Photo Credits to Nikhil Kumra
Growing up, jazz and adjacent genres were always a part of my life. My parents would play Motown soul classics and bossa nova in the car on rides home from elementary school, and when I learned to play the drums in 4th grade, I mirrored the greats like Philly “Joe” Jones, Art Blakey, and Billy Cobham. As I delved deeper into the genre, I developed a passion for the ethnographic subgenres of jazz, especially Brazilian, Latin, and African. The latter appealed to me the most—the blending of intricate percussive elements with psychedelic piano chords, guitar leads, and horn pads always transported me to a flow state.
When Kokoroko, my favorite Afro Beats band, announced they were closing out their North American tour at the Fonda Theatre in Los Angeles, I instantly jumped at the chance to watch their beautiful tunes come to life. The group blends Nigerian heritage into their music, which is grounded in traditional jazz roots. Hailing from South London, the eight-piece band performed at iconic venues across North America, and are set to play in Europe as part of their support for their new EP, Get the Message.
I arrived at the Fonda Theatre recounting the venue’s legendary track record. Artists such as Pearl Jam, Radiohead, and Stevie Wonder played throughout the 70s and 80s and recently, the 1,200-capacity venue has featured culturally significant artists such as Baby Keem, Shaboozey, and Clairo. Seeing Kokoroko listed among such performers encapsulates how far the group has really expanded globally. What started as a small group from over 5,000 miles away a few years ago has turned into an equally relevant group, synonymous with the future of jazz music.
As I ventured down the stairs into the main hall, I made my way to the front as the group walked on stage. The two brass players began with soft, soothing melodies as the percussion and drums entered with complex rhythms. The music blended into an almost reggae/dub-like song, especially when the keys, guitarist, and horn players began to sing lead melodies over the keys, guitar, and drums. As the setlist continued, the eight-piece band ran through their new project. The sound was notably cleaner than their previous projects that initially drew me to their music. A standout from the set was “Three Piece Suit”, where the group brought out singer Azekel, who donned a grey oversized three-piece suit. The RnB lyrics over live instrumentation provided a unique sound, one that I hope Kokoroko explores more as they record in the future.
After finishing the new EP, the group played songs from their previous catalog, including one of my personal favorites, ”Dide O”. The song, from their studio album Could We Be More, follows a standard jazz structure. It starts with an A section featuring a horn line over a repeating guitar countermelody, then transitions into a B section with driving pads from the keys and horns, emphasizing the bass line. Kokoroko also performed “Abusey Junction” from their debut project, KOKOROKO. Their most popular tune, “Abusey Junction” has over 70 million streams on Spotify; it was also my introduction to the band. Watching the crew perform this subtle yet complex song was a transcendent experience — the intricate guitar lines over simple horn and vocal runs created a unique ambiance that captivated me and the 1,200 other attendees.
Kokoroko’s new EP, Could We Be More, reflects the maturation of their sound over the past five years, and watching the group blend distinct guitar melodies, psychedelic synth and key chords, traditional percussion rhythms and drums, and layered leads from the horns and singers live was an absolute treat. The eight-piece band brought Los Angeles a musical fusion of West African and London cultures, fulfilling my love for both jazz and Afro Beats.
Listen to Kokoroko’s new EP: “Get the Message” below
