The Talking Drum, known as Dùndún or Gángan in Yoruba culture, is more than just an instrument; it is a vessel of tradition, storytelling, and rhythm. Renowned for its ability to mimic human speech, this iconic drum bridges the gap between music and language, making it a cherished symbol of Yoruba heritage. In this exclusive interview, we delve into the life and craft of a master Talking Drummer, Moses Olatunde Mobolade, exploring the inspiration, techniques, and cultural significance behind this art form. Through Mobolade’s insights, we uncover the pulse of a tradition that continues to resonate across generations and borders.

Can you tell us about your journey into drumming? What inspired you to become a Talking Drummer?

My name is Moses Olatunde Mobolade, but I’m fondly called Olatunde Percussions and also known as Ara. I was born into a Christian home, specifically in the Cherubim and Seraphim Church, and raised in a pure Yoruba family.

My journey into drumming started within my family, as part of a musical heritage; though we are not from an Ayan family (lineage of Talking Drummers), but we are blessed with the gift of music.

I began with a Konga-like drum called ‘Akuba’, before gradually transiting to the modern drum set.

The inspiration of becoming a Talking Drummer came when my Church in Minna (Cherubim and Seraphim Church, Ona Iwa Mimo) had an anniversary celebration. The invited Talking Drummer disappointed us, and the service was not as lively as expected. This prompted me to call my elder brother (Samson Mobolade), who resides in Abuja at the time to send me a drum, and he did. From that day on, that is how I became a Talking Drummer.

My Elder brother, popularly known as Sammy More was once a Talking Drummer but now a renowned Juju/Highlife musician here in Abuja.

What role does the Talking Drum play in Yoruba culture and traditions?

The Talking Drum holds a significant place in Yoruba culture and traditions. In some parts of the Yoruba Land or specific families, the Talking Drum is revered almost like a mini god and is an essential source of livelihood for many.

It cannot be removed from the socio-cultural heritage of the Yoruba people. The Talking Drum is used in all kinds of events and also serves as a means of communication, especially at important ceremonies and rituals.

How did you learn the art of Talking Drumming? Was it passed down in your family, or did you have a mentor?

I did not learn how to play the Talking Drum through formal training, as I have an inbuilt talent for drumming. While I don’t have a single mentor, my elder brother, Sammy More stands out amongst many who inspires me.

I learned the talking drum by observing professional players, attending live performances, and listening to music recordings.

I picked up techniques and styles to improve my own craft. For every Talking Drummer I meet, I always learn something new, regardless of their experience or age.

The Talking Drum is known for its ability to mimic speech. Can you explain how this works?

The Talking Drum is crafted from wood to form ‘Odo ilu’, and goat skin, referred to as ‘Awo ilu’. The drum has strings called ‘Osan’, and black rings on the edges, called ‘Egi’.

The wood is carved into a conical shape, which produces resonant sounds. The skin is stretched across the drum and tensioned with the strings.

When the drum is worn over the shoulder using a strap called ‘Oja ilu’, the shoulder controls the pitch and tone, while the other hand holds the drumstick (‘Opa ilu’) to play.

This allows the player to mimic speech patterns, producing different tones and pitches that convey messages.

What messages or stories do you often convey with your drum?

I, Ara, use my Talking Drum to preach peace. The Talking Drum serves as a medium of communication, especially within the Yoruba tribe, where the listener understands the message conveyed. The language of the drum is called ‘Owe’ (proverbs), which can convey various messages, often related to wisdom, advice, or moral lessons.

Worthy to note is that the talking drum is also used to instigate fight or proclaim war.

Are there specific occasions or ceremonies where the Talking Drum is most impactful?

The Talking Drum plays an integral role in various ceremonies, from burials to child dedications. It is a powerful tool that musicians incorporate into all kinds of music. Beyond religious and cultural ceremonies, the Talking Drum also holds significant importance in the entertainment industry, especially in musical performances.

How do you balance tradition and innovation in your performances?

Innovation in Talking Drum playing is derived from tradition. The ‘Owe’ (proverbs) form the foundation, and from there, new ideas, styles, and innovations emerge. Understanding the traditional language and techniques of the drum allows for innovation, blending the old with the new in a way that respects the roots of the art.

In a rapidly modernizing world, what steps are you taking to preserve this traditional art form?

In today’s entertainment world, I don’t believe the Talking Drum will easily fade away due to its growing acceptance. However, to help preserve its relevance, I believe it is important to teach and encourage the younger generation to learn how to play the drum.

This should not be my responsibility alone but should involve all professional Talking Drummers.

To further this cause, I am working on creating opportunities for learning by organizing workshops, and planning events like drum festivals that could go global with the support of key stakeholders.

How do you think the Talking Drum can be integrated into contemporary music?

The integration of the Talking Drum into contemporary music requires a level of professionalism. Professional Talking Drummers should work towards versatility, playing different music genres.

By listening to and rehearsing various styles, we can broaden our understanding and ability to adapt the Talking Drum to modern music.

What are your thoughts on the global appreciation of Yoruba music and its instruments?

I have witnessed the whites (Westerners) playing the Talking Drum, which is a clear indication of global appreciation for Yoruba music.

They have come to Africa not only to learn the drum but to incorporate it into their own entertainment. However, no matter how much they try, they cannot replicate the true essence of the Talking Drum, as it is deeply rooted in our culture.

Today, the Talking Drum is widely used both at home and abroad for socio-cultural events, demonstrating its global relevance.

What has been your most memorable performance as a Talking Drummer, and why?

One of my most memorable performances was the first time I ever played the Talking Drum at an event in Minna. It was a “wow” moment. The audience were amazed, and I couldn’t believe that I was the one making people dance with my Talking drum. It was my first event as a Talking Drummer, and it’s a day I will never forget!

Have you collaborated with any notable musicians or participated in any international event? How was the experience?

I’ve had the privilege of playing for notable Nigerian Gospel Musicians and Bands. For example, I played for Big Bolaji at COZA in Abuja, and the late Sammie Okposo at the Abuja Megga Jam Festival, organized by House on the Rock Church Abuja. I also performed with the popular Sharp Band of Lagos.

It’s been a wonderful experience performing with these artists honestly.

Currently, I’m performing under the umbrella of Sammy More International, a rising star of different music genres fused on one stage.

Can you share any challenges you’ve faced in your career and how you overcame them?

Every profession comes with its peculiar challenges, and as a Talking Drummer, I’ve faced mine. For example, performing with subpar sound systems can be frustrating, and playing under unfavorable weather conditions can damage the drum skin.

One of my personal challenges was not being able to fix my drum on my own, so I had to pay people to repair it. After facing several disappointments, I decided to learn how to repair and maintain my drums myself.

What’s the fun or surprising fact about the Talking Drum that most people don’t know?

The Talking Drum is truly an outstanding instrument among other percussion instruments. Its ability to mimic voices is still a mystery to many and something that often surprises people. The Talking Drum commands the stage and adds depth to the music. When you perform with a Talking Drum, the audience expect a display of its unique abilities.

If someone wants to learn the Talking Drum, what’s the first thing they should do?

For someone who wants to learn the Talking Drum, I advise that they first develop a love for music. This will encourage them to listen to songs that feature the Talking Drum.

There are two categories of learners: those who already play other percussion instruments can easily transition to the Talking Drum because they understand beats and rhythm.

For beginners, it’s important to first learn the clef rhythm, then gradually move to smaller drums like the ‘Omele’. This helps develop flexibility in the fingers and a proper understanding of rhythm before progressing to the full-sized Talking Drum.

What’s your advice for young people interested in pursuing a career in traditional music or drumming?

For young people interested in becoming traditional musicians or Talking Drummers, my advice is that they should stay focused and persistent, especially in the early stages when they will face a lot of criticism. They should keep striving and maintain positive energy, because one day, they will begin to reap the rewards of their efforts.

If your drum could tell one story about your life, what would it be?

If my Talking Drum could tell a story, it would tell of how I give thanks to God for this precious gift and for the opportunities it has provided me. Though I have not traveled to the Western world with my drum but it has opened many doors for me here in Nigeria.

It has helped fund my education, supported my livelihood, and allowed me to meet influential people in various sectors of life, including the military.

In Nigeria’s vibrant music industry, instrumentalists play a crucial role in shaping sound and style, yet they often remain unsung heroes. In this exclusive interview with ACJ, an accomplished guitarist, Benjamin Mobolade popularly known as ‘Ben Santos’ shares his journey from drumming in a church choir to mastering the guitar, drawing inspiration from global and Nigerian legends. He discusses the impact of the Nigerian music scene on his playing style, the challenges of being a guitarist in Nigeria, and his vision for the future of guitar music.

Background and Inspiration

Q: Can you share your journey into music? What inspired you to pick up the guitar?

My musical journey began at around age eight when I joined my church choir. My mother was the choir mistress, and I would follow her to rehearsals, where I started playing the clef.

With time, I progressed to playing the samba, bass drums, and eventually the Akuba drum, which was the lead percussion instrument in my church.

During my primary school years, I met a friend, Tayo (popularly known as TYP), who transformed my musical understanding.

He introduced me to the drum set, and by the time I got into secondary school, I was already playing the foreign drum.

I eventually became the official drummer for my church back then in Minna.

My transition to the guitar was driven by passion. My church had a guitar, but no one played it, as many who attempted to learn eventually gave up.

However, I was deeply inspired by a senior friend, Mr. Wale Omoniyi aka ‘Hellshalldie’.

His tone and technique fascinated me, so I picked up the guitar during my pre-degree program at FUT Minna in 2006.

Q: Were there specific Nigerian or international guitarists who influenced your style?

Yes, my style was heavily influenced by legendary guitarist Agboola Shadare, as well as international greats like George Benson, Joe Pass, and Norman Brown.

Q: How has the Nigerian music scene shaped your approach to guitar playing?

The foundation of my music career is rooted in Nigerian styles, especially the percussive guitar techniques commonly used in the Southwest.

This influence has helped me carve out a unique playing style.

Musical Style and Technique

Q: How would you describe your guitar style?

My playing style is a fusion of multiple influences, blending different techniques and genres to create a distinct sound.

Q: Do you focus on a specific genre, or do you experiment with different styles?

I experiment across various genres. I study and play different styles as long as they contribute to my growth as a musician.

Q: How do you incorporate African rhythms and melodies into your guitar playing?

African rhythms and melodies enhance my playing style by giving it a unique identity. They allow me to create a sound that stands out while maintaining a rich cultural feel.

Q: What techniques or practices do you use to improve your skills?

I follow a structured practice routine, focusing on the fundamentals—arpeggios, chords, and timing. Consistent practice is key.

Experience and Achievements

Q: What are some of your most memorable performances as a guitarist?

I’ve had several remarkable performances, including the ‘All Africa Petroleum Dinner and Awards Night’ at the Presidential Villa and performances at ‘Transcorp Hilton’ alongside legends like Mama B, Baba Fela, and Sammy More International.

Q: Have you collaborated with any notable Nigerian artists or bands?

While I haven’t officially collaborated with any major Nigerian artists, I have shared the stage with big names like 2Baba, Johnny Drille, Praiz, and Pasuma.

Q: Are there specific projects or achievements you’re particularly proud of?

I’m proud of my six-track project released a few years ago, as well as my contributions to Sammy More’s latest album, which dropped last August.

There are also many other projects I’ve worked on that I may not even remember at the moment.

Challenges and Opportunities

Q: What challenges have you faced as a guitarist in Nigeria?

My biggest challenge is access to professional equipment.

Quality gear is expensive due to the rising dollar exchange rate, and mobility is another issue—transporting equipment to different locations can be a logistical nightmare.

Q: How do you see the role of guitarists in the Nigerian music industry evolving?

Guitarists are integral to Nigerian music. From traditional to contemporary styles, guitars have shaped many genres, particularly Afro-pop.

The increasing involvement of guitarists has given Afro-pop a more authentic and globally appealing sound.

Q: Do you believe the industry provides enough support for instrumentalists like yourself?

The industry has improved significantly over the years, with instrumentalists enjoying better recognition and rewards than two decades ago.

However, more needs to be done, especially in terms of structured support.

The government should also recognize instrumentalists as professionals and create opportunities for them.

Creative Process and Equipment

Q: What’s your creative process when composing guitar parts for a song?

My approach depends on the song itself—its progression, melody, and overall mood. These elements determine the kind of guitar arrangement I create.

Q: Can you tell us about the gear you use and why you chose them?

Currently, I use a Boss GT-10 effects pedal. I own three guitars: a Fender Telecaster, an Epiphone Les Paul, and a Yamaha Stratocaster.

However, I’m trusting God for even better gear this year.

Q: How do you maintain and take care of your instruments?
Maintenance is crucial. After every gig, I clean my guitar and strings to prevent rusting. For electronic equipment like pedals, I ensure protection from power surges.

Proper maintenance is expensive but necessary to avoid frequent replacements.

Advice and Vision

Q: What advice would you give to upcoming guitarists in Nigeria?

Stay focused, aim for international excellence, be creative, and dedicate ample time to practice.

Q: What’s your vision for the future of guitar music in Nigeria?

I want to elevate the status of guitarists in Nigeria so that they are valued and respected.

Guitarists contribute significantly to music, and their intellectual property should be recognized and celebrated.

Q: Are there any projects you’re currently working on or planning to release soon?

Yes, I have several projects in the works. This year, I plan to release a few singles and possibly an album.

Fun and Personal Touch

Q: If you could perform with any Nigerian or international artist, who would it be and why?

For jazz and contemporary music, I’d love to perform with George Benson, Joe Pass, Gerald Albright, Mike Aremu, and Agboola Shadare.

In the Afro-pop space, Wizkid is my top choice—his musicianship, creativity, and compositions are inspiring.

Q: What’s one unique thing about your guitar playing that sets you apart from others?

People who have followed my playing over the years can best answer this, but one thing I know is that I’m unpredictable.

I always strive to blend Western techniques into my sound and avoid sounding repetitive.

Q: How do you balance being a guitarist with other aspects of your life?

It hasn’t been easy. Music is demanding, just like my discipline—Computer Science, which I studied.

Balancing both requires significant effort, but God has been faithful.

However, if one wants to pursue music professionally, it’s best not to combine it with another career.

Thank you for your time!

Thank you for having me.

In an interview on Channels Television’s Sunrise TV program, Engr Michael Oluwagbemi, Programme Director of the PCNGI initiative, highlighted the significant strides made in adopting Compressed Natural Gas (CNG) as a cleaner and more reliable energy source.

Since its inception six months ago, the initiative has achieved remarkable milestones, including:

Conversion Centers: An increase from 7 to 123 centers, significantly boosting the capacity for vehicle conversions to CNG.
Dispensing Stations: A surge in stations capable of serving multiple vehicles, rising from fewer than 12 to over 100 currently under development, with 35 launched in the last two months alone.
Mother Stations: Expansion from 23 to 30 stations, with an additional 18 under development by NNPCL and its partners.
Engr Oluwagbemi attributed the success to the inherent benefits of natural gas, which is cheaper, cleaner, safer, and more reliable than crude oil. He also acknowledged the critical support from the government, particularly the allocation of 100 billion naira from the palliative fund through the Ministry of Finance.

In terms of resources, the initiative has ordered over 5,000 vehicles and 500 tricycles and buses, with deployments starting next week. Additionally, 21,000 conversion kits are readily available. Collaborative efforts between state and federal governments are underway to launch similar programs in Abia, Enugu, Rivers, and Minna. Notably, the governor of Minna has already acquired 200 CNG buses to kickstart their program.

Engr Oluwagbemi also discussed the broader vision of the PCNGI initiative. Beyond the immediate environmental benefits, the initiative aims to reduce Nigeria’s dependence on crude oil, fostering a more sustainable and resilient energy future. By championing natural gas, Nigeria positions itself as a leader in energy innovation within West Africa.

Looking ahead, the initiative plans to expand its outreach and infrastructure further. Upcoming phases will include the development of additional conversion and dispensing centers, increasing the availability of CNG across the country. Public awareness campaigns will also be intensified to educate citizens on the benefits of transitioning to CNG.