In a recent interview with Wanlov the Kubolor, our conversation began with an observation about the unique instrument he was playing upon arrival—a woodwind unlike the traditional atenteben, the local Ghanaian flute known for its multiple finger holes.
In contrast, his instrument featured only one keyhole, an unconventional choice that set the tone for a deeper discussion about musical innovation.
Wanlov explained that this distinct approach to instrument design mirrors his broader creative philosophy, which embraces unconventional sounds and the energy they produce.
He then spoke passionately about the castanets, locally referred to as “koshka,” describing how the vigorous hand movements required to play them infuse his music with an energetic vibe.
He noted that, much like the diverse assortment of instruments scattered around his room, every instrument has its unique voice and ability to perform, regardless of the presence of electricity.
As our discussion shifted toward his creative process, Wanlov revealed that his writing is deeply intertwined with the music he creates; his compositions are born from the sounds he experiments with, and he relies on WhatsApp audio to capture his ideas, appreciating the quality it delivers.
Our conversation also touched on his collaborative ventures, including a notable partnership with M3NSA, which not only broadened his musical horizons but also expanded his reach across various jurisdictions.
When asked about the challenges facing Ghanaian artistes in gaining access to major festivals, he candidly explained that while the talent is undoubtedly there, many artists are hesitant to accept the necessary cuts required to secure a spot on stages graced by icons such as Pat Thomas, Gyedu Blay, and Ambolley.
He emphasized that success on these platforms often hinges on an artist’s popularity and the way their music is consumed beyond Ghana’s borders.
Wanlov also shared insights about his personal background, recounting how he was born in Romania and grew up in diverse parts of Accra, including Legon and Achimota, experiences that have profoundly shaped his musical identity.
He mentioned his close relationship with his sister, Sister Derby, with whom he occasionally collaborates in the studio, hinting that the world has yet to fully experience her creative talents.
Additionally, he spoke about his role in nurturing emerging talent, citing his work with artists like Lamisi—a dedicated vocalist from the University of Ghana’s School of Performing Arts—whom he supports by leveraging his extensive connections with influential figures in the global music industry.
Through his innovative approach to sound, collaborative spirit, and commitment to mentoring, Wanlov the Kubolor continues to redefine the boundaries of Ghanaian music, merging tradition with modernity to create a truly dynamic and evolving art form.
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