Highlife music is a genre that has been harmonizing culture and beats in Nigeria and across Africa for decades. In this interview, Nigerian highlife singer CHIBUIKE JOHNPAUL ANEKWE, best known by his stage name "PROFESSOR ONYE EGWU", shares his journey, influences, and vision for Igbo highlife. As a visual artist, he brings a unique perspective to the genre, drawing inspiration from Igbo highlife legends. He also discusses his collaboration plans and reveals his plans to introduce Igbo highlife to new audiences. EGUNGWU CHUKWUKA brings excerpts.
1. Can you share a bit about yourself, and when did your love for highlife start?
My full name is Chibuike Johnpaul Anekwe, though I am more widely recognized by my stage name, Professor Onye Egwu. Apart from music, I am a visual artist. I guess I was born with music, because I started playing as early as when I was in Primary School. I would always assemble all sorts of tins like in typical drums set up and play to my delight. I played from Primary School to secondary school, when I started getting involved in church band group till my university days, when I started playing at every school gathering just to entertain students. I later started playing in some bars and hotels around school. I studied Microbiology at Anambra State University, Uli (now Chukwuemeka Odumegwu Ojukwu University).
2. Which Nigerian highlife legend, past or present, has had the biggest influence on your music style and journey as Professor Onyegwu?
I groomed myself as a musician listening and playing Chief Stephen Osadebe, Oliver De Coque, Celestine Ugwu, Sir Warrior, etc., but Flavour, whom I also play his songs a lot, has inspired me a great deal.
3. Do you think highlife music plays a significant role in preserving Nigerian culture, and if so, how does it contribute to this preservation?
Well, I think music speaks to people and in the way they understand. Over the years, Highlife music has been a genre of music that easily tells the story about us; it has culture embedded in it. The songs of Osadebe, for example, are easily identifiable because they speak from somewhere and everyone knows where. There are so many things Highlife music does for our culture, but storytelling and social commentary are two of those things I cherish a lot. Through these two things and more, highlife music preserves our culture.
4. Collaboration is key in music. Have you worked or thought of working with any artists from the same or other genres?
Of course. Collaboration in music guarantees reap, no doubt. It's one step at a time. It will happen. Just expect it.
5. You are currently considered a fast-emerging figure in Igbo highlife music. How do you feel about the genre's evolution and its impact on Nigerian music?
Thank you for that recognition. I am truly humbled to be seen as an emerging figure in Igbo highlife music. This genre is my lifeblood; it is not just music to me, it is who we are as a people. Highlife has evolved beautifully from its golden era legends like Chief Stephen Osita Osadebe, Celestine Ukwu, Oliver De Coque, etc., to what we call contemporary or Afro-Highlife today. Back then, it was about palm wine bars, social commentary, love, community, and life lessons in our Igbo language. Now, we have fused those timeless rhythms, those guitar melodies, percussion, and storytelling with modern beats, production, and global sounds. Songs like my Ego Na Nwanyi, Peremense, Onye Igbo, or I Kaa Nka keep the soul intact while speaking to today's youth about love, identity, struggle, and pride. This evolution is a strength, not a loss. Highlife was born to adapt. It came from colonial times, blending African rhythms with jazz and guitar, and it survived by staying relevant. Today, it influences Afrobeats, hiplife, and even global sounds, putting Nigerian (especially Igbo) culture on the world map. Artists like me are reviving it, making sure younger generations dance to lyrics in Igbo, feel the proverbs, and remember where we come from. Without that root, we would lose our essence. Its impact on Nigerian music is massive: Highlife gave birth to so much of what we hear now. The groove in Afrobeats owes a debt to highlife's bounce and melody. It unites us across tribes, brings joy at owambe parties, burials turned celebrations, and everyday life. For me, it's about preserving our language, values, and heritage while pushing boundaries so highlife does not fade but thrives.
6. We feel that your music often feels like a mirror to life in society; what inspires or ignites these stories and lessons in your songs?
Osadebe would always say that his music came from the river. Perhaps he used to draw inspiration from a river goddess. I don't know, but one thing is certain; music is not forced. It comes to you. I said earlier that I was born with music, so, I am always inspired by my Chi. The inspiration comes to me just anywhere; it could come while I am in the rest room or just anywhere. Once it comes, I begin to reflect. The reflection enables me to put up the lines.
7. What's next for you? Any upcoming projects or plans to introduce Igbo highlife to new audiences?
A lot of projects. What you have seen so far is an abstract, the introduction will soon come before the main body of the work. This is a work in progress and I am taking it to levels you cannot imagine. Just watch out for Professor Onye Egwu.
🎥 Credit: Professor Onye Egwu via YouTube
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