AFTER his captivating neo-classical sax fusion, “Riddim”, earlier this year, Segun Akinduro returns with yet another sleight-of-hand display in the recent Medway Culture Club Carnival, in Kent, United Kingdom. Inspired by the spirit of Notting Hill Carnival, the event showcased Medway’s rich multicultural heritage through a diverse programme of entertainment and community activities.

Segun’s solo performance, blending traditional violin sounds with contemporary Afrobeat rhythms, captivated the audience. He opened with a tempered interpretation of Darkoo’s “Favourite Girl” pop banger. His tonal balance, ringing off with velvety and warm tonal colours, kept the rendition alive and memorable. From spiking vibratos, to soothing glissandos, Segun’s transitions kept the rendition giddy and seamless.

Transitioning seamlessly into “Everyday” by Fireboy DML, Segun’s crisp spiccato patterns and double-stops also stood out in his tonal interpretation. His dramatic bow strokes shuttled bow-hair bite and legatos, unlocking a tension-and-release that further enlivened his performance. That section concluded with another classical interpretation of Burna Boy’s “For My Hand” which particularly kept the audience immersed in catharsis.

The second melodic section of his medley soared with deepened emotional intensity. He performed a reflective medley of “Lonely at the Top” by Asake and “Mad Over You” by Runtown. The violin’s voice — alternately tender and fiery — guided the audience through shifting moods of introspection and joy. And his bow pressure and speed became a language of their own: delicate, sighing phrases bloomed into resonant crescendos that seemed to breathe with the crowd’s rhythm.

Still on his articulation, Segun’s occasional pizzicato passages punctuated the melodies like conversational gestures, evoking the hand percussion that drives Afrobeat’s groove. As the music unfolded, Segun leaned into each cadence, the bow’s motion tracing arcs through the air — visual poetry meeting sonic pulse.

Commenting on his performance, Camellia Xavier-Chihota, co-founder of Medway Culture Club, openly praised Segun’s role in the festivities, saying, “We absolutely loved your performances — you brought a whole new vibe to the carnival and we really appreciate you showing up and supporting the cause! Same time next year!?”

The carnival’s vibrant programme also included live steel pan bands, samba dance workshops, drumming sessions, and a colourful parade that highlighted the community’s diverse cultural roots. Families enjoyed arts and crafts, face painting, and a variety of international food stalls, making the event a true celebration of Medway’s creative spirit.

Segun Akinduro’s contribution exemplifies the growing presence of African artists in UK cultural festivals, enriching the local arts scene and fostering deeper cultural connections through music.