In the first of a two-part series, Wunmi talks to AFKInsider about how she got inspired — and made it — in Africa.
Wunmi is a woman of two worlds. The singer, dancer and fashion designer was born Ibiwunmi Omotayo Olufunke Felicity Olaiya to Nigerian parents in the U.K., but spent most of her childhood in Lagos, Nigeria.
On her path to stardom she worked with the internationally popular band, Soul II Soul, appearing as a dancer in the video for the hit single “Back To Life” in 1989, according to her website.
Wunmi struck out on her own with her debut single, “What a See (A Guy Called Gerald mix)” in 1998. In 2002, Wunmi also appeared on Red Hot Organization’s tribute album to Fela Kuti on the “Zombie (Part One)” track. Proceeds from the album, Red Hot and Riot were donated to AIDS charities.
Wunmi’s debut album, “African Living Abroad,” was released on Documented (an indie record label that’s no longer around) in 2006. After this she started her own fashion line and put music on the back burner for a while. But a trip to Ghana reignited her passion for music and she decided to do a new album. With money an issue, she turned to crowdfunding to finance the CD.
In 2015, she is releasing her second CD, “See Me,” which she recorded in Accra, Ghana, and Brooklyn, N.Y.
Wunmi: This album was mostly conceived at Mixstation Recording studio in Accra, Ghana. I had began some of the writing process in New York with Jeremy Mage, one of my two co-producers of this new album.
My writing process requires me to lock myself away in a studio. It is there that I can allow myself to drift inwards to hear my inner thoughts in music form. During the sessions for this album whenever I needed time out from the studio I would go for a ride on Accra local buses which are called tro-tro. I actually found myself writing a few of my melodies and lyrics while riding up and down on the tro-tro bus. The passengers’ conversation, jokes and sights were inspiring.
Wunmi: Most importantly I worked with my two musical directors to co-produce the album — Kwame Yeboah (U.K. band) and Jeremy Mage (U.S. band). I wanted this album, this studio recording, to have the energy that we bring to my live performances. My past recordings had been made in collaboration with DJs and producers. Then the resulting tracks I would bring to my musical directors and we would rework for live performances.
Prior to recording my first solo album, Africans Living Abroad (which featured 11 different producers!) I recorded and released over 25 singles with producers such as Masters At Work, Roy Ayers, Osunlade, Bugz In The Attic, Truby Trio, King Britt and Raw Artistic Soul, just to name a few.
With my new album, “See Me,” I was in one place for months writing and recording, which allowed me to dig deeper into the heart of each song as it came to me. For instance, the track “Little Girl,” (an ode to every girl or woman encouraging her to trust and believe in her dreams) was created in the studio. Kwame played keys and had session musicians in to play bass and drums. It was one of those magical moments during recording sessions when the music speaks clearly to you. I started scatting, as I always do during my writing process, and in came the hook — “little girl feel no way, don’t worry what dem people claim, remember what your mama say cause soon you’ll find your way.”
The song built and grew and I sang the song like I knew it way before I started, and when the end came everyone was charged. I had goose pimples all over my arm. I knew something special had happened. The next step was for me to use the blank spaces to articulate what was the song was about and to somehow fulfill the yearning that the song had created inside of me.
It was one of my most emotional songwriting experiences, much like writing “Time Is Now,” a song I wrote with Masters at Work.
Truth be told, up until this album my studio sessions had usually been very short — in and out over a weekend maybe. This session in Ghana was much longer and each song had time to evolve and breath.
“Pressure” came from one of the stories I heard during my tro-tro rides — a story of how despite life’s challenges many men and women find reasons to keep smiling. The idea that as long as they do not allow stress to overcome them, there was always a reason to be thankful. “Pressure” is my admiration song to the men and women who always find a way to get through their daily struggles with a smile and an unwavering faith.
Wunmi: I once joked that I don’t know why anyone would call second album sophomore, cause there really is nothing soft about it!
I was at a place where I did not know if I wanted to continue with music. Nothing was making much sense to me. As an independent artist the financial commitment is heavy, not to mention the amount of work that goes into self releasing. In the midst of this uncertainty I was designing and producing my clothing line (wowwow by Wunmi) in New York City and Lagos, Nigeria, which also demanded funds and attention. I was definitely feeling burned out by the end of summer 2009.
I was invited to Ghana by Wanlov the Kubolor, aka Emmanuel Owusu Bonsu, a wonderful talented musician/rapper/film director/song writer. I had never been to Ghana and it seemed like a good time to go and do some self care. During that trip I found myself enjoying music all over again. I was surrounded by, and hanging with, like-minded folks, enjoying listening to and watching other artists perform.
Accra also took me back to when I lived in Nigeria (age 4 to 14). It felt like I had gone back in time. I stayed for one month in Accra on that trip. Worked behind the scenes on the FOKN Bois movie, “Coz Ov Moni,” the first-ever pidgin musical. I helped with choreography and some of the wardrobe. FOKN Bois is one of my favorite Ghanaian rap groups, made up of Wanlov and Mensah, another amazing song writer/producer/singer /rapper.
Just when I thought things could not get any better I got to perform live with a full band –and with Kwame Yeboah as musical director — he just happened to be in town. It was like the universe conspired to make this trip beyond my wildest imagination. It was while I was in the grip of amazingness that I began to imagine myself recording new music. I was once again hearing and feeling music. I decided then that I must return here to record my follow-up album. Then my challenges began with the decision to record in Africa and Ghana.
I had no idea how I was going to do it, until I returned to New York and had a conversation with my fairy godmother who introduced me to Kickstarter!
Unfortunately for me the Haiti disaster happened right in the middle of my Kickstarter campaign and with the world focus on the crisis and finding relief for the victims and survivors I myself could not justify asking for help to record. It was a very painful period. I was already in Ghana with two months left in my campaign and I just stopped asking folks to support. It just did not seem right.
My heart was sinking. It was during this time that another dear friend saved me when he wrote and reminded me about all my fans and friends who believed and supported me over the years. He insisted I write a letter to everyone explaining how I was feeling about the whole situation in Haiti and the fundraising for my album. He said I should trust that my folks would understand and rally round. It was one of those moments in life when one faces up to ones own fears. I am thankful to my friend for his email and to all of my friends and fans who did come through! I made my target days before the deadline!
The first song I wrote was “Pressure.” Now it all makes sense.
Wunmi: My musical influences are many. From childhood I was mesmerized by Fela Anikulapo Kuti. His music created a movement and awakened the masses. He was one of the reasons I am in music. I loved listening to radio, hearing so much different music created a landscape of sounds that allowed me to daydream! From a child I loved dancing. I loved James Brown, Michael Jackson…Moving back to London, I got into Kate Bush! She is still one of my all-time fav female artists. Then came Sade! Bjork! Then I went in search of more female artists, found Tina Turner, Miriam Makeba.
Wunmi: I go home to London very often. My parents, siblings, and school friends are all based in London. I feel my music is a combination of the sounds I grew up listening to while in Lagos and London. I always said that Wunmi music is a product of my English-Naija sensibility.
Wunmi: Naija music popularity grew as Nollywood movies became huge, especially at hair-braiding salons where they were sold. Many of these movie soundtracks are popular Naija music and one could not deny the infectious catchy beats and hooks! Hear dem once and you were humming and singing dem like ring tones. The power of the hairdressers!
Wumi: My goal for 2015 to record my children’s album. I am also looking forward to spreading my music wider, go on another world tour.
Wunmi: Not sure really what it is like being an artist in Nigeria ’cause I have spent my music career out in the world. However speaking with my fellow artist friends, it is like every where else, not easy career choice.
For a long time music and the arts was not a career choice traditional Nigerian parents approved of. So support was rarely forthcoming. This has changed somewhat but still there isn’t really a structured music business outside of the bootleg market, so artists rely on getting a hit which then leads to big sponsorships and live shows. Sadly artists like Seun Kuti, Femi, Nneka, Asa and other Nigerian artists get more shows and sales abroad than at home. Pioneers like Weird MC, who is one of the artists who paved the way for what is now called Afrobeatz, say it is rough out there. Truth be told the music industry is rough wherever you are. Only the strongest survive!
In part two of this AFKInsider series, we’ll explore the artists who influenced Wunmi’s work. Watch for Part two at AFKInsider.com.
