The denouement of all great compositions are, essentially, a recipe for brilliance, or disaster, as Olawale Olayinka seems to note. The Violinist, in his recent Christian Gospel Worship session, titled “Press-In Now” at Croydon organised by the Uk Redeemed Christian Church of God, in April 2023, sears through the melancholia of the recital with a high pitch that crescendos with a dramatic vibrato. In another Christian Worship performance of Michael Smith’s 2001 ‘Open The Eyes Of My Heart’, Olayinka sets his pace with a bohemian approach that makes the soothing balance of ranges sound as serendipitous as they seem. However, Olayinka’s dexterity for several years now, especially with his growing profile of major shows, gives him the confidence to decipher the cues for low and standout riffs.

Olayinka’s sonic temperament during Chamber music performances exudes satisfaction.

It’s the dividends of watching his 3-min long performance of Luigi Boccherini (Flute Quintet in G 423), the famed 18th century Italian whose classical compositions continue to spotlight the golden age of classicism. ⁠The Boccherini Flute Quintet no.

5 in G 423 Allegro Assai (very quick) final movement was performed with the Chamber music society of Nigeria. It was recorded in May 2021 and published on YouTube and SoundCloud

And if his Brits Awards debut with the Chineke! orchestra at Stormzy’s performance at the last Brits Awards in the 02 Arena is anything to write home about, then it’s instructive to write that Olayinka (and the orchestra, by extension) are professional musicians who understand the nuances of tempo and traditions in classical-contemporary fusions. And his similar performance at Libianca’s debut at the BBC 1Xtra Live Lounge brings to light the energy that ensues from his calm, sensitive improvisation and control on the Violin.

Nonetheless, it’s still hauntingly clear that the poetic solos and chamber music performances that Olayinka has been used to stretches short of the full lengths of his artistry. His just-released novel-esque original composition, Songs My Mother Taught Me, sees the young musician interpolate African folk melodies into recordings that sparkle with ambient music, from soothing steel tongue percussion to pensive programming.

From ‘Labe Igi Orombo’, which literally translates to ‘Under The Orange Tree’, to ‘Iwe Kiko’, an ode to education, and ‘Iya Ni Wura’, which means ‘Mother is gold’, Olayinka masterfully adapts children folk songs in his native Yoruba culture to purge the native listener into introspection and nostalgia. The Pizzicato feels like tongue drum percussion falling like raindrops across several tracks, building up suspense and intrigue. Olayinka’s violin renditions give the tracks a new life; they feel very overwhelming, but in a relaxing way; almost as if you were quenching a biting hunger.
The entire tapestry of rhythm that weaves the EP together focuses on soothing the mind and even in the sombriest of states, one still feels its tempo conjurn a mentholated effect on every listen.

It’s assuring that more musicians of African descent are stretching the classical culture, by making melodies that are fit for global consumption but still bear the sonic sigils of home.

Melodramatic, vigorous, rhythmically erratic and, overall, soothing are the plausible interpretations of Olayinka’s works. But with his delicate discography, the crown that best suits seems to glimmer the most for its charisma.