There’s nothing quite as beautiful as experiencing a live music performance by a brilliant band. Recorded music gives you the song, but not the oomph or the excitement that passes back and forth between the performers on stage and the people standing before it. That kind of exchange is where a percussionist’s real work happens, and across different rooms in Sheffield this year, Remi D Percussionist (real name Remi Balogun) delivers a masterclass in exactly why live performances are an elevated art.

Born in Nigeria and now based in Sunderland, Remi has built his name around African music and rhythmic traditions, with the djembe in particular, performing regularly with Sound Cafe and other music across the UK. His reputation in the Sheffield scene rests less on flash than on discipline, an ability to sit inside a band rather than sit on top of it.

There is a particular temptation that comes with playing percussion in a live band: once the groove is steady, it takes an extra level of discipline to avoid adding to it. More hits, more fills, increasing tempo and tension. That discipline was on full display at Sheffield’s 2026 Lunar New Year Festival, where Remi joined Sound Cafe for a rendition of one of Fela Kuti’s greatest hits, “Water No Get Enemy”.

As simple as that may sound, it is noteworthy to point out that avid listeners of Afrobeat (not to be confused with Afrobeats, the modern-day contemporary pop music from West Africa) would expect an instrument-laden performance. Remi was positioned beside a cajon player, which could easily have produced a crowded rhythmic flow, as both instruments perform similar rhythmic function, and without discipline, the two could have easily competed for attention. Instead, the djembe supplied much of the forward push, while the cajon occupied the spaces around it. The result was less of a battle and more of a synergy between the two percussionists. That was one of the most convincing parts of Remi’s performance.

It is also crucial to recognize that he showed a useful instinct for reading the rest of the band. As the horn solo took centre stage, Remi deftly shifted with it, allowing the saxophone enough room to breathe. He made use of the same tactic as the horns faded out and the famous lyrics came on, allowing just the rhythm of the backing track to hold sway, and built the intensity once again as the horns were ushered in. It takes real discipline to pull that off, to think as a hive instead of trying to stand out and show off, and perhaps ruining the syncopation already rehearsed and planned.

In all, Remi D Percussionist’s set at Sheffield’s Lunar New Year Festival was a study in disciplined ensemble play, sharp interplay with a fellow percussionist, and the good sense to let a strong groove speak for itself. He held the floor without ever claiming it. It sits at a strong 8/10.