…Explains essence of Ariya Eko and the importance of old music tunes
Bimbo Esho is an entrepreneur, music archivist, cultural advocate and Managing Director of Evergreen Musical Company Limited. She speaks about her career and other issues.
What gave birth to the idea of your forthcoming programme, Ariya Eko, and what have been the highlights of planning it?
The idea of Ariya Eko was birthed from a deep desire to celebrate and recognise the rich, vibrant and nostalgic musical culture and heritage of Lagos, both in its traditional roots and contemporary form. Lagos has always been the heartbeat of Nigeria’s music, and it became important to create a platform where this heritage could be showcased in all its glory. The highlights of planning it have been seeing different generations come together with excitement, and watching people reconnect with sounds that remind them of where we are coming from, while also appreciating how far we have gone.
You constantly celebrate icons in the music industry. What fuels that passion?
I am motivated by the strong need to celebrate those who would have been forgotten into the doldrums of history if nothing was done. Our icons paved the way, and it is only right to preserve their legacies and keep them as part of our collective memory. It gives me joy to know that I am playing a part in ensuring that the names and works of our musical pioneers live on long after they are gone.
You studied Anthropology at the University of Ibadan. How has that shaped your outlook on music and culture today?
Anthropology deals with human relationships, culture, society, and how people interact and evolve over time. That background has shaped the way I view music and culture because it has given me tools to understand not just the sounds, but the people behind the sounds. It allows me to approach music archiving with empathy, patience, and respect for context. It also fits perfectly into the profession I find myself in today, because it helps me carry out thorough research about our music and the practitioners who keep the traditions alive.
Your final-year thesis was on Highlife Music in Nigeria. Looking back, what did that research teach you about the role of music in society?
That research taught me so much. It opened my eyes to the fact that music is not just entertainment, but a historical document in its own right. Highlife music, for example, captures social values, political sentiments, and even economic realities of its time. It taught me to appreciate our music more deeply, not just for the melodies, but for the values, lessons, and historical content embedded in them. Every song is like a mirror reflecting the society from which it was birthed.
You grew up around your father, Femi Esho, a renowned name in Nigerian music archiving. What were the earliest lessons you learnt from him about preserving culture?
I learnt so much from him, and those lessons still guide me. First, you can’t take away the “omoluabi” trait from him; he was a man of honour and integrity. He taught me humility, kindness, loyalty, and decency in all areas of life. From him, I learnt that preserving culture is not just about keeping records; it is about embodying the values of the culture you are trying to protect. Watching him dedicate his life to archiving Nigerian music taught me patience and passion, because the work is never glamorous, but it is priceless.
Evergreen Musical Company has become a custodian of Nigeria’s musical history. How would you describe its evolution under your leadership?
It has been a fulfilling journey so far. Under my leadership, we have continued to make meaningful impact in society by ensuring that music preservation does not fade into oblivion. We have expanded our reach, improved our collections, and created awareness about the importance of preservation. The task of keeping musical works intact takes passion, consistency and resilience, and I am grateful that we have remained a trusted custodian of Nigeria’s rich musical heritage.
What are the biggest challenges you face in archiving and preserving music in Nigeria?
The biggest challenge we faced initially was storage—having a secure and proper space to keep the large volume of musical works in our custody. That could have hindered progress, but thankfully, it was resolved. All thanks to Dr. D.K. Olukoya (General Overseer of Mountain of Fire and Miracles Ministries), who showed an invested interest in our project. He believed in the vision and supported us by ensuring we got a befitting space as a music archive. His intervention made a world of difference, and it remains one of the turning points in our journey.
How do you balance commercial viability with cultural preservation in your work?
It is important for every business owner to know that for a template to survive, it must have financial backing. Cultural preservation alone, as noble as it is, cannot pay the bills. That is why we also look at the commercial side of our work. We are not only into preserving culture; we also think of ways our projects can be self-sustaining and commercially viable, particularly for the people we cater to. That balance is what keeps the vision alive.
The Evergreen Music Heritage Centre is one of your most ambitious projects. What vision do you have for it, and what do you want future generations to experience there?
Having been in the industry for over 21 years, I can authoritatively say that Nigeria is in urgent need of a music Archive. That is the vision behind the Evergreen Music Heritage Centre. By the time we are done, it will be one of the most important cultural landmarks in Nigeria. It will be a place where anyone can trace our musical history from 1914 to the present day; not only by word of mouth, but with tangible pictures and music evidence. I want future generations to walk into the centre and feel the soul of Nigerian music come alive before their eyes.
How do you think Nigerians, especially young people, can reconnect with highlife, juju, apala, and other genres often seen as “old school”?
Every generation has something that ties it back to the past, and for us, that bond is music. Young people can reconnect through collaborations between older and younger artistes, reimagining old tunes in modern ways, and even sampling classics to create fresh sounds. We are already witnessing this trend, and it excites me because it shows that our so-called “old school” genres are still relevant.
The Nigerian music industry today is dominated by afrobeats. How do you see the link between afrobeats and the traditional genres your company preserves?
If I were to define afrobeats with the “s,” I would call it Nigeria’s indigenous hip-hop music, because it is our modern reinterpretation of rhythms and storytelling. It is important to recognise that afrobeats did not appear out of thin air; it evolved from the foundation laid by afrobeat, highlife, juju, apala, and others. So we can see afrobeats as part of Nigeria’s rich repertoire, standing proudly alongside afrobeat.
What do you think is missing in how Nigeria documents and celebrates its music history?
A lot is missing. We do not have enough structured systems in place for proper documentation. However, we must acknowledge and appreciate individuals and groups who, in their own little ways, have been making genuine efforts to celebrate our icons. But beyond personal initiatives, there is a need for government and institutional involvement to make this a national priority.
Beyond music archiving, you also run ventures like Esho-Re and The Amuluduns. How do these businesses connect to your broader passion for culture?
People call me a “creative genius”, and I take that as both a compliment and a responsibility. Anyone in the creative environment must be able to move across different creative fields. For me, music, arts, fashion and printing are all embodiments of creativity, and they feed into one another. That is why it is easy for me to switch from one to the other without losing focus, because at the end of the day, they all connect back to culture and expression.
You’ve often described yourself as a protégé of your father. How do you hope to extend his legacy while building your own?
Yes, I am proudly a protégé of my father. I knew all along what he craved while he was alive. I was very close to him, and I watched as he breathed music, drank music, and lived music every single day. His dream was to see a place where everything he had preserved for posterity would one day be accessible to the world. My hope is to bring that dream to life through the Heritage Centre and other projects, while also building my own legacy as someone who carried his torch forward and added my own light to it.
What keeps you motivated in a space where cultural work is often underfunded and underappreciated?
The people around me keep me going. You need to see the kind of encouragement I get daily. That alone gives me the strength to continue, because it shows that I am making an impact. I am also eternally grateful to my parents for raising me right and teaching me to stay focused and committed to my purpose. Their guidance remains my strongest motivation.
Sourced from The Punch
