The University of Lagos students thrill Africa Sings 11 audience with nostalgic sound: Concert Review
The crowd at Africa Sings on the night of July 15th is likely to have felt electrifying wistfulness. The event elicited a strong sense of nostalgia, leaving audiences yearning for a mix of classic and contemporary music. Prof. Albert Oikelome was ecstatic with the dynamic harmonies and melodies produced by the three playing bands, proclaiming it one of the best editions to date.
“Africa Sings is more than just a musical event; it is a cultural tradition and yearly observance dedicated to honouring African music,” remarked Prof. Muyiwa Falaiye, the Director of IADS, University of Lagos, who was introduced on stage at the start of the concert by Prof. Albert Oikelome, the organiser of Africa Sings, who is a figure who has shaped Africa’s choral music for years as a musician, choirmaster, music educator, and as one of the most musically open-minded and knowledgeable individuals you could ever hope to encounter.
The event also served as a test for creative arts students, with three choral groups performing in three separate periods.
The show began with group three performing Fela Kuti’s "Zombie." The band performed the song enthusiastically, staying true to Fela Anikulapo’s Afrobeat signature.
However, I felt the lack of ostinato lines on the rhythm guitar and shakers detracted from the overall performance. Fela’s original Afrobeat concert would not have been complete without female dancers, and of course, there were many of them. The dancers performed a sequence of choreography that wonderfully suited the performance.
The ensemble abandoned the "source" and moved to the new wine—Afropop. A marching choral version of "Mr. President" from African China was performed. This was the pinnacle of their performance since it evoked nostalgia for the early Generation Z’s—we used to dance to "Mr. President" in our pristine childhood innocence in the early 2000s.
Hearing it in its current version awakens a memory that transports you back while keeping you in the present. The ensemble concluded neatly, performing Afrobeats mashups ranging from Burna Boy’s "23" to his 2020 album, "Wonderful."
The second group, Group 2, made a big entrance and swiftly sang an airy choral composition painted on a synth-harmonic canvas.
The band returned to the 1960s to reincarnate Victor Uwaifo in a classical interpretation and reharmonization of his iconic song, "Joromi." It was an outpouring of African rhythms and harmonies throughout the performance, and just when it seemed like the audience couldn’t get enough, Flavour’s "Asawo," a rich version of highlife music, came roaring through the woofers.
The choir put the crowd in a gyration mood with their rendition of Davido’s "Aye," which was wonderfully sung by the lead singer, Laja. The choir excelled in portraying African harmony, rhythms, and musical nuances.
The concert quickly diverged into featuring Mr. Wale Thompson, who lavished rich juju sounds on the audience. Watching Mr. Wale on stage brought back the thrill and flashes of “Lala le Friday,” a song we used to jam to in the early 2000s.
If nothing else, Mr. Thompson’s powerful voice and lively band created a unique atmosphere that radiated throughout the audience. His performance resonated with both young and senior audiences, making it a memorable event.
The event closed the curtains with a unique performance by the third group, who recreated the early days of Radio Lagos with a jingle and a "newcasting performance." The conceptual arrangements of the jingle, rather than the singing, hit a nerve. The group did an excellent job with the jingle, making it unrecognisable. They took the jingle and made it sound like a Yoruba art composer, such as Ayo Oluranti, Fela Sowande, or Akin Euba wrote it.
This ensemble, led by Seun Jacobs, performed quite well in my opinion, particularly on the performance and rearrangement of Seyi Vibez’s "Chance (Na Ham)" from his album, Billion Dollar Baby, which was released in 2022. The original track was done entirely in unison (no harmonic devices), but the choir elevated it by incorporating Western harmony while maintaining its stylistic elements. Who would have known Seyi Vibez’s amapiano music could be Westernized in a choral style?
The entire concert met its musical expectations and promises. The bands have demonstrated that music transcends barriers, enhancing both street and traditional music.
As an annual concert, we expect more energetic performances next year, but with improved acoustics and sound systems. I believe the sound system drowned out some of the performance’s nuances and complexity.
Overall, the 2024 African concert was a great event that would leave an impression on the African and global music industries.
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