Across West Africa, if you see dancers waving white handkerchiefs to a fast, rolling beat, you may well be hearing zoblazo. The style belongs to one Ivorian artist more than any other: Meiway, who built a career by turning his region’s rhythms into party music.
Grand-Bassam
Meiway was born Frédéric Désiré Ehui on 17 March 1962 in Grand-Bassam, the historic coastal town that was once the colonial capital of Côte d’Ivoire. The rhythms of the south-east of the country shaped his sound.
What zoblazo is
Zoblazo is the dance music style Meiway pioneered, drawing on traditional rhythms and mixing them with modern instruments and production. Dancers often wave white handkerchiefs as they move, which became a signature of his concerts.
Early albums
His first album, Meiway, also known as Ayibebou, came out in 1989. Two years later, 200% Zoblazo made his style famous and gave it the name that stuck.
Counting upwards
Meiway’s album titles have a playful sense of numbers. After 200% Zoblazo came Jamais 203, also called 300% Zoblazo, in 1993. The rising percentages became part of his brand.
Hits
His best-known songs include “200% Zoblazo”, “Godeba”, “Appolo 95”, “Miss Lolo” and “DJ Tassouman”, which filled dance floors in Côte d’Ivoire and neighbouring countries.
A long catalogue
Meiway has released many albums, including Appolo 95, Les génies vous parlent, Extraterrestre, Eternel, Golgotha, 9ème commandement, M20 for his twentieth anniversary, Profeseur, Illimitic and Légende in 2019.
Zo Gang
He also worked on projects with Zo Gang in the late 1990s and 2000, extending the zoblazo sound to new collaborators.
Ivorian music’s rich decades
Meiway’s rise came during a lively period for Ivorian popular music, alongside zouglou and later coupé-décalé. Zoblazo gave the country another distinctive sound to export.
On stage
His concerts are known for choreography, colourful costumes and audience participation, with thousands of handkerchiefs waving in time to the music.
Lyrics
Meiway sings in French and in languages of south-eastern Côte d’Ivoire, mixing party slogans with comments on daily life. Many of his song titles and catchphrases passed into Ivorian popular speech.
A region on the dance floor
Meiway took the sounds of his home region and gave them to the whole country and beyond. Every time a crowd waves white handkerchiefs, Grand-Bassam’s rhythms are dancing somewhere new.
