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By Henry Akubuiro
It was the wrap of summer. The weather was moderate. The air was charged. Funseekers had gathered to enjoy the incredible mix of music, fashion, food and other cultural offerings.
A percussionist becomes the mastermind of polyrhythmic conversations, holding the audience spellbound with every tap. Spencer Momoh, a Nigerian-born percussionist delivered a rather understated showmanship at the African Roots Carnival 2026 that was worthy of introspection.
The carnival itself is synonymous with commemorating the International Day for People of African Descent.The destination was Sheffield, a storied city in the era of industrial revolution. But this history is changing.
On August 29th, music buffs experienced a different kind of revolution: a near-seismic energy on stage with Momoh’s masterful pattering and pulsating experiment alongside Maka and Rudebone, for Olamide Sax’s Afrobeat performance. Together, they set the tone for connecting with African and diaspora culture. Away from the indigenous music forms of Fuji, juju, sakara, this collective sat at the crossroad of cultures.
Travelling through multiple sounds requires more than technical proficiency; it demands cultural appreciation in an intimate gathering of Afro-fluent and Afro-curious people. Momoh understood this having lived in the UK in recent years.
Known professionally as Spencer Percussions, Momoh displayed a rare class of showmanship. It hinged on the tripod of his knowledge with traditional African drumming, versatility in live performances in multi-cultural spaces and a profound connection with youth culture in the UK.
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As a core member of the Sound Cafe Ensemble, the in-house band of Sound Café UK, who organised the African Roots Carnival (in collaboration with SADACCA), Momoh brought a magnetic persona on stage.
Momoh looked the part with his traditional aso-oke which embodied a cultural memory and shared heritage symbolised also by the djembe drum. Popular in West Africa, the rope-tuned, skin-covered goblet drum djembe, with roots in Mali Empire, is famed for communal gatherings, sacred rituals and storytelling.
Hence, Momoh’s reclamation of cultural history through his use of djembe reflects a deep sense of cultural ownership. While it is typical for contemporary musicians to create entertainment in a carnival, Momoh was intentional in creating and providing sound healing. His act signalled cultural continuity.
Momoh laid the rhythmic rostrum for other musicians in the ensemble. His djembe provoked a conversation with the drum kit and the other instruments, without struggling to blend in. The result was a meeting between traditional West African percussion and contemporary ensemble.
The djembe, with its distinctive character, brought a signature Afro-fluent sound that required a gifted percussionist to modulate. This is accomplished without overwhelming the accompanying melodic instruments. Momoh made his taps, subtle, and when necessary intense, thus creating a masterstroke of tension that would evoke movement.
His versatility with music genres was evident throughout the performance that traversed reggae, soul, R&B, Afrobeats and more. Momoh’s responsibility on the festival stage was not just performative. It was born out of cultural awareness and a need to be a cultural ambassador without propaganda, politics or pressure.
With the African fashion showcase, Momoh bedazzled the audience with the live rhythmic accompaniment. The models showed off unique African designs- while the drum became part of the visual storytelling- giving the show a cultural validation of sorts. Fashion roamed simultaneously yet effortlessly with music; movement, clothing and rhythm were woven to form a fabric of culture.
At African Roots Carnival, Momoh’s percussion occupied a space between art forms. His djembe formed a kindred with the drum kit, saxophone, keyboard and bass, within the ensemble.
Without trying, Momoh interpolated cultures with his djembe, interrogating the movement of traditional forms into new spaces, new collaborations and new audiences. Momoh’s djembe remained recognisably rooted in African percussion, while functioning comfortably within a contemporary Sheffield ensemble.
The peak of his performance was perhaps not volume but musical responsiveness. His role demanded listening as much as to drumming — to recognise when the music needed restraint and when the rhythm should accelerate. The show in its entirety was a cultural exchange platform where nothing lacks aesthetics.
Momoh brought black aesthetics to the stage. He revisited the sound of his ancestors, creating a sensual yet spiritual healing for his audience. In the spirit of celebrating the African heritage in Britain, Momoh’s contribution was significant for giving the celebration its pulse and the celebrants a purpose.
