After reading two articles in the Guardian just published one by John Harris and the other by Giles Patterson I find myself wholeheartedly agreeing with them. As I observe the UK, we are heading towards a world where any live shows we find are the ones which are efficiently organised and booked with the most sterilised of musics. I mean the type of top tier performances where they are asking big cash in advanced for a live event, and that leave nothing to chance. The grassroots are being erased from existence in clubland, and we are forced indoors behind our screens where Tik-Tok and Instagram help us to find any given new music champion. Small venues, pubs, bars, and nightclubs are closing doors and being eliminated systematically. This is a slow degrading of our culture and society as those dives, backroom clubs, and dingy places, were always the places where random music experiences happened - but this not just the loss of a venue. We are on the merry go wrong where the serendi
The Embryotica Evolution of Funk Musicians left Ghana in masses, scattering across West Africa, Europe, and North America. Thanks in part to its more lenient immigration policies, Germany became the heart of this scene. Indeed, the movement takes its name from "Bürger," which means "citizen" in German. Less constrained by genres than in Ghana, artists from the diaspora quickly engaged with different styles, incorporating Disco, Boogie, and Funk into their tunes. Access to cutting-edge studios and modern musical technologies also led to all sorts of mutations. In fact, Burger Highlife is defined less by a particular sound than by the experimental approach and global perspective of its artists. Tracks like Ernest Honny's experimental cut, "New Dance," exemplify the extent to which artists have deviated from the original High Life arrangements. Honny, who began his career as a keyboardist in Dr. K Gyasi's band, The Noble Kings, moved to Benin in the