If you’re ac­tive on the cor­po­rate spon­sor en­abled so­cial cal­en­dar, you might have come across Falana per­form­ing a set. Al­ways, beau­ti­fully: LIVE. It is - sadly - an un­usual and dif­fi­cult way to break into the Nige­rian mu­sic in­dus­try but Falana did it with grace and de­cep­tively eas­ily. Of­ten by her­self, sat on her per­cus­sive in­stru­ment, mic low­ered al­most to the floor, is how the coun­try came to be in­tro­duced to this clear voiced artist. Draw­ing mu­si­cal in­flu­ences from a time spent in Ha­vana, Cuba, she brings South­ern Amer­i­can sen­si­bil­i­ties to her sound, mixed with that je ne sais quoi African flavour. At once, this makes Falana a bit of anom­aly, an artist that can be­long any­where and nowhere, fus­ing two sounds that are likely con­nected via his­to­ries of transat­lantic slave trade. Of Falana’s songs, a crowd favourite is an up­date on Fela’s Lady which Falana - who I’ve seen per­form it about three times - does it with heart and con­vic­tion each time. And yes, what a lady.

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