Nigerians. All, if not most, vehicles in public transport system have
the dominance of Nigerian music.
There have been funny names and titles from this West African country
where musical artists have come on the scene and left the local music
It all started with artists like D'banj real name ‘Dapo Daniel
Oyebanjo’ Nigeria’s pop duo, P-Square of Peter and Paul Okoye as well
as Flavour (Chinedu Okoli) it was more like one on those once off
But lately with the mergence on the scene of more Naija artists, as
they call it there, like Mcgalaxy with tracks like 'Skeme', Udoka
Chigozie Oku a.k.a Selebobo who has featured J. Matin in a remix track
There is also Enetimi Alfred Odom better known by his stage name
Timaya who has done a track famously known as ‘Shake your Bum Bum’,
Nwanchukwu Ozioko, (a.k.a Vast) is one half of the popular singing
duo, Bracket whose other member is Obumneme Ali a.k.a. Smash. Ayodeji
Ibrahim Balogun known by his stage name Wizkid
Of all the names above one that seem to have taken control is the son
of a Billionaire business magnet David Adedeji Adeleke popularly
called Davido with tracks like Skelewu, Aye, and Gobe which are all
over places that use music in Malawi, of course except Churches but
not Christian weddings.
The Nigerian beat has become the heart beat of most entertainment
activities in Malawi and their music were popularised by sound tracks
in the films.
Of course Shemu Joya has tried to use local music by Agorroso in his
films Seasons of Life and The Last Fishing Boat but what I am talking
about is having a group of musical compatriots who would do music that
will have a recognisable element to be referred to as Nigerian genre
In a country like Malawi, you will have San B coming up with his own
thing and calls it ‘Honjo’ and Atumwi will call theirs ‘Sendeza’. The
African Representatives to the 2008 World Music Crossroads festival,
the Boys from Mzuzu ‘The Body, Mind and Soul’ will call theirs ‘Voodoo
jazz’. Tay Grin, Nyau Music.
When Malawians musicians claim that they have come up with their own
genre, are they fair to themselves?
Ben Mankhamba has tried to do a fusion of traditional dances with
western instruments and called it Beni, Mwinoghe, Vimbudza. You see,
our quest for a fixed and well established Malawian genre, has been
tedious at times; the other day Lucius Banda told us that we were
there with his ‘Zulu Woman’ beat.
Edgar and Davis thought a beat like ‘Kale-Kale’ was it; so were the
sounds that emerged from the Lhomwe belt of the likes of Alan Namoko
and Chimvu River Jazz Band and Michael Mukhito Phiri.Wambali
Mkandawire has never called what he plays anything else other than
African Jazz whatever this means.
Peter Mawanga and a certain sector of the industry believe he has
cracked the elusive code to establish the much sort after Malawian
genre with his type of music; but the response has only fascinated the
ear of those that can read music.
Daniel Kachamba and his brother Macdonald are said to have been
playing ‘Kwera’ music which musical historians claim was born right
here in Malawi during the Ndiche Mwalare/Alick Nkhata days. They claim
when Malawians were descending down South Africa in the 1940/50s they
took with them the ‘Kwera’ music which the South Africans took as
their own and perfected it and became a springboard that has helped
them established different genres that are still recognizable as South
Now when you hear Ademwiche by Fikisa you do not even want to be told
that what you are listening to is a Malawian beat even with the
presence of modern instrumentation.
This is clear that this is a traditional beat. But like a chewed
bubblegum, where is it?
This is an argument I have ever made in the past, but point here today
is why Nigerian music has taken control of all our entertainment
Why is it that when it ripples within your earshot it is easily
recognisable as Malawian music?