K.O.G
The Jam Jar, Bristol
Talking music, healing, and responsibility with K.O.G
From Accra, Ghana, Kweku Sackey or K.O.G. (Kweku of Ghana) embodies a live creative concept that defies boundaries and genres of music and art. It’s mesmerising to watch. We joined him at the Jam Jar in Bristol to experience his performance live on stage, and talked about how he is able to captivate, connect, and collaborate worldwide.
NOBODY IS READING
Being invited into the immersive and wonderful world of K.O.G. for an evening, we were excited to enter an eclectic portal ranging from hiphop, funk and reggae to Ghanian old folk tunes, gospel, and infectious energy.
Storytelling and community is central to what it means for Kweku to be a musician, and when crafting new narratives we have a responsibility to take a step back and ask ourselves how we are going to communicate these. It is no surprise, then, that Kweku shared some stories with us when we chatted with him before the gig.
When working in a nursing home, Kweku told us that he learned old war songs like ‘kiss me goodnight sergeant major’ and ‘run rabbit run’ and pushed out power ballads for the residents – which he performed for us. One resident in particular, 90-something year-old George Ellis, inspired him to "get out and go sing!" This organically started with going to open mics in Sheffield having moved there with the intention to study his Masters degree, to joining and forming bands like the Zongo Brigade, and writing music of his own.
Fast forward to now, K.O.G has released several albums, worked with the likes of Damon Albarn, Nubiyan Twist, and Congo Natty, and has toured his show worldwide. His fierce experimental sound and personality as an artist clearly make him one to watch and work with, and we look forward to his EP release later this year.
"There is a symbiosis between venues and event organisers, and artists themselves, that creates beautiful sacred spaces.” - K.O.G.
The Jam Jar itself is an intimate venue, which is perfect for a K.O.G show. And throughout the performance, we witnessed the spiritual power of music. As boundaries dissolve and joy comes forward, we are invited dance, heal, and connect. The connection between the musicians on stage – a twinkle in the eyes between Kweku and his on-stage Ghanaian sister Lamisi Akuka – floods from the stage to the audience.
It’s a privilege to step into the world of K.O.G for an evening where joy travels far and wide between Kweku and the audience. The energy in the room is infectious and addictive; you find yourself shaking your worries away, and even talking and dancing with strangers. It’s a beautiful feeling and we look forward to seeing him again very soon.
Despite almost falling into music by chance, Kweku is acutely aware of what it means to be an artist and what message to send to those who, quite literally, look up to you on stage. Moreover, K.O.G spearheads projects like KUSUM – African Sound and Movement Journey – which delve into themes of masculinity, spirituality, and cultural identity, again encouraging us to talk, dance, and be vulnerable together in pursuit of healing.
As much as this is entertainment on the surface, music in this space becomes a channel for healing and self-discovery. As Kweku puts it, ‘there is a symbiosis between venues and event organisers, and artists themselves, that creates beautiful sacred spaces.’ And by sacred, this means respectful and respected spaces.
CONNECT WITH K.O.G
