The Indie Artist You Need to Listen to This Month: Femi

Get into Femi's latest single "Señorita."

This series features the most exciting independent and alternative artists from Africa and its diaspora. Black artists are complex and multidisciplinary. Every month, we'll introduce the hottest, boldest musicians out there that you need to listen to.

Femi is a rapper/singer/musician who hates being put in a box. His new EP, From Spain With Love, is a fusion of flamenco, jazz and funk inspired by Amílcar Cabral living in Portugal while actively fighting for African countries' independence. It's an EP about dreams, regrets and life outside of a nation's borders in which Femi mixes his Nigerian-Americanness with a multitude of other inspirations to create a unique blend.


As far as musician names go, it's not easy to stand out making Afro diasporan-influenced music when your first name is Femi and your last name not Kuti. Not that Femi cares much about it, "Femi isn't a particularly uncommon name in my ethnic group," he explains. "My music sounds the way it does because I've spent so much of my life in places where Femi is a weird name. I stand out among others and we have to figure out how to relate to each other despite being culturally out of pocket. That said, if niggas can go by 'Miguel' out here (no shade) I figure the world's ready for a Femi!"

How has Spanish music inspired this new EP ?

Flamenco music inspired me to learn guitar in the first place, which changed how I write and think about music. I'd heard plenty of guitar-centered music growing up in the States, from rock to folk, but none had inspired me to learn the guitar until I heard what Paco de Lucía did with a guitar.

I started reading about Amílcar Cabral, the African revolutionary who fought against Portugal for independence for Cape Verde, Guinea, and Angola and was one of the greatest political minds. How was it like for him to live and study in the capital of Portugal, the literal fascist state that controlled his country? Like jazz or funk music, flamenco is also a style of music associated with an oppressed people, especially Romani people. What did he listen to over there, what songs would he have written and what ideas would he have had if music had been his thing? Things snowballed from there.

When did you start making music?

I started making music as a kid as a way of rebelling against learning music the way I was being asked to. My parents had me in piano lessons because they thought it was the respectable instrument to learn. But they had me learning the classical stuff. My piano teacher did her best to encourage it, she even let me perform my own compositions [but] eventually my parents stopped trying and I dropped out of piano lessons.

In high school, I played saxophone in school bands. The deeper I got into jazz band and wanting to learn to improvise, the more I realized that what had really prepared me for that were the piano lessons I had brushed off. So I went back to piano and soon after that wrote my full songs with chords and lyrics.

How would you describe your music?


The most accurate description might be something like "experimental pan-African music," which is pretty far from anything I would have guessed even about myself. I grew up moving between (at least) two very different music cultures: the Nigerian diaspora community where I grew up on one hand, piano lessons and classical music on the other.

In that latter one, music seemed like a specialized thing, largely compartmentalized from other parts of life. When you went to see an orchestra perform, music was something the orchestra was doing. Your role was to sit down and pretended you knew what was going on, then when the conductor gave you the sign, then you clapped.

In the other, music seemed more like a shared everyday thing. It was tied intimately to dancing and the rhythmic organization had to be at least somewhat consistent and decipherable for non-musicians—the philosophy of groove. Song and dance could be led by anybody, musician or not, and it could happen anywhere: bible study, parties, funerals. It was built by everyone who was singing or dancing. It seemed to me to connect a lot of really geographically distant styles of music like Afro-Brazilian, Afro-Cuban music, genres from the UK pioneered by Africans and West Indian producers, highlife.


What's your inspiration when it comes to lyrics?

From Spain With Love was a concept album about immigration. Each track covers a section of the main character's life, and each song was a letter sent home at different points of his life after emigrating from Cape Verde to Spain. For this project, I thought about my parents immigrating to the States from Nigeria, what dreams were deferred to chase this one and what they must have thought about the families they built here and the families they left behind.

Writing lyrics is a place where we can try to speak about our lives with the kind of honesty we might not be willing to in actual interactions, when relationships and reputations are on the line. A lot of pop music, especially hip-hop, has gone in the other direction: we sing along to songs about experiences fewer and fewer of us have any real sort of access to.

How did you come up with the visuals for the music video Señorita?

The director, Rob Rodriquez, did a great job of representing the overall story and themes of the whole EP using just "Señorita." The water theme was especially powerful: Cape Verde is a chain of islands and served as a midway point on the Trans-Atlantic slave trade, and I had always imagined the protagonist immigrating by sea.

What are your future plans, music wise?

I like the idea From Spain With Love started me on, of organizing my music around places. I've got a couple other EPs in the works in that vein: From Indiana With Love where I concentrate on more of the soul and Americana influences, and From Mars With Love where I focus on the jazz, funk, and fusion sides of things and play with the sort of space-y Afrofuturist aesthetic those cats were on. Down the line I'd really like to do a Cuba-themed project.

There are some remixes coming out with Señorita, produced by DJ Broso, a friend and longtime collaborator. He's a first generation kid like me—of Garifuna heritage, now based out of Honduras, and produces tropical music with influences from throughout the diaspora. He always has a fresh and unexpected take on whatever we listen to or make together and these remixes are definitely no exception to that.

Music

Listen to Samthing Soweto’s Album ‘Isiphithiphithi’

Samthing Soweto's highly anticipated album is finally here.

One of the most anticipated albums of the year, Isiphithiphithi by Samthing Soweto is finally here.

The South African artist's project consists of 12 songs and features Makhafula Vilakazi, Shasha, Kabza De Small, DJ Maphorisa and Mlindo The Vocalist.

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Gallo Images/Getty Images

South African Telenovela 'The River' has Been Nominated for an International Emmy

This is the popular telenovela's first International Emmy nomination.

One of South Africa's beloved telenovelas, The River, has received its first ever International Emmy nomination in the category of "Best Telenovela", according to IOL. The River will go up against other telenovelas from Columbia, Argentina as well as Portugal. The 47th installment of the International Emmy Awards will take place on November 25th of this year and will be held at the Hilton in New York.

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Culture
Photo (c) John Liebenberg

'Stolen Moments' Uncovers the Namibian Music That Apartheid Tried to Erase

The photo exhibition, showing at the Brunei Gallery in London, highlights artists from Namibia's underground scene between 1950-1980, a time of immense musical suppression prior to its independence.

Before its independence in 1990, a whole generation of Namibians were made to believe that their county had no real musical legacy. Popular productions by Namibian artists from previous eras were systematically concealed from the masses for nearly 30 years, under the apartheid regime—which extended to the country from South Africa following German colonization—depriving many Namibians of the opportunity to connect with their own musical heritage.

"Stolen Moments: Namibian Music Untold," a new exhibit currently showing at London's Brunei Museum at SOAS University of London, seeks to revive the musical Namibian musical traditions that the apartheid regime attempted to erase.

"Imagine you had never known about the musical riches of your country," said the exhibit's curator Aino Moongo in a statement of purpose on SOAS' site. "Your ears had been used to nothing but the dull sounds of country's former occupants and the blaring church and propaganda songs that were sold to you as your country's musical legacy. Until all at once, a magnitude of unknown sounds, melodies and songs appear. This sound, that roots your culture to the musical influences of jazz, blues and pop from around the world, is unique, yet familiar. It revives memories of bygone days, recites the history of your homeland and enables you for the first time to experience the emotions, joys and pains of your ancestors."

Photo (c) Dieter Hinrichs

The 'Stolen Moments" project began in 2010 in an effort to champion Namibia's unsung musical innovators. For the collection, Moongo and Assistant Curator, Siegrun Salmanian—along with a group of international scholars, artists, photographers and filmmakers—curated a large-scale photo exhibit that also features a 120-minute video projection, focusing on the dance styles of the era, along with listening stations, a sound installation that features "100-hours of interviews with musicians and contemporary witnesses," and displays of record covers and memorabilia from the period between 1950-1980.

The musicians highlighted, produced work that spanned a number of genres—a marker of the country's vast and eclectic underground scene. Artists like the saxophonist Leyden Naftali who led a band inspired by the sounds of ragtime, and the psychedelic rock and funk of the Ugly Creatures are explored through the exhibition, which also centers bands and artists such as The Dead Wood, The Rocking Kwela Boys, Children of Pluto and more.

"There are many reasons why you've never heard this music before," Moongo continues. "It was censored, suppressed, prohibited and made almost impossible to listen to. Its creators are either long gone or have given up on music making, by reasons of adversity, death and despair. And yet this beautiful music exists with a liveliness, as if it had never stopped playing. It is still in the minds of the few who can remember, with the ones who played it, and on those rare recordings that have survived in archives and record collections scattered around the globe. Allow me to share these stolen moments with you."

Photo (c) Dieter Hinrichs


Photo (c) John Liebenberg

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"Stolen Moments" is now showing at the Brunei Gallery in London and runs through Sept 21.

popular

Foul Language and Depictions of Rape Spur a Book Recall Campaign in Kenya

Kenya's Top Book seller pulls a South African book for youth due to foul language.

A main book supplier in Kenya, Text Book Centre, has announced that they would not stock a book due to its "vulgar and foul language." The book, Blood Ties, was written by South African author Zimkhitha Mlanzeli. The banning comes just after a video went viral in Kenya of a school child having a verbal outburst peppered with strong language. As reported by BBC, the removal was sparked by parents showing outrage after excerpts from the book were shared on twitter. These excerpts contained use of the f-word as well as a description of a rape scene.

As per their statement, the Text Book Centre claims they believe in "upholding high moral standards and raising generations of responsible citizens who are not only educated but ethical." The Kenyan publisher, StoryMoja, has defended the book in a statement of their own. They argue that the book is part of a new series showcasing books that deal with "contemporary societal issues" and that this particular book is a fictional story that grapples with the negative repercussions of peer pressure. "In actual fact, the book guides readers on the steps to take should they find themselves in a similar situation and underscores the sensitivity with which victims of sexual abuse should be treated." The statement also highlights the fact that the publishers had listed Blood Ties for readers in high school or above.


The discrepancy is that some schools have recommended the book as a reader – meaning for younger children aged 12 or 13 – though it has not been approved by the Kenyan Institute of Curricular Development (KICD), the entity in charge of managing texts used in schools. In a tweet, the KICD claimed that the book was not approved and that some teachers may be recommending texts without ensuring they were endorsed by the KICD. The dispute is sparking debate as to what should be taught in Kenyan schools.

As of late this morning, StoryMoja is in the process of recalling all copies of the book from stores and schools across Kenya. In a tweet they claim that it is because they have determined the language used in the book is the issue and not the subject matter.

Censorship is always a contested topic, just last month we reported on Nigerian authorities censoring a music video for "threatening security." Also, Kenya's censorship tactics have been in the global eye since a refusal to screen the film Rafiki for its homosexual heroines despite being lauded at international film festivals.

Here are some reactions from Kenyans on Twitter:





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