Going back to the roots with Afro-fusion beats

For decades, composing traditional songs was viewed as the forte of rural artistes – even earning indigenous songs the reputation for churning out ‘backward’ music.

Variant forms of localised rap and ‘genge’ songs currently enjoy prominence on local airwaves, increasing in appeal mainly among urban youths.

But a cross section of other artistes are reaching out to their cultural roots, not only in search of lyrical inspiration – but also bolstered by live concerts.

The growing preference for afro-flavoured music is opening up new dimensions, and is seen as a refreshing alternative to the wave of rap and hip-hop songs.

There has been a rise over recent years of relatively unpopular, at least according to mainstream media, but talented singers like Dela, Fena, Nina Ogot, Lulu Abdallah, Stan, Dempsey, Andrew Wambua and Afrology.

There are also bands such as Elani, Kiu and Sarabi among others, all being a significant pointer to emerging latent talent.

PICK UP THE CUE

This crop of youthful music-makers has not only emerged from the woodwork to break into a bubbly, live concerts scene but they seem to have picked up the cue and baton from the Sauti Sol’s runaway success.

“What it implies is that the local afro-fusion music movement, which at the onset appeared to flounder for lack of mainstream radio airplay and scant corporate and government support, is slowly but gradually paying off,” enthuses guitarist Mutinda Wambua.

The vocalist and songwriter made history four years ago as the first Kenyan to bag the prestigious International SongwritingWorld Music award in 2010.

Mutinda’s song, Simama, from his debut album Matopeni emerged tops in a list of 66 finalists.

He impressed a panel of judges including Real World Music label owner Peter Gabriel, Senegalese artiste Baaba Maal, American hip-hop star Rihanna, Contemporary Christian Music (CCM) composer Micheal W. Smith, celebrities Ben Harper and Timbaland.

Simama was picked out and shortlisted from an initial 15,000 songs submitted from 115 countries globally. This global accolade was an indicator of a flourishing local afro-fusion scene.

The genre’s frontrunners include Ayub Ogada, Suzanna Owiyo, Eric Wainaina, Juma Tutu, Atemi Oyungu, Abbi Nyinza, Charles Odero Ademson aka Makadem, Harry Kimani, Yunasi, Aisha Abdalla aka Nyota Ndogo and Judith Bwire among others.

Between them, these artistes have over the past decade, released albums which embrace a distinctive indigenous fusion music identity.

 The standout music in this genre includes titles such as Owiyo’s My Roots, Indigo by Abbi, Tutu’s Kimombasa, Ohanglaman by Makadem, Bwire’s Mama Afrika and Wainaina’s Love and Protest – on which he collaborates with Senegalese star Baaba Maal on one track.

Most of these songs boldly tap into the rich and diverse cultural wealth, in an apparent effort to create a largely elusive yet unique Kenyan musical identity.

The afro-fusion song repertoire still remains marginalised and locked out of mainstream radio and TV channels, which are seemingly inclined in favour of foreign and localised hip-hop.

UNFAIR DOMINATION

“Our airwaves are still unfairly dominated by foreign music, denying deserving exposure to indigenous songs,” remarks Abbi.

Harry Kimani argues that it is crucial to keep making music. “We reach out to new audiences with performances in clubs or private concerts rather than sit back,” says the Afro-pop, folk artiste.

The shift in audience perceptions on the relevance of indigenous music is partially owed to the tidal wave success of African stars like Youssou N’Dour, Angelique Kidjo, Salif Keita, Oliver Mtukudzi, Femi Kuti, Habib Koite and Baaba Maal who performed in Kenya a few months ago.

“The stumbling block for culturally rooted songs is lack of goodwill from the private sector, Government and some radio/TV channels,” says Judith Bwire, who strums the eight-string nyatiti.

In the past, a dearth of adequate venues for live performances was another major setback. “The only way to expose our music, still shut out of mainstream airwaves, to new audiences is by taking on initiatives and pooling individual resources,” remarks saxophonist Tutu.

Notably, ‘underground’ appeal and popularity for these one-off Afro-fusion live concerts has picked up, as attested to by the rising number of concert goers.

“Most performing artistes are now keen to work together unlike in the past when access to venues and limited finances made it almost impossible to organise live concerts,” notes guitarist Mutinda.

Afro-fusion buff and advertising trends specialist Carole Adhiambo, acknowledges that watching these artistes in concert is often thrilling.

“These songs rarely feature on FM radio stations, we have to wait for the weekend to catch their videos on TV,” remarks Carole.