At Doncaster Cultural Day, Olamide Olaniyan, popularly known as Olamide Sax, starts on the saxophone, playing notes and phrases that capture the audience’s attention. Before the applause has fully settled, he is at the keyboard, carrying the same command into the instrument.
The same performer, playing entirely different instruments with no drop in command, amazes the audience. But by the time the MC introduces him by his stage name, Olamide Sax, the audience is confused. “Olamide Sax,” the MC explains, “is a name he is known for. He can play a lot of instruments.”
The MC turns to glance at Olamide Olaniyan, who is smiling and nodding his head in approval, then he adds: “I will change Olamide Sax to Olamide Versatile, if I have the power to do that.”
As the MC departs the stage, Olamide Olaniyan ventures into a song. The audience stands up and begins clapping their hands. Olamide Sax’s display as a saxophonist, keyboardist, and singershowcases what is increasingly rare these days among instrumentalists and artists. His multi-instrumental proficiency is reminiscent of old Nigerian artists like Fela Kuti, King Sunny Ade, and Chief Ebenezer Obey (Commander).
His impressive solo opening on the saxophone gives him a level of accessibility with the audience, before he effortlessly moves to the keyboard and establishes a solid musical framework for the show. The highlight of the set is his shift back to the sax, which gives the DJ Afrobeat rhythms the audience can dance to and engage with the music.
The sequence is daring and interesting. The ability to perform a range of musical roles in a concert, engage the audience excitedly, and create a sense of connection and interaction that is part of the festival’s goals, is commendable.
A few things go wrong with the show that almost tarnish Olamide’s performances. The inconsistent execution, with noticeable slip-ups in timing and techniques with the saxophone, the keyboard, and singing takes a bit off his performance.
These flaws look subtle but they deprive the already exciting show of its appeal. The overall effect, however, is not that much lost, as these were just a few moments interjected.
Olamide’s area of strength is his willingness to try something new and push himself out of his comfort zone as an artist. The skills of his musicianship showcased styles, sounds and cultural authenticity and an understanding of communicating with other cultures.
His well-thought-out performance is a reminder that live music is not all about virtuosity but being a part of people, sharing moments of celebration in an event appreciating the Nigerian identity and culture.
The technique is complex and is becoming a very promising artist, and indicates that his performances will continue to improve as he continues to develop his own stage practice.
