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Pacific music artist from Aotearoa, New Zealand.

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Fiji is one of the biggest polynesian artists of our time. His golden voice and musical blends have launched him on the world stage as a pioneer of the Pacific Island Sound… .. A fusion of classic reggae, Hip-Hop, R & B and Jazz set Fiji apart as a performer. His unique style defies the idea of categorizing artists into a single genre of music, giving Fiji widespread appeal and capturing his array of musical influences….. For those that love Hawaiian-style Hip Hop, Fiji offers established fans his recognizable energy and remarkable personality. Newcomers to his music embrace his smooth voice and exotic sound….. Previous albums Evolution and Born and Raised brought successful unique island style to the mainstream, launching Fiji as the one of the most recognized Polynesian artist in the world. Gratitude included hits like “Smokin Session” and “She’s Da Bomb.” co-written by Fiji, as well as a remake of Otis Redding’s “Sittin’ on the Dock of the Bay,” Songs from the album were heard on Bay Watch Hawaii and MTV’s Real World Hawaii. Transition carries on his tradition of soulful voices and appealing sounds. His latest release, Independence Day, has made the greatest impact on the pacific and west coast music scene….. Fiji has successfuly captured the beauty and allure of the island life through his music. In 1998, he earned the Na Hoku Hanohano Award for Male Vocalist of the year and Entertainer of the year, solidifying his place among Polynesian fans and introducing his sound to a wide audience of listeners. Embracing the Polynesian style, he has introduced music lovers around the world to his own take ..ting edge island music. ..

 The story of UB40, and how this group of young friends from Birmingham transcended their working-class origins to become the world’s most successful reggae band is not the stuff of fairytales as might be imagined. The group’s led a charmed life in many respects it’s true, but it’s been a long haul since the days they’d meet up in the bars and clubs around Moseley, and some of them had to scrape by on less than £8 a week unemployment benefit. The choice was simple if you’d left school early. You could either work in one of the local factories, like Robin Campbell did, or scuffle along aimlessly whilst waiting for something else to happen.

By the summer of 1978, something else did happen, and the nucleus of UB40 began rehearsing in a local basement. Robin’s younger brother Ali, Earl Falconer, Brian Travers and James Brown all knew each other from Moseley School of Art, whilst Norman Hassan had been a friend of Ali’s since school. Initially, they thought of themselves as a "jazz-dub-reggae" band, but by the time Robin was persuaded to join and they’d recruited Michael Virtue and Astro – who’d learnt his craft with Birmingham sound-system Duke Alloy – the group had already aligned themselves to left-wing political ideals and forged their own identity, separate from the many punk and Two Tone outfits around at that time. The group had nailed their colours to the mast by naming themselves after an unemployment benefit form. Their political convictions hadn’t been gleaned second hand either, but cemented in place whilst attending marches protesting against the National Front, or rallies organised by Rock Against Racism.

By the time Chrissie Hynde invited them to tour with the Pretenders during the summer of 1980 and their debut single "King b/w Food For Thought" had sailed into the UK Top 5, all the essential elements of UB40 were already in place. Their line-up will remain unchanged for almost thirty years, and they will continue playing a mix of original material and inspired choice of reggae covers in a style that’s instantly accessible with its bright melodies and sweeping horn arrangements – one that’s allied to a formidable rhythm section, capable of holding its own with anything from Jamaica.

UB40’s first album was released the following September, on Graduate Records. Their deal allowed them more creative freedom than if they had signed with a major label. The cover artwork memorably duplicated an unemployment benefit card, with the title "Signing Off" rubber-stamped in red, but it was the music that quickly worked its way into the affections of a young, mainly student crowd with its knowing lyrics, solid reggae rhythms and dubby, instrumental passages, offset by warm horn solos and Jamaican style scatting. There was nothing else like it at the time. As a multi-cultural band from Birmingham, UB40 weren’t drawn into trying to sound "authentic," and there was considerably more depth to their music than that of many punk and 2Tone bands. "I’m a British subject, not proud of it, whilst I carry the burden of shame," they sang on one of the tracks. Accepting the truth of their own situation amidst a sea of other reggae songs proclaiming black heritage gave us a valuable insight into where UB40 were coming from. They were unafraid to stand up and be counted, and British audiences instinctively loved them for it. "Signing Off" duly went to No. 2 in the UK and stayed on the nation’s album charts for 72 weeks.

On September 2nd, 2013, UB40 released their latest album ‘Getting Over The Storm’ on Universal/Virgin Records.

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