Artist Zeritu Kebede: A Brand New Style!

By Fitsum G.

September 29th, 2005

Young Ethiopian Artist Zeritu Kebede, nicknamed 'baby' presumably for her 'baby face', first burst into public attention when she emphatically impressed every one with her fresh style of singing in 'Esti Mela Belu' ((let's find a way out from HIV) a group song performed by an assortment of artists, veteran and emerging. The group included artists like Alemayehu Eshete, Menelik Wessenachew, Tamrat Molla, Tsegaye Eshetu as well as Tighist Makonnen and Tsedenia G/Markos, among others) who truly made a nice equip with a variety of intonations. Zeritu interpreted her part brilliantly, distinguishing herself both for her powerful voice, youthful face and a fresh inspiring style. Every one wondered where this emerging vocalist had suddenly come from. Subsequently, when there was the news that she was preparing her own full album, and was working with successful musical arranger Elias Melka, I began to suspect that this vocalist could very well constitute the major talent explosion of the year to come. I thought so because the signs/ingredients/potential were all there, visible, tangible, real.

Since then, the young vocalist has evidently been working hard, rehearsing her new tunes and lyrics for the upcoming album, and her fans had only to wait for a while. Luckily (as if it was a sort of destiny!) its release coincided with the New Ethiopian Year, the end of the rainy dark season, and the start of the sunny, warm, brilliant days. A wonderful occasion to fully acquaint herself with the impatiently awaiting public and dwell in their heart comfortably. The appetite of the public had got even higher following her single video clip release on ETV. The song entitled 'Endaygelegn', ('I'm afraid his love is killing me'.) has since become a sort of trademark distinguishing her from others.

Without going out of context, it should be mentioned here that the musical scene in the country had for quite sometime been completely routed by the famous album of Teddy Afro 'Yastesseriyal'(it heals). Teddy's exploit had simply been the album of the year, dominating not only the market but the 'audience index' as well. Winding up 1997, the most popular artist of the year was embarking on an extended foreign tour, while every one was wondering who would dare release a new album that would somehow match, if not dilute/displace the affection that Teddy Afro had been building up all year round. Who would fill the vacuum?

In fact, for months, no one had ventured in the move. What is more, the charged political atmosphere in the country, (with the general election and its controversial aftermath still lingering in the minds of people, the uncertainty that seemed to prevail), any musical release would hardly have managed to capture the attention of any fan thus risking débacle. I think that was why, principally, no new albums saw the light of day for a while. But come the Ethiopian New Year, tradition had it that new releases were the norm and producers were encouraged to embark on the venture of distributing new tunes. Hence, capitalizing on the gay, holiday season, a number of traditional songs were produced. However, amongst the ones that attracted sustained coverage were the more modern beats of Artist Besrat Garedew's debut album called 'Salamnibet' (Without Conviction) and subsequently, Michael Belayneh's 'Ante Godana', (The Road).

Eventually, both artists could be qualified as successes, specially given the fact that they were newcomers to album releases of their own. Besrat was already a famous name, though, having cultivated his popularity through the songs he composed and handed to others (see Alex and Gossaye, Gedeon Daniel, Tibebu Workiye, Haimanot 'Omahire', La Fontaine...) and this must have created a sense of eagerness and anticipation about his own debut album. Similarly, Michael Belayneh had made his debut both as composer/vocalist on the fortunate hit called 'Malebabess Yikir', (Stop Masking and Stigmatizing about HIV), a song with a very touching message on HIV, (Nebiyu Makonnen, Editor in Chief of 'Addis Admas', a popular Amharic weekly, wrote the lyrics). But what made the song even more pleasant was the way it was performed by a cast of superior vocalists of the moment, pledging their full support for the campaign against the alarmingly expanding pandemic. Hence, Michael's album was also awaited with a certain expectation. The album eventually did manage to sell well and its innovatory style (reggae, Hispanic beats...) was appreciated. Again, another emerging artist, Getu 'Omahire' (not completely unknown, as he had his launch with the famous song 'Omahire' months earlier, followed by the single release 'Yebichaye' {For me only}), released his full album that comprised of all songs written by himself. Nevertheless, the year was yet to be surprised at the very eleventh hour by a new musical reality: the advent of Zeritu 'Baby' .

What is all so amazing about Zeritu's album? many people might wonder, and the answer is very simple: a fresh and new way of presenting songs in Amharic, reminiscent of the style of a Western hip hop/country beat. Wow! doesn't that sound like presumptuous?! It might, but that is exactly the impression that Zeritu would create in your imagination. And all this despite her being relatively new to the trade. When friends of mine and I first heard Zeritu's voice in the album, we immediately sensed that this would be the 'new voice' of the country. Such a deep and powerful melodious voice was not heard anywhere for a while. Certainly, we have had our share of female artists, most prominently Aster, Gigi, Fikir-Addis and Tsedenia etc who do enjoy their own popularity and affection, each with her own style and pedigree. But Zeritu seems to have launched an unexpected challenge, filling up the gap that would lead her straight to the lofty podium of success and popularity. And this thanks to her fresh style, new approach to modern Ethiopian presentation. One would dare say, she immediately touched 'the higher ground'!

Moreover, what is promising is that she did use her own artistic-poetic talent to create all the lyrics but one, and a majority of the melodies. The tunes followed her own instinct, taste and personality. The words were meant to convey their own specific messages. The musical arrangement was successfully completed by the acclaimed guitarist/arranger Elias Melka, (already famous for his contribution to Teddy Afro's popularity). Elias superbly retouched/finalized her work, deserving I would dare say, a good part of the success of the album.

Zeritu fiddles a lot with love, and songs like, 'Habte' (my wealth) 'Ayiwedegnim',(he does not love me), 'Atehidebegn' (don't go), 'Endayighelegn' (I'm afraid his love is killing me), 'Akal l'Akal' (face to face), co-performed with Abnet Agonafer, composer of the song, all seem to take their time with love and pay some tribute to it, while others such as 'Yenem ayin yayal' (My eyes do notice), 'Deg abate kifu balua' (my kind dad, her evil husband), 'Alikefam', I won't take it badly) seem to take up on social ills and transmit a message of concern and protest against certain suppressed voices and gloom. But the persistent and peculiar characteristic of the album would be the 'trade mark voice' the artist relies on and the excellent musical arrangement Elias supports it with. And for only these two features alone, the album (Zeritu) would still command huge respect.

How did Zeritu Kebede manage to leap to such excellence in a short time? Well, she said she had always been a fan of Western songs, and had enjoyed playing/rehearsing them with ease, beginning her school days. That passion must have been nurturing in her mind, strong enough to make her produce her own lyrics that could go with her adapted melodies. And there is nothing wrong with that, even if it appeared for many Ethiopians distant from their more traditional beats and rhythms. In fact, you may find many resisting, if not reject 'imitations', 'remakes', 'adaptations' or any thing that looked like an 'imported sound', but one could argue that progress can hardly be achieved in any field by beginning necessarily from scratch. Suffice it to remember that Japanese electronics revolution began first with the imitation of American technology, to then in many ways excel it. By the same token, any artistic work needs another work on which to rely on for a while, by which to be inspired, before it begins to live up independently. If Zeritu's album sounds like a 'modification' or 'remake' of some other artist' works or albums, it would be no scandal because completely unheard of sounds do not practically exist. Superb stars of international stature are there to be emulated. We all need to follow the footsteps of celebrated pace setters, and our only limits should be in being honest, lawful and paying due credit (royalties) to whoever deserves it.

Hence, Artist Zeritu's audacious attempt is to be considered a brilliant success by any standard. She has managed to mould an Ethiopian woman's voice and lyrics to a Western style of song delivery. She has given a new breathing ground for our music, a new dimension, I could say. This is a sign that our music, beyond its more common and traditional rhythms, its traditional confines, can accommodate, not only reggae or Hispanic/salsa/oriental beats and rhythms, common these days, but also exquisitely Western-type hip hop/country adaptations. 'Brava Zeritu!'.

We all hope that your current success will not limit itself in our backyards, but extend its horizons abroad, where a thriving market exists. Perhaps one day, you will have the golden opportunity to introduce and promote the image of our troubled country in a new attire: away from that of drought, famine, wars and bloodshed, to one of luminous products of art (as it has often happened with our athletics ambassadors!) One last point I would like to make is your persistence with your original name 'Zeritu' can only witness and highlight your intimate confidence with your personality; and that is a plus. Many would have rushed to first change their name, create a 'new identity' with a perhaps 'presumably more fancied', 'artistic' name. But I should say sticking to your own original identity has been the best choice you could have made. That by itself could constitute a 'lesson' to many.