album unlike her first that all but hypnotized me. With this in mind, I found myself somewhat nervous as I purchased my copy of My Fairy Tales for first listening. The packaging drew me in with a digitally altered photograph of Nneka meditating over a classic fairytale hardback, bearing a picture of Afro-beat legend Fela Kuti on the front cover and slaves in procession on the back. The inside jacket features paintings by Nneka herself, that illustrate some of the themes she addresses in the album. Needless to say, I already knew what to expect. I was not disappointed. Opening with Believe System, which I found rather reminiscent of a young Michael Jackson strongly influenced by jazz, Nneka’s album holds promise of a sonic feast for our audio palette. Unfortunately, she dwells a bit too long on the reggae infusion. A personal disappointment as I particularly extol her music for its proven diversity with a wide range of sound from dance to rap. Moving through the album, the second track Babylon is a groovy instrumental with an ‘80s retro feel complimented with bridges relatable with Michael Jackson’s Wanna be Startin’ Somethin’. The song scores high as a danceable tune, but still manages to draw attention to the poor socioeconomic conditions in Africa. Easily a standout track. Track 5, Local Champion kicked off with instrumentals that had me apprehensive, but only about thirty seconds in, I was quickly warming up to it. The rough ghetto sound had me thinking of it as an ‘Africanized’ Damian Marley’s Welcome to Jamrock. High marks on my scorecard for this one too. The seventh track, Pray for You, my personal favorite on the album, though a close call with the aforementioned Local Champion, is a fast paced number with cadences so creatively aligned with the beat, it wouldn’t be out of place to say Nneka considered her voice an instrument on this song. Ironically, I still consider Local Champion to have a

higher replay value, but sonically, Pray for You brings more excitement to my eardrums. At nine tracks some may consider Nneka’s latest musical offering not quite the buffet we might have wanted after two years of silence. To that, I say it is better to keep it trimmed healthy, than fat and fluffy. One too many times, good albums are ruined with either sonically noncompatible songs or favor-features for promotion. I am quite happy with the length of the album and would only add some skits for a sense of connectivity between songs that might sometimes seem too distant in concept to give a cohesive feel to the entire project. In all, I would define My Fairy Tales as the love child of an alternative Afro-pop, reggae, and jazz threesome. It showcases multiple styles in sweet symphony with Nneka’s signature pleasantly scratched voice and her usual socially conscious message on every track. If you haven’t given this a listen yet, you need to update your music player. My Fairy Tales in its entirety showcases the fruits of a commendable artistic effort from an undeniably talented musician.

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