Showbiz

Remembering Legendary Nigerian Drummer Tony Allen

Published

6 years ago

02/05/2020

By Kester Kenn Klomegah

Exactly in August 2009, legendary Nigerian drummer, Tony Allen, who created the Afrobeat along with his old bandmate, Fela Kuti, and I had our first historical meeting in Paris, France.

I had flown in from Shanghai, China, to meet with him for an informal encounter. Despite our heavy working schedules and limited time, the meeting lasted for about two hours.

During the discussions, I asked him several questions about his professional musical career and life. In fact, he was extremely passionate and enthusiastic talking with me, and to remember him here are a few excerpts:

When did you begin your musical career and who are your favourite musicians?

My career started at the age of 20. In fact, I was hired by Sir Victor Olaiya to play claves with his highlife band, “the Cool Cats” and was able to fill the drum-set chair when the former Cool Cats drummer left the band. I also played with Agu Norris and the Heatwaves, the Nigerian Messengers and the Melody Makers.

In 1964, I joined Fela’s ‘Koola Lobitos’ and stayed with Fela for 15 years. When I was learning to play, I’d check out LPs and magazine tutorials by Gene Krupa, Art Blakey and Max Roach, Guy Warren was also an influence. Of course, I was also a fan of Elvin Jones, Tony Williams and Bernard Purdie.

I was asked to name my dream band to play with, and I chose: Oumou Sangare and Salif Keita on vocals, Bootsy Collins on bass, George Benson on guitar, Wayne Shorter on sax, Joe Zawinul on keys, Don Cherry on trumpet, and with a line-up like that, I’d have to be the drummer!

What was the motivation behind your chosen profession?

My parents were…not keen. Back then, musicians were more or less thought of as beggars, or worse. But I just put it in front of them. I was an electrical technician, but I wanted to make a change. My mother was never happy about it, but my father, who was an amateur musician, eventually agreed.

How is this profession influencing or shaping your own social life?

It has had a profound effect. Our albums with Afrika 70 either provoked or described a series of increasingly brutal attacks by the Nigerian army and police. Fela and his immediate family bore the brunt of this long and shameful catalogue of assaults, trumped up charges and jailings, and I myself was jailed on one occasion. With Fela, it was like being at university, and you don’t run away from education. We learnt so much by not being cowards.

When I left Fela’s band, that had a big effect on my life. Lagos was too small for me and Fela. It was a small place, and I wanted room to take off without causing competition, I eventually chose Paris partly because the British immigration people were giving me difficulties, but also because African music was more happening then in Paris than in London, and my record company at the time was in France.

It was the only place I felt I could exercise my knowledge. The only place to make a living. Being a musician, the line between work and social life is, often blurred doing what I do for a living is what I do for enjoyment.

There seems to be some truthfulness in your career. Which songs spiritually appeal most to you personally when on stage?

Absolutely, as a musician and an artist, you have to be true to yourself. Different songs appeal to me more at different times and under different circumstances, it can depend on who you’re playing with, where you’re playing and how the audience respond to what you’re playing. Playing music is very spiritual but I won’t say that one thing I do is more spiritual than another as I try to invest all in everything that I do.

Of what importance are the messages you convey through your songs to our society, in your interpretation?

Afrobeat has always been about the struggle, then and now. Fela was right about everything, especially the messages in all his songs. Everything he sang about is still happening. Nigeria’s not getting any better. It’s all misadministration and corruption, survival of the fittest.

Lagos is a complete mother ****** of a place. These messages we send to the government, they never listen to them. The people wait for an effect, but there’s no effect. These guys do nothing. Afrobeat is rebellious music. We have to keep shouting.

Do you mind talking about your experiences (both positive and negative) in previous European tours?

Laughs! I don’t mind at all but this is a big question that I’m not sure how to answer. The fact is that the good experiences overwhelmingly outweigh the bad, which is why I’m still out on tour at nearly 70 years old. As long as people want to come and see me play, I’ll play.

How do you usually visualize your audience during musical performances?

I am very pleased to have had the chance to play at many festivals abroad. The foreign people know all about social and political upheaval, so even though our cultures and heritage are completely different, they feel the power of Afrobeat and confirm my belief that music is the great healer in the world. It was a long musical trip, there is no way back but well worth it. You just don’t have to return, I have to move forward!

Many people think going into musical world is just to make quick money. What is your reaction to this?

Ha! Most musicians are struggling musicians only a small minority make serious money, musicians all around the world play for the love of it, to express themselves creatively and for the interaction with the audience. A lucky few might make millions but you can’t judge everyone else on that basis, lawyers, accountants, bankers, those guys make the serious money. Also, those motivated by money don’t make as good music, if your inspiration isn’t true, then it shines through in music.

Would you have opted out of stage if you were offered an alternative job?

Not all, as I said earlier, I had job which I left in order to be a musician, that was almost 50 years ago and I am still in it. I think I made the right decision.

If you could have lunch with anyone, real or fictional, alive or dead, who would it be and what is the first thing you would ask him or her?

It’s impossible to pick one single person, there are loved ones that would be great to see one more time, but musically, the most obvious person would be Fela Kuti, and I’d ask him if he’s happy with what’s happened to the music that we created together.

What are your goals for the coming years?

I want to keep on doing what I do, improving and doing new things. I’m very happy with my band and our new album, we can do great things together. I’m very fortunate that I get the opportunities to work with all manner of artists doing different and interesting projects, long may it continue.

Music is my mission. I never get satisfied and I’m still learning from others. The musical world is very spiritual, and I don’t think there’s an end to it. The best legacy is your professional work and leaving an indelible mark on the minds of people.

Additional information

Agence France Press (AFP) wrote that Allen was the drummer and musical director of Fela Kuti’s band Africa ‘70 in the 1960s and 1970s.

During that time, the pair created afrobeat, combining West African musical styles such as highlife and Fuji music with American imports jazz and funk. Afrobeat went on to become one of the totemic genres of 20th century African music.

Over Allen’s thrilling beat, Fela laid out his revolutionary and pan-African message, which led him to become one of the abiding icons of the struggle for freedom across the continent.

Allen and Fela recorded around 40 albums together in Africa ‘70, before parting ways after a mythic 26-year collaboration. Such was the hole that Allen left in his band, Fela needed four drummers to replace him.

Allen taught himself to play drums from the age of 18, drawing inspiration from American jazz greats Dizzy Gillespie and Charlie Parker as well as contemporary African music. He remained hugely influential and beloved by generations of musicians.

British musician and producer Brian Eno has called Allen “perhaps the greatest drummer who ever lived.” Allen was the drummer in the supergroup The Good, the Bad & the Queen, also featuring Blur singer Damon Albarn and The Clash bassist Paul Simonon, which released its second album in 2018.

Tony Allen died suddenly at the age of 79 in the Paris suburb Courbevoie, France.

Showbiz

The Best AI Music Sites for Testing Creative Direction

Published

1 day ago

04/04/2026

Dipo Olowookere

A great deal of creative work fails before it ever becomes visible. The lyric stays in a notes app. The campaign concept remains a vague mood board. The video edit waits for a soundtrack that never arrives. The product teaser feels almost finished but emotionally incomplete. In many of these cases, the problem is not lack of imagination. It is the difficulty of testing direction quickly enough. People can often describe what they want more easily than they can produce it. That is why an AI Music Generator has become valuable far beyond entertainment. It helps creators test whether an idea actually works in sound.

This is a better way to understand the rise of music AI. The category is not only about replacing production. It is about accelerating evaluation. A creator with a vague concept can now ask for several musical directions and compare how each one changes the feel of the project. A lyric writer can hear whether a phrase holds up melodically. A marketer can judge whether a launch video should sound cinematic, calm, urgent, or playful. A small team can move from mood assumptions to audible evidence much faster than before.

When music AI is treated as a tool for testing direction, ToMusic deserves the first position in a top-ten ranking. The platform is not simply about output. It is about interpretability. It gives users a visible path from prompt or lyrics to song creation, offers multiple model choices, supports an instrumental option, and keeps the process close to how people naturally think about ideas. That combination matters because it lowers the friction of creative testing. In that sense, Text to Music is not only a feature category. It is a decision-making tool for modern creators.

Why Creative Direction Matters More Than Pure Output

Many AI music discussions focus too heavily on the final sound. That misses the earlier stage where most value appears.

Creative work begins with uncertainty

At the start of a project, people often do not know exactly what they want. They know the feeling they are aiming for, but not yet the best execution.

Hearing options clarifies ideas faster than imagining them

It is easier to compare two concrete musical versions than to compare two abstract mental possibilities. AI makes those comparisons cheaper and faster.

Direction testing is useful even when the track is not final

A generated result can still be highly valuable if it tells the user what to change next. Not every output needs to be the finished piece in order to be useful.

The best platforms reduce the cost of exploration

The more easily a tool helps users test another direction, the more practical it becomes in everyday work.

The Ten Best Music AI Platforms for Direction Testing

This ranking focuses on which platforms help users hear, compare, and refine creative directions most effectively.

Rank	Platform	Best Direction Testing Strength	Best Use Case	Main Limitation
1	ToMusic	Clear movement from prompt or lyrics to testable output	Broad creator use, from songs to instrumentals	Still depends on the quality of the brief
2	Suno	Fast comparison of complete song ideas	Immediate full-song testing	Sometimes broad rather than precisely targeted
3	Udio	Strong feel for alternate musical interpretations	Creative exploration and stylistic testing	Often rewards more patient steering
4	SOUNDRAW	Quick testing of background music tone	Creator content and media scoring	Less central for lyric-driven songs
5	Beatoven	Mood comparison for visual projects	Video and podcast emotional framing	Narrower than song-first platforms
6	Mubert	Rapid utility-based soundtrack trials	Social and commercial content	More functional than emotionally nuanced
7	AIVA	Structured compositional direction testing	Soundtrack and arrangement-minded users	Less instantly approachable
8	Loudly	Creator workflow experimentation	Broader creator ecosystem use	Can feel less focused at first touch
9	Boomy	Easy first tests for non-musicians	Beginner experimentation	Lower ceiling for deep control
10	Musicfy	Vocal style and voice direction testing	Voice-centered projects	More specialized than all-purpose

Why ToMusic Is the Strongest First Recommendation

ToMusic ranks first because it does more than generate music. It helps users organize uncertain ideas into a workable creative process.

It accepts multiple kinds of intent

Some people want to test a lyrical idea. Some want to test mood. Some want to know whether an instrumental version will serve the project better than a vocal one. ToMusic supports all of these without forcing users into a single rigid input style.

It makes the creative choices legible

A product becomes easier to trust when the user can see what it is asking for. ToMusic’s visible modes, model choices, and input paths reduce confusion and make experimentation more deliberate.

It turns early ambiguity into audible comparison

This is perhaps its most practical strength. A user can start with a basic direction, hear the result, identify what feels off, and then refine from there. That is how real creative work usually develops.

Its balance gives it broader relevance

A specialist platform can be excellent in one narrow task. ToMusic’s advantage is that it handles several adjacent tasks well enough to remain useful across different kinds of projects.

How the Other Platforms Fit This Same Goal

A top ranking is more credible when the alternatives are understood accurately.

Suno is extremely useful when speed is the main need

If a user wants a complete sounding draft quickly, Suno remains one of the most accessible choices. It is especially useful when the purpose is to judge direction rather than to finalize detail immediately.

Udio is strong for users who enjoy refinement

Some creators want more than a quick answer. They want a platform that invites comparison and iterative musical shaping. Udio often attracts those users.

SOUNDRAW and Beatoven work best when music supports something else

These tools become especially valuable when the music is serving a video, podcast, or commercial asset. In those cases, the question is often not “Is this a great song?” but “Does this create the right atmosphere?”

Mubert is practical when turnaround matters most

For creators who need speed across many assets, a utility-first platform can be a better fit than a tool centered on songwriting or emotional nuance.

The lower-ranked tools still matter in specific scenarios

AIVA, Loudly, Boomy, and Musicfy each remain relevant when their narrower strengths match the task. The ranking is not about dismissal. It is about general usefulness across a broad set of creative tests.

The Official ToMusic Workflow as a Direction Testing Loop

One reason ToMusic ranks first is that its official flow is already aligned with the way people test ideas.

Step 1. Choose the creation route

Users begin by selecting a simpler or more custom path and then choose the model that suits the kind of result they want.

Step 2. Enter the idea in words or lyrics

The user can provide a description, style direction, title, or full lyrics. If vocals are not needed, instrumental mode is available.

Step 3. Generate the track and listen critically

The first output answers a simple question: is this direction promising enough to continue?

Step 4. Revise the brief if the direction is not right

If the result misses the emotional mark, the user changes the brief and tests another version. That cycle is the core of the product’s practical value.

How Different Types of Creators Use Music AI to Test Direction

The same platform category can serve very different creative situations.

Songwriters use it to hear possibility

A lyric on a page often feels unfinished until it meets melody and arrangement. AI tools help writers find out whether a phrase carries emotional weight in performance.

Video creators use it to test emotional framing

The same footage can feel dramatic, intimate, playful, or premium depending on the soundtrack. Music AI makes those comparisons much faster.

Brands and marketers use it to reduce concept risk

Before investing in custom audio production, teams can test different emotional routes and decide which one aligns best with the campaign.

Independent creators use it to extend creative reach

People without formal production training can now hear musical options that would previously have remained theoretical.

Professionals use it as an early-stage filter

Even experienced creatives can benefit because the tools help them reject weak directions earlier and preserve time for stronger ones.

The Credible Limits of This Category

A realistic ranking should also explain where direction testing still has limits.

A platform cannot fully rescue a weak brief

If the creative input is too vague, the output may also feel vague. Clear intent still matters.

More options do not always create better choices

There is a point where too many variations can become distracting. Good users still need taste and selection discipline.

A draft is not the same as a finished piece

This sounds obvious, but it is important. The value of AI often appears before final production, not only at the point of release.

Testing direction still requires judgment

The tool can present possibilities, but the human still decides which direction truly serves the project.

Why ToMusic Leads This Top Ten List

ToMusic earns first place because it turns uncertain ideas into testable audio with unusual clarity. It supports both descriptive prompting and lyric-driven input. It offers multiple model paths instead of forcing every task through one system. It includes an instrumental route, which expands its usefulness well beyond full vocal songs. And most importantly, it makes the workflow easy to understand at the moment when users are still deciding whether their idea is worth pursuing.

That does not mean every competitor is weak. Suno remains a powerful recommendation for users who want immediate full-song outputs. Udio is attractive for people who enjoy deeper exploration of musical feel. SOUNDRAW, Beatoven, and Mubert are all very sensible choices when the assignment is media-first rather than song-first. AIVA, Loudly, Boomy, and Musicfy each make sense when their specialty aligns with the task.

But when the question is which platform best helps a broad range of creators test direction quickly, clearly, and repeatedly, ToMusic stands above the others. It meets users at the earliest stage of creation, where uncertainty is highest and decision value is greatest. In that stage, speed alone is not enough. Clarity matters. Flexibility matters. Interpretability matters. That is why ToMusic deserves the first position here.

The broader lesson is that music AI is becoming most valuable not where it imitates finished production most perfectly, but where it helps creators think in sound sooner. Once that happens, ideas stop waiting in silence. They become something a person can hear, compare, reject, improve, or move forward with. That shift is larger than novelty. It is a new way of making creative judgment practical.

Showbiz

AMVCA 2026 Update: Host, Voting and What to Expect

Published

3 days ago

02/04/2026

Business Post Contributor

As anticipation builds for the 12th edition of the Africa Magic Viewers’ Choice Awards(AMVCA), the conversation has officially shifted from speculation to action. With nominees unveiled and voting now open, this year’s awards are shaping up to be one of the most competitive and expansive yet, featuring a record number of films and talent from across the continent. From established stars to emerging voices in African cinema, the AMVCA continues to celebrate excellence in storytelling, technical craft, and cultural impact, reinforcing its position as one of the most influential platforms for African creativity.

Host & Jury:

While the official host for the main awards night is yet to be confirmed, the nominations announcement was led by Chimezie Imo, offering a first glimpse into the tone of this year’s event. On the adjudication side, veteran actress Joke Silva leads as Head of Jury. Her role underscores the awards’ continued emphasis on credibility, with a panel tasked with evaluating technical excellence, storytelling depth, and overall craft across non-voting categories.

Voting: How It Works

One of the defining features of the AMVCAs is its hybrid voting system, and 2026 is no exception. Out of the total 32 categories, 11 are open to public voting, giving audiences a direct role in deciding key outcomes, while 18 categories are determined by the jury alongside special recognition honours. Voting is conducted through the official Africa Magic platform, where registered users can select their preferred nominees and cast up to 100 votes per platform.

Voting for this year officially opened on March 29, 2026, giving audiences enough time to vote for their favourites. The window will close on April 26, 2026, after which attention shifts to the main awards night, scheduled for May 9, 2026.

Leading Names & Notable First‑Timers

This year’s nominations reveal clear frontrunners. Films like The Herd, Gingerrr, and My Father’s Shadow lead the nominations, highlighting a rising preference for ambitious, high-concept storytelling. Actor Lateef Adedimeji stands out with three nominations, making him the most nominated actor for the year, highlighting his range across both lead and supporting roles.

The 2026 list also includes notable first‑time nominees. Popular Content Creator and actress Kidaby earned her first nomination for her performance in Oversabi Aunty, and Ariyike Owolagba received her first nod for her role in Something About the Briggs, signalling the emergence of new talent within the industry.

In addition to competitive categories, the awards will present special recognition honours, such as the Lifetime Achievement Award and the Trailblazer Award, acknowledging industry veterans and breakthrough achievements.

What Feels Different This Year

Beyond the usual red carpet glamour and viral moments, AMVCA 2026 reflects a broader shift in focus. There is more intentional representation across the continent, with categories such as Best Indigenous Language (North Africa and Central Africa) highlighting a wider African storytelling ecosystem, rather than the usual strongholds. This signals a deliberate push to capture the continent’s linguistic and cultural diversity.

This edition represents a significant milestone for the industry, with Diageo featuring brands like Guinness serving as the full portfolio sponsor, while premium tequila brand Don Julio headlines as the main sponsor. Their involvement highlights AMVCA’s expanding role as a premier celebration of African creativity.

AMVCA 2026 is more than just another awards season; it shows the current pulse of African cinema. From how voting is structured, to the jury making the calls, to the wide range of nominated films and emerging talent, it’s clear the industry is evolving: more inclusive, more participatory, and shaped as much by audiences as by creators.

With voting now open, the results won’t just reflect the opinions of industry experts; they will also carry the voice of viewers from across the continent, making this year’s awards truly a celebration of African storytelling.

Showbiz

Wura S4, Dividends, And Other Shows To Stream This Long Holiday

Published

3 days ago

02/04/2026

Rahma Ahmed

Easter is here, and whether you are spending the long weekend with family, friends or simply enjoying some well-deserved solo downtime, there is no shortage of great shows to keep you entertained. From gripping African drama to timeless animated classics, this holiday weekend has something for every mood and every member of the family.

The best part? We have done the work for you. Here are five shows worth watching this Easter, from binge-worthy Nigerian television and epic historical documentaries to beloved family favourites, all available to stream on DStv Stream.

Wura S4 — Africa Magic Showcase & Africa Magic Family

After three seasons of betrayal, manipulation, and bloodshed, Wura is back, and Season 4 may be its most dangerous chapter yet. The critically acclaimed telenovela returns with Scarlet Gomez as Wura Amoo Adeleke, a ruthless matriarch now haunted by guilt and surrounded by enemies on all sides.

Directed by Rogers Ofime, the new season finds Wura’s carefully built empire cracking under the weight of secrets and relentless pressure, as alliances shift, loyalties crumble, and the Adeleke dynasty teeters on the brink of collapse. Family-friendly and thoroughly addictive.

Catch the new episodes every weeknight at 8 pm on Africa Magic Showcase (DStv Channel 151, GOtv Channel 8) and at 8:30 pm on Africa Magic Family (DStv Channel 154, GOtv Channel 7). Episodes 1 – 3 are currently available to stream on DStv Stream.

Dividends — Africa Magic Showcase

What happens when the promise of “double your money” collides with the brutal realities of everyday survival? Africa Magic’s newest dramedy, Dividends, answers that question with sharp wit and painful relatability.

The show that premiered on March 30, 2026, dives into the chaotic aftermath of a collapsed Ponzi scheme, following three strangers whose lives unexpectedly collide in the wreckage.

Dividends airs on Africa Magic Showcase (DStv Channel 151) from Mondays to Wednesdays at 8:30 PM WAT, with episodes also available via DStv Stream and GOtv platforms.

Gladiators: Warriors of the Ancient World — National Geographic

This six-part National Geographic documentary series wraps up with a finale worthy of the arena. Gladiators: Warriors of the Ancient World chronicles the lives of Rome’s greatest fighters, from Spartacus’s defiant rebellion to Flamma’s ultimate sacrifice, exposing how bloodsport shaped Roman power, culture, and identity.

Packed with vivid dramatisations and sharp historical depth, Episode 6 brings this brutal, fascinating world full circle, revealing how the rise and fall of gladiatorial combat left a permanent mark on an empire built on violence and glory. The episodes are available for streaming on DStv Stream.

Twist of Fate: New Era — Zee World (DStv 166)

Fans of high-stakes romance and family drama will find plenty to love in Twist of Fate: New Era. Acting as a continuation of the beloved Kumkum Bhagya story, this Indian telenovela now follows Purvi Kohli, daughter of Prachi and Ranbir, as she navigates a turbulent marriage to the complicated Rajvansh “RV” Malhotra.

With a scheming rival in Monisha and a family determined to tear them apart, Purvi’s journey is one of love tested at every turn. Emotional, dramatic, and thoroughly binge-worthy. Watch all episodes of Twist of Fate on DStv Stream.

The Prince of Egypt

No Easter watchlist is complete without The Prince of Egypt. This animated musical masterpiece retells the story of Moses, from his privileged life as Egyptian royalty to his extraordinary calling as the liberator of an enslaved people.

When Moses discovers his true identity as a Hebrew, he must confront his adoptive brother Pharaoh Rameses, setting in motion a story of faith, sacrifice, plagues, and the iconic parting of the Red Sea. With stunning animation and themes that align perfectly with the Easter season, it is the ultimate family watch for the holiday weekend.

This Easter, skip the scroll and go straight to the good stuff. From nail-biting Nigerian dramas to family-friendly classics, there is something for everyone on DStv Stream.