 The first question that is often asked when
Lagbaja is encountered is, “Why the mask?” Basically,
Lagbaja’s mask is used as an icon of man’s facelessness. Lagbaja is a Yoruba word that means somebody,
nobody, anybody or everybody. It perfectly depicts the anonymity
of the so called “common man”. The mask and the name
symbolize the faceless, the voiceless in the society, particularly
in Africa. Once you see Lagbaja’s mask you are reminded of
your own facelessness. This symbolism is so powerful that Lagbaja’s
mask has popularized the use of the mask concept by other artistes
both in Nigeria and beyond.
Though the concept was developed long before
that, his first album (entitled Lagbaja) was released to National
acclaim in 1993. Over the years and more albums later, the music
continues to fascinate with its unique focus on a core of African
drums. His music is a product of various influences ranging from
traditional Yoruba music to Jazz. Often the music is purely instrumental-
an interplay between traditional Yoruba percussions, drums, chants,
and western instruments, especially the saxophone. When there
are lyrics, they are primarily sung in Yoruba, English or a blend
of the two as is colloquially spoken in Yoruba cities. Many of
his songs dwell on serious social issues, while others simply
entertain. Some are dance inducing while others pass serious
messages in humourous ways.
One thing that links all the songs together is
his use of traditional African drums. Traditional Yoruba drums
are the most prominent. Four families of these drums are employed
in creating different grooves and moods. The dundun/gangan family
is the most prominent and at times up to five drummers combine
all the various components to create the polyrhythms. The bata
ensemble is led by two musicians who alternate between soft high
toned driving rhythms with their omele bata, and thunderous loud
talk with their mum drum- iya ilu. The general percussionist leads
the sakara ensemble. The fourth family, used as the backbone of
the groove is the ogido, a derivative of the ancient gbedu. The
ensemble of drummers constitute the larger part of the band. Vocalists
and western instrumentalists make up the rest. Lagbaja’s
groovy fusion has been refered to as afrojazz, afrobeat, higherlife
and afropop until now that he himself has christened the music
AFRICANO, alluding mostly to the central role of African drums
and grooves in his music.
In March 1997, Lagbaja established his club, Motherlan’ in
the heart of Ikeja in Lagos. Motherlan’s design is influenced
by the traditional African town or market square, where people
gather under the moonlight for ceremonies and artistic events like
dance, music, story telling, wrestling etc. True to this function,
over the years, it has become a place for many comedians to polish
their act in front of a demanding audience.
With a serene gorge of beautiful trees and greens
as background, the venue merges traditional Africa with the contemporary,
creating the ambience of the countryside in the urban city. Lagbaja
performs at Motherlan’ every last Friday of the month to
a full house of faithfuls.
Lagbaja is fast emerging in the forefront of contemporary
African music, rich in the traditions of the continent while cosmopolitan
in attitude. He has started to take his music beyond the shores
of Nigeria, performing in festivals and venues around the world.
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