By Benjamin Njoku

Until early 2000s, not many Nigerian women were privileged to make huge impact on the country’s music scene. But the few of them who tried to find their voices in the male-dominated industry were not only celebrated and worshipped like goddesses. They were indeed considered as “rare species” in the industry.

Oby-Onyioha

One of those women of substance that made the difference then was Oby Onyioha. The baby-voiced singer first burst onto the music scene with her hit song, “Ï want to feel your Love” which ruled the airwaves in the 1980s, and early 90s. She later disappeared into thin air when the ovation was still loud. But the good thing is that Oby has resurfaced, and her comeback sophomore album, “Heritage”- a 12-tracker, is a blend of old and and classic African centred melodies. Her pattern has not changed significantly despite her long absence from the music scene.

Like her yesteryears’ songs, Oby’s latest album is an embodiment of creativity, amplified by her proficiency in the use of instrumentals. Nigerians still remember songs such as “Break It,” produced by King Sunny Ade and which followed her début album, “I want to Feel Your Love,” “Nigeria’s gonna make it” and “Party Party.” These were songs released at a time when disco and break-dance music was considered the exclusive domain of western artistes. Particularly, “Break It,” as its novelty and unprecedented release, reportedly catapulted the queen of Atrado rhythms into being the singular pioneer of the disco and break-dance music in Nigeria. Her tracks were described as being “sprinkled with some memorable African songs.”

Oby’s music rings all the ‘Atrado rhythms’ bell. From the persistent high-pitched and clanging beats to the sonorous back-up voices, she reunites her yesteryears fans with her much talked about genre of music in her new songs.

Back in time, Oby’s music was noted to be an introduction into the mostly old and classic African centred melodies, lyrics, expressions and interpretations with some influences reflecting a musical universality with other cultures over the centuries. The result is a dynamic synthesis that showcases African music in a fluidity of sound, weaving seamlessly from African into western and other influences, creating a genre she calls “Ätrado Rhythms.”

To her credit, Oby became the first Nigerian female scholastic achiever to venture into the music business, a vocation that had hitherto been denigrated as a profession for the academically challenged female. She also played a big role in helping to break that perception of the Nigerian female musician.

But today, as she moves away from the western themed music, the perm and red-lipstick wearing singer has rediscovered her heritage in African music, a genre she now promotes with great passion and dedication. This new direction dovetails neatly into her academic qualification as an Anthropologist, a discipline that provides a solid foundation in her exploration of her African culture and heritage, through music.

A daughter of His Holiness Ogbaja(Prophet), Kama Onu Kama Onyioha, Head of the Godian Religion, Oby represents a generation of yesteryears Nigerian female musicians who have continued to be relevant in the contemporary society.
Interestingly, more than three decades after the release of her debut album and long hiatus, her return to the music scene indeed has signalled a new beginning for the nation’s music industry. It’s only hoped that her contemporaries such as Martha Ulaeto, Julie Pip, Funmi Adams, Ima Valentine,Dora Ifudu and of course, Onyeka Onwenu will follow suit.