Osekre, the leader of New York based Afro-punk band Osekre and The Lucky Bastards, reveals the trials and tribulations of being an African musician in New York:
I wish I received a heads up by friends in the real world about the reality of being a musician in New York City. It is no joke! I had decided to pursue music full time, some time in 2010. I had just graduated from Columbia University, and I saw this as my time to break away from certain kinds of responsibilities, expectations and deadlines set by college, my family, my friends, and the burden of “being a migrant in Rome.” I just wanted to pause, to live, and breathe easier. The only thing on my agenda was to get my band, Osekre and The Lucky Bastards going once again.
At the time, I was inspired by an increased interest in African music in New York in general. Columbia alumni, Vampire Weekend, were heroes on campus, and had sparked debates in the world and indie music communities with their song “Cape Cod Kwassa Kwassa” as they fused what they felt were soukous licks with indie sounds. The spirit of Fela Kuti’s work was being reinvigorated in the underground music spaces, where DJs and hip hop artists were finally spinning and sampling Afrobeat. K’naan was making waves with incredibly poignant stories through rap, wit and lyricism; introducing the world to the struggles of Somalis on his album Dusty foot Philosopher. Nneka had released her song “Kangpe”, which was all over EA Sports’ FIFA soccer games, and was about to debut on Letterman in New York. I had enough sources and stories to keep me motivated about the opportunities and possibilities for young African cats doing their music thing in NYC. What no one explained was exactly how much work that was going to involve and what it meant to start from the scratch, or scratch the start.