Page 41 - Islands Business March 2022

Music Music

haven’t seen much sale on Spotify and the other streaming
platforms on social media but having said that, there are
avenues already that I have established - it’s just a matter of
someone picking up a credit card and buying my album or the
singles that are on those platforms.”
“In Papua New Guinea - I speak from a small scope - the
biggest challenge is that we can’t make a living out of it (mu-
sic) but we are so passionate about it,” says Cobb. “And that’s
because of the nature of the industry— people can’t buy CDs—
technology has evolved to the next stage (to digital plat-
forms). A lot of artists that are producing music in PNG don’t
have the resources to get themselves established on social
media or online platforms where everyone can come up with
policies where we have to respect our artists and get paid
“It had a lot of students that were trying to travel from Lae through that. Then artists are not helping themselves by leak-
back to Rabaul and it struck me because I came on the voyage ing out music the moment they produce something and that’s
before that one on the same vessel. It took me back a bit and when it tumbles like a house of cards. I try to influence, here
I thought that could have been me, but I dodged it.” in the country, as many artists here as I can. I’ve said for us
Cobb says that when he wrote the Rabaul Queen song, he artists to come together and form something that will bring us
pictured a man sitting on the vessel going down with no help. benefit. But I haven’t won yet!”
He likens the song to a message in the bottle. COVID has had a mixed effect on Cobb’s craft, a “bit of light
“I personalised myself as my partner was pregnant with my and shade,” is how he puts it. “Obviously it put a stop to all
daughter, and I thought of a father, how he would relate to the live gigs …[but] I started live streaming my gigs at home
his wife and daughter,” says Cobb. “So that was the part that for people to watch. I created something called the Sunday
pushed me to come up with a melody with so much soul and Soul Session which had a huge following - people outside the
feel. It so happened that I never completed the Rabaul Queen country as well – all the way to Japan, Osaka. They really
song and it was just tucked under the rug. So when I started loved it because they were stuck in a box as well and I was
to write the West Papua song I connected the two feels. They stuck in a box. This created really strong engagement of me
had so much depth and so I said that I’ll use that melody on being at home and of them feeling that way as well. That
the West Papua song.” taught me to think outside the box and I started to digitise a
Cobb worked with the youth creative and activist group, lot of my music. So I think that it was a blessing in disguise -
Youngsolwara Pacific to release the song. what COVID did to the music industry.
“I felt so much connection with… the guys from (Youngsol- “I’ve got two Pacific singles that I would like to push out,
wara Pacific). It was very smooth – I felt like I belonged some- they have been written, completed, and mastered. I’d be
where. When they reached out, I said that I’ve got something very keen to look at all avenues to get those songs out. One is
here. We hadn’t intended for it to be for Human Rights Day, it a Tongan inspired song called Ta’ahine.
was just a piece of art. Youngsolwara Pacific had asked for a “The other is Home is Where My Heart Is – which I think is
short segment of anything poetic or artistic. going have a very strong reach in the Pacific region because
“We sent it over to Joey (Tau) and he felt that there was it speaks of all Pacific islands, island communities, island
so much depth and feel to it and that it deserves something nations – islanders that are either at home or somewhere
bigger. He reached out to us and asked if he could hold it back else, stuck in a concrete jungle and how this pandemic has
and release it on the Human Rights Day I said I’m more than really put a stop to everyone going back home. I’ve written
stoked and I’m very happy for you to do that.” this song targeting that - to bring people back home whether
Cobb’s musical journey began when he listened to his physically or whether they are in office or quarantine to think
uncle’s string band in Bulolo. Both sides of his family are musi- about cooking the taro on the fire, mixing up with the tokos
cal. or the brothers. I’ve incorporated all the elements of home
He considers himself an indigenous activist as well as an especially from the Pacific islands.
artist. “At the end of the day I want to see the best for all our “Both songs will be released through all the mainstream
Wantoks, and we deserve to be treated in the manner that streaming platforms, Spotify, iTunes, Apple Music etc., but
everyone’s supposed to be treated, and that’s fairly. So, if I’m my aim will be to partner with as many Pacific island radio
going to use music as my tool to push for what is right and stations to get a play for those two songs in particular as I
what I believe is right, then by all means I will do so. believe they’ll strongly resonate with the broader Pacific com-
“I’m not making a living from my music, but I hope to and I munity.”
wish to,” says Cobb. “The only way I’m making money from it
now is through APRA. I’ve signed up with APRA and the money editor@islandsbusiness.com
I have made so far comes through the form of royalties. I

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