Remembering Tony Allen, a bonafide African music hero
The co-creator of Afrobeat and one of the greatest and most influential drummers ever
In 1971, Fela Kuti & The Africa ’70 toured and made a live album with the late Ginger Baker. At the time, Africa ’70 already had a resident drummer in Tony Allen, however, the brief entrance of another drummer—albeit a celebrated and widely acclaimed one – gave them validation as well as a proposition of the sound and ideal of the then newly patented genre, Afrobeat. The LP is a time capsule of combination and collision, between a band finding its feet and a musician who was already regarded as a force of nature.
‘Live with Ginger Baker’ came about at a time when Fela’s madcap experiment – with influences from Jazz, Highlife, Funk and Afro-Cuban rhythms – was still being developed, and although the compositions were bold and sometimes colourful, the band’s sound had yet to fully shed its big band jazz leanings for its full-on Afrobeat flavour. The interlocking groove of rhythm guitar, tenor guitar and bass guitar which played a pivotal role in defining the Afrobeat sound had not yet been invented, the horns didn’t have the level of brassiness in future recordings, and vocal call-and-response chants weren’t here yet.
At this point, though, Tony Allen’s drumming was the band’s most refined element, which wasn’t even remotely Allen at his best—compared to his subsequent work. His metronomic sense of timing and dazzling fluidity was already made apparent, and while many like to cite the final track—his drum duet with Ginger Baker—as a major display, “Yeye de Smell,” off that same album, shows this quite definitively. While both drummers are present on the song, Allen stood out with his interplay which juxtaposed Baker’s energy with tact. Simply put, Baker was the thunder while Allen was the lightening.
By the following year, Fela & Africa ’70 had become full-bodied and much more distinct. The band released ‘Shakara’, the album which was widely regarded by musicologists as the first true Afrobeat record, and Tony Allen quickly solidified his inimitable role. In a band with multiple moving parts, Allen controlled songs from the outside, by being a master of tempo and made sure there were no clogs or unhinged cogs in the constantly spinning wheel. At various points, any instrument(s)—including Fela’s voice—could be the focal point, however, Allen, especially in his partnership with percussionist Henry “Perdido” Koffi, was the driver.
Bonafide Afrobeat classic, “Gentleman”, is a prime example of this dynamic. The song is mainly revered for the phenomenal horn solo in the beginning and Fela’s sharp denunciation of European gentlemanly standards, however, there’s an evocative quality to Allen’s work. The slow-moving and sublime drumming provides the perfect amount of space for Fela’s aggression to properly boil, cackling just behind the lead singer’s oscillation between mockery and sneering, which perfectly exemplified Tony Allen’s superpower: making everyone around him sound better.
For him, showing out was never the point; it was about playing in service of making music that entrances listeners. “I know I can make my drums bring the house down if I have to, but I know how to make it subtle. You listen to it flow like a river”, he once explained in an interview with The Guardian. Although he played in steady cycles, Allen was a full-bodied drummer who worked his flexible limbs with masterful control. He was effortlessly vivid, creating the illusion that listeners, through their earphones, were behind his drum kit and could do what he was doing.
That level of skill was due, in part, to absorbing influences and years of practice. Allen was a self-confessed acolyte of Jazz legends such as Art Blakey, Max Roach and Philly Joe Jones, and he credited them for nurturing his understanding of the extensive use of hi-hats since the drummers at home mostly kept them “close.” He also noted that practising on pillows, on inspiration from Jazz drummer Frank Butler, helped his flexibility. Relying on his innovative, keen-eyed approach to drumming, all of that came together to make a unique and seminal style, which subsequently became the Afrobeat trademark.
After about fifteen years of working with Fela—he was also a member of the mid to late ‘60s Highlife-Jazz band, Koola Lobitos—Tony Allen exited his role as drummer and musical director of Africa ‘70 in 1979, and he briefly returned in 1980 for ‘Music of Many Colours’, Fela’s joint album with the American soul artist Roy Ayers. In the years after his departure, Allen worked with several other African artists, including King Sunny Ade, and he also released his own albums; ‘No Accommodation in Lagos, No Discrimination’, on which he was backed by Africa ’70, and ‘Nepa (Never Expect Power Always)’, the first of several projects with the collective he formed, The Afro Messengers.
Continuing in the lineage of his previous works, Tony Allen’s music was socially inclined, sans the militant edge of Fela. Addressing the state’s infamous traffic jams and the exorbitant cost of housing, “No Accommodation” speaks to a Lagos reality that remains prevalent, while “Nepa” mocks Nigeria’s shoddy power supply, an issue that has remained unchanged even with several name changes to the country’s power generation body.
While he never stopped speaking truth to power, a significant part of the narrative of his latter days was his constant experimentation. By the ‘90s, Allen was incorporating elements from a wide palette of genres, infusing their texture in daring but well-measured ways. “The Same Blood”, a standout from ‘Black Voices’ in 1999 shrewdly reworks the anti-racism song, “No Discrimination”, adding electronica elements while deconstructing the original composition.
Regardless of the sonic terrain he veered into, Tony Allen always made sure to emphasise that he was an Afrobeat drummer, and it constantly showed in the music. He played drums on the title track of French singer, Charlie Gainsbourg’s 2007 album, ‘5:55’, imbuing the sophsti-pop song with a languid torque and his trademark flexibility, in a way that sounded fresh and distinctly familiar. That appearance was also emblematic of his resurgence to prominence in the 2000s.
On “Music is my Radar”, their 1999 hit single by English rock band, Blur, frontman Damon Albarn repeated sang Tony Allen’s praises, leading to an international profile boost for the drummer, and it also laid the foundation for extensive collaboration between the two. After appearing on “Every Season”, off Allen’s 2002 album, ‘Homecooking’, Albarn invited the drummer onto two band projects.
The first was alternative rock super-group, the Good, the Bad & the Queen, which released two albums—a 2007 self-titled debut, and ‘Merrie Land’ in 2018—and included Paul Simonon (Clash) and Simon Tong (the Verve). The second was Rocket Juice & the Moon, an experimental funk band that included Flea of Red Hot Chilli Peppers, and released a 2012 self-titled album with multiple guest appearances that ranged from Erykah Badu and M.anifest.
While some of his experimental work also involved collaborations with Techno pioneers, Jeff Mills and Moritz Von Oswald trio, Tony Allen’s solo work in the past decade became a full circle act of sorts. Between 2014 and 2017 when he released ‘Film of Life’ and ‘The Source’, Allen’s music was a thoughtful and largely well-executed attempt at uniting Afrobeat and Jazz, using his mastery of the former to reinterpret the latter. In what was undoubtedly a personal achievement, Allen was able to record and release ‘A Tribute to Art Blakey & the Messengers’, a short project which subtly reimagined several compositions written and performed by one of his idols, including the hard-bop classic, “A Night in Tunisia”.
Earlier this year, in ‘Rejoice’, we finally got Tony Allen’s joint project with South African Jazz luminary, Hugh Masekela, which was recorded in the UK back in 2010. The album is a product of respect between two consummate musicians, and it also celebrates the innovative spirit of African music. Listening to ‘Rejoice’ after the news of Tony Allen’s passing last Thursday, it feels like a ray of heavenly light in these days when anxiety and paranoia are constantly hovering around. Between Masekela’s beaming horn solos and his weathered voice, and Allen’s pattering polyrhythms, ‘Rejoice’ is a calming and invigorating dose of optimism from two African music legends who always sought to bring light through their music.
In comparison to Masekela and other revered legends like Fela and Manu Dibango, Tony Allen didn’t have a singular supernova moment like his colleagues, however, his influence was just as clear. Across his sprawling catalogue, he personified the type of greatness that spoke for itself in the music, greatly and positively altering African music in a way that reverberated all over the music world. Tony Allen is a bonafide African music hero who also managed to become one of the greatest to ever sit behind a drum kit. May his myth never be diminished or forgotten.
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ICYMI: REVISIT “SHAKE HANDS” BY THE GAME-CHANGING SOUL SINGER, GERALDO PINO
Luwa.Mp4 Releases Riotous Debut Album, ‘punKstA*’
Across the album’s 12 tracks, Luwa.Mp4 continues his fiery exploration and fusion of genres like Punk Rock,...
Rising singer and rapper Luwa.Mp4 has released his debut album titled ‘punKstA*.’ The underground star who has been on a release spree all year long, announced the imminent arrival of his debut only a couple of days ago with a cryptic trailer video and an Instagram caption that simply read ‘PUNKSTA* MONDAY.’
Before the arrival of ‘punKstA*,’ the rising fusion star had been showcasing his diligence and talent with a consistent output that has seen him put out over a dozen songs since the start of the year. A string of singles led to a 6-pack titled ‘lore skooL,’ while a deluxe version that housed 5 new songs came just a month later.
His debut album’s lead single, “pUNK FANTASY,” arrived in late July, setting the stage for what could prove to be a pivotal moment in the underground star’s burgeoning career.
Across the album’s 12 tracks, the eclectic singer continues his fiery exploration and fusion of genres like Punk Rock, Afropop, Hyperpop, and Rap into something uniquely different. Tracks like “Pure Water,” which was previously teased on Cruel Santino’s Subaru Live Stream, the abrasive, Tecno-influenced “pROMISED NEVERLAND,” and the more laidback “pEEp MY RIDE” put on display the sort of varied, autotune-soaked approach that has set him apart and helped carve a growing niche.
While Luwa decided to go solo on his debut, credited as the only recording artist, the album was brought to life by a cast of talented producers like frequent collaborator TOPSY, Emyboi, JTRN, 3CB, FVKK.ANDI and Jeremy Cartier.
Listen to ‘punKstA*,’ here.
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Shekhinah Returns With Surprise Album, ‘Less Trouble’
The South African R&B star is at her most assertive on her first album in four years.
South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption.
The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight.
If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns.
Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,” and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’
Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album.
Listen to ‘Less Trouble’ here.
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The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’
‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...
Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music.
In the lead-up to her new album, ‘Black Star,’ she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.” Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’ As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens.
WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM?
Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.
Bamise: I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that.
Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different.
WHAT SONGS STOOD OUT ON THE FIRST LISTEN?
Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!
Daniel Akins: I need to hear “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2” with PinkPantheress is the collaboration I knew I needed, and I’m glad they finally linked up. It’s a clear standout on the project; their ethereal style complements each other.
Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!
HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?
Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.” The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.
Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.
Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen.
WHAT SONG IS THE BIGGEST SKIP?
Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album.
Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.
Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me.
WHAT SONG HAS THE BIGGEST HIT POTENTIAL?
Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically, TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”
Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.
Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.
OVERALL FIRST IMPRESSIONS
Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa.
Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae. Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will.
Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.
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