Dare Omotayo: On Asake’s Orchestra and Conducting For Heritage

By Patrick Ezema

There is a certain aplomb that has surrounded Asake’ recent live performances across Nigeria. Curated in orchestra-style, the Afrobeats star has carved a niche for his electrifying performances with a full ensemble, the latest being his Live concert during the Lagos-leg of his Asake Tour, held at the Eko Convention Centre last week. However, behind those exciting performances, which have since shaped Asake’s credibility as an avant-garde entertainer, lies the quiet conducting blueprint of Dare Omotayo.

Performed in front of a live audience of at least 15,000 people, the concert evolved both as a statement, one where Asake’s rich, Fuji-textured sonics is highlighted as a commanding force in Nigerian music. Showcasing his music with a full orchestra including horns, percussions, and strings sections, the polyphonic groove shone as an immersive experience for Nigerian music lovers.

The concert began with a rain of anthemic percussion that ushered in Asake’s hyper-melodic vocals as he performed his hit singles, “Why Love” and “Sunmomi”. With a rousing drum solo, serving as melodic lead, while the violins and viola ushered in the matting melancholia that edged the performance with its cinematic feel, Asake had little work left to do in arresting the crowd’s attention.

One interesting thing about the particular arrangement, thanks to Dare Omotayo’s auteur, for this performance was the emphasis given to each distinct melodic section, especially with solo improvisations that happened severally during the display. At some point, the vocals paused for raspy drum rolls; at other points, everything else paused for the backing vocals and the chords; and at other points, the horns drove home the message. It was a behemoth of cultural richness wearing a bright sonical look.

The night drifted with several other high octane performances, including a live duet with Olamide as they performed their hit song, “Amapiano”. Piano chords come first, phrasing the song’s drum pattern with a rhythmic comping that elevates the song’s groove. There is also choreography on stage matching the flow of the music. By the time Olamide’s Hip Hop vocals come in, the percussion segue freely, leaving the chords to fill in the gaps for suspense and lyrical emphasis.

Another exciting performance from the fray was his hit, “MMS (featuring Wizkid)”. Here, the violins and pianos take centre stage, replicating the soothing RnB vibe of the original record. The drums are layered whenever Asake pauses, striking with a neat accuracy that helps transition the song in parts, while also filling the backing vocals.

By the time Asake performs “Joha”, the full might of the Orchestra is felt. Conga drums rush in with a syncing pattern that textures the performance with a silky Yoruba feel. It feels very indigenous, yet progressive. Other performances like his song, “Worship (with DJ Snake)” are re-arranged to heighten the flutes, violins and pianos, edging it towards that cinematic, film-score-esque, masterful orchestral feel.

Over 30 songs were performed that night. In all, the performance felt very cohesive and enlivened. Crucial to that architecture was Dare Omotayo, the evening’s conductor and one of the principal arrangers behind the orchestral direction. For Omotayo, the night also marked a visible progression in public view. Having previously appeared as a flutist during Asake’s The O2 Arena performance in 2023, he now returned in a leadership capacity, guiding sections, cueing transitions, and helping translate Asake’s kinetic catalogue into large-format concert language.

Some of his direct contributions were new arrangements for “Dupe,” “Awodi,” and “Ligali,” three of roughly 30 works performed across the night. Those moments best captured the promise of the orchestra format: familiar songs reintroduced with added harmonic colour, wider dramatic arcs, and a richer sense of musical theatre. In songs already rooted in layered percussion and chant-like repetition, the live instrumentation deepened Asake’s Fuji-toned harmonies rather than merely decorating them. In those stretches, Omotayo’s musical direction felt like an expansion of Asake’s artistry.

At certain moments, the richness of the orchestral arrangement risked overshadowing the rhythmic immediacy that defines Asake’s core sound, creating a slight tension between symphonic depth and street-rooted energy. The ambition of integrating a full orchestra into a high-energy Afrobeats set was evident throughout, though certain sections suggested that the concept is still evolving in its most refined form. In striving for grandeur, a few arrangements lost some of the intimacy and immediacy that characterize Asake’s recorded work, particularly in more stripped-back songs. Yet these felt less like failings than the natural growing edges of experimentation; proof that the production is reaching beyond spectacle toward a new performance language, even if some balances are still being negotiated.

Ultimately, the concert proved that Nigerian pop performance can think bigger, sound broader, and still remain culturally grounded, and Dare Omotayo’s baton is central to that unfolding vision.