CADA had the joy of sitting down with renowned composer and musical director Tayo Akinbode, whose four-decade career has taken him from radical political theatre in the 1980s to major stages including the RSC, Shakespeare’s Globe and the Royal Exchange. Despite an impressive body of work, Tayo speaks with the same sense of wonder he felt as an 11-year-old boy discovering music for the first time.
Tayo describes falling into theatre almost by accident. After teaching himself a multitude of instruments and playing in punk and experimental bands, he was invited to compose for Manchester Youth Theatre. “They paid me – and I loved it,” he laughs. That moment sparked a lifelong career defined by openness, experimentation and a commitment to people-powered creative processes.
Today, Tayo’s work remains just as wide-ranging. He is currently composing and arranging music for Bradford 2025, the UK’s City of Culture, where a 200-strong community choir and a large-scale outdoor performance celebrate the people of Bradford. Alongside this, he continues to support emerging writers and small-scale projects, always seeking new perspectives.
When asked about ageing, Tayo resists the word “old” but embraces the idea of becoming an elder – someone shaped by experience and ready to share it. He acknowledges the internal battles many older creatives face, from imposter syndrome to fears of being overlooked, yet insists that “our best work isn’t behind us.” His mantra – abandon the usual devices – is a reminder to stay curious, courageous and committed to evolving.
For Tayo, radical creative ageing means continuing to question, explore and collaborate across generations and cultures. “The richest rooms,” he says, “are the ones full of different ages, different backgrounds, different stories.”
And perhaps that is the message he leaves us with: creativity doesn’t diminish with age – it deepens.
See the Fanzine here.
Creative Ageing: Development & Agency 