In the heart of Toronto’s eclectic music scene lies the journey of a dynamic collective group whose innovative sound is a fusion of traditional African melodies blended with contemporary electronic music. The discovery of this underground gem forever redefined my understanding of music and community.
“A highlight for me is the community we have built. We have helped create a very safe space” Razaq El Toro, a member of the collective, tells me.
Bounded by the sheer love of music and unified culture, Afrique Like Me is a testament to the power of music which transcends boundaries and brings people together. Razaq El Toro (Razaq), MartinSes (Martin) and Sonic Griot (Anowa) who make up this collective have not only crafted a genre-defying sound across the globe but also provided a shared connection of music, creativity and expression. I catch up with the collective to discuss the rising sound in the city of Toronto, their shared community and plans for the future.
How did the group “Afrique Like Me” come to be? What is the inspiration behind the name “Afrique”?
Razaq: Afrique Like Me is a concept that was developed years ago. I came with it during the house music era. Also being from west africa, we have those influences there. A lot of our traditional music is rooted in electronic music. King Sunny Ade was making electronic music. The Fuji drum is a traditional drum and also the base of the sound. Our sound is very electronic. I envisioned a space where we can play African Electronic Dance music without it being just house music. The concept revolved around that alongside some experimentation of african sounds and electronic music while also creating a space. The name is a word play of being a “freak” where it’s like being an outsider. It has that double meaning.
You are definitely presenting a very unique sound to your audience, how would you describe this sound to someone new getting into this?
Martin: I would say it depends on who the person and background is. It’s never just a void of context. If they are coming from an electronic sound background like techno or house music, it’s not that far away to say it’s an african-inspired version of synthesized sounds with cultural elements like drums. If you are coming from certain genres such as afrobeats or mainstream music from an african background, it’s not that much of a stretch describing to them as an addition or layer to a sound they are already used to. Afriquelikeme embodies other concepts and ideas we infuse into the experiment.
What are the challenges you have faced in nurturing this sound or even gathering community members in this scene?
Anowa: People think of electronic music as white music. If you look at the history of house or even most music from the continent, it’s black or african. What’s super interesting is many people do not acknowledge that. Genres like amapiano have showcased that african music can be diverse and electronic music can be african.
Martin: Most of the other challenges are lack of accessibility and making a way where there seems to be no way.
Razaq: The biggest challenge was having access to spaces that fit our sounds and what we wanted to push forward. Being out there a lot more makes people have an idea of what our sound is. It was hard getting into the scene or venues that will take on this party to fully express what the concept was about.
Do you mind sharing any highlights or accomplishments in your journey so far?
Anowa: Some of the really big highlights for us as DJs has been opening up for some of the biggest Afro House producers like Francis Mercier. Part of that is we bring out a crowd and deliver. Another big highlight is seeing the community grow but keep its DNA. It’s still a party I want to go to.
Razaq: People know when they come, they are treated well by us. Respect is integral. Another highlight is how this concept has helped us individually grow as artists. This has contributed positively to the community we have built.
Who are some of your major influences?
Razaq: I take good notes from events that I attend where safety is a priority like community building and harm reduction. They go far and beyond to provide safe spaces. I am also very inspired by Anowa and Martin. The way they grow their art and enthusiasm keeps me going. Its hard for me to be inspired by random people. I take pieces from everyone.
Martin: I am inspired by Razaq el Toro. One thing that pushes me daily is seeing how electronic music is growing in Nigeria especially as it is less receptive. To see the amount of effort they have made gives me some assurance that we are on the right path. There are different kinds of people that this touches. I have made it my mission to make it a space for these people.
Anowa: I am inspired by them both. Razaq got me into DJing. I am also inspired by my name. It revolves around west african storytellers. I find cultural iconography very inspiring. I lived in both Nairobi and South Africa where electronic music is common. I was inspired hearing it around me.
What do you believe will help in popularizing this sound?
Razaq: Keep documenting the sound. What makes the sound is that it is inclusive but also the underground appeal to it which is thrived on. There has to be an element of discovery. I heard a DJ say you won’t see a movie when you know how it ends. So why go to a club when you know all the songs. That’s what we will keep pushing. Going to still be experimental and revolving. It’s an experience and a place for discovery.
Martin: I will contextualize the question. Based on the ethos of what we have been doing, the one thing we carry is the ability to push music that gives the attendees something that makes them feel something. We take them on a journey on a sound we have found. That itself cannot be stagnant when everyone has access to it. We still need to grow as a collective by pushing the envelope and saying there is some more to what you already know.
You have both produced independent projects such as “Lagos loft”, “Moonlight”, to name a few, what is the creative process behind these works?
Razaq: It’s the same vibe. It’s an outlet to create the stuff I want to hear outside. When the Eko Electronic genre was first out, I was focused on just infusing Afrobeat sounds into electronic music. I just wanted to infuse Afrobeats to it. I love how both elements blend into each other. That was the main inspiration into the genre. The “Lagos Loft” was what I envisioned being in a Lagos Loft. This is what I would want to hear inviting guests into my space. It embodied all my influences from UK Garage, deep house and many more. The project has my friends and people that inspire me. I am hoping to get back into the studio.
Martin: I basically draw inspiration from what we do in group spaces. I try to create something lasting or a memory of that situation. Most of what I put are describing a time and a place. “Jaiye Omo” is basically a dark magic dance project to tell a story of this personal space but draws from real life elements. “Moonlight” is a more explicit moment that describes a party we had. I like to throw references of Afriquelikeme in that. I transcribe and put it into a more lasting memory. That’s my ethos in my approach.
What are some projects or even potential collaborations we can expect in the future?
Razaq: Anowa has a project coming up early next year. That’s exciting.
Martin: I put a track on hold till I polish up the production side. I have a bunch of remixes as well. Another exciting project with EkitiSound. I also have a plan to put out Eko Electronic as a genre in collaboration with Razaq. It all ties back to the collective.
Anowa: We are hoping for an Afriquelikeme project.
What can we look forward to from “Afrique Like Me” in the future?
Razaq: At the moment, we are mapping out what the next couple years look like. We are going to keep things hot in the cold months. It’s our goal to keep things consistent. We will have some major announcements. Being consistent with our events.
Anowa: I think people can expect to see us outside of Toronto.
Martin: I am pitching to expand our reach. Slowly but surely we will get there.