Marie Bashiru Interview
Ahead of her gig at Cecil Sharp House this month, Marie Bashiru shares her thoughts on the joys of crossing genres, the influence of Nigerian folk and Highlife music on her own work and the ongoing struggle for more diverse representation in folk music...
You have a new record coming out – can you tell us a little bit about the project?
It’s called “Nothing As it Were Before.” It’s a collection of songs written over the course of the past two years, during my time in lockdown, and it’s kind of a journey through my experience of the various challenges and joys faced. The title alludes to the hope and resolve that things would be different and change, for the better.
Your sound crosses several genres. Is it the case you started playing in one genre and became frustrated, or have you always been attracted to the idea of mixing styles?
The concept of genre is a funny one to me, because I often think it’s quite challenging to only write in what you’d consider one singular style or mode. It can also be quite confining and limiting to the artist, especially if that artist happens to be black or from another ethnic background. I always listened to a mix of genres growing up; from pop, hip hop, Nigerian music, and later, more folk and jazz. So for me, what I write tends to be consequential of being influenced by all of them. They’re all there somewhere in my music, seated at the table, contributing their own ingredient and flavour to the dish. And I love challenging myself to create a new expression of what is often considered a binary genre.
You’ve said that growing up, Nigerian folk and Highlife music were both inspirations for you – what do you take from those genres in your own music?
There’s a kind of pure expression in those genres. Lyrically, the singer is really just saying what they want to say. How it is. It’s often anecdotal and an expression of thanksgiving. Or when it comes to the instrumentation; there’s a passion for the music. Even amidst the deadpan expressions of the band performing live, you know they really wouldn’t have mastered their craft and be doing this if they didn’t love it. And that kind of seemingly subdued passion, is something that comes out in the music, and something I hope to embody a bit in my often melancholic songs - ha! The rhythm and attention to tone is also something I love about high-life music. Sometimes I like to play with that a bit; with time signatures and cadence.
Which artists would you recommend for anyone interested in finding out some more about those genres?
I would recommend one of the greats - King Sunny Ade. He was played a lot in my house and family car growing up. My mate’s dad is also a famous Nigerian musician by the name of Alh Kollington Ayinla. Then there’s: Chief Commander Ebenezer Obey, Fela Kuti for more cross-genre, Eddie Okwedy and Sir Victor Uwaifo.
I’ve noticed there are a lot of references to driving in your work – why is that?
Ha! I think this is where I should insert some really abstract and deep thought around the concept of driving and existential realities. But, to be honest, I myself only later realised this was a recurring theme. I think it’s because I love being in a car and going on a long trip somewhere... I love the process of it. The motion. The journey. I could honestly sit in a car for hours on end and not need a break or ask “are we there yet?” Fond memories from childhood… the promise of a destination … and the joy of the process...I think I’ve just ended up sounding deep and abstract, haven’t I?
You recently did some research in the Vaughan Williams Memorial Library as a recipient of one of the Alan James Creative Bursaries. Can you tell us a little bit about your research and what you discovered?
I focused on the cross-cultural impact of folk music within empire and stumbled across the largely unknown and forgotten cultural phenomenon of Blackface Minstrelsy in Britain. It spanned two centuries, from the 19th and into the 20th, …so still in living memory … and changed the face of folk music and entertainment in Britain. This racist and derogative art form had so great an impact in the UK, I had to investigate the potential impact it may have had on why there is so little diversity within British folk music and culture, both historically, and today. I’m currently recording a podcast featuring my findings on this as well as contributing to the Folk Music Journal; to hopefully engage a much larger conversation about what is a largely obscured part of Britain’s history. I also did some research into Mento music - Jamaica’s own version of folk music - that is essentially the mother of most genres that have come out of Jamaica, post-empire.
I know that one inspiration for your research was the book Electric Eden by Rob Young. I feel like that book has provided a way into folk music for a lot of people in recent years, who might perhaps not have discovered it otherwise. Can you talk a little bit about what inspired you about that book?
To be honest, there was an irony about this. When I did my music degree, Electric Eden was on the reading material and I bought a copy, but due to the sheer size of it, never ended up reading it and gave it to a charity shop. Then I find myself in a full circle moment where many years later, I’m returning to it as the foundational material for this research! I wish I’d read it back then. It’s a really thorough anthology of folk music in Britain that taught me so much about this folk music culture I’ve never felt a part of, yet geographically live within. Learning about prolific musicians, such as Davy Graham, and his black heritage, I could relate in parts to his story and was really inspired by the ways he broke ground and innovated with genre within the folk music world.
Back in Summer 2020 you released your song “Love Never Gives Up” in response to the murder of George Floyd and the many other black people killed by police. Two years on – what impact do you think the conversations happening at the time have had on the UK music industry? And the folk scene in particular, if you have a view?
Though this global moment of reckoning, when it comes to race, is not the first of its kind, I think this one in particular has shifted the conversation. Rather than equality looking like a diversity and inclusion tick box protocol, it’s bringing into awareness the reality that actual lives are at stake here, along with the humanity of a group of people who have historically been reduced; in subtle and structural ways. So when it comes to the music industry, and folk, in this case, I can see more people in this sphere are acknowledging the absence of black people and diversity in the UK. And questions need to be asked as to why that is. But it's only when we thoroughly ask these questions that we can then start to ask ‘what can be done to correct this going forward?’ It’s going to be a long and hopefully progressive process but I appreciate the work that people like Roger from Black Lives In Music, as well as EFDSS, are doing to address this, and change this landscape so its equitable and inclusive for everyone.
Lastly, what can we expect from your upcoming live show at Cecil Sharp House?
A gorgeous support act from Georgia Duncan, me and my full band reunited once again after two years, playing songs old and new, including an exclusive first listen to the EP I’ll be releasing this Summer; and the joy of seeing and playing to some real-life faces again.
Marie Bashiru plays at Cecil Sharp House on Wednesday 18 May.
