Ogene music, with its roots in the Igbo masquerade cult, has a rich history that dates back to ancient times. The metal gong was first associated with the cult in Achi in Enugu State and Awka in Anambra State, and since then, it has been an integral part of Igbo culture.
One of the most fascinating things about the ogene is its unique sound. Forged by skilled blacksmiths who still operate in Awka, the ogene is the most important of the Igbo musical instruments, including the ekwe, igba, oja, udu, and ichaka. It is used by the town crier and is also an integral part of cultural events and rituals.
But what makes ogene music truly captivating is the message it transmits. The lead singer, with his often husky voice, uses the metaphoric and idiomatic language to tell stories about life, ranging from personal to sexual to communal. The lead singer dictates both the tempo and rhythm of the sound, while the backup singers respond in ways that engage the audience in conversation.
Ogene music first went commercial in the early 1970s, captivating the hearts of the people of Coal City, where it was made popular by artisans and roughnecks. The sound was later spread to other areas like Obiagu, Ogui, Asata, and Uwani, thanks to groups such as Emesibe, Ogui boys, and Coal City boys. The sound caught the attention of Chief Mike Ajaegbo, owner of the then-popular Minaj Broadcasting International, who promoted it by organizing an annual ogene music competition in Obosi, Anambra State, in the 1990s. That’s where Shidordo, the most versatile ogene musician, was discovered.
Ogene music birthed other prodigies in the 1990s, such as Igbo Ja, Ausuma Malaika, and Kalu Uma, who took the sound beyond Enugu. Unfortunately, these artists have to depend on a burial, traditional wedding, or chieftaincy ceremony for support.
To enjoy ogene music fully, one has to watch a performance. The sound lends itself to drama and robust dance, and a typical ogene performance is atilogwu without calisthenics. Today, in a slightly diluted form, ogene music has passed into mainstream Nigerian music, thanks to songs like Zoro’s ‘Ogene’, ‘Achikolo’ and Flavour’s ‘Gbo Gan Gbom’. The sound has paid its dues with sweat, grime, and blood. It belongs mostly to the age-grade of those who lead masquerades, and as anyone familiar with the sound will readily tell you, ogene is music that thrives on brawls.
