During one of my fated swipes across YouTube for Nigerian performances at the hallowed O2 Arena in the United Kingdom, I was lost in awe at Asake’s last performance in August this year. The live arrangement for the performance was layered with so much intrigue, but within that masterpiece, one particular harmony caught my gaze: the flute. On the surface, flute harmonies have hardly had a moment in the sun, especially in Afrobeats symphonies, but after discovering that my favourite US rapper, André 3000’s forthcoming album will be a flute album, naturally, my ears perked up at the sound of the flute in Asake’s medley performance. It expanded my horizon to its subtle yet powerful influence as a transitive device and space filler within an ensemble.

Dare Omotayo’s flautist display during that set ignited the performance with a soothing jive. From the 23rd to the 40th minute of the performance, Dare showcased potential with his soothing performance that unlocked the tonal balance for that particular melodic section. You see, most of Asake’s songs performed during the medley, from “Ototo” to “Nzaza”, ring off with a mix of tempos, polarising his music with emotional duality. Yet, behind each composition, whether energetic-leaning or melancholic-leaning, Asake’s ethnic vocal harmony — that subtle Nigerian Fuji-toned texture — rings off as the fulcrum for tonal balance. Every single time! And this is what Omotayo’s flautist drift did on that record; it served as a filler for Asake’s textured vocals, striking his typical Fuji-toned vocals with his flutter-tonguing and vibrato. It’s also imperative to state that Omotayo also…

Another shining moment in that melodic section, which housed the “Ototo” song in the medley, was Omotayo’s flute performance, blending with the violin solo, creating subtle monotones that paced the performance.

On the flipside, Asake’s energetic vocalisation, coupled with the percussive harmonies in the ensemble, drowned the flute’s audibility a bit. However, Omotayo’s embouchure saved the day, especially during his solo improv right after Asake performed the last song in the medley. His solo improv created both dramatic relief as well as a powerful transition for the entire performance.

Lastly, during the performance of “Nzaza”, Omotayo’s flute provided a runway for the performance to take off. His drift on the refrain, where Asake sings, “Emi o kere, Emi o kere / So fun ma wo be,” created more intrigue in the performance. Omotayo’s masterful display of his blowing techniques enriched his performance as a worthy time-filler for the performance.

Stretching at an hour long, the medley section seemed to flicker with several lightbulb moments for the flautist. For this writer, it was a firm reminder of the boisterous role of flutes and wind instruments in general, as worthy devices for tension and release. It would be a relief to see more Afrobeats musicians opt for adequate concert orchestras in their symphonies so we could enjoy more cathartic renditions like this.

Dare Omotayo is a classically trained and ABRSM-certified flautist with over 17 years of versatile experience performing across classical, jazz, pop, hip-hop, African traditional, and contemporary genres.

An accomplished performer, composer, and arranger, he is well recognised across music circles for his leadership in orchestral, chamber music, and educational projects across Africa and Europe. He has been mentored by internationally acclaimed flautists, including Demarre McGill, Principal Flautist, Seattle Symphony Orchestra, and Corvin Matei, flautist and principal conductor of the Stellenbosch University Symphony Orchestra. He is committed to artistic excellence, cross-cultural collaborations, and advancing African music on global platforms.