"This," announced the Nigerian MC, "is the most explosive dance music in Africa", and it seemed at first as though national pride had seriously damaged his judgment. After all, the QEH has little in common with a sweaty Lagos club, and when the headline band first appeared, even the Nigerian contingent in what was still a sadly empty hall failed to get off their seats.
King Wasiu Ayinde seemed unperturbed. A stocky figure with cropped hair and dressed in a striped shirt and slacks, he was flanked by his Ultimate Band of 11 musicians in matching yellow robes, who launched into the first song with an enthusiasm that many bands would have saved for a finale. As Ayinde started singing, with his powerful chanting vocals echoed by two male backing singers, his extraordinary rhythm section swung into action. A drummer with a conventional kit was matched by four other percussionists, mostly bashing away at traditional talking drums. Both the noise, and the subtlety, were remarkable.
King Wasiu Ayinde is one of the leading figures in Fuji music, a style that mixes traditional Yoruba chanting and drumming with a contemporary edge. He has been recording for over two decades and is a major celebrity back home, but only made his first British appearance (on this same stage) three years ago. On that occasion, he appeared to be merely cruising for much of the show, but this time it was very different. The furious opening song was merely a warm-up, for he now launched into an exhausting set that veered from trance-like call-and-response chanting to pop ballads, all dressed up with that exhilarating percussion work.
There were passages where the rest of the band (fluid guitar, unnecessary and brash keyboards and impressive saxophone) managed to get a look in, but for the most part the set was dominated by African drums'n'bass. Nigerians like to go out late, and by the end of the show the hall was packed with dancers and Ayinde's band were sounding fresher than ever. This was the opening night of the London African music festival, and sets a tough standard for the eight concerts to come.
