Nigeria Content Online

Juju music icons,
Ebenezer Obey and King Sunny Ade (KSA), have disclosed that they are
game for the forthcoming ‘One Nite Stand’ featuring them with the same
band on a stage for the first time ever. The show, scheduled for the
New Eko Expo Hall, Eko Hotels, Victoria Island, Lagos from 4pm on
Sunday, November 7 is being packaged by GrandFaaji Concepts Limited.

Obey and Sunny
spoke about the concert at a press conference held at Airport Hotel,
Ikeja, on Tuesday, October 19. Welcoming reporters to the event, chief
executive of GrandFaaji Concepts Limited, Azuka Jebose Molokwu, said
the Juju legends were there “to imprint on our minds the essence of
this concert.”

The show, he
added, “is unlike any other in the history of Nigerian music. Many may
have thought that the so-called rivalry that existed between the two
musicians would never have made this possible. But, as it is evident
here: these are two brothers and friends. And, they are gearing up to
show what two will do, when they are agreed.” The former entertainment
journalist now based in the US noted that “It is also going to be an
evening of soul-gratifying melodies.”

President,
Performing Musicians Association of Nigeria (PMAN), Dele Abiodun,
thanked organisers of the concert for coming up with the idea. Abiodun,
who recalled the duo’s efforts to popularise Juju music, reiterated
that nobody would have believed the two role models would ever perform
together. “Thank you sirs, we are very proud of you and will continue
to be proud of you,” he ended.

We are brothers

Obey expressed
happiness at the opportunity to talk about the show. Baba Commander, as
some of his fans call him, said Abiodun and others saw him and KSA as
role models because God made it so. “What happened is not coincidental;
God brought us together to come into the music scene. We both prayed to
be successful musicians and God answered,” Obey said of their musical
beginnings. The duo, he added, have their strengths but “God brought us
to release messages to the world, to calm people. Both of us were there
and became a source of encouragement to each other.” Continuing on
their early years, Obey said it was a rarity in the history of Nigerian
music for two icons to reign together but that they did until he became
a minister of God nearly 20 years ago.

But he almost
backed out of the show. Though he had agreed with the organisers and
even concurred on KSA’s behalf, elders of his church saw the concert in
a different light. They thought people would perceive it as rekindling
the perceived rivalry between them. Obey said Molokwu explained the
whole concept again but he wasn’t ready to go against the wishes of the
elders. Molokwu eventually contacted Obey’s son, Folarin, who persuaded
the elders.

Obey said the
concert which is keyed into the 50th Independence anniversary, couldn’t
have come at a better time because God has helped them to contribute
their quota to the nation. Though he confessed he wouldn’t have ever
imagined the two of them on the stage, he noted that “With God all
things are possible. We are not enemies as people are thinking. We are
brothers.”

Who is fooling who?

Also dispelling
notions of a rivalry, KSA said even at the height of the so-called
enmity, he used to visit Obey in his house for discussions. “We have
cause to thank God because we are blessed. I am lucky to have him as a
brother who understood, understands and continues to understand,” KSA
said before narrating an incident involving the late celebrity
journalist, Olabisi Ajala.

He disclosed that
Ajala happened on him and Obey in his house and demanded that they open
the door. They had agreed to do so when Ajala’s next comment stopped
them. Ajala said, “You guys are sitting together and we are fighting
for you. You better open the door now or you will find your story in
the Evening Times today.” The journalist was true to his word as he
wrote a story titled ‘Who is fooling who?’ that same evening. Ajala, he
disclosed, always knew whenever Obey came to his house and was always
lying in wait for them.

KSA reiterated
that there was never any rivalry between them even when people assumed
so. He recalled why they had to change the day of their gigs when they
both had their joints on Olonade Street, Yaba, Lagos. KSA said there
was no problem when they started playing on Wednesdays until they
started having crowd trouble at their respective joints. He disclosed
that they amicably resolved the problem by tossing a coin with Obey
settling for Thursdays, even though his fans didn’t like it. That was
not the only measure they devised to manage their feuding fans; KSA
said they both agreed and instructed their managers not to book them
for the same event.

“Both of us are
working together to make this project what you think it will be.
Nigeria is 50 and this is the first time ever that the two of us are
meeting on the stage. We intentionally agreed not to meet together on
the stage but I want to assure you, we are going to have a good show, a
remarkable show. It will be even difficult for you to allow anybody
stand in front of you while you are watching the stage,” KSA promised.

Rare privilege

Veteran producer,
Laolu Akins, who is also involved the show, highlighted its uniqueness.
He said though it has never been attempted before, the organisers will
do “everything possible to ensure people have a wonderful time.” Apart
from Akins, the renowned Eddie Lawani is involved as the stage manager
while US-based broadcaster, Olusesan Ekisola, will anchor the show. All
female singing group, Nefeetiti and singer, Stella Monye, will also
perform as part of the bill. “It is a rare privilege to be playing with
these two giants. The opportunity just fell on my laps and I will be
the help to these two giants,” Monye said at the briefing.

Commenting on the
show, photographer and NEXT columnist, Tam Fiofori described Obey and
KSA as role models and trail blazers. He disclosed that Obey bought
beetle cars for all his band members and succeeded in raising their
social status at a time musicians were disparaged, while KSA was
equally benevolent and innovative.

Tickets for the
show which comes at N10, 000, N25, 000 and N100, 000 are already on
sale at various points across Lagos, emcee, Taiwo Obe, informed the
gathering.

Responding to
whether they will produce an album together after the show, KSA said it
is under consideration but that they will discuss further with the
organisers in that regard.

Asked to disclose the strengths of each other, Obey described KSA as
a master guitarist and excellent showman; KSA said it is Obey’s
melodious voice and perseverance on stage. The duo gave an insight to
what to expect at the concert when they sang ‘Ara mi e se pelepele’ by
Obey and KSA’s ‘Aimasiko’. “E fi yen le (leave that), e don dey sweet
una. Wait for the concert,” KSA said as photographers jostled to
capture the scene and reporters sang along.

South Africa is a
country of songs, and those who can belt out great tunes are adored by
millions. We saw a demonstration of this during the Divas Concert at
the Performing Arts Centre for the Free State (PACOFS) in Bloemfontein,
South Africa, on October 8.

PACOFS is a massive, luxuriously fitted and
well maintained art infrastructure that sparked off debate among
Nigerian journalists present about the dearth of similar venues in our
country. Within the complex, the Sand du Plessis Theatre was packed the
people of all ages, a large percentage of whom were in their 20s, the
kind of demographic that would only turn up for a gig in Nigeria if the
programme is chock-full of hip-hop acts. Yet, here were young people
going wild for real musicians, and singing along at the top of their
voices to old favourites like ‘Paradise Road’, ‘Leave Me Alone’ and
‘Too Late For Mama’. The privileging of songs was hardly surprising,
perhaps, for the nation that gave us Miriam Makeba, Yvonne Chaka Chaka
and Brenda Fassie.

A rising stars of
South African music, is the Afro-Soul singer, Lira. A headliner for the
Divas Concert, she also featured in the Main Jazz programme of the
annual Mangaung African Cultural Festival (MACUFE), held on October 9
inthe Loch Logan Rose Garden. Making our way to the open-air jazz
festival, the size and beauty of the venue, incorporating a scenic
lake, told their own story of the sheer scale of the musical jamboree.
A thick, queue of people waiting to get in, seemed never ending, and
recalled scenes of great British summer festivals like Glastonbury.
Concert-goers had brought their own coolers of food and drinks; many
also brought their own deck chairs to sit in the crowd space that
stretched on and on in from the stage. At Mr Price, a popular store
chain in South Africa, the fastest selling items are these chairs, as
they are in constant demand for the Braais that bring people in
Madiba’s country together over roasted meat and drinks. The chairs also
come in handy for festivals like MACUFE; and the coolers, we would
later discover, doubled as seats too.

Again, one
wondered: can a mammoth crowd of this size come out in Nigeria for
anything other than a Gospel concert? A stadium-sized audience was
already enjoying the performances as we looked around. There are a
number of hospitality packages that bring people across South Africa to
Bloemfontein for MACUFE. We had come on the Premier Classe train from
Johannesburg to Bloemfontein, which entitled us to VIP tickets to the
Main Jazz Festival. A short walk across a bridge over the lake, led
from the main festival grounds to the VIP Village, where, in the large,
air-conditioned Premier Classe tent, we could watch the performances on
a large screen. Over a continuous flow of food and drinks, we watched
Lira on the screen; and considered whether the lilac-toned separates
she wore were too casual for this high profile gig.

Jonathan Butler

MACUFE is a truly
international festival, and of particular interest this year was the
scheduled appearance of ‘Africa’s Golden Voice’, the great Malian
singer, Salif Keita. This edition also promised the return home of
South Africa’s son for whom America has been home for many decades,
Jonathan Butler. The beginning of his set got several of us to venture
out of the Village for the immediate festival experience side-stage,
alongside the crowds. Playing in the same set was American Jazz
saxophonist, Gerald Albright. Introducing one track, Albright said, “I
borrowed it from a friend who’s no longer with us but left a great
legacy of music. He travelled the world by one name, and it’s Luther.”
The crowd roared and many rose for ‘So Amazing’ – and sang Luther
Vandross’ lyrics to Albright’s instrumental rendition. Things got
better with the next track, ‘My My My’, originally sung by Johnny Gill.
“You know the words to it, let me hear you sing it” – encouraged the
jazzman, and the crowd obliged.

With a fine head of
short, grey hair, Jonathan Butler is a far cry from the youthful singer
with the flat-topped haircut who scored an international hit with
‘Lies’ over two decades ago. The guitar remains a constant feature, and
the gospel-infused soulfulness of his voice has lost none of its power.
“It’s good to be back home. So many memories here, this town,” he told
the audience. The following day, October 10, was Butler’s 49th
birthday, so he sang them a medley including ‘Take Good Care of Me’,
because – by his explanation – he wanted them to remember what old age
may cause him to forget. The singer-songwriter’s backing vocalist was
his daughter, Jody, who partnered him on a duet onstage, ‘Be Here With
You’.

“Jody Butler’s not
bad, wha’you think?” he asked the audience. The emotional high of the
concert thus far, came when Jody asked the MACUFE thousands to help
sing ‘Happy Birthday’ to her dad.

Tsepo Tshola

Expectations were
high for Salif Keita’s appearance, but there were memorable
performances meanwhile, including one by Ringo Madlingozi. After
another short dash for refreshments and discussions in the Village, and
we were back side-stage for a rousing performance by the much loved
Tsepo Tshola, a kind of ‘musical father of the nation’. A great moment
it was on ‘Ho Lokile’, when it seemed the whole country was singing in
unison with Tshola.

As an ecstatic
dancer nearby explained, the song’s title means ‘We Are Fine’. She also
gave some insight into the appeal of the man responsible for many
“beautiful, traditional” songs: “He is like the father of Soul in South
Africa. Every single South African knows who Tsepo Tshola is.” It is
also a public image shaped by suffering and human fallibility. “He used
to be a drug addict. While he was singing all these beautiful,
traditional songs, he was hooked on cocaine. Then he came out and said,
‘I’m hooked on cocaine. I’m going into rehab.” The admission further
endeared Tshola to South Africans, especially as it was seen as a show
of solidarity with Hugh Masekela and the late Brenda Fassie, who had
fought public battles with addiction.

Salif Keita

We relaxed in the
Village during other performances, while we awaited Salif Keita. When
as if by magic he appeared on the screens close to midnight, a whole
band of us headed across the bridge to be closer to the famed ‘soaring
voice’. But it was not to be. Crowd concerns had led security men to
shut the gates between the VIP Village and the concert. We could not
get through. On many screens around the Loch Logan Rose Garden, Salif
Keita played on. Like Moses and the promised land; so near and yet so
far. Downtrodden, we headed back to the Village, where in what seemed
like the town square, scores of fans gathered to watch the performance
on a giant screen. Keita wore a slim-fitting white shirt and trousers
with matching cap. His two backing vocalists, complete with elegant
headscarves, were the best presented back-up singers all day. The beat
over which Keita’s voice rang out, was a mellifluous blend in which
traditional Malian instruments, chief among them the Kora, stood out.

Many were soon
getting jiggy with it as the magic of Keita’s sound spread through the
gathering. How must it have been in the concert across the lake? One
could only wonder. It was poignant that, among a group of trendy young
women who danced energetically to Keita music nearby, was an albino,
like the musician himself. Keita’s latest album, ‘La Difference’ calls
for compassion on the plight of albinos, who are killed in many parts
of Africa for ritual purposes.

When the irresistible, ‘Africa’ from Keita’s 1995 album, ‘Folon’
came on, there were jubilatory scenes in the MACUFE village, as most
danced with abandon, singing to Africa. Not just concert attendees or
VIPs but waitresses and bouncers, danced and sang along. The track
ended, only for Salif Keita and band to strike it up again, perhaps at
the behest of the crowd across the lake. Cue even more joyous dancing.

The musician’s 45-minute set came to an end and he exited the stage
with his band. But they must have been calling for more and Keita,
astonishingly, came back out and sang ‘Africa’ for a third and last
time. The disappointment of earlier was nearly forgotten as we left the
venue. We could not see Salif Keita up close as we had wished, but a
memorable experience was had all the same.

The inaugural Lagos
Jazz Series, an extravaganza created to bolster the prospects of the
music genre in the city, kicks off next month. Organisers say the event
is an opportunity for jazz connoisseurs and buffs alike to enjoy first
rate concerts by international performers without having to leave
Nigeria. It is billed as the ultimate lifestyle event right in the
heart of Lagos, where previously Jazz enthusiasts had to travel to New
York, Paris, London and Cape Town to see live performances.

Events in the
series will be held at choice Lagos locations. “Jazz enthusiasts will
have the opportunity of listening to the best of Jazz music in the
garden, on the creek and on the waterfront,” says a press release by
the organisers. LJS begins in the Japanese Garden of the Sofitel
Morehouse Hotel, Ikoyi, on November 5. Other venues are The Federal
Palace Hotel waterfront and the Muri Okunola Park, which is fast
becoming an open-air arts venue in Lagos.

Major Jazz artists
from Europe, America and the African continent will take centre stage
during the first LJS. Among these are: Randy Weston, Karen Petterson,
Simone (daughter of Nina Simone); Nneka, Morrie Lode, Mike Aremu, Bez,
Aiyetoro and Femi Kuti. More performers are expected to be added to the
playbill.

The event’s
founder, Oti Bazunu, said, “The Lagos Jazz series is a singular
experience. We’re inviting some of our favourite Jazz musicians from
all over the world to come and play for us, in intimate and exciting
venues. Since they’re coming, we might as well put on a bit of a show
and invite all our favourite people to attend… The show is coming
together and it’s going to be wonderful.”

Bazunu acknowledged the support of the Lagos State government (which
sanctioned the use of Muri Okunola Park), Lufthansa Airlines, Sofitel
Morehouse and other groups in ensuring the success of the events.

After a packed week
of events including debates, lectures, book readings and gigs featuring
a wide range of musicians who identify with the Fela Anikulapo-Kuti
legacy, this year’s Felabration came to a close with a bang at the New
Afrika Shrine in Ikeja, Lagos, on Sunday, October 17.

There were
unbelievable scenes outside the New Afrika Shrine on the night, with
hundreds of people milling about on the street, hoping to get in or
just soaking up the atmosphere. And what an atmosphere it was. It was
night time, yet a bustling ‘market’ was in place, with rows of traders
selling liquor in small bottles and sachets. Food and stick-meat were
also on sale. Hardly surprising, for the grand finale of the
celebration of a man known for his use of marijuana, it was an
igbo-drenched night, as music boomed out from the Shrine.

Cars had to
negotiate a tight passage through the largely male crowd and the
‘market’ that had claimed most of the road. Those seeking to enter, had
formed a long queue. Security was tight, and crowd control measures and
stoppers that allow entrance only one-at-a-time, prevented any kind of
stampede. “From one chicken point to another,” remarked one punter, as
we waited to clear the final hurdle into the inner compound that
surrounds the concert ‘main bowl’ that is the Shrine.

The last tribute

Inside, the venue
was an impressive, well fitted one, and it seemed a shame that more
concerts do not currently hold there. At the height of the Felabration
finale, the Shrine’s ‘The Last Tribute’, commemorative images streamed
on large screens above the stage on both sides, paid homage to Fela,
showing photographs from his life, including shots of his mother,
Funmilayo Ransome-Kuti. Alternating with Fela were images of Dagrin,
whose untimely death from a motor accident earlier this year served to
take his fame through the stratosphere. Like Fela, Dagrin is bigger in
death. The tribute was also a well judged emotive factor with many in
the crowd, the generation that adores Dagrin.

Comedian Omobaba
pepped up the audience with jokes while introducing new acts onto the
stage. The batik-clad Gangbe Brass Band came on with an array of
instruments, including a stand-out tuba, borne by its player. “My
English is not so good,” said the jovial bandleader, who nonetheless
found another common ground with many in the audience, greeting them in
Yoruba, which is also spoken in Benin. The group played several numbers
in Yoruba and French, before bringing out a real crowd-pleaser, Fela’s
son, Femi Kuti. He had been on the bill, but no one expected him to
take the stage so early in the programme. Clad in a Fela T-shirt under
unbuttoned orange batik shirt and matching trousers, Femi launched into
a blistering performance on his saxophone, bringing the audience to its
feet. He wore neon-yellow plastic ‘clown’ glass-less eye-wear,
underscoring the ‘fun’ factor of Felabration (his sister, Yeni, would
later be seen in the crowd with similar ‘glasses’ in orange).

Femi carried on
blaring the sax for several minutes and the crowd whooped in
excitement. Stage smoke billowed onto the stage and photographers
crouched to the left and right of Femi to catch the best shots, adding
to the spectacle. That Femi came on so early, confirmed the agreement
of all that the headliner of the night was a man that would not make an
appearance for a while: D’Banj.

After Femi and the
Gangbe Brass Band came a succession of multi-genre acts. Mallam Spicy,
his stage show accompanied by two female dancers who jiggled
frenetically to the Dancehall star’s ‘Free Cure’. Solid Star, sporting
a Mohawk, followed close behind. Then came Tunde and Wunmi Obe, better
known as TWO, who performed an exuberant set with their band. Dressed
in white and black, the clean-cut duo got great reactions from the
crowd as they rendered ‘old school’ hits before performing their own
material, including ‘Fine Bara’ and ‘Mo Gbo, Mo Ya’. A juju band began
and ended their set by singing humorous lines from Saint Janet’s
notorious album, ‘Olope Plus’. In-between, the band played Yoruba dance
music in praise of the Egbas, the Yoruba sub-group of the
Ransome-Kutis.

Mo’Hits Crew

It was a well
behaved crowd, and there was evidence of swift action by staff to eject
troublemakers. Anticipation reached fever pitch with Omobaba’s
announcement of Wande Coal, Don Jazzy and D’Banj onto the stage. D’Banj
didn’t show, but a number of Mo’Hits Crew stars stormed the stage,
including D’Prince (‘Who am I?’ he asked, and the crowd chorused: ‘Omo
Oba’). The set was mostly dominated by Coal who performed his highly
popular hits.

The audience was
going to have to wait a bit longer for D’Banj, but no one seemed to
mind. All the high energy of Wande Coal and others slowly dawned as
mime acts to the detached observer – no instruments played, no backing
band. Was this to be the extent of musicianship on displayed at the
climax of this show? Surely D’Banj would have to do more than this? It
was not long to wonder, for just as the Mo’Hits bravura started to grow
a bit thin, the real deal came.

Superstar

To behold the
spectacle of D’Banj’s arrival onstage, was quite something. Watching
from the raised VIP balcony, the eyes swept over the two thousand
strong audience as D’Banj emerged, clad in white, his tight trousers
reminiscent of the style favoured by Fela. There were unbelievable
scenes as, with Fela’s signature two-fisted Black Power salute, the
singer soaked up the adulation of his fans, as heraldic music wailed a
crescendo. This was the most important performer of the final night of
Felabration, the star attraction, and everyone knew it.

Much earlier in the
evening, posters of D’Banj had been distributed free through the crowd.
Then, minutes before his arrival onstage, he signalled a departure from
his Mo’Hits contemporaries’ performance mode, as his band took up
positions behind musical instruments onstage. After several minutes of
star-worship, D’Banj playfully lifted his ubiquitous shades to take a
playful peek at his adoring fans. Then the band struck up the beat, to
which he sang live.

To watch him was to
observe a star at the height of his powers. With D’Banj’s incredible
stage presence, there were echoes of Elvis Presley at the crest of his
fame. When someone brought D’Banj a face towel – white to match the
outfit, of course – one thought a James Brown cape-drama was in the
offing. D’Banj just needed to wipe the sweat off his face now and then,
and the towel also became part of the showmanship, flicked from time to
time as traditional dancers do with their handkerchiefs. He didn’t have
to do much; wowing the crowd effortlessly. There were no sexy dancers,
no gimmicks; and Wande Coal deferred to a bigger star, singing backing
vocals for D’Banj. There were Fela touches here and there in the
movement, as D’Banj sang his own hits and played the crowd, who lapped
up everything he said or did. “I said it before; I’ll say it again,” he
half-sang, about God-knows-what. He can say it anytime he wants: a star
is born.

There was some talk recently about D’Banj possibly playing Fela in
the hit Broadway musical, and it seemed he came onstage determined to
settle the argument. Anyone resistant to the idea of D’Banj as Fela,
would have had a rethink, seeing his reign at the Shrine. By now it was
1.30am – thousands were inside, many more outside. We decided to leave
in the middle of D’Banj’s set, regrettably, to avoid the crush of the
crowd at the end. As we exited the New Afrika Shrine, D’Banj said over
the loudspeakers, “We all know why we’re here.” Then from the street,
we heard as he launched into Fela’s songs proper, a fitting conclusion
to the evening.

Full artists’ line-up, venues and dates:

November 5 -Sofitel Moorhouse Hotel:

Karen Patterson

Chinaza

Morrie Louden

Randy Weston

November 5 – Federal Palace Hotel:

Mike Aremu

Morrie Louden

Simone

Somi

Randy Weston

November 7 – German Consulate (Sunday jazz breakfast):

Karen Patterson

Chinaza

Nneka

November 7 – Muri Okunola Park:

Bez

Ayetoro

Nneka

Somi

Simone

Femi Kuti