Torn between taste and fame, Bongo Flava snarls at the band’s music

DAR ES SALAAM: PERCUSSIONIST Raphael Padilla used to win a handful of admirers at Msasani Beach Club whenever Gloria Estefan and her Miami Sound Machine performed their golden hits, most notably ‘Rhythm Is Gonna Get You’ and ‘Conga Beat’.

It’s now four decades since DJ Chris Fabby the Lover introduced the band’s hits to the then discocrazy Dar es Salaam youth.

From what they saw on Soul Train music parade, Padilla’s mastery of the congas added an aroma to the hit song and the band’s stage performance alike.

“Who is playing the Congas?” a fan asked the DJ. “His name is Raphael Padilla,” the DJ responded after going through the list of musicians who participated in ‘Rhythm Is Gonna Get You’.

What impressed the audience was the prominent guaguancó conga pattern, is noted for its highenergy Afro-Cuban percussion.

For DJ Neagre Jay (known today as Masoud Masoud), Brothers Johnson’s eponymous hit, ‘Stomp’ has remained his star time’s top favourite.

In his Music programme on TBC, Masoud Masoud most often mentions Luis Johnson, who plays a Fender Precision bass, as his favourite bassist.

It is still baffling how Yope Remix, which together with Inama and Waah quickly raked in over 465 million views worldwide, could stand an edge above Inama, with which Diamond Platinumz collaborated with Fally Ipupa and Waah, his collabo with Koffi Olomide Yope Remix which alone roped in over 208 million views to the extent it has become an anthem of pan-African dance.

A fan who identified himself as Michael Moonwalking said that best described what added a new dimension to Yope Remix’s beauty. He said Diamond dancing was incredible.

“I saw that Moonwalk at 3:49. You can always depend on Africa to continue the legacy of the Late King of Pop. This song is truly amazing.”

From Congo DR, Russell Kabamba had the best answer as to why Yope Remix was the best of the three releases. In bold explanation, he said:” The beatmaker is Ddjizo Balume, the elder brother of Innosy B.

In the past, people enjoyed band music from the raw energy of live performances to the emotional connection, technical skill, and social atmosphere it provides, “But that is rarely seen in today’s solo artists,” notes Benno Villa Anthony of Mwenge Jazz and Mlimani Park fame.

He adds, “Whether in a studio recording or a live venue, bands offer a unique, collaborative sound that often resonates deeply with listeners.

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Ally Yahaya, a former trumpeter with Mlimani Park Orchestra, says: “Live performances are seen as more spontaneous, offering unique moments that do not occur in a studio setting.

People enjoy witnessing the interaction between musicians, such as two guitarists trading licks or band members communicating non-verbally on stage.

A “great” band is often defined by its members playing together with shared passion, soul, and a distinct, recognisable sound.

Many band music heroes claim that unfiltered sound from amplifiers and speaker systems can provide better fidelity than headphones.

Beyond sound, audience members enjoy the spectacle of a show, which can include skilled performances, stage presence, and unique visual identities.

In essence, band music offers a “wholeness” of sound and a sense of shared creativity that resonates with people looking for authenticity, energy, and emotional engagement.

As seen in Tanzania today, solo artists have always been pervasive within popular music.

The trend towards solo artists is less a product of culture, and more a result of the creative and economic realities of pop music’s production, consumption, distribution and marketing.

With the emergence of digital audio workstations, home studio technologies, and the widespread availability of video tutorials, musicians and songwriters no longer need costly rehearsal rooms and recording studios to produce new music.

They can record demos and workshop material with fewer players in the room, or in many cases with no room at all, as a large bulk of the work is done digitally.

This has made writing and producing music cheaper, easier and more efficient.

What previously might have required a whole band can now be done by a single artist with the help of a producer and some session musicians.

It’s no secret that musicians are doing it tough in the streaming era.

Many receive limited income from recorded music and are pushed to depend heavily on touring and merchandise. Solo artists retain the lion’s share of whatever profits are made.

Rather than negotiating tricky revenue-sharing agreements between members, they can hire session and contract musicians as needed for recording and touring, keeping costs down and side-stepping ownership issues that might lead to tension in a band.

Such arrangements also make it easier to market the artist and the music itself.

Creating a successful brand as a musician is more effective when working with one or two key identities, rather than a collective such as a band.

Likewise, many bands are strongly identified with a charismatic front-person, who tends to double as an artistic spokesperson.

From what we see from mega stars like Diamond, Zuchu, Ray Vanny, Harmonise, or Mbosso, solo artistry offers total creative control, higher earnings, and easier logistics, while bands provide collaborative energy, shared workloads, and a fuller live sound.

Modern music favours solo acts for flexibility and lower costs, though bands excel in creating a “pack mentality” and deep, collective musical chemistry.