By Oladeinde Olawoyin
The only image I have of Sammie Okposo inside my foggy head is gradually becoming a blur. But I can still picture him, Sammie, restless and apologetic, pleading for mercy. That image of a penitent Okposo standing in the dock became part of my subconscious because of this weird addiction to Music Africa, everybody’s favourite musical show of the early noughties, bar Prime Time Jamz (later Prime Time Africa), Kennis Music flagship radio show on RayPower.
Okposo’s memorable picture was from Addicted—-for me his most entertaining video clip of all time. In that video, he was docked in a courtroom, or so, but he eventually mesmerized everyone (including the judge) with his melody. He became a free man in the end.
Earlier in the year when Sammie took to his Instagram page to apologise over some infidelity issues, I read through the reactions and it all felt surreal. That was Sammie being docked yet again, I muttered. But this time, since he was being questioned over marital affairs by Twitter judges (many of whom have loud opinions on how to stabilize decade-old marriages yet know not the road to the altar), I knew he wasn’t gonna be freed. And indeed, unlike his experience before the judge in ‘Addicted’ nearly two decades earlier, he was dragged like a bad generating set, until another public figure was unfortunate enough to jump onto the Twitter slaughter slab.
Moons ago when we slaved away writing our asses off for nothing, deluded by some innocent conception of what constitutes ideals, I thought about speaking to Lagbaja about his MotherLan’ concerts and similar shows that shook the heart of Lagos back in the day. Then I remembered Sammie, and Sunny Nneji, and Segun Obe, and Mike Okri, and Wale Thompson, and Rhymzo De Gusto, and Seyi Sodimu, and Paul Play Dairo—-all important voices who showed us the beauty of art via LIVE performances at a time artistes weren’t losing sleep over streaming numbers. I remembered the Miliki nights, and SSP’s memorable duet with Kwam 1, tagged Val Jam. Of course, I remember Sammie’s electrifying performances too, especially at gospel-themed concerts. Oh my!
Many people consider ‘Wellu-Wellu’ as Sammie’s most important work. I agree, partly, because together with Kefee (Branama), he brought a new insight into our appreciation of indigenous gospel sound at the time, with uniquely beautiful South-south flavour. But again, I consider Addicted his most fascinating work sha.
Once, I saw Sammie perform on stage, his dark skin glowing under the kleiglights like melanite, his voice melting seamlessly with the celestial atmosphere established via his band’s all-white attire, the heaven-bound section of the crowd stifling some tears, and the other half preoccupied with wordly affairs screaming in ecstasy. It was a most beautiful spectacle.
Nearly two decades ago, Sammie was docked in his Addicted video. But he regained his freedom. In 2022, art mirrored life and he was jailed and ‘convicted’ on social media, his freedom taken away from him. Now he has gone to rest.
He was flawed, like every human, but he mesmerized us while he was here. May he find eternal freedom. Adieu.
*Oladeinde Olawoyin is a journalist and public affairs analyst