Encomium
Born Olawale Ashimi on May 9, 1986, in Lagos, the singer-songwriter is no pushover in music-making as his coarse, yet inviting vocals allow him make music that grows on its listener.
ENCOMIUM Weekly spoke with the artiste who, in his words, produced the best album of the past year (Merchants, Dealers and Slaves) on sundry issues – from his legal tussle with Chocolate City, his latest project and some good news…
What has been happening to you lately music-wise?
Lately, I have been in the studio working on a project I call Tabula Rasa. It’s my attempt at love again.
The album was inspired by good news in the form of an unborn child.
Congratulations on your child. Tell us more about this good news.
(Laughs) Let’s keep all that private for now, we’ll definitely let more out as we go.
Three albums under your belt, how would you say your music career has fared?
My career is on the rise. My management is now targeting the larger African market, and we already have huge number of followers even beyond Africa, thanks to our last effort M, D&S. There’s still more music to be made, more people are going to hear about us.
Your last album, Merchants, Dealers & Slaves, had a very philosophical feel. Are we seeing you do more of this kind of music?
Yes, I’ll be doing more of that kind of music. What is a song if the listener can’t connect and make something out of what he heard? Music has become the only avenue through which philosophy can be talked about outside the university walls, and philosophy is the basis for everything else. Yes I’ll be making more of that kind of music.
How well is it (the album) doing?
The album is doing great. Not only was it the best album the year it was released but one of the best to come out of the continent ever. People are going to listen to it for a long time to come.
Would you say you’ve attained the height you set out to so far?
No, I have not. But then, we are still working at it and getting more followership. Newer opportunities are
pouring in and the exposure is getting bigger.
A little away from music, you now have a new management. It must mean that Chocolate City is in the past now?
Chocolate City will forever be a part of Brymo’s story.
Have we seen the last of the drama between you and Chocolate City?
I believe so.
What would you say your experience with the label has taught you?
It taught me to keep being myself even if I am misunderstood.
Drawing from that experience, what would be your words to young aspiring artistes when faced with similar situation?
My advice to aspiring artistes is that they must, from the early stage, see themselves as the only drivers of their career, and if you agreed to do something, keep at it. It’s the only way you can sleep easy even if it turns out badly and you have to walk away.
Would you say the whole drama has left you better off both as a person and as an artiste and how?
Definitely, I am a better artiste and the artiste is the reflection of the person. The drama took me deeper into the workings of our society and showed me the amount of work there is to put into the structure of things, even the law and its effectiveness.
This will require a change of attitude towards survival. And even though no one seems to be paying attention as we speak, it’s something we still need, if we care at all for our future.
In your opinion, how do you think the industry has fared this year?
The industry is faring well. Individual artistes will be able to give separate accounts of themselves. I’m sure, as there’s no definite yardstick to do or measure anything. We are a society that’s still hunting in cells but everyone wants a share after, and it’s unfair to the very few hunters.
As someone who has been in the industry for a number of years, in your opinion, what are those things we can do to improve the industry?
The industry’s improvement is in the hands of those of us who trade in it. The older we become, the more we must become responsible for our own future and of those behind us. Artistes must continue to make quality music, managers must improve how business is done.
The media must support all our efforts through investigative reporting, and we all must trade honestly and without greed or prejudice.
Every artiste seems to be making club/dance music which lack content, but you are one of the few who make music with content. Do you plan to continue this?
Every music has content; it’s a question of who the content is meant for. I endeavour to create music for the adult who goes to work daily and faces the ups and downs of everyday life. And yes, I’ll continue to do that.
Why do you think the artistes who make music without deep content fare better than your kind of artistes that are philosophical musicians?
No one is spared; we all suffer the same setback. It all boils down to how the individual artiste would like to be seen or perceived, and the extent you are willing to go to get what you seek. Whether your actions agree with the ethics of the profession or not.
What are you working on currently?
Tabula Rasa as stated. It’s expected in stores before the end of 2014. It’s pop music with the appropriate dose of seriousness. It’s an album everyone must have.
Finally, what are your plans for the final quarter of the year?
To let the new project get to the targeted listeners, get feedback and to make preparations for other works.
– MICHAEL NWOKIKE
