Q&A: Patrick Bebey

How has the music and legacy of your father influenced your work?

Having a father like Francis Bebey can of course have a profound impact on an artist’s work. My father worked with a unique blend of traditional African sounds and modern influences. This instilled in me a deep appreciation for cultural heritage and innovation.

What did it mean to you to cover one of your father’s most well-known and celebrated tracks, ‘The Coffee Cola Song’?

I had many different reasons for wanting to record my own version of it. For years I have wanted to bring the music of the ‘pygmies’ [the Indigenous Baka people of Cameroon] to the ears of a larger audience. In 2017, I was asked to record the pygmy flute (n’dehou) parts for a song, ‘Everything Now’, by the band Arcade Fire. We then toured and they invited me to play ‘The Coffee Cola Song’ as an encore at their show in Paris. This song was written in 1985 and, unfortunately, the problems it talks about are still very real!

Can you share a little about your upbringing and how it has shaped you as a musician?

Growing up in a musical family provided an inspiring environment. I was surrounded by diverse sounds and creative expression from an early age. This profoundly shaped my musical sensibilities. Since my childhood, I’ve been exposed to a variety of instruments, rhythms and cultural influences. I believe this has fostered my appreciation for traditional and contemporary music.

Ponda sees you bring together a sense of musical tradition, with a forward-looking approach of your own. What are the influences that helped you craft it?

I grew up in Paris, France, surrounded by African culture, but my ears were opened to music from all over the world. My father provided me with a foundation of cultural and musical heritage. I have also collaborated with many diverse artists like Miriam Makeba, Roy Ayers, Papa Wemba and Ladysmith Black Mambazo. They inspired me with innovative approaches and new sounds.

Interview by Andrew Taylor-Dawson