REV it UP ! 06/07 2015 N2,000

THE RISE AND RISE OF NEO-SOUL MUSIC IN NIGERIA

THISNAYOSOUL SISTA’S GOT SOUL!!! NO ROOM FOR ECCENTRICS

SADE ADU NNEKA KEZIAH JONES ATTA ‘LENELL’ OTIGBA LINDSEY ABUDEI CEFREV it UP ! 06/07 2015 1 SUBSCRIBE

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[email protected] T. (+234) 818 455 3331, 818 515 3111 EDITORIAL REV it UP !

At Revilo, it has been our job for several years to promote the best of PUBLISHER AND EDITOR-IN-CHIEF African culture through our various platforms of music, film, design, and OLIVER ENWONWU publishing. Naturally, as lovers of the visual arts in all its forms, the move [email protected] 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 DEPUTY EDITOR magazine focused on the promotion of alternative, contemporary African LUCIANO UZUEGBU music. [email protected] As the continent’s music industry CONTRIBUTING EDITOR continues to grow, we at Revilo OMOLADUN OGIDAN believe it has never been more [email protected] important to highlight the works of outstanding musicians taking creative risks and producing quality sound. ASSOCIATE EDITOR In an industry where radio play and WILLIAM IFEANYI MOORE television time is reserved for artists [email protected] sticking to set industry standards, we believe as champions of quality work, ART DIRECTOR we have a responsibility to stand up YUSUF ARIYO for the many talented African acts around the globe doing so much DESIGN AND LAYOUT to push the musical envelope. On ABDULRAZAK BOMBATA behalf of Revilo, I would like to thank all those including our contributors, readers, sponsors and media ADVERTISING partners, who have all played huge REVILO COMPANY LTD roles in making this dream a reality.

With a focus on the rise of neo-soul music in Nigeria, our introductory Cover issue centers on what we perceive to be a loss of variety in the African REV it UP ! music industry, which may have been hijacked by the monotonous sound of 06 2015 N2,000 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. THE RISE AND RISE OF NEO-SOUL MUSIC IN NIGERIA

THISNAYOSOUL SISTA’S GOT SOUL!!! NO ROOM FOR ECCENTRICS In Sound Check, we review some of the latest and most exciting albums SADE ADU NNEKA KEZIAH JONES ATTA ‘LENELL’ OTIGBA LINDSEY ABUDEI CEF

Image: Nayosoul. Photo: Aham Ibeleme 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’ Rev it Up! is published bi-monthly by Revilo Company Ltd. Otigba, while crooner Nonso defines what style means to him. Feel free to leave your comments for our contributors and editors on our website.

R E V I L O We hope you enjoy reading RevitUp as much as we have enjoyed putting it Revilo Company Ltd 24, Modupe Alakija Crescent, Ikoyi, Lagos together. T: + 234 818 455 3331, 809 802 7583 [email protected] www.reviloco.com

Rev it Up! does not assume responsibility for unsolicited manuscripts, Thank you! photographs or illustrations. Copyright worldwide of all editorial content is held by the publishers Revilo Company Ltd. All rights reserved. The opinions 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. REV it UP ! 06/07 2015 3 Revilo operates its own music label and is a content owner and artist man- agement 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.

REVILO MUSIC

www.revilocomusic.com

REV it UP ! 4 06/07 2015 REV it UP ! 06/07 2015

7 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! Interviews 24 Nneka: Living Her Fairy Tale! 28 Keziah Jones: King of the Blufunk 34 Atta ‘Lenell’ Otigba: A Man for All Seasons 40 Up Close with Lindsay Abudei In Every Issue 44 Style File

46 Oldies but Goodies Photo: Aham Ibeleme 51 Next Big Act 52 Sound Check REV it UP ! 06/07 2015 5 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: TONY HARMONY: NEW ALBUM OUT THE DEATH OF A STAR

It is with a solemn heart that we mourn the loss of Tony Harmony, born An- thony 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 promot- ing peace across the continent. He will be truly missed. Photo: http://thenet.ng/

BEZ: A TRANSGENDER ASA: A FEAST FOR PARODY YOUR EYES Nigeria’s musical golden girl Asa, work- ing 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 direct- ing 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 Photo: http://thenet.ng/ releases her third studio album My Fairy Tales. A mixture of reggae, jazz, and Following the transformation of Bruce Afro-pop, with a splash of Motown. Jenner to Cathylin Jenner, a couple of Fans will be pleased to know the singer Nigerian artists, including Bez took the has retained her signature sound, and satirical route to expressing how they hasn’t compromised her lyrical content. felt about the situation. While there A more detailed review of the album is were a few to choose from, the photo- available in this issue. The visuals for her graph of Bez captioned “Call me Hajiya two lead singles My Love, My Love and Bezlinna Buhari Jenner” had to make it Book of Job are also out. Check them out. 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 mu- sic— “Love is a verb”. http://blog.lirs.org/ REV it UP ! 06/07 2015 7 Omenka is Africa’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 genera- tion of urban thinkers, collectors and enthusiasts.

Iké Udé, 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

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, Photo: Aham Ibeleme Switzerland Sun, Jun 14, Worms, Germany Sun, Jun 21, Laupheim, REVILO MUSIC Germany Sat, Jun 17, and Arras, SIGNS NAYOSOUL France Fri, Jul 3. More dates avail- able on www.patrice.net. Revilo Music signs Nayosoul. Nayosoul is a soul/jazz singer, whose interest in Photo: http://www.reggaeville.com/ music was inspired by listening to her grandmother and sisters sing in the choir. TRUTH AND ART: FILM BY SUNARA BEGUM She has since become an accomplished songwriter, with her music becoming a On Thu, 11 Jun, The Centre of Contemporary fusion of the sounds of today and her Art (CCA), Lagos staged a screening Truth & primary love for jazz and soul. With Art, a film by visual artist Sunara Begum, at its instantly recognizable hits like Destiny premises in Yaba. Held in collaboration with the Train, Ole and Veronica, Nayosoul is pres- MUSON Centre and Goethe-Institut, the evening ently working on her next album. was accompanied by music and a panel discussion, between Begum, Tunde Jegede a world-renowned Revilo Music is proud to represent this composer, producer, cellist, kora virtuoso, and the Photo: http://www.theafricanguild.com/ talented Nigerian-born beauty. Wel- present Musical Director of the MUSON Centre, come to Revilo Music, Nayosoul! as well as Bisi Silva, curator and CCA Lagos Director. REV it UP ! 06/07 2015 9 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.

REV it UP ! 10 06/07 2015 THE RISE AND RISE OF NEO-SOUL MUSIC IN NIGERIA

Photo: Aham Ibeleme REV it UP ! 06/07 2015 11 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

REV it UP ! 12 06/07 2015 FEATURES To come to terms with the concept of late 1980s and early 1990s that includ- masse with a brand of songs devoid of neo-soul, we recall Miles Marshall Lewis’ ed Soul II Soul, Caron Wheeler, The socially conscious lyrics and conveyed in declaration in the 1990s that it “owed Brand New Heavies, Jamiroquai, and Lisa digitalized voices and instrumentation, all its raison d’être to ‘70s soul superstars Stansfield. of which contrast sharply with neo-soul like Marvin Gaye and Stevie Wonder.” It music and its timeless qualities. will also serve us well to add to the list, In the recent past, it would seem out of names such as, Prince, Tony! Toni! Toné!, place to locate neo-soul music in the Ni- A peep back into the 1980s dubbed the Terrence Trent D’Arby, Joi, and Mint gerian musical landscape, where notable golden years of Nigerian music, reveals Condition, whose music in the ‘80s, devi- breakthroughs in the industry celebrat- the emergence of the naturalness ated from the conventions of the time. ed efforts from other genres including associated with neo-soul. Dora Ifudu, hip-hop, Afro-music and R&B. Popular Onyeka Onwenu, late Christy Essien In the UK, neo-soul gained prominence local artists like Tuface Idibia, D-Banj and Igbokwe, Bongos Ikwue and Harry with the success achieved by Sade, a P-Square are all distinguished as having Moscow, in their eclectic soulful and Nigerian singer and her band in the ‘80s, collaborated with various international often live performances, may have laid with music that featured a sophisti-pop brands including Akon, R Kelly, Rick the foundation for what will eventually style, incorporating elements of soul, Ross and Snoop Dogg, winning some be built upon by later generations of pop, smooth jazz, and quiet storm. This awards in the process. Success here Nigerian soul singers. Of course, worthy ushered a flood of new acts from the would seem relatively too easy on the of mentioning is the pioneering creativity platform of a brand of hip-hop and R&B, of their producer, Lemmy Jackson, who blended with Afro-music that aligns with had a hand in producing almost all the the Afro-centric consciousness of the major acts of the ‘80s and early ‘90s. local markets in Nigeria and the larger African continent. Driven by commercial Asa, the debut album by singer and pressure, these artists hit the market en guitarist, Asa released in 2007, argu- ably 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-top- ping classics like Angelica and Girl of My Dreams. In 2005, German-born Nigerian singer Nneka released an EP Uncomfort- able 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.

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 Photo: http://www.nigerianbestforum.com in her winning the prestigious French Constant in Award in 2008.

REV it UP ! 06/072015 13 FEATURES

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 ex- tinct 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 Nigeri- an audience, an increased consciousness of soul music. His hit single titled Stupid Song also made a video premiere on the Photo: http://www.blacknaija.com BET network.

Ego Ihenacho, popularly known as Ego, featured as a back-up singer for the masked Afro-jazz musician, Lagbaja, be- fore 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 re- make 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.

Diana Bada is arguably yet another Photo: http://iamtheplagiarist.blogspot.com/ emergent Nigerian singer in the neo- soul 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 neo- soul 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 mu- sic 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

Photo: naijacampus.com.ng September 2013 (with its music video released in June 2014), drew inspira- REV it UP ! 14 06/07 2015 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 industry is one, which should expand its musical taste and appreciation of growing Spaceshipboi, a proficient hand who has focus towards possibilities and benefits audiences. already carved a niche in the country’s offered by this somewhat neglected growing music industry, produced the genre. A few producers like Cobhams All over the world, artists have a duty song. In 2014, the video was nominat- Asuquo and Atta ‘Lenell’ Otigba are al- to maintain the highest musical quality ed for the Best Soft Rock Alternative ready tuned to this focus, experimenting as demanded by the neo-soul culture. Nigeria Video. Nayosoul has also been largely with neo-soul music. With more Un-swayed by ephemeral commercial featured twice in TW Magazine and emergent names like Kenny Sawyer, persuasions driving hurried products and named one of Nigeria’s next great soul/ Kaycee, Stella Bulero, Jessica Bongos-Ik- quick returns, they must strive for only jazz singers. She has also performed at wue, Bemyoda, Lindsey Abudei and the best, which may yet again place them the Lagos International Jazz Festival in Grandsun, all produced by the multi-tal- on the world map as already demon- 2014, and recently signed a management ented Atta, the future of neo-soul and strated by artists like Sade Adu, Seal, deal with Revilo Music. alternative music in Nigeria appears Lemar and Tunde Baiyewu of Lighthouse secure. Investors can also take advan- Family, who have all already inscribed The booming Nigerian entertainment tage of this trend, which enriches the their names in gold. REV it UP ! 06/07 2015 15 FEATURES

Photo: http://exclusiveafrica.net

REV it UP ! 16 06/07 2015 NO ROOM FOR ECCENTRICS By William Ifeanyi Moore

REV it UP ! 06/07 2015 17 One of the greatest ironies in the Nigerian music industry is that the average Nigerian is quick to complain that so many When I try to defend the mainstream artists sound the same, but yet the underground act trying to carve out a signature sound remains a starving sound of my generation, he one. In fact, going beyond just the sound of music, even on a lyrical level, we find most popular songs revolving around breaks into a long list of everything but issues that matter in our society. One could almost make an argument that Nigerians have no ears for artists from Osita Osadebe socially conscious or existential lyrics. But then what about the famous Fela Kuti, I hear you ask? That was then, this is to Sunny Ade, and of course now. Let me explain. the legend that is Fela Kuti. 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

REV it UP ! 18 06/07 2015 FEATURES

similar up-tempo beats. On more than same is the case with Nigerian music. one occasion, he has suggested that The country is neither short of talent producers be paid more than singers nor is it lacking in diversity of sound, for a song. When I try to defend the but you will not be hearing any of this sound of my generation, he breaks into on the radio. a long list of artists from Osita Osade- be to Sunny Ade, and of course the The overly commercialized state of the legend that is Fela Kuti. Then he would music industry that has artists paying ask me to listen to these artists and for radio spins, has all but completely see how different they sound sonically. killed the upcoming, independent artist After that, he would pose a challenge with an alternative sound. In this hyper that I name only five artists today in connected age, the public has become the mainstream market with distinctive the taste maker of what is promoted sounds, a task I am always shamefully as popular music, so it comes as no unable to complete. surprise that material with question- able content and repetitive patterns This got me thinking about how in has taken over the industry. There is just one generation, we have moved also the current social condition of the from valuing originality and lyricism, to country to contemplate. Immediately glorifying what I would best describe as after independence, Nigerians enjoyed ‘bubblegum’ music. At first, I thought a relatively high standard of living. it was a classic case of nostalgia, as Travel was not restricted, exchange depicted in the Woody Allen film rates were pleasant, and institutions Midnight in Paris, where Owen Wilson flourished with social perks including plays a writer that finds himself in the free education and even state spon- ‘50s among the company of Ernest sored allowances for students. It only Hemmingway and other classic writers seemed right that people would pay of the decade. Caught up in excite- attention to the likes of Fela Kuti when ment and filled with contempt for the things began to change for the worse. literature of his time, he sees this as Fast-forward to 2015. For most young the golden age of writing. In a twist of people, governmental corruption and events, he is transported even further broken institutions represent not just a back with a woman he met in the ‘50s, familiar reality, but the only reality they to the Renaissance era. Coincidentally, have ever known. The last thing the she views this era to be the golden age youth want is a reminder of these bitter of literature and refuses to leave. It is truths that greet us at every waking very common for the perceived classic moment. An artist can consider selling nature of older works to outshine the hope, but even that will be viewed brilliance of modern creations. This can as a pipe dream by a deluded citizen. also be seen in hip-hop music, where The only option left is for music made the ‘90s are considered the golden to numb the pain of existence. This is era and anything since then is just an exactly what the popular music of the attempt to be as good. day helps with—escapism.

On second thoughts, I realized this was Looking at theories like Marlow’s not a matter of nostalgia. Every era has ‘Hierarchy of Needs’, it becomes clear its greats, but these days we have an el- that with the current level of education evation problem for musicians and the and economic instability of the average arts in general. Any fan of hip-hop mu- Nigerian, existential angst and philo- sic will tell you that the art form is alive sophical musing over music, is a luxury and well. However, you would have to for a select few. After all, the beauty of hit the underground scene to find what art is only a reflection of the consum- you are looking for. Unfortunately, the er’s understanding.

REV it UP ! 06/07 2015 19 FEATURES NAYOSOUL THIS SISTA’S GOT

SOUL!By William Ifeanyi Moore Photos: Aham Ibeleme

REV it UP ! 20 06/07 2015 REV it UP ! 06/07 2015 21 The only way I can describe my discov- ery of the gem that is Nayosoul, is like finding an oasis in a desert after travel- ling 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 rap music. While Nayosoul is far from a singer that will make any African proud hip-hop act, like British indie blues singer of where we are going artistically. As Eli Ingram and the genre-versatile Ed with quite a lot of soul singers, her Sheeran, she seems to have mastered musical odyssey starts from the church, the skill of manipulating cadences. I for where she was already taking solos at 14 one would be interested in seeing her years old. By the time she was 17, she perform some hip-hip covers. was writing her own songs, which were mainly with Christian themes, as they Nayosoul takes you back in time to the were written to be performed in church. days of jazz, soul and blues while keeping Through the years, without a doubt, she it fresh with an indie rhythm that will has grown and matured into a woman have her melodies stuck in your head on with a wealth of knowledge and expe- first listen. With numbers likeGo Where riences to draw from. This is evident in You Are, it is apparent that Nayosoul her lyrics, but even beyond the words is not just a singer, she is also an artist she weaves and the voice she carries schooled in the history of a craft she them with, there is the often overlooked has come to master from the writing to skill of tone arrangement, more popu- delivery. The only question is whether larly known as ‘flow’ as popularized by 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, en- joy commercial success with a larger fan base outside of the country. With Nayo- With Nayosoul’s soul’s frequent use of Pidgin English and soulful rhythms, she is bound to have the frequent use of home crowd gravitating towards her. Pidgin English and If you are not yet a Nayosoul fan, it is just a matter of time. All in one, we have soulful rhythms, she a lyrist, singer, vocalist, and performer. She is definitely one to watch and here is bound to have at RevitUp, we have our eyes on her. the home crowd gravitating towards her.

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REV it UP ! 06/07 2015 23 INTERVIEWS

NNEKALIVING 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, cultures. I didn’t get along well with inspired your songs and how were growing up and education? the system. But with time, my love for they received in Nigeria? I was born and raised in Warri. My dad music made life easier. Yes! I chose to release the EP then. I is from Anambra State; my biological didn’t have any intentions of releasing mother is from Germany and my step- Has it always been music for you? any music professionally, but just mother, the woman who raised me is It was mainly between music and my wanted to release something. It was not from Ekpoma. I have seven siblings. My studies. I had always wanted to choose that successful for the record company father used to be an architect back in one, that’s why I insisted on finishing at that time, but personally, it was a the days. He’s now a pensioner. my studies. The good thing about the success because it was my first time. Education-wise, I studied Archeology music was that it helped me finance It’s very personal, as well as political. and Anthropology in Germany at my studies because I was not getting I stressed issues of the Niger Delta, the University of Hamburg. Prior to any money from my parents. I toured growing up in Nigeria, culture and inter- that, I did my primary and secondary and performed while writing my cultural issues including the problem of education in Nigeria. They were both dissertation and thesis, and participating being mixed and not accepted as a full public schools. The first was Delta in seminars and presentations amidst Nigerian or German/ European. The Steel Company School in Aladja, while two extra jobs. It was quite intense. EP is about my experience in Europe the second was called Demonstration and how I was able to overcome racism Secondary School, College of Education. You are known for your alternative and prejudice. Its also about sharing music fusing soul, R&B, pop, reggae my experiences with other people, When did you start your musical and funk. What influences your music? at the same time, trying to empower career? Basically, I think everything influences those who have been through similar I only started music when I left Nigeria my music; life, books, people including experiences to be more positive. for the first time at the age of 18. I other musicians, traveling and my went to Germany for the first time on concern for other things besides Have you had any releases in Nigeria, my own, in the sense of making the music. I get inspired by things that have and if yes, what do you consider choice myself. After a year and a half, nothing to do with music. I mean, from the challenges of Nigerian-based I became more interested in nurturing the outside perspective, everything is musicians? my so called talent, using it as a kind of music at the end of the day. Very dry In general, the fact is artists who therapy to ease my being away from things like biology eventually find form have conscious messages always have Nigeria, and having to cope in a country in my music (laughing). problems being embraced here in I never had anything to do with. In spite Nigeria. For example, Fela, Femi and of the fact that I am half- German, Your first EP Uncomfortable Truth was Seun are more acknowledged outside there was a language barrier between released way back in 2005. What of Africa than within. I guess that’s also

REV it UP ! 24 06/07 2015 LIVING HER FAIRY TALE!

Photo courtesy: Nneka

REV it UP ! 06/07 2015 25 Photo courtesy: Nneka

REV it UP ! 26 06/07 2015 INTERVIEWS because of the genre of music they do. Everybody is already confronted with the reality we go through on a daily Another thing is that, everyone basis – lack of electricity for instance. Despite the fact that Nigeria is one of thinks they can become an artist the largest oil producing countries in the world, we don’t have refineries; these days. Everyone wants to presently, we have fuel scarcity. People don’t want to hear all these daily things get out of poverty and madness that confront them in music. They would rather have music that makes through music. At least, it’s good them drift, have a drink and forget their sorrows. they are doing music, instead of becoming militants and taking to Many people don’t necessarily want to embrace us because we are not the streets like in the Niger Delta. those types of artists. That is not to say our music is not embraced at all. I Music can be a way of expressing think seven years ago, we were more unpopular. These days, I feel that there your frustrations in a positive way. 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 in America or London, though the I have two artists now and I’ve just becoming more politically informed, recordings are done here. However. released my latest album on the label. outspoken and express themselves there are some good studios around freely. This was something we never where I still do things. But when it The Nigerian music industry is the had; we were forced to obey and comes to the business aspect, we need biggest in Africa, but when it comes respect the system in fear. If you spoke proper record companies. We have to the content of the music, I think a then, there were repercussions. I also a lot of piracy going on — that’s the lot still has to be done. Who am I to think the Internet has helped us a lot. major wahala! We don’t have artist judge? But there are kids out there rights; we have to pay to be on the listening and watching; we need to think What is your assessment of the radio. Things are tedious when it comes about that. Nigerian music industry with regards to that. to the quality and production of songs? Everybody kind of sounds the same It’s surprising good these days, I must Another thing is that, everyone thinks these days, using audio tune. Even you say, in the last 3 to 4 years. I’m shocked they can become an artist these days. can sing. I can take you to the studio though I mean the contrary, as I’m Everyone wants to get out of poverty and make you a star. All you need to do more into the underground and see and madness through music. At least, is sing, and I go over your vocals with what’s going on. it’s good they are doing music, instead some device to straighten them out. of becoming militants and taking to Even, the biggest artists use it these Recently, I booked a studio here to the streets like in the Niger Delta. days. It’s crazy! record part of my album. My last Music can be a way of expressing your record before now was also partly frustrations in a positive way. There’re What project are you working on at done here. Obviously, I had to buy also lots of talents out there we need the moment? the equipment and set it up in my to support. Hopefully, we artists can Currently, I’m touring. I’ve just released apartment. So it’s possible to do nurture the industry by providing my lastest record, which is a project. proper production, if you have the proper facilities or institutions (studios) It is called My Fairy Tales with 8 tracks. facilities, knowledge and expertise, and where other upcoming artists can work. Just for this project, it is specific and if there is light (power). On the last decidedly Afro sound. It’s different record for instance, if you strip down What record label are you signed to from what I’ve done before. The next all the music instruments, you’ll hear or have you worked with? project will be different as well. I’ve the sound of the power generator I’ve been signed to Sony Music for just finished a tour of Europe, come underneath the vocals. That also added about 12 years. I have not worked with to Nigeria and performed at the Jazz to the ambience of the music and I just any other record label, even though Hole. I also did the album launch here. had to leave it like that (laughing). I’ve worked with artists from other I’m heading for the United States to do labels. However, I also use my own a month-long tour, and to festivals in MI, Burma Boy and D’Banj for example, record label called Bushqueen Music. It Europe. So literally, I’ll be on the road all do their mixes outside Nigeria; has been in existence for over 4 years. for the next 3 months again. REV it UP ! 06/07 2015 27 INTERVIEWS

REV it UP ! 28 06/07 2015 KEZIAH

JONESOF KING THEBLUFUNK

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 soul- brother 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 23- year 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.

REV it UP ! 06/07 2015 29 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 REV it UP ! 30 06/07 2015 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 REV it UP ! 06/07 2015 31 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. REV it UP ! 32 06/07 2015 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 to question a lot of things like being sent to Europe to study on Port Bella Road, and as a result of several conversations, Economics, Politics and Law. When you’re a teenager, you became my manager. We got the Lenny Kravitz tour, got a start questioning a lot of things. So, Free Your Soul is my deal signed, and my music took off from there. So Picket has declaration of intent. Once I was allowed to go back to been totally central to my musical career. Because he was a Europe to pursue my musical career, I had to be successful songwriter and a musician himself, he helped me understand or end up in a life that I didn’t want to be in. We should all how everything worked – deals, contracts, lawyers, free our souls and be allowed to be what we like. That was performances and presentations. He had learned all these about 20 to 25 years ago. Now the reality is that parents things over the years. In fact, before Culture Club, he had a are pushing their children to music, photography and sports band as well, in the ’60s and ’70s. 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!

REV it UP ! 06/07 2015 33 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.

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 expe- rience here in Nigeria. Music has such massive cross-cultural potency anyway, By Luciano Uzuegbu that I really don’t think it matters where Photos courtesy of Atta ‘Lenell’ Otigba 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. Creativity lurking in musical artists manifests in song writing, singing and instrumen- tation, all of which are harmonized in production, itself, another channel of creative As a music producer, singer and release. While each domain suffices to blow its practitioners to stardom, only a select multi-instrumentalist songwriter, few have demonstrated an enviable mastery of all these spheres. Nigerian-born when and how did your musical career Atta ‘Lennell’ Otigba is a veritable example of such rare excellence, with a mission to begin? transform his generation with his dedicated talent. This interview brings to the fore, his I was 9 when I began piano lessons. By persona, as well as his first-hand assessment of the Nigerian music industry. the time I was 12, I was sold. That’s where my journey began. Everything REV it UP ! 34 06/07 2015 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. 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 al- ways been an active performing musician in one way or another. Perhaps the only than a little guilty of putting my personal important ‘checkpoint’ was the moment projects on the backburner in favour of after graduating with a computer science working with other people. degree, I decided to make producing au- dio the central focus from a professional You started off as a classical pianist, perspective. how did you get into music producing? It was very simple. I had written a song You also compose scores for motion for the guitar and I had this big, dramatic ent practice? pictures and perform live, how are you idea for my performance. However, I Yes, I still play. Playing the piano is just able to manage these? needed a backing track to pull it off one tiny cog in the wheel that is my Perhaps the greatest hazard in this par- while I played the guitar part and sang. musical education. Yes, it influences my ticular line of work is its time consuming So I went online, downloaded some producing and my musical vocabulary nature. Add to that, the fact that quality software and a few tutorials, and made in general, but no more than jazz or hip takes even more time than usual to cre- it for myself. The performance was hop or rock do – they’re all just things I ate, then and you get the picture. None- brilliant; everyone went on about the know. theless, I try to do as much as I can with recording, etcetera. Then I realized I the time that I have. Working on film had all the tools I needed to start the How come you live in Abuja, consider- scores is such a delicate and demanding long journey into audio production and ing the music epicenter is in Lagos? thing, but it’s extremely satisfying in the audio engineering. I went back home, sat We can’t all live at the epicenter can we? end. That satisfaction is probably the down, had an epiphany, and just like that To be fair, I appreciate the legitimacy drug that drives most of us creatives. It’s ‘hey presto!’, a producer was born. of the question, but it’s not a concern also a bit of a challenge juggling other for me. It’s a small price to pay for the people’s music with a desire to make Do you still play the piano and does clarity of thought and creative unobtru- my own. I must confess that I’m more this musical genre influence your pres- siveness the capital affords. A lot of the REV it UP ! 06/07 2015 35 REV it UP ! 36 06/07 2015 INTERVIEWS artists I work with are Lagos-based any- way, 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 work- ing 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 Ni- geria, amidst the euphoria created by hip-hop and other mainstream sound? Nigerian music is on the rise; it’s undeni- able. 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. international exposure, how would power generation over the course of Some audiences are larger than others. you compare producing in Nigeria with an 8-hour session (The odds are not in But for the most part, each audience is Europe and the United States for in- your favour for 8 hours of non-inter- as legitimate as the next and deserves stance, in terms of expertise, logistics ruption). All things considered though, attention. So I’d say the future is good for and costs? the truth is that in 2015, things are very those genres you mentioned. As long as That’s a complex question. Expertise is different from what they were a decade the music scene continues to thrive, there what it is, wherever you are. But some ago. Anyone can make music. You just will be good hip-hop. There will also be things are easier to come by depending need a laptop and an Internet connec- bad hip-hop. There will be good neo-soul. on where you are. For instance, if you tion these days. It’s the same wherever There will also be bad neo-soul. We the live in Nashville, you won’t have a prob- you go; Europe, Asia or America. The industry folk, just need to focus on one lem getting an epic guitarist to play on a real difference is in the experience and thing — making good music. song, though you’ll have to pay him what vision of the mind behind that laptop. As he’s accustomed to. If you live in Nigeria, for the price of that, well… I leave that As a versatile producer with a lot of you’re going to need to think about to you.

REV it UP ! 06/07 2015 37 INTERVIEWS

You work majorly with Nigerian artists matic ways to get them to modify their work their socks off, year in, year out. It’s and a few from the larger African con- workflows to align with my philosophy. a disservice to ourselves and a wasted tinent. Do you also produce for artists Two thirds of this job is about diplomacy opportunity to show the world and each outside Africa? and being a shrink. I guess that’s just the other, just how much talent is hidden in Yes I do. Again, the Internet makes it a way it is. this peopled corner of the world. piece of cake to collaborate on a project over long distances. I’ve worked with What is your assessment of the There is a saying that ‘sex sells’ and one or two artists, as well as a couple Nigerian music industry, in terms of it’s all too easy to see musical videos of short film projects in exactly this the quality of songs composed and laced with brazen, sexual scenes and manner. produced? lyrics. Do you think producers share I think for an industry as young as it is, the larger blame for this because from Which production of yours strikes you it’s doing pretty well for the most part. the beginning, they have the moral as the most challenging in terms of the Granted, there’s a lot of sameness going responsibility towards the public? amount of work put into it? around in certain camps, but that’s the A producer’s job is largely interpretive. That’s another difficult question. Each way it is in any creative industry, any- He is not responsible for an artist’s project presents new challenges. As where in the world. The important thing message. What he does is create the ve- you learn from those, old problems is that there are also many people who hicle that conveys the message. He may become easy and new ones appear to are constantly trying to make better mu- perhaps occasionally modify it to suit the take their place. So it’s a matter of taking sic than the status quo. I think this means vehicle, but whatever sexual innuendos each project as it comes. I honestly can’t the industry is healthy and that we can or blatant sexual suggestion exists in a name any in particular. In general though, only get better, whether they succeed or song, is the artist’s prerogative. So no, I working on film tends to be a little more not. It’s merely a matter of time. There’s don’t blame producers for any of that. time consuming, considering the volume a lot of good music out there. It just If there’s any blame, it belongs to the of work required and the impossible needs to be found. If I have a bone to bearers of the message – the artists. deadlines. pick with anything, it would be with our awards system. I think that an honest, What is your assessment of the You have a tendency for the more nat- functioning, mature awards system that National Broadcasting Commission ural things about music, like letting the truly rewards innovation, is essential to (NBC) regulations with regards to voice and its emotion drive the song, the development of a healthy creative controlling the audio and visual broad- or as with videos, aligning the scenes environment. Imagine there was no cast in Nigeria? uniquely with the essence of the song. Cannes Festival or Academy Awards. I’ve got mixed feelings about that. In the Indeed, no synthetic exaggerations. Hundreds of great films would never main, I think they serve a useful purpose. How has this impacted on your artists? have happened – the only movie anyone My reservations are best captured by a It seeps through into the music. Like would make would be the formulaic, Spielberg quote: “There is a fine line be- attracts like, so the majority of musicians ‘samey’, generic films, guaranteed to tween censorship, good taste and moral that gravitate towards me, tend to have make the most money. You simply responsibility.” All good things have the similar viewpoints in that regard. As for cannot continually reward mediocrity potential to be overdone and regulatory the few that don’t, I tend to find diplo- and turn a blind eye to the folks who bodies are quite capable of over doing

REV it UP ! 38 06/07 2015 it. On the flip side though, the truth is with it? same way CDs have given way to that in all fairness, someone has to draw This is another interesting one. My two streaming sites and mp3s. The big labels the line somewhere. Most of us didn’t cents? Music piracy – specifically the hate it but they can do nothing about it; freely see or hear the sorts of things Internet variety, may that ship has sailed. I think that it’s time 8-year olds today are inundated with. It’s be unfortunate. we accept the nature of the ecosystem a different world, and it’s not fair on Some might around us and figure out new ways to them. So I appreciate the efforts find it more survive and thrive in the world as it is, of the NBC… as long as they do than a little not as we remember it, or would like their utmost not to cross that annoying, it to be. Whatever happens, there will ever so thin line. but it’s a always be people who love and support reality and great material. I honestly think we need What progress have you made it’s not go- to rethink the entire music business with finishing your own EP, given ing to go model then figure out a better way for your preoccupation with pro- away for a the independent (or not quite inde- ducing works of other artists and long time. pendent) music creative to make a ton clients? In other words, when are The of money. The old way simply will not you likely to launch your EP? work anymore. The sooner we accept It’s coming, I promise. that and start building from there, the better. Yes, piracy does hurt us What threat do you creatives, But if you’re think piracy poses honest with yourself, to the Nigerian you’ll know that its music industry is not the reason and how have you haven’t suc- you been ceeded. That’s able to nothing but deal a tired old excuse that needs to be put out to pasture.

REV it UP ! 06/07 2015 39 INTERVIEWS

UP CLOSE WITH LINDSEY

ABUDEIBy 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? compromising their ideals? I was raised in Jos by parents who are avid music lovers.I Yes, I do. literally woke up almost every morning to music playing at home. How challenging has it been,becoming an independent singer as opposed to backing-up Given that you attended the University of Jos, one other artists like you have done in the past? wonders if you studied music there? How did you I don’t think either can be put in comparison to the other.It start your musical career? is all part of honing my art and developing my career. I studied Law. I started my career shortly after I was done with secondary school and had just gained admission into Your performance of a popular song, Palaver, by university. I met Jude Abaga, Jesse Abaga, and Ruby during Nigeria’s Afro-beat exponent, Fela Anikulapo-Kuti that period. We had jam sessions and recordings under the is phenomenal. Could you let us in on your musical Loopy umbrella while we were all in Jos. influences? May I make a correction and say the cover I did was Fela’s As a proponent of neo-soul and alternative music, Trouble Sleep, Yanga Wake Am. you would have realized that the demand for I have a bunch of influences like Stevie Wonder, Roberta mainstream genres including R&B, pop and hip- Flack, Sade, Norah Jones and Lauryn Hill. hop is relatively high. Does this discourage you in any way, and how well is your music received? Regarding your rich, soulful vocals and society- No,it doesn’t. It is not exactly an easy path to follow but conscious lyrics, have you ever been likened to any it has been worth it so far.The reception to my music has notable singer and if yes, who? been pretty warm. It shows that more people are paying Yes. Indie Arie. attention to other genres besides pop that has taken the mainstream. How would you compare the impact of your EP Brown, released in 2013 and your current single, Out Do you think artists like Jessica Bongos -Ikwue, the Magazine? Bemyoda and Nayosoul can flourish without I don’t think impact can be measured in just one fraction of

REV it UP ! 40 06/07 2015 REV it UP ! 06/07 2015 41 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. If there’s a musician or a producer I want to work with,I go to wherever he What is your experience working or she is. If that isn’t possible, we could with the multi-talented producer, work something out virtually. Atta ‘Lenell’ Otigba? He is an amazing musician and What project are you working on producer with whom I have good at the moment? chemistry. That tells it all. I am working on my album at the moment. How important is the Abuja locale to your musical career What is your projection for the with regards to working with Nigerian music industry in the influential people in the industry, next 5 years? who are predominantly based More space for other genres besides in Lagos, and have you had to pop to play in. Better promotion change your location to meet the and support for live music. Better demands of your production? structures for the industry.

REV it UP ! 42 06 2015 INTERVIEWS

REV it UP ! 06 2015 43 OLDIES BUT GOODIES

SADEBy Luciano Uzuegbu ADU

Helen Folasade Adu, better known as Sade is a multi-award-winning British-Ni- gerian singer, songwriter, composer, and record producer, with an enduring Awards won 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-year- old 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 Holland- on-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 6 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 Dia- mond 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 Nominations 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 25 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.

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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 which is your favorite? everyone was your mother and your I have no formal training. I was enrolled mother was everyone’s mother. into a music school at a young age but Discipline, respect, fellowship, love and after the second lesson I was done. friendship were core values we had to The music is a gift to me, the Creator live by. is my teacher. All instruments I play have their place, just as the feet are How did your musical career not more important than the hand. All start? parts make the body. It started as a seed, tiny hints from childhood, nothing clear and elaborate As a jazz player whose about a musical career, but gradually it performances are markedly started to manifest and later on, I heard influenced by folklore, how would the Lord call me to go on this path. you describe your kind of music? It is ‘spirit music’, my spiritual journey As a multi-instrumentalist, are and experience, which transcends any you trained formally on how to form or genre. There is no box to its play musical instruments, and form or kind. The spirit moves in ways we cannot see, so too the music.

How challenging is it to stage late

REV it UP ! 46 06/07 2015 REV it UP ! 06/07 2015 47 series. But one outing of note if you insist, was playing for a group of young children on the streets of Abuja and night concerts? another at a village in Rivers State. The Lord is our strength. It’s sometimes challenging but when you’re Have you also collaborated with focused and on a mission, its hard for other artists? If yes, who, and on even you to stop yourself. what songs? I have not. You are a part of the Art Ensemble of Lagos. What is your Which artist can you easily point group about and how did you to as having influenced you? become a member? A lot of musicians; it is like saying what The Art Ensemble of Lagos is a food have you eaten that has made you connection between the old and the grow. The good, the bad and the ugly new. As a group, it transcends a musical have influenced my music. band. It’s a light for Nigeria, Africa and the world at large, as it seeks to use What project(s) are you working music to heal, guide and champion on at the moment? cultural and spiritual relationships I’m just working on what I have to do amongst people.The Art Ensemble of (laughing). I believe every Lagos was conceived and set up by Tunde Jegede, a master musician and What is your projection for the opportunity great mentor. He basically brought Nigerian music industry in the young musicians with different musical next 5 years? I have had to backgrounds to work together. I’m I am not a member of the industry but blessed to be one of the few who were I think the industry will be what it will share light chosen. be. I only hope that true artists and the called are able to shine their lights and through music Have you had solo performances manifest. outside of your group, and if yes, has been note can you share any notable outing? Yes, I have and still do. I believe every worthy. 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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REV it UP ! 50 06/07 2015 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 wear- ing? 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.

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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 BE it, but also for its hybrid of local and Artist: Diana Bada Western drumbeats. This is just a teaser Label: Boulevard Entertaiment Released:2015 thus far, until you shake the ‘wineskin’ Rating: 4/5 of Diana’s repertoire, where she waxes philosophical on the mind-blowing track, Open Up Your Eyes. In all, Diana’s themes Review By: Luciano Uzuegbu of love, self-consciousness and a resolute approach to life, keeps you absorbed to their virtues while you nod and wind to Photo courtesy of Diana Bada Indeed, the Nigerian music landscape her excitingly melodic rhythms. has its narrow doors open to a few emergent but unique voices like Diana Diana’s face beams with pride when Bada, whose socially-conscious lyrics and she talks about her inspiration while ney. It caught the interest of a Nigerian strong personal sound run against the growing up. She reveals her Russian audience willing to accept the reality of prevalent, popular music laced with sex- mother was a singer who kept a band her revolutionary genre in our music ual undertones that choke our air waves. that included Diana’s maternal grandpar- landscape. It is on the merit of Wardrobe ents. The inspiration for Diana couldn’t Sessions that a follow-up album from her Diana Bada continues on a musical path have been more as her father, till he was widely clamored for. that traces the novelty of neo-soul passed, maintained an impressive music proponents such as Erykah Badu, Lauryn collection. Early enough, she started According to the artist, “My new album Hill, the Floetry duo, and in Nigeria, Asa singing and during her university days as Be is an interpretation of experiences and and Nneka. With her distinctive and a Business Administration student, was challenges, which I have faced through seamless fusion of R&B, pop, hip-hop, already touring Europe on concerts. She my growing from the first album, as well funk and occasional reggae and jazz, she also took music courses in voice training, as in the music industry till now. I was pushes the envelope of neo-soul further while learning how to play instruments particular about my sound and style not than when she first encountered it. like the piano and guitar. On her return being modified to fit the trending music to Nigeria, Diana plunged into full-blown of these times but staying true to its The 12-track album titled Be, the second recordings, and now has two albums to roots. At the same time, I incorporated for the Nigerian-Russian singer, draws its her credit. She attributes this success to my understanding of connecting with strength from hard-to-ignore numbers not only being focused and hardworking, my listeners through creating, and life’s like Pressure Island featuring rap hooks by but also taking good advice from music occurrences… I was particular about my Godwon, Couple Bags, which offers the icons like Tee Mac. recording process and wanted as pure a rhythmical and vocal temperament easily sound in terms of the live music mix and comparable to Lauryn Hills’ and Better, a Diana’s debut album Wardrobe Sessions vocal recording. I was also very excited performance accentuated by its reggae released in 2011, set her off on what has about working with instrumentalists, DJs flavor. There is alsoMoving On, featuring so far been an assuring musical jour- and producers from different parts of REV it UP ! 52 06/07 2015 of Lupe Fiasco’s The Box from his THE RISING OF THE SON debut album Food and Liquor. Another Artist: Patrice infectiously catchy tune. Label: Supow Music Released: 30th August 2013 My second favorite song comes in at Rating: 4/5 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 Review By: William Ifeanyi Moore 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 Only four tracks into Patrice’s Rising of every word. A masterpiece of a song by the Son, and I knew it was going to be any standards. one of those albums I would end up recommending to anyone that would God Bless You at track 6 took me by listen. If you already haven’t heard it, and surprise reminding me of Jake Bugg you are a lover of music, you will not be (older listeners may think of The disappointed. Beatles). While this might not exactly be one of my favorites, the attempt at Opening with a short intro where Patrice diversity is certainly worth a mention. talks over a guitar, the first track Alive And who knows, if you are a fan of the kicks off with what I would best describe aforementioned artists, you might just fall as reggae-rap (not to be mistaken for in love with this number. reggaeton). With a smooth hypnotic flow, he raps “I have risen from the A few tracks pass by where we see dead/how could I ever put a … on my Patrice hone in on his reggae sound head/I’m sorry Mama if I made you sad/ including a track called Lover Man, where Cupid pulled his arrow out/greedily to reggae meets hints of electronic music. death I bled”. Over a reggae beat with Here, the lyrics display Patrice’s skill as a drums reminiscent of Kanye West on writer with ironic juxtapositions at every College Dropout, this song sets the pace corner. This is a song that must be heard for an album rich in style, texture, and to be appreciated. poetic lyricism. My favorite track Venusia, comes in at The second track Cry Cry Cry follows with number 10. If you are a fan of Passenger, a vocal effect that will remind listeners you will love this too. The beat is smooth, of The Killers. This tune is infectiously the delivery sweet, and the lyrics perfect, catchy from both a lyrical and melodic with imagery that will leave you wanting the world.” standpoint. It is one of those songs you more even after the track has expired. A simply can’t get out of your head. must listen. In comparing both albums, Diana ex- Track 4, Boxes touches on the subject plains “The pieces in Wardrobe Sessions With more reggae and ‘jazzy’ songs, matter of how societal structures create the album whines down to a slow and are an introduction to my world of constructs that have us thinking in boxes. relaxing end. If you have not heard of music and Be is a continuation of me The sound has a Bedouin soundclash Patrice before now, please do yourself a showcasing my beliefs, my truth, and my feel to it and the lyrics had me thinking favor and check out this album. 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.”

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. Some- times 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.” REV it UP ! 06/07 2015 53 SOUND CHECK

REV it UP ! 54 06/07 2015 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 higher replay value, but sonically, Pray for You brings more wide range of sound from dance to rap. excitement to my eardrums.

Moving through the album, the second track Babylon is a At nine tracks some may consider Nneka’s latest musical groovy instrumental with an ‘80s retro feel complimented offering not quite the buffet we might have wanted after with bridges relatable with Michael Jackson’s Wanna be two years of silence. To that, I say it is better to keep Startin’ Somethin’. The song scores high as a danceable it trimmed healthy, than fat and fluffy. One too many tune, but still manages to draw attention to the poor socio- times, good albums are ruined with either sonically non- economic conditions in Africa. Easily a standout track. compatible songs or favor-features for promotion. I am quite happy with the length of the album and would only Track 5, Local Champion kicked off with instrumentals that add some skits for a sense of connectivity between songs had me apprehensive, but only about thirty seconds in, that might sometimes seem too distant in concept to give a I was quickly warming up to it. The rough ghetto sound cohesive feel to the entire project. had me thinking of it as an ‘Africanized’ Damian Marley’s Welcome to Jamrock. High marks on my scorecard for this In all, I would define My Fairy Tales as the love child of one too. an alternative Afro-pop, reggae, and jazz threesome. It showcases multiple styles in sweet symphony with The seventh track, Pray for You, my personal favorite on Nneka’s signature pleasantly scratched voice and her usual the album, though a close call with the aforementioned socially conscious message on every track. If you haven’t Local Champion, is a fast paced number with cadences so given this a listen yet, you need to update your music creatively aligned with the beat, it wouldn’t be out of place player. My Fairy Tales in its entirety showcases the fruits of to say Nneka considered her voice an instrument on this a commendable artistic effort from an undeniably talented song. Ironically, I still consider Local Champion to have a musician.

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