The Nation Newspaper

Tag: music

  • Ikeja City Mall to come alive with fashion, music show

    Ikeja City Mall to come alive with fashion, music show

    Come next Friday, August 9, Ikeja City Mall  will come alive with musical performances and electrifying runway exhibitions. It will be the second edition of the malls fashion and music show. The show is an  event with unmatched glitz and glamour, designed to showcase the summer collections of fashion stores in the mall. It will bring together the best of youthful celebrities, models and artistes to entertain guests and shoppers at the mall.

    Tenant Stores, who will be sponsoring the event right inside the mall, are promising to give the best of fashion display, light and music performances from favourite models, music artistes and comedians. The stores are; Foshini, Markham, Mango, Maybrands, Us Polo, Kidz Country,  Wrangler , Jack& Jones, Black Up, Bruno’s Place, Casabella and Daviva.

    Hugely anticipated through the event is customer patronage and delight especially amongst teenagers.

    Activities at the event  will include electrifying catwalk by top models, music performances by top celebrities, comedy, dance, raffle draws, special sales/auctions and celebrity guest appearances. The event will also host internationally renowned models, Ken Okoli (Mr Nigeria 2010), Adedamola Cruz (best model of the world Africa 2011), Victor Kwen, Francis Chinko, Kelvin Godson, Michelle Udoka(Miss Global Nigeria 2013) Micus Pius (Mr Universe Nigeria 2013), to mention a few.

    The show will begin with red carpet at 4pm and it is free for everybody.

     

  • Ibe, Sturridge showcase music side

    Ibe, Sturridge showcase music side

    • Take to rapping 

    Strong indications abound that inform Liverpool young star Jordan Ibe and teammate Daniel Sturridge may in future think of a musical coloboration

    The duo  who are part of the Reds squad on pre-season tour of United States took time out to show team members that aside from the playing on the pitch they also have musical tallents especially in the hip-Hop and rap.

    The two rappers  went head-to-head in an ultimate Hip-Hop Mastermind set up by the club’s website, with a series of questions being direct at them before they both had to do a rap of their own at the end for the bonus points.

    Although Sturridge came through in flying colours on both fronts showing that he has that winning mentality in abundance, Ibe nonetheless proved equally that he is no push over.

    The 18-minute video put on the club’s YouTube sees a humerous exchange between the pair, with Sturridge calling the shots in the two-man rapping  band.

    The video highlighted the banter and spirit Liverpool have at the club, something they’ll need in abundance this season if they are to go one better in the Premier League.

    Ibe who is hoping to be a big hit for the Reds when the new season begins next month has been impressive in the pre-season with teammate

    Kristoffer Peterson particularly thanking him for laying the foundation for him to score an interesting goal in Liverpool’s1-2 loss to  Brondby July 16.

  • I’ll go into music, farming—Eye-D

    I’ll go into music, farming—Eye-D

    COULD you tell us briefly about yourself?

    I am Odugbemi Idowu Sarah, aka EYE-D. I’m the last child of my mother, with three other siblings. I hail from Akaka Remo in Ogun State. I’m a graduate of Agricultural Sciences, with B.Tech in Agronomy. I am currently observing the mandatory National Youth Service Corps. It is my desire to grow into a music heavy weight and become a successful farmer. I love to sing, entertain and make music out of life’s many stories and happenings.

    Why did you choose to contest in Nigerian Idol?

    I was discovered by the Etisalat team at a Karaoke contest and I decided to accept the invitation to the Nigerian Idol, so as to take my music career to the next level. My decision was borne out of the desire to showcase my God-given gift in music. I expect the competition to boost my music career.

    What’s your typical day like?

    My typical day is busy. I am not the excessively fashion-loving type, so I spend less time in front of my mirror. I start my day with my morning devotion and itemize the to-dos for the day. I resume early at the Local Government, where I serve and tend to the business of overseeing the poultry farm managed by the Council. When I am done, I return home to my domestic chores: cooking, washing and the like.I endeavour to leave out time on a daily basis to write at least a new song or improve on an old song.  I see a movie if the day’s itinerary permits.

    What do you do when you are not doing your regular chores?

    When I don’t do what I regularly do, I write or sleep.

    Could you tell us about the best part of your work?

    The best part of my work is that I get to close early.

    After Nigeria Idol, where do you want to see yourself in the next three to five years?

    After this show, I will love to grow into a formidable artiste with many awards to belt and be a successful farmer.

    What do you think of today’s trends in music?

    The Nigerian music industry has come of age. It may suffer a lack of healthy messages, but the trend tends to promote a happy culture, which is a needed distraction from the many issues currently bedeviling the country

    Who is your inspiration or role model?

    My parents inspire me greatly. Musically, I am inspired by Anita Baker, Omawumi, Toni Braxton and Tu face Idibia, among others.

    What is your next project?

    By God’s grace, my next project is to hit the music industry with my single followed closely by an album before the end of the year.

    How do you describe Etisalat’s efforts at empowering Nigerian youths through a talent hunt like this?

    A talent hunt like this one is a good platform for up-and-coming artistes like me to get the needed stepping stones to stardom.

    It empowers the youth to constructively employ their energy in gainful ventures. Etisalat is a great supporter and promoter of youth culture in Nigeria and its contributions have been indelible.

    What would you do with the prize money you get?

    After giving God His statutory portion, I hope to promote my music career and start a small farm with my prize money.

     

    What do you hope people will remember you for when Nigerian Idol season 4 ends?

    I earnestly hope that they remember the great performances that have endeared me to them and the ever smiling EYE-D.

    What do you think will be the key trends in the next five years?

    I expect a more mature industry, which puts message and groove at the heart of what it does. I expect at least a Nigerian artiste to have won a Grammy- that could be me (laugh).

    What’s the most common mistake young artistes make?

    It is desperation, lack of originality, lack of endurance and no focus.

    So, what are the most important qualities an artiste should have, which you have received in the Academy?

    They are humility, self-confidence, creativity, open-mindedness, willingness to learn and a heart that accommodates many corrections. In addition, to be successful, an artiste must put the people at the core of whatever he /she does.

    What’s the most valuable piece of career advice you’ve given yourself?

    It is to be people and message-centric, to be on top of my game at all times and to keep the dream and focus alive at all times.

  • Comedy, theatre, music make up this weekend

    Comedy, theatre, music make up this weekend

    It promises to be a weekend of excitement for entertainment lovers. Ovwe Medeme takes a look at a few of the events that fun seekers and those seeking a good time should go for.

    Band Aid: A dramatic experience with a musical twist

    Starting from Sunday May 4 Band Aid runs at Terra Kulture, Victoria Island, Lagos every Sunday.

    A production of Majmua Theatre, it tells the story of a group of tightly knit band mates who have distinct hidden psychological issues. They all fall in love with the same girl who is also fighting her own demons. To fill the void in her life she takes them up as a project, but what happens when her own demons come crawling out of the closet?

    Written and Directed by Abiodun Kassim, the Play stars Toyin Oshinaike, Patrick Diabuah, Toju Ejoh, Adesua Etomi,Tosin Oluwadare, Demi Olubanwo and Tosin Gregory.

    The play shows twice every Sunday, at 3 and 6 pm

     

    Star Trek goes to Benin

    Fans are in for some major surprises this weekend as music superstars Wizkid, Davido, Olamide, Dr Sid and KCee have been unveiled as the headline artistes who will thrill fans in Benin at Ogbe Stadium, Benin City come May 17 at the ongoing Star Music Trek concert.

    Making its eighth stop in Benin City, Edo State, the concert, according to its organizers, will bring with it all the excitement and fun that has characterized every concert since it flagged of its first stage in Nsukka on March 29.

    Meanwhile, the Star Music Trek gig, which holds before each concert, will be hosted at PlayHouse Bar Today.

     

    The Chronicles of Ushbebe live rocks Lagos

    Come Sunday, May 18, one of Nigeria’s finest actor/comedian, Justice Nuagbe, Aka Ushbebe, will, hold the maiden edition if his standup show titled The Chronicles of Ushbebe. The show, which promises to be an all-round entertainment fair, takes place at MUSON Centre and commences at 2pm.

    The show features comedy, music and a bit of stage drama. Put together by Pride Rock Entertainment, the event will feature a three character presentation titled Official, featuring Ushbebe himself, Godwin, another radio presenter and Laff Up as the cast. Comedians expected to spice up the show include I go Dye, AY, Gordons, Seyilaw, Maleke, Elenu, Princess, Helen Paul, Koffi while the likes of Kcee, Iyanya, Terry G, Sean Tizzle, Harry song, Illbliss, Chidinma, Solidstar, Yemisax, Praiz, Emma Nyra and a host of others will be there to dish out good music.

     

     

  • ‘I can’t work without music’

    ‘I can’t work without music’

    How did your artistic journey begin, who inspired you to become an artist and who were your mentors?

    I specifically remember one occasion when I was very young, when my dad noticed that I was becoming more and more “visually expressive”, literally painting and drawing on the walls! So he sat me down and took a plain sheet of paper and we had our first art lesson. Right in front of me, with just a few strokes, I saw a horse and its rider manifest with pristine accuracy. From that moment on, I saw my dad in a different light and it continues till today. So you can say my Dad was the trigger that started my quest through art.

    With regards mentors, I must say a big thank you to Professor Abayomi Barber, who is one of the best cultivators of talent. His dedication to patience and ensuring students’ mastery of the core skills of art helped me find structure during a very unstable part of my creative journey. Part of what drives me is the power to create new things in a variety of ways.

    Does having a father who was a very successful artist put pressure on you?

    There is always the false expectation that the son of a great artist will be like his father. Unfortunately, yes there is pressure that comes from being compared to him. However, today there are fewer people who know him, much less link us together, until it is referenced either in my work or in a write-up. A very odd form of responsibility has arisen where, I have to also re-educate people about who he was.

    How do you begin your artistic process? How do you prepare for a new piece?

    Ah well! The first thing I usually do when I get that itch is to say a quick prayer and then play music. I cannot work without music: Randy Crawford, Maxwell, Marvin Gaye, Terence Trent D’arby, Jessie Ware, Asa, Ali Farka Toure, Enya are just a few of the people I’d have on my playlist. Then I write about what I want to create or how I feel, this allows me to put a more unbiased context to what I will eventually create. Then I make a small sketch, from then on its mixing colours and prepping surfaces. All this time spent allows me to fine tune my burst of creativity; eventually if I can “tame” it to some extent, then I can control and ultimately hone the energy to suit my vision.

    Was it hard to make the transition from fine art to photography?

    No it was not hard to branch out into photography. My Dad was a “closet” photographer same as my Grandfather. There were photographs taken everyday of almost every aspect of daily life so photography was second nature for every one in the Emokpae household. My sojourn into photography started simply because I needed references for my painting work. Initially I used magazine photos but it affected my work, because most of the models were white — and my paintings looked like black women with Caucasian features. Eventually I started taking photos myself and got hooked, and the rest is history. (PS, whatever pays the bills)

    How do you hope people respond to your work?

    Positively and with proper thought. It is not just about what you see, it is also about what you feel. Too many people do not allow themselves the pleasure of an experience for the sake of the experience and this limits how much we appreciate art. Before you say yes or no to something, THINK.

    How has your work evolved over the years? What prompted these changes?

    Over the years, I have gone from realist to romanticism, to surrealist, to expressionist and still I continue to venture. I cannot say for sure what prompts every one of these changes, however I know that each time I get restless in a medium or style it is driven by the sense that I have told this story before and I don’t need to re tell it, basically “on-to-the-next-one”.

    How could the Nigerian artistic environment be improved?

    We need funding and enlightenment. Funding in the sense that, too many artists are thinking laterally. They create only to survive; this simply means that if they become comfortable, they lose the edge that drove them initially. We need bursaries and grants to foster pure artistic pursuits devoid of the need for profit. Then we will see an age of true genius in the visual arts sector. Now what you see is that a lot of artists get stuck within a well paying rut for too long and they wind up creatively stagnant. The enlightenment comes with less encumbered artistic expression

    What advice do you have for young artists?

    Be patient and think – Why would I buy/approve of/like/enjoy what I’m about to create? How will I be remembered? Beyond these, have fun and don’t just focus on material gain.

  • Women rising in literature, music holds in Lagos

    Fresh women voices in the world of literature and music were celebrated last weekend in Lagos.

    Former Arts Editor of NEXT, Molara Wood, Indigo, was guest at the literary event, tagged: TheLetters and The Lady.

    Excerpts from her debut collection of short stories, Indigo along with a variety of prose, poetry, spoken word and song lyrics penned, inspired by, or written for women were read last Saturday at the Wheatbaker, Ikoyi.

    The 2014 Etisalat Prize for Literature winning and shortlisted books – NoViolet Bulawayo’s We Need New Names and Yewande Omotoso’s Bom Boy were also read and shared.

    In the same vein, fresh women voices in music were also celebrated at an evening of concert last Sunday at the Federal Palace Hotel, Victoria Island. , It featured a host of talented local and international female musicians that included: WAJE, Aramide, Diwari, Fatima, Dupe Kachi, and Lala with Pilani Bubu (South Africa) and Sian Thomas (United Kingdom).

    The performances were flavoured with reading interludes and special guest appearances. Lala Akindoju and Smooth 98.1FM’s Aderonke were the night hostesses.

  • The way music dies (2)

    No apologies, but besides Benson Idonije, Victor Akande, Ayo Animashaun, Damola Awoyokun, Femi Akintunde Johnson (FAJ) and a few good intellects, music journalism suffers a dearth of competent critics, writers and intellectuals. This makes the idea of a progressive, unfettered, cross-fertilization of ideas and opinions manifest like fading vignettes of a utopian wet dream.

    Sadly, the reality of the internet, despite its palpable benefits, presents a malignant tumour of sort to music journalism. No thanks to the social media, we are afflicted with a parade of dimwits impatiently hustling to broadcast their ignorance, bigoted ripostes and uninformed judgment to the pleasure and appreciation of equally dim folk.

    Consequently, local music asphyxiates in the sickly babble of bloggers and self-acclaimed music critics tirelessly propagating their middling and formulaic opinions, riddled with errors and inadequate music knowledge. For a lot of these music bloggers, music didn’t start before Remedies, DBanj, P-Square, Inyanya, America’s Rihanna and Beyonce Knowles. So shallow is the trough from which they cull that their much hyped reviews often resonate like the dying shrill of a vanishing storm.

    No one is born with music history or artistry ingrained in his psyche, but a little research and dedication wouldn’t hurt anyone. The few good artistes we have around are blogged to death and are yet to make a kobo from it. Many music bloggers are too busy chasing adverts and perpetuating music streaming that they no longer encourage their readers to buy albums. Eventually, the artistes are deprived of due income and in this culture of mediocrity and entitlement that the internet fosters, the listener and music enthusiast loses out on quality, a sense of ownership and loyalty to the artiste.

    Music streaming is no doubt a wonderful thing; according to a blogger, it is akin to trying on an outfit before purchase, or dating someone before wedlock, but in their quest to spread music as widely and thinly as possible, music buzz bloggers are actually reducing the depth of people’s love for music.

    An opinion expressed on tweeter possesses less depth, it’s all about pushing sales; but a well written album review or music feature, isn’t just about generating hits, its more about creating that ideal amphitheatre where the impetus of an album chugs away like a locomotive as it constantly gravitates towards a new sound or improve upon a previous one.

    Good old music journalism is all about projecting good music and giving it the care and attention it deserves, while maintaining a spirit of questioning curiosity that constantly explores why a particular album is good, and how artistes can continue to push boundaries. It’s this interchange between artiste, journalist and music lover that gives rise to fertile discourse and creative experimentation, rather than pathetic trend-chasing.

    Taste has become a big issue in contemporary music; talent too. Then there is the most crucial aspect, which is the dearth of tastemakers: that is, competent music journalists cum critics. It is not my intention to incite the politics of delineation between a music journalist and a critic – to function as a music journalist; you need to possess the capacities of a good critic and vice versa.

    Where are the insights that cannot be gleaned from reading a few press releases? Where are the opinions from anyone other than the conceited publicists desperate to shove crass mediocrity and idiocies of artistes they serve down the throat and subconscious of music lovers? Where is the balance in the din of ingratiating endorsements?

    Nigerian music dies because the music journalist forgets how sacred his relationship with his readers should be; he is too star struck and covetous of the success of confused music stars he helps create; he believes that success subsists in crafting captions for pathetic artistes’ drivel and heavily photo-shopped portraits.

    True; hatchet pieces could be fun to write, but you aren’t spending much time with songs and art as you are conjuring stock phrases and currency-activated analogies. The few discerning readers and music enthusiasts that are still around know this; that is why they skim through contemporary music reviews like distressing poetry. They find that more writers are desperately justifying bad music and getting ‘flava’ rather than examine sonic chemistries or the lack thereof.

    Many music writers are casualties of a broken system; pitiful pawns perpetually engaged in disgraceful surrender to the forces that determine the sound of music. They do not put up a good fight anymore thus the lack of discernible Zeitgeist in Nigerian music.

    The internet may have expanded our breadth, but little has guided the Nigerian music journalist to piece it all together or put it into some kind of historical or social perspective other than what he has been paid to publicize and our ears can piece together, regretfully.

    The commitment and depth of the music journalist goes a long way in enriching or diminishing the music; a competent music journalist will be well-versed in the minutiae of his most dreaded sound as the eternal harmonies of his preferred “hit.” There is no greater sin in music journalism than to sound like you have no idea what you are talking about.

    Wrongly appreciated songs, ill-prescribed genres, and cliché evocations are hardly the stock of music journalism as we would love to read it. And is it not thoughtless that those who judge professionally desperately seek not to be judged in kind? The alternative to such naivety is that bland specialty wherein the music journalist remains wedded to a genre, becomes baffled by outside forces reigning in on such genre, or wrongly accuses all other music aficionados of “trespassing.”

    More disturbing, is the premise that an authentic reaction to music shouldn’t involve our minds—only our hearts and groins; that is ridiculous, isn’t it? Forget Beethoven, Johnny Coltrane, Frank Sinatra, Billy Paul, The Manhattans, Tupac Shakur, Marshall Bruce Mathers III (Eminem), the best of our melodies from Highlife to Apala, Juju, Fuji and Afro Hip hop touches us everywhere at once but hardly anyone gets to really feel it today.

    The best music journalism should set the standards for the industry and regulate it. It should be more than an attempt to wrap writers around the fingers of every artiste, record label and corporate sponsor with a “flava” plan. It uses the language of everyday musicality but too much of Nigerian music journalism lacks such passion and artistry.

    That is why we are inundated by crappy music. That is why Nigeria currently fields no artiste worthy of global acclaim save Bukola Elemide (Asa), Tuface Idibia, Irikefe Obareki (Kefee), Babatunde Olusegun (Mode 9), Jude Abaga (M.I) Abolore Akande (9ice) and budding and misguided rap whiz, Olamide, to mention a few.

    Every album contains a bit of truth, true lies or fantasy; it is the job of the music journalist to justify the album’s existence and the need to write about it in the first place. It’s not that I, who write this, succeed in doing a better job but it’s about time we understood that much as we desperately depend on music art, among others, for pleasure, livelihood and escape; we depend on professionals, like the music journalist to guarantee us the transcendence of such pass.

  • ‘I’ ll abandon engineering for music’

    How did you become a music producer?

    It all started when I was in secondary school. I attended the Federal Government College, Ogwulawo in Kogi State. I developed interest in playing piano during church service. I started teaching myself. People who were expert in it also taught me. Later, I moved on to learn how to play guitar and I joined the music class in the school. Our music teacher, who we knew as Mr John, helped to develop my interest in guitar. So when I left secondary school in 2010, I was introduced to a music making software “Fix Studio”. That was how it all began on a large scale. The software allows conversion of music played with keyboard and piano to digital format. I felt I could really do things with the computer, without having to use the piano. So I started using Fix Studio. Then, I opened a studio in my parents’ house. In my second year in university, I bought my own instruments and got a place where I am now.

    How were you able to procure the gadgets?

    It was not easy because then, I had to save my pocket money. Instead of buying new clothes, I would save the money and put on old clothes so that I could buy some of these equipment you see here. Today, I thank God that things have changed.

    Do you sing also?

    Yes, I sing. But I do more of production and sound mixing. I have some tracks but two of them have been released. They are Sweat While and Serenade. Presently, I am working on my digital album to be released before the end of the year.

    Does your being a music producer in any way affect your studies?

    Yes, It does. But not so bad. I know that if I can invest all efforts I am putting into music production into my academic assignment, there would be a big difference. But the fact remains that academic certificate is what I need to acquire but music is what I have interest in. But then, God has been wonderful. My grade point is okay. It is all about time management.

    What are the challenges you face as a music producer?

    My major one is separating music, business and personal life. Progress in music has a lot to do with fame, and fame brings with it a lot of responsibilities. This is where my challenge lies.

    Have you played alongside any popular artiste?

    Not really but I have done a lot of works with upcoming artistes. I have worked with Eclipse, a graduate of UNN, whose record label cherishes my work. We have many songs whose beat I mixed. They are yet to be released. But one of the songs titled Holy Water has been released. I have other artistes I am working with.

    What would you like to change in the Nigerian music industry?

    I want to bring in dynamism to expand the industry. One problem Nigerians have is that, once an artiste releases a song and it becomes popular, everybody will begin to make the same kind of song, same pattern, the same flow and same lyrics. But I want to bring in something different from this; I want to make Nigerians understand that innovation is the key.

  • I was tempted to abandon school for music – Slim T

    I was tempted to abandon school for music – Slim T

    Nigerian fast rising Afro Hip-Hop rapper, Adetayo Temilade Okeowo popularly known as Slim T in this interview with Fakoyejo Olalekan, spoke on his life, music, his latest single and how he almost abandoned his university education for music.

    When did you begin your music career?

    I started doing music at the age of 14 and haven’t stopped since then. I would get tapes and dub rap music from radio stations, recite them, rewrite them in my own way, till I became confident enough to rap in front of a large crowd. Professionally I went into music in 2007.

    Who are those that inspired you?

    My genre of music is called Afro Hip-Hop which is a fusion of afro beat and hip-hop, so my major influences come from Trybesmen, M.I, Lupe fiasco and lately J. Cole.

    How did you get your stage name Slim T?

    It was a nickname people gave to me because I was really skinny, it just sort of stuck.

    Who was Slim T before music?

    Slim T was a very quiet individual before entering into music and I am still very reserved.

    What was your parents’ reaction when you started music?

    They have been very supportive of my music only on the condition that I get a proper education, which I am grateful to them for. They are awesome.

    What’s your educational background like?

    I went to King’s College Lagos and got my university education from Babcock University with a B.Sc in Computer Information Systems.

    Were you at any point tempted to leave school for music?

    Yes! So many times, because it was very stressful juggling my university education and coming to Lagos almost every weekend to record but I come from a family that values education so out of respect, I made sure I made my education my number one priority. I came out with a very good grade.

    What inspired your singles, die representing and Lagosians?

     Die Representing was a song I wrote for my university hostels which was turned down from performing. So I changed the hostel names to names of states in Nigeria, the song was produced by Ex-O of Cash in Entertainment and was co written with my good friend Delali. In fact, I wrote the 1st verse of Die Representing in 10minutes before my 7am accounting class. I always wanted to do a remix with M.I but the Remix was also epic. I featured Eva, Brymo, Pope tha Hitman, Skales, Justin Mawuli (from Ghana) and 5mics. The song was produced by HakymTheDream (LambaKing).

    The energy that day was crazy; everybody I featured was hungry to make the best hiphop remix with me. Die Representing remix remains and I Quote “The hardest Hiphop Remix in Nigeria” as far as I am concerned.

    As for Lagosians, I decided to make a song that focused solely on the city of Lagos. I worked with TinTin to produce the song; it was at this point I decided to add my afrobeat signature to my songs. When we finally decided to release the song Lagosians, It went viral, it was practically everywhere. So we followed up with the Video which was shot and directed by Unlimited LA. It propelled me to stamp my footprint in the Nigeria music industry.

    Your recent song o bad gan has been receiving good reviews, what inspired the song and who produced it?

    The video seems to be everywhere and climbing up in views. As you all know O bad gan is a party song. I realized I hadn’t done one before but I wanted to make it different from the regular cliché party songs you hear every day. I wanted a song with a lot of energy. It was produced by Mobaz and features Dammy Krane of Hypertek. The video was shot by Unlimited LA who also shot the video for Lagosians. We took it to the next level with this video.

    When will your next album be released?

    Hopefully 2014 and it will feature unique artistes that match the accurate representation of what a good song to be, with the right feature, to sound like. I’m very picky; I don’t just feature anyone unless it’s absolutely necessary that I should. It won’t be an album full of party songs. I am all about songs with a message. That’s what I stand for.

    Ever had a bad performance on stage?

    Practically all my performances have been great but it is up to the listeners to have a great time.

    Do you still see yourself as an upcoming artist?

    No I am not an Upcoming artiste. Life is in stages that stage for me has passed. People need to get that clear.

    Do you see Trip City Entertainment making your dreams reality?

    Yes I do. I know this because I run my record label with my partners. One of the dreams we wanted to realize at Trip City Entertainment was to be hip, young, colorful and think youth. So far I have dropped 3 videos, Lagosians, Ojo and O bad gan respectively. One of my dreams was to get my hands into photography, so we created Trip City Visuals which offers Fashion and Portrait photography services. I love to dream big because I know I can achieve these dreams. Trip City’s always in the building, we taking over.

    What’s your opinion on Nigerian hip-hop scene, compared to South Africa?

    Too many rappers not enough poets, too many rappers spitting only metaphors, no storytellers; we need to define what we do. We need to create an avenue for rappers to perform in. e.g. Hip-hop gigs, mic sessions, rap competitions etc. It can only get better when we decide to make it get better. I believe we have better rappers in Nigeria but lack the required system to sustain hip-hop in Nigeria compared to South Africa. At the end of the day we are all one.

    How will you rate Nigeria music in terms of content?

    Music is the soundtrack to life. The music of today in Nigeria almost has no message just hard beats. If we continue this way, people will not be able to get informed through music. Music will lose its value. ‘Music with a message’ this is the change I am working with. Always have a message in all your songs. Nigerians are not dullards, if the music is good and it has a message people will listen to it. A song is as good as how well you promote it. We can do better, we will do better.

     List five things most people don’t know about you?

    I play a lot of Video games, I watch a lot of animated cartoons, I love food, I study/research a lot and I am not a fan of clubbing.

     What’s your message to your fans?

    Support good music, tweet about it, talk about it, when we go wrong, correct us. We are all work in progress.

  • My wife’s death forced me back into music, says C strokes

    My wife’s death forced me back into music, says C strokes

    What was your motivation to go into music?

    Music is an inborn thing for me. It started when I was young. In those days, if you dare tell your parents that you want to go into music, you should be ready for strokes of the cane. It is the same thing with football; if they see you playing football, you are in trouble. But now, parents encourage their children, they even buy seven balls for them – one for each day so that they want them to be the Kanu Nwankwos of tomorrow.

    Music is a talent in me and I think I still have something to offer to the Nigerian music industry. That is why I am into music. I started playing the keyboard at the age of eight and nobody taught me. My father came back from one of these Asian countries in the 70s with a keyboard. When I saw it, I sat on it and started playing. People don’t believe in reincarnation but I think that was something from my past life. I hadn’t seen a keyboard before but I played it. When my father came in he was surprised. As soon as I saw him I was afraid and I stopped playing. And he said, ‘you were playing a song, go ahead’. I didn’t know I was even playing.

    That was how it started. I played in churches; I got to assistant choirmaster. I played in the secondary school, I was chapel prefect. I played in some bands with the producers of those days. As a student in the University of Calabar, I was also performing. I got income from it back then and it helped. I played in shows and was able to cater for some needs. I could live like a big boy and went as far as to Awka to play for Rogers All Stars studios. I even played a show in Iganmu (National Arts Theatre).

    But after I graduated it all ceased because I knew I had to get food on the table and in Nigeria you must work hard.

    Tell us about your stage name C strokes, why is it so unique?

    The C is for my initial, my name (Chimbiko); the strokes, it is actually reggae, but we are coming from way back and putting what reggae is in the present and it is a stroke different from whatever kind of stroke you ever had. It is with a touch of class, it is classical. You have the R n B, Lovers Rock, conscious part of it. The C strokes you in all these ramifications.

    Why did you wait this long to take this path?

    I lost my wife two years ago (2011) and her death devastated me so much. Music, being my second love, provided an escape from the pains I feel. I had to fall back to what I loved most. My wife was a very important part of me and when she left I had to fill that void. Music became the filler.

    I missed my wife so much. I wrote a song about her, my heartache and feeling. I went back to a man I had know over the years (producers, Sinclari (Seenclear) Konboye), who knows that I had the talent. He had always insisted that I had the talent and I should contribute. I was so busy. But trying to fill that void, the only way I could express myself was to go back into music and it is my love now.

    I released my first single in August 2012. It was produced by Sinclair, a fantastic producer and a friend of many years. After that single dedicated to my wife, he said, ‘men I don’t want you to stop here; if nothing more, sing for your children, tell them you have the talent and show them what you have.’ That is why I am in today. For my first single, the reception was wonderful in Port Harcourt. People like it and enjoyed it. It was dedicated to my late wife and it made people realise that I could sing.

    You played a couple of your songs now, and I realise that they are purely reggae…

    Reggae is the only brand of music that gives you the message. All the departments of reggae afford you the opportunity to express yourself – if it is lovers rock, you are talking about love. If you don’t have the depth in lyrics, you are not grounded, you cannot write reggae lyrics. And it is a conscious music and not just for those who want to play with rhythm or drums and all that. You must be rooted and I think reggae gives me the platform to express my inner arts.

    Yes. But beyond expressing ‘inner art’ your songs also sound political, talking about the oppressor…?

    I grew up in a middleclass family. In those days, it was easy because Nigeria had the rich, the middle class and the poor and everything transcended like that; so, nobody felt the gap. The poor were even comfortable because if they cannot reach the rich, the middleclass was there to assist them. But, today that difference is there and everybody can see it. We have eliminated the middleclass.

    As a young boy, my parents were civil servants and I could reach out to any of the classes. I could walk up with the rich and I could spend time with the poor. With the elimination of the middleclass today, there is no hope for the poor. The middleclass was the bridge in those days. I think the rich are getting too rich now to remember the poor and we must bridge the gap. The society is not fair to the poor and we don’t listen to their cries.

    I have a song called ‘Hungry Faces’. I feel for the poor because I have been around them. I am a pure Port Harcourt boy – I won’t say I have felt poverty, but I have seen it and I know how the poor feel. I feel bad and I feel threatened that one day while sleeping, something could happen to me. I feel we should still reach out and tell the rich ‘stop getting too rich without considering these people’. That is why I say ‘leaders of the world, please we have to get it right’.

    I learnt you have a foundation, what does it do? How does it relate to your music and message?

    The foundation also came up because of my wife’s death. I realised that there are lots of people like me out there who go through pain. If you are poor and lose your loved ones or wife through childbirth, I know what it feels like. With my solid foundation, I was able to cater for some needs and those of my children. What about those who are not so fortunate and are not working? I saw one report in The Nation of a young man asking for help to cater for his triplet after the death of his wife. The foundation was created to help mother and child care. Last year (after my first album), we donated. This new album, will be launched tomorrow, is dedicated to similar cause. A large portion of whatever is generated from the sale of the album is donated to motherless babies home.

    We want to buy an ambulance to help save lives. It is not just about the ambulance, not just for emergencies but to help convey patients from private clinics to specialist hospitals. Most times, we lose lives because of simple avoidable causes. The pain I went through after my wife’s death has taught me a lot. So, my friends and I decided that we should have a foundation. So, whatever I get from these songs goes into the foundation to assist the less privilege.

    What is the influence of your late wife on you and your music?

    She had enormous influence on me and my music. Before she died, one day she came to me and said ‘you stopped playing the keyboard. When I met you, you were marvellous on the keyboard and you used to sing for me. The children don’t even know you play music. Why don’t you get a keyboard and teach them?’

    After that, I met my producer who also told me people don’t know my talent because I just kept it to yourself. I said I was too busy. But as soon as she transited, I got the message and when my producer came in, it was like my wife was talking through my producer. So, I decided to use my music for charity.

    What is your assessment of the Nigerian music industry?

    I am not happy because people don’t play instruments any more. The computer age is affecting instrumentalists and it is not good for our music. Those who play the instruments arrange music better than those who don’t. Nigeria is carving a niche for itself in the industry and it is helping a lot of people who have no job. What we have in the music industry today are entertainers. The musicians are Fela, Lagbaja etc. These other ones are entertainers because the men who bring the money (executive producers) tell you what they want you to do. They are the ones killing the industry; they kill creativity because they are only interested in the trash that will sell. To a large extent, the kind of music we hear today is a reflection of the larger society.

    But as a musician, you keep going whether the money is there or not; if the album flops or not, you keep doing what you want to do because there is a small crowd that likes you music and that gives you satisfaction.

    Today, highlife is going, nobody sings highlife again; yet, it is something that was associated with Nigeria. When you listen to artistes like Flavour, you hear something of it but the typical aspect is not there and we should ensure we retain our rhythm. If I play highlife, it will be pure highlife. I don’t play to please the marketers. I went back to reggae to play it as it should be because if you go back to the 90s, those who made Nigeria proud were reggae musicians – Majek, Kimono, Blackie, Oritz Wilikie, Alex Zito and Evi Edna Ogholi. Those were reggae musicians and they stood there. Reggae is for those who like to contemplate and meditate.

    Today people sing about sex, Hennessey and all that. We have good young musicians out there, but if you check those who write that kind of songs, whether in mid-tempo, people don’t appreciate them because we don’t listen (to lyrics). People are so fast; so the rhythms are fast like ‘oya make we go Limpopo’ – to do what? But the rhythm is wonderful; as soon as it starts, you want to dance. But what message does it have? None. So, if you want to dance, play Nigerian music but if you want to listen, play reggae.

    What is the message in your latest work?

    The album title is ‘Reality’ and it has conscious music, lovers’ rock. Reggae is a wonderful channel to reach people, express yourself as an artiste and let people know that there are good reggae artistes out there willing to contribute to the industry. If you listen to my songs, you will hear clearly; I wasn’t aided by the system. My music is evergreen and it is going to last. If a song has message, you can play it over and over again. I am not thinking about immediate reward for my music.

    Do you see any of your children following in your footstep?

    My third son sings all my songs. He sits on the piano vamping. I know that one will come. I am going to guide him so he doesn’t end up singing the kinds of songs we hear today. But because my children listen to my music, I think it will have a great influence on them.

    Who is your role model?

    I have listened to reggae musicians over time and one man whose lyrics have a great impact on me is Bob Marley. His lyrics haunt me. But there are others like Dennis Brown, John Holt, Freddie Mcgregor and much recently, the Morgan Heritage Family. They have added value to music. They have messages in all their songs. They talk about the society, homes, love etc.