The internationally acclaimed founder of British Nu-classic soul, Omar Lye-Fook will grace the stage of Theatre Royal Stratford East to perform alongside some of London’s finest artists as part of Re:Definition 2010. Bianca Manu caught up with the man himself to discuss his long-running career, Re:Definition and his thoughts on the current UK music scene.

You come from a musical family, your brother is Scratch Professor, your sister Samia has featured on some of your tracks and your father is an accomplished instrumentalist. Has there ever been competition between any of you?

No, not really – we are very supportive of each other.

I was listening to some of the tracks on your album ‘Sing (if you want)’ and one track in particular, Ghana Emotion stood out to me (partly because I’m Ghanaian). A lot of your songs are like narratives describing your experiences, what was it like working with your father and doing a collaboration with him in Ghana?

I was helping him set up his music room in his house in Ghana then we just got to jamming. What you’re hearing on the album is pretty much what we recorded. I brought it home to the studio (which he rightfully calls Back A Yard) and just added a song context which was pretty much about my experience in Ghana.

So what do you think of Ghana anyway?

Wicked! Lovely, it’s bloody hot though init! (Laughs). It’s nice there in Cape Coast. It’s great to see them (his parents) happy. Ghana’s just right for them.

You also mention in ‘Ghana Emotion’ that you’ve tasted ‘fresh fish stew’, is there any other African cuisine you enjoyed during your stay in Ghana?

Kenkye was the one. There two different kinds init. There’s the sour one and a sweet one which kinda reminds me of dumplings and I love dumplings (laughs).

"What I do is different. Commercializing restricts creativity and has to fit into a category".

You went to the Guildhall School of Music and you’re classically trained in music, which is evident through your use of syncopated dotted rhythms on your album (a technique regularly used in jazz). How have you tried to infuse classical music and jazz with your core soul sound? Are there any new styles you would like to explore?

What I’ve been doing is pretty much everything out there, but there’s still styles out there for me to explore – that’s what keeps me doing what I’m doing. I try not to make the same tune twice, so it’s always got to be something kinda different and I’ve managed to do that on all seven albums, so I think I’m quite good at that.

Other than working with Stevie wonder (the pinnacle of any musical collaborations) and having your music reach places like Japan and Indonesia, what else has been the peak of your career?

(Laughs) you’ve picked them all already. I’ve met quite a few people – working with Syreeta who is my favorite female vocalist. When we managed to come up with the beat for the album and she started singing ‘Lullaby’, I started crying.

Your music has longevity and will still be played in the future but many feel that you are an ‘underrated’ artist. How do you feel about not being incredibly commercial and everyone knowing you?

What I do is different. Commercializing restricts creativity and has to fit into a category or programme that people might listen to on the radio or TV. I don’t make music to get onto radio playlists, I don’t want to sound a certain way to get onto radio playlists, I just want the music to come from somewhere genuine. It’s not all about mainstream it’s about making music people love which is ultimately real music.

Do you think people who become commercial are selling or restricting their creativity?

Not necessary. Some people are good at doing that. They don’t write music, they don’t play any instruments, and they’re just given music directed by their manager to just sing the thing. Fair enough if you choose to do it that way – there’s a lot of money to be made but I can’t do it that way, that’s not how I am, that’s why I’m not really mainstream.

"I’m looking forward to ReDefintion, it will be a great show."

You’ve worked with Stevie Wonder, was it quite hard working with him because you’ve said in past interviews that you would arrange to meet for midnight he wouldn’t turn up until 6.30 in the morning. Would you work with him in the future if you were given the opportunity again?

(Laughs) yeah, you’re telling me – he’s just a man you have to wait for because of his ability he can get away with that. I would never turn him down – he’s Wonder, Stevie Wonder.

It’s mad to think at midnight through till morning you’re still making music, is that how much you enjoy it?

Well yes, this is it. I mean I’m blessed that I can do what I love and get paid for it at the same time.

Is there anyone currently you’re into, particularly the UK grime scene?

Tinchy Stryder and who’s the other one now?

Tinie Tempah?

Yeah that geezer! There we go! Although he’s nice it’s still the generic sound, it almost sounds American, even Taio Cruz who I’ve worked with and met can actually sing but I can’t hear it in his music because of all that vocal tuning. Hopefully it’s just a phase the music industry will grow out of - the sooner the better.

You’re performing at Re:Definition. The line up also includes Devlin, Maxsta, Shola Ama, NY, Crazy Cousinz, MC Versatile, Lioness and of course yourself. Is there anyone you’re looking forward to seeing?

Quite a few people there, I’ve worked with Crazy Cousinz so it would be good to see them again.

What do you think about the concept behind Re:Definition and Urban Development’s approach to urban music?

I think it’s a great initiative (Urban Development) which allows people to express themselves and gives them an opportunity to grow and develop their music. It’s a great outlet. I’m looking forward to ReDefintion, it will be a great show.

Words: Bianca Manu