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By Michael Kolawole
From his childhood, Adegoke Oluwafemi Samson has had a cordial relationship with the drum set.
This is evident in his performance at a birthday party in Wakefield, Yorkshire, where he interacts with the kit as though he is having conversations with it.
Playing a dual role of a drummer and backup singer, Oluwafemi contributes immensely to the party celebration. At a point during the function, he blithely rolls the drumstick between his fingers while simultaneously singing and drumming in tune with the music.
That shows off is a reflection of Oluwafemi’s age-long relationship with the drum set, recalling the cheerfulness of his childhood performances in the church. It also bears looseness of improvisation, perhaps picked up from watching drumming videos on YouTube.
Show off aside, Oluwafemi’s playing of the drumset shows that perfection matters as well as feel. His hi-hat work, in particular, deserves attention. Synchronously beating on the Hi-hat and the Snare, he keeps the melody calm and lovely, in accordance with the guitar and the organ.
Another remarkable thing about Oluwafemi’s drumming is how he approaches the fills. After measuringly playing the Hi-hat and the Snare in harmony with the guitar and the organ, to intensify the rhythm as the lead singer switches from the verse to the chorus, he taps the crash cymbal to indicate a change in the music passage.
Despite the flashes of brilliance, there are moments when Oluwafemi’s execution becomes flat and routine. His preference for control and clarity occasionally strips his performance of its intended elegance. That’s because the set is dictated by the lead singer, whose melodic directions Oluwafemi must adhere to. If only he had allowed himself a little freedom away from the constraint of the set, his rendering would have been deeply felt.
Even with the lapses, Oluwafemi remains a compelling presence behind the kit. He is a joyful drummer having soothing conversations with the drumset.
