BANTU

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The sound of Fufu! that is how the Afropean musician Adé Bantu pointedly describes his mix of pumping beats, funky instrumentals and lyrics with a political message that can rock any party without sounding forced or admonishing.

Just like Fufu (West Africa’s most popular cassava dumplings) which can only derive it’s fascination when combined with various dishes and stews, so is Bantu’s vibe in all it’s colourful facets a true African-European melange of rap, afro beat and reggae that inspires both the hips and the brain.

In 2001 Adé Bantu made waves in Germany both on the musical and political front with Brothers Keepers; a collective of Afro-German hiphop and soul artists that he brought together as one voice to issue an uncompromising statement against racism.

After releasing his debut album “Bantu” in 2004 that features Senegal’s hiphop veterans Positive Black Soul and Jamaican riddim maestro Sly Dunbar supporting his musical vision, the restless multitalent refused to take a break. Instead he embarked on an innovative collaboration in that same year with the Nigerian Fuji star Adewale Ayuba.

This resulted in the trailblazing album “Fuji Satisfaction- Soundclash In Lagos” (released in June 2005 on Piranha Records)- an eclectic mix of Fuji, funk, dancehall, hiphop and Afrobeat complimented by the virtuosity of Oghene Kologbo, guitarist of the legendary Fela Kuti. Deservingly, Adé Bantu netted the 2005 edition of the prestigious Kora Award (the pan African equivalent of the Grammy) in the categories “Best Group West Africa” and "Best Group Africa".

In that same 2005 Adé Bantu once again assembled Brothers Keepers for a second musical venture. Broadened by many Turkish, Italian, Swedish and German artists their album “Am I My Brothers Keeper?” went far beyond the success of it’s predecessor, directing rousing statements, biographical insights and critical irony at German society.

This, however, is only yet another highlight in Adé Bantu’s long-standing career as a musician and activist.

Musical Activist

Ever since the emergence of hiphop in Germany he’s been an integral part of the blooming scene. With his previous groups like “Weep Not Child”, he has been able to maintain an undaunted and indelible position in the rap community. Over the years through series of rap, musical and theatre workshops he has given youths the chance to find their creative voices and bring their realities and ambitions to life.

Music as a creative medium, rap as the voice of a generation and creative group dynamic, all this has been combined by Adé in various hiphop musicals. In 1998, he was awarded the German Youth Prize for his second hiphop musical “Coloured Children?!”. His fourth rap musical project brought him together with young inmates in Cologne.

Apart from music, Adé has been present in other media. Between 1997-200 he presented “Good Morning Africa” on the English Service of Radio Deutsche Welle.

After initiating Brothers keepers in 2000, Adé followed the success of the group’s single “Adriano (the final Warning)” (awarded the EinsLive Radio Award for best single of the year) and visited schools in Germany (most especially in the East) with other members of his collective and talk to students about racism and rightwing extremism. He thus pointed a way to an avoidable future whilst supporting active resistance culture.

Bantu’s activities are not confined to Europe alone, Adé and his band have also released several singles in Nigeria where the group has called on young Nigerians to face the challenges of an African renaissance by looking up to their cultural identity with a new sense of cultural pride.

Their single “No More No Vernacular” topped the radio charts in Nigeria for eight good weeks in 2003. This was preceded by a tape release for the West African market in 2000. 2002 saw them release “African Border” (a roots reggae maxi single that featured Patrice) and in 2003 they collaborated with Gentleman and UB40 on the hit single "Rudie".

In spring 2005 Adé Bantu and members of his band were invited by Goethe Institut to Accra, Ghana. They held workshops, performed on national television, recorded and shared the stage with local hiplife artists like Bukbak, Qaku T and King Aisoba. Thus strengthening the transcontinental link between Europe and Africa artistically

His continuous Afropean musical activities led to an invitation by BBC in late 2005 to collaborate on their “Africa Connection” project (alongside South African vocalist Thandiswa Mazwai, Senegalese singer Cheik Lo & Guinean Kora Player Sekou Kouyate). Adé Bantu recorded “Caution (Beware)” which was aired on BBC Radio 3, Radio 1 and 1Xtra.

Also the documentary film “Foreign In My Own Country”(Wüsten Film) promises to give an insight into Ade’s activities beyond geographical, musical, political and social boundaries. It will also shed light on the distinctive experiences and lives of fellow Brothers Keepers. The film is scheduled to be released early 2006.

Global Afropeans

Bantu’s citation of such great Pan-Africanists like Lumumba, Nkrumah, Sankara, Saro-Wiwa and Fela clearly reveals on who shoulders the musical and political vision of the artist and his comrades rest.

A unified Africa with open doors is casting off the shackles of neo-colonialism just as the Jamaican human rights activist and “grandfather” of Pan-Africanism Marcus Garvey had predicted, with the help and assistance of “ those at home and abroad”.

This vision of the future, however, does not stop Bantu from facing current problems at hand -be they in Europe or Africa: corruption in Nigeria is criticised in the same way as societal and institutional racism in Germany. Homophobia and violence in reggae l yrics are questioned as well as western paranoia in suspecting political incorrect statements behind every metaphor.

However the lyrics go beyond mere criticism: they demand change and active participation. “Criticising alone is not enough,” says Adé Bantu, “there’s no use in waiting for great wonders, you have to create them. I call for creative resistance from those who refuse to come to terms with the existing conditions and systems”, he adds.

Bantu (Brotherhood Alliance Navigating Towards Unity) applies impulses from the global musical trends of Europe and America, linking them with the motherland of modern music: Africa. The songs explore new soundscapes by bringing various influences from Africa and the diaspora together: Yoruba and Patois, talking drums and the MPC drum machine fashion a unified organic soundtrack of the black experience.

All in all, Adé Bantu’s biography and discography are a testimony to a unique journey between continents and musical styles.