John Kariuki
28 June 2008
Nairobi — This year's edition of the Tusker Project Fame music talent search came to an end in Nairobi at the weekend, with Uganda's worthy contestant, Esther Muguzi, joining East Africa's millionaires club after a gruelling nine weeks. She won Sh5 million, beating a field of four finalists who had survived the fierce contest of what is the region's richest star search.
And a worthy winner she was, displaying not only exquisite vocal skills complemented by striking looks and affable persona, but more importantly, showing real superstar potential that could place her in the league of the likes of Miriam Makeba and Aiche Kone should she decide to pursue a music career.
At only 21, Esther has time on her side, and the triumph in the second TPF is a career start that not many artistes ever get to have. But she will have to change her music orientation to veer from Western pop to a more African-inclined repertoire.
Fortunately, she sounded impeccable in her African songs and the migration won't be such a tall order. Admittedly, she had a fairly easier time than her colleagues and she enjoyed good patronage from a bench accused of being unduly harsh to other contestants who, unlike her, had spent some time on probation.
With a vocal style that straddles the ground between 1980s US country and Western star Crystal Gayle and Celine Dion's more crossover pop leaning, the Ugandan diva impressed the judges and audience alike. And with the right producer she has all it takes for good recording.
But probably her selling point was her easy stage manner and preference for adult contemporary-inclined material that defined her song selection, setting her apart from the pop and R&B preferences of fellow contestants.
Musically, she is certainly too mature for her age and has the potential for a viable career as a serious singer.
Esther is undoubtedly a good role model in this region where activity is centred around the noisy side of urban youth dance music.
Her victory may just help to draw attention to a more captivating mould of easy distaining music. It will also hopefully revive interest in an older public that perceives the art as a less physical but more cerebral form.
For this she has the voice and the demeanour that have a broad appeal free of the suggestion and gyrations that so dominated presentations by her colleagues.
It is a joy to note this direction because it promotes the often neglected realm of easy listening music that is more demanding to craft, but is ultimately richer in overall content and more longer-lasting.
Happily for her, the direction is now a new area of interest for most African artistes seeking international attention and who are looking more to theatre shows and not the often-raucous, open-air festivals.
Listening to her repertoire, this thread of a well nurtured style and carefully decided music preference were adequately stated, showing a well thought-out music direction.
Still, there are people who may have wished she had used her physical endowment to seduce the audience - to act more sexy than she did - because it is commonly what artistes do on stage. But if they were disappointed, it is because they only see music in the context of physical relief or one that does not make a heavy demand on the intellect.
As an event, TFP II should have emphasised regional identity - more so for serious musicianship, which it did not. Bringing Baaba Maal may have been a good idea, but Saida Karoli is certainly a more relevant factor in East Africa because she has nurtured a sound that taps directly from her roots and given it a broad regional appeal, which is what East Africans will need to do to carve their niche in the global scene.
It may sound nice to ape Mariah Carey, Beyonce Knowles or Michael Jackson, but this adds no value to the music scene or the event's uniqueness because the US is already doing excellent developing of its music and will not need copycats from East Africa.
Besides, there has been controversy over the conduct of the judges, with specific reference to Ian Mbugua, for being unduly harsh to the contestants.
His constant irritation appeared to be on the quality of singing and impropriety of the song selection by most of the contestants who appeared to go for songs for their popularity and not for their suitability to their voices.
He was obviously too harsh as most of the offending things could have been said in kinder words. He had valid points though, that the contestants may do well to consider.
In the final voting democracy may have also failed the test as a way of exercising fairness, when the public ejected Stephen of Uganda, who probably would not have won but deserved a slot in the last four.
But Kenyans rallied for their own (Victor) and the better person lost.
Stephen has the potential for a viable music career and is versatile enough to handle both Western and African pop material. Hopefully, he will not be deterred by this unfair verdict.
This is also true of Wendy, Kenya's main hope, who was undoubtedly the most charismatic in the event. It is hoped that she, too, will overcome the disappointment and continue with her quest for a music career.
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