Muluken Melesse: The Soulful Serenade Dies at 73

In the quiet of his later years, Muluken Melesse found solace in the gentle sounds of the waterfall from the stereo, transported by the melodies to a breezing stream beside him. Born in 1951 in Gojjam province, Amhara Regional State, Muluken's life embraced music as comfort in his youth, blossoming into fame and pinnacling in a spiritual awakening. His father, Tamir Tiruneh, was a man of faith who regularly took Muluken to a church.

Though it would not fully resonate until later, these early experiences planted the seeds of spirituality in him. Losing his mother at a young age, Muluken turned to music for comfort, honing his singing talent in an orphanage. When he came to Addis Abeba at age six, his uncle "Melesse" registered him in school under the new last name that would stay with him forever. In one of his interviews, he later admitted that this was one decision he regretted.

Muluken's rise from a teenage performer in local clubs during the 1960s to a celebrated artist at the prestigious Hilton Hotel encapsulates a transformative era in Ethiopian music. His journey began at the tender age of 12, when his voice bore the weight and perspicuity that would later define his career. His earliest hit, "Enate Sitwoldegne Mech Amakerechign," which translates as "my mother did not ask my consent for my birth," captured the ethos of its time when it frequently filled the airwaves, becoming a staple on public radio.

The song’s themes — melancholic, jittery, and contemplative — reflected the mood of a generation on the cusp of traumatic social and political shifts. His music not only entertained but also offered a form of commentary, mirroring the lives and struggles of his listeners. Other tracks such as "Mewdeden Wededkut," "Hagerwa Wasamegena," and "Nanu Nanu Neyi" further cemented his status, resonating deeply with audiences and securing his place as a figure in the music scene.

Throughout his career, Muluken’s knack for weaving existential and everyday life into his lyrics invited his audience to a shared experience of introspection and cultural reflection, marking him as a voice of a generation besotted by their identity and place in a rapidly changing society.

His career flourished in the 1970s and 1980s, coinciding with a military regime where artistic expressions were heavily censored. The cadres of "Socialist Ethiopia" found it convenient to their cause to weaponise art in broader terms and music in particular to mobilise and galvanise the masses. Filled with themes of love and hope, Muluken's music resonated with a country yearning for better days. Partnerships with lyricists like Alemtsehay Wodajo propelled his popularity.

Alemtsehay describes Muluken as a meticulous performer who dissects lyrics, melody, arrangements, and harmony. She admires his straightforwardness and creativity in adapting lyrics, even blending them with those in the public domain. Muluken never accepts lyrics verbatim but reshaped them to suit his style. Alemtsehay conceded that she lacked comfort in claiming some of the lyrics he played wholly as hers.

Many saw Muluken as a person of unwavering principles. He refused to compromise his integrity, famously insisting on fair compensation for his work during the rise of music videos. This uncompromising position, often misinterpreted as arrogance, appeared to stem from his deep sense of self-worth and appreciation for his craft. His strong self-worth extended to his performances. He would not go on stage if he felt the audience was not dressed appropriately for the occasion.

Suraphel Gizachew, a.k.a DJ Phatsu, recalled Muluken's high standards through their conversations about the past.

"He had class," said Suraphel.