Flashmag December 2018 www.flashmag.net
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In your work there is somehow the feeling that your art is a voice that does not only want to sound good but also sound right, for the rights of those in need, because of the issues you tackle in your lyrics. Now, do you define yourself as an engaged artist?
I suppose you mean socially-engaged here. No, I don’t define or identify myself as such. It’s definitely not about being or “sounding right”. I am interested in being honest with myself and the music. Hopefully, while always respecting and reflecting the dignity of all people.
An artist I have interviewed before told me if there were no ills in the society, he would have been in another profession. In your opinion, does art and activism always have to be associated to carry a message?
No, but I think when we have the blessing of a platform and our voices resonate louder and wider because of those platforms, we need to be socially responsible. It is up to the artist to determine what “responsibility" means in and to their own heart.
It’s daring to take on some issues in arts, since mundane artist seems mostly to try to please the greater number, by avoiding some topics. Do you think, it’s time for artists to take more and more position, since they are known and therefore can influence masses for the well being of the society?
Sure, but only if that’s what they are truly inspired to do. If someone were to address the issues out of obligation and not out of true interest or inspiration, the art will reflect that. Honesty is the best form of art. Besides, sometimes a simple love song can start a whole revolution.
In 2014 you released The Lagos Music Salon which was inspired by an 18-month creative sabbatical in Lagos, Nigeria and features special guests Angelique Kidjo and Common, that landed at #1 on US Jazz charts. Why did you think it was important to travel to Africa to make that album?
: I didn’t travel to Africa to make the album. I traveled to Nigeria to have time away after a deep personal loss and agreed to do a teaching artist residency for two months. I fell in love with the energy of Lagos and decided to stay a while longer. That turned into 18 months and an album showed up along the way. Nothing planned. Still just listening to my heart.
It’s not always given for artists to enlist names like Angelique Kidjo or Common in a project, how where you able to pull that one out?
I had performed with Angelique in the past and Common and I have a mutual friend who introduced my music to him.
What was your feelings about that first number one experience in US charts?
I was thankful.
Did it change something in your way to see yourself and your Music?
I just want to be honest with myself, my audience, and the music.
In Petite Afrique released in 2017, you use your music as a mean of expression, on serious issues like xenophobia and isolation felt by the African community in America. Besides Africans, Many Blacks from different backgrounds living in America, have always expressed their concern about the double jeopardy rule that seems to strike them. As blacks, they don’t blend easily in a country where racism is still relevant, while their cultural heritage is also sometimes disregarded, as retarded by those who look like them namely African Americans, with whom they don’t always mingle easily. About you what has to be done for Africans, and other blacks to feel at ease in America?
Stop waiting for other to accept them and build and strengthen their own community, or talk and create bridge among communities to destroy some misconceptions that create misunderstandings?
Bridges are always the best tools for fair socio-cultural exchanges.