Weird MC
Nigeria's Weird MC, also known as Da Rappatainer, talks to Malachy O'Neill about the differences in making music in the UK and Nigeria.
Weird MC , also known as Da Rappatainer, is an artist, lyricist, programmer and producer who has been a pioneering voice in African music over recent years. Her sound encompasses hip hop, Afrobeat and R&B, mixing the hard urban street style of London with the uplifting rhythms and melodies of Africa.
Hers is one of the most distinctive voices in African music, and her independent approach to her music was recognised when she picked up the first ever award for hip hop in Nigeria . She leads her own band, mostly made up of female musicians, although she is equally at home with a pared-down crew and a DJ.
Weird MC has collaborated on stage and in the studio with the likes of Femi Kuti , Lagbaja , Tony Allen , Wunmi and Ashley Beedle . She has also toured extensively with the Shrine Syncro Sound System , Afro Celts , and with her own band, taking Womex 2003 by storm.
On record she has featured on 'Rhythmic Altered State' with RAS from Berlin, Tony Allen 's 'Home Cooking' and the Original Afrobeat Compilation . Her song 'Palava' has been included in two major global vibes compilations: EMI's World 2003 (selected by Charlie Gillett ) and Peace Lounge Recordings' 'Pop d'Europe: Migrating Sounds In and Out of Europe' . Weird MC also has a track ( 'What Are You Waiting For?' ) on the Backbone Music compilation 'Have You Got Skills? Vol.1' , a collaboration with Africa On Your Street host JJC and his group 419 Squad .
Weird, as she is also known, took time out of the studio, and rehearsals to talk to Africa On Your Street.
How did you get into the music?
It was mainly by listening to a whole broad spectrum of musicians, people like Fela Kuti, Lauryn Hill, Da Roots, Miriam Makeba, Queen Latifah and Jimi Hendrix. I was born in London and partly raised here and partly in Lagos, Nigeria. So I identify with the music of both cultures. Now I spend about 60% of my time in Africa, and 40% here in London.
Do you notice a big difference between the way your music goes across over there, and the way audiences react here in England?
Basically back home when you get on stage with a band you have to attack right from the beginning. They have no time for B.S., they’re not really patient, they have no time to wait around. Here in England you can take that time, do a lot of the set taking it nice and easy and then explode into something else. To me that’s the difference.
Does that mean you’re a little bit more free when you’re playing in England?
I think in England people are more open-minded, in terms of music they’re more receptive to new things, experimental stuff. Back home it’s what’s tried and tested, what works, the commercial stuff. You’ve just got to go for it, straight up.
Have you seen more people in Nigeria getting into Hip Hop since you started?
The numbers are getting bigger and bigger. You’ve got me, Idris, Lost Immigrants, plenty of new MCs coming into the game, Queen Change. And then the groups coming up like The Plantation Boys, Remedies. There's been a big explosion back home.
You’ve been breaking new ground musically for quite a long time now…
Professionally I’ve been doing this for about seven years now. I took time off for a few years and went back to school, did some music technology courses. I’d always wanted to know how to work the gear properly in the studio. I did a short 6 month course in music production here in London, so now it’s not just about me being an artist, I do all my programming and production myself.
I do collaborate with other writers and producers as well but I do most of it on my own. The embryo just kicks off in my head and I go for it, and I’ve got my own set-up at home so I can sit up all night and all day doing my thing.
Today there were about nine of us rehearsing in the studio. Me, the whole brass section, bass player, the drummer, talking drummer, other percussionists and vocalists, bringing different elements together.
Ijoya is a new track, and a new sound for you. How did it come into being?
The hook was playing around in my head, I was messing about and before I knew what was happening I gave birth to a track called Ijoya. You should have seen the faces of the musicians, they were so excited playing the track live. Ijoya is Yoruba. It means it’s time to dance, it’s time to move your ass. At the moment we’re working hard towards putting out a record, I’m setting up my own mini-label, saving up hard to shoot some videos, because I want to make sure that the visual element complements the audio as well, that’s very important to me.
So what are your hopes for the future?
Make it big. Get signed to a major label, have them walk hand-in-hand with me, on my terms and my conditions. No manufactured stuff, just putting out good music and getting paid. Period. And when that happens I’d like to invest in bringing up some new artists, do some philanthropic work back home. There are a few causes which are really dear to my heart, and that’s where I’d share the money.
How have you found it being an African woman in an industry that’s run mainly by white men?
Basically I just get on with my job and do it. I decided a long long time ago not to really let the politics of the industry sway me from my goal. Because that can mess up your spirit, it can mess up your focus. So far so good though, I haven’t really had any problems, people have been pretty open-minded.
And one more thing, where did you get your name from?
When I was coming up I was in a group called The Weirdoes. There were six of us and we split up but I kept the name. Took the O – put it MC – to the weird – Weird MC. I wanted to come up with a name that would turn heads, and it’s worked for me.
Listen : Palava (feat. Femi Kuti) from the World 2003 compilation (EMI)
Listen : Ijoya