Kate Tempest's 'Tunnel Vision'

"The winter of our discontent’s
upon us"...

Kate Tempest: 'Tunnel Vision'

Tunnel Vision
Indigenous apocalypse
decimated forests.
The winter of our discontent’s
upon us.

Desolate apostles
slurping Strongbow at the crossroads
We are nothing but an eating mouth
Oesophagus colossal

Will not stop until we’ve beaten down
The planet into pellets
Before the interstellar mission to inflict more terror.
It’s killing me it’s killing me
It’s filling me
I’m vomiting
It’s still in me.

Everything is fine really, silly me.

Poor kids shot dead
Poor kids locked up
Poor kids saying
this is the future you left us?
Stocked up, lunchmeat
Processed punch from an unclean fat cat
Tasty tasty poison.

Carcinogenic
diabetic
asthmatic
epileptic
Post-traumatic bi polar and disaffected

Atomised

Thinking we’re engaged
when we’re pacified
Staring at the screen so
we don’t have to see the planet die.

What we gonna do to wake up?
We sleep so deep
It don’t matter how they shake us.
If we can’t face it, we can’t escape it

But tonight, the storms come.

She’s screaming, she’s screaming.
The drones
Turned her beautiful boy into a pile of bones
No body to bury
Nobody is home
Running from war
The boats full
The boats sinking
a mile off shore.
No beds in the hospitals
Our minds are against us

Imagine your daughter was gunned down, defenceless
On her way to school, there’d be uproar
But she’s collateral damage.
It doesn’t matter.

If our kids are fine
That’s enough for us
You can’t love into a vacuum
There’s got to be a limit.

Welcome to the biggest crime that’s ever been committed

You think you and I are different kinds?

You’re caught up in specifics.

You and I apart are easier to limit
The illusions so complete
It’s impossible to bring it into focus

Cinematic stock footage:
People are locusts
Uniformed men keep unleashing explosives.

What we gonna do to
wake up?

We sleep so deep
It don’t matter how they shake us.

If we can’t face it
we can’t escape it.
But tonight the storms come.

Tunnel vision
tunnel vision
Work drinks. Heartbreak.
Can’t face the past, the past’s a dark place.

Can’t sleep.
Can’t wake.
Sitting in our boxes

Notching up our victories
as other people’s losses.

Another day another chance to turn your face away from pain
Lets get a take away
Meet me in the pub a little later, say the same things as ever
Life’s a waiting game
When we gonna see that life is happening?

And that every single body
bleeding on its knees is an abomination?
And every natural being is making communication.
We’re just sparks,
tiny parts
of a bigger constellation.
Miniscule molecules
that make up one body

The tragedy and pain
of a person that you’ve never met
Is present your nightmares,
In your pull towards
Despair

The sickness of the culture
and the sickness in our hearts
Is a sickness that’s inflicted

by the distance
that we share.

It was our bombs that started this war.

It rages at distance,
So we dismiss all its victims as strangers
But they’re parents and children
made dogs by the danger,
Existence is Futile so we don’t engage.

It was our boats that sailed
Killed stole and made frail
it was our boots that stamped
it was our courts that jailed
and it was our fucking banks that got bailed.

It was us who turned bleakly away,
looked back down at our nails and our wedding plans
in the face of a full force gale
we said it’s not up to us to make this place a better land.

It’s not up to us to make this place
a better land

Justice

Justice

Recompense

Humility

Trust is

trust is something we will never see

Till love is unconditional

The myth of the individual
Has left us disconnected lost
and pitiful.

I’m out in the rain
It’s a cold night in London

Screaming at my loved ones
to wake up and love more.

Pleading with my loved ones to

Wake up
And love more.

-

Kate Tempest - 'Tunnel Vision' - live at BBC

"Wells Tower Song"

 Song of the day:

Ciaran Lavery - 'Wells Tower Song'

Published on 8 Sep 2017

"Wells Tower Song"

Stream or buy now: https://ciaranlavery.lnk.to/WellsTowe...

Video by Kristoffer Hedley Platt

Follow Ciaran Lavery:
Facebook: http://facebook.com/ciaranlaverymusic
Twitter: http://twitter.com/ciaran_lavery
Instagram: https://www.instagram.com/ciaranlavery/
Web: http://www.ciaranlaverymusic.com 

Ciaran Lavery found his musical voice through the simplest of means “…listening to old 80s singles on my sister’s record player.” Cutting his young teeth in various (often noisier) incarnations over the last decade – that voice is now as soothing as it is timeless. 

Ciaran crafts heart-on-sleeve acoustic pop in the vein of ‘29’-era Ryan Adams; full of passion and meaning, “I come from a tiny village; you could literally drive through Aghagallon in thirty seconds, but it’s jam packed full of characters and real, genuine people. 

It’s the type of place where if you’re being an idiot someone will tell you. That’s just how the environment was. I guess that sort of honesty comes out in my music.”

-

In 2014, Lavery’s Kosher EP and Not Nearly Dark album went global, with the tracks ‘Shame’ and ‘Left For America’ leading the charge racking up more than 60 million listens on the Spotify streaming service and inspiring a raft of renditions from other countries. The plaudits kept coming in 2015, with the release of Sea Legs, a mini-album on which Lavery collaborated with electronica artist Ryan Vail, winning them a nomination for best album at the Northern Irish Music Prize.

In 2016 his sophomore album “Let Bad In “, won the Northern Ireland music prize

Fast becoming one of Ireland’s most in demand exports, Ciaran has appeared on German radio and television, Spotify television in USA and was selected to play at Willie Nelson’s BBQ at Luck Ranch in Texas by the man himself.

In 2017 Lavery is set to release his third studio album with his biggest tour to date taking in most of Europe, the UK, US, Ireland and Canada.

Glorious Tori Amos

 Thank you Tori Amos for such a healing and profound night.

Here are a couple of extracts of her show in Belgium a few days ago:

Tori Amos Gent 2017 'Bliss'

Tori Amos Gent 2017 'Caught a lite sneeze' on the boundary bridge

And in Luxemburg:

Tori Amos Luxembourg 2017 'Crucify'

Tori Amos Luxembourg 2017 Reeindeer King

"Nos richesses" : un peu pauvres...

 La critique de la semaine :

• FICTIONS

ENTRE RICHESSE DU SUJET ET PAUVRETÉ DU

 RÉCIT, NOS RICHESSES DE KAOUTHER ADIMI 

PÊCHE PAR MANQUE D’AMBITION

11 septembre 2017 Par

Melissa Chemam

Avec son nouveau roman Kaouther Adimi s’empare de fils passionnants de l’histoire algérienne… Mais livre un croisement de récit un peu en dessous des espérances.

Quel beau sujet que celui de ce livre. Une époque littéraire passionnante, une vie politique en plein changement, et un lieu qui cristallise le désir d’accélérer ce changement : la librairie et maison d’édition Les Vraies Richesses, ouverte à Alger, rue Charras, en novembre 1936 par le jeune Edmond Charlot.

Découvrant le jeune Albert Camus lors de la rédaction de sa première pièce – qu’il publie parce que sa représentation est interdite, Charlot se retrouve, à 23 ans, jeune éditeur et libraire, en contact avec les plumes les plus prometteuses de l’Algérie de l’époque : Jean Amrouche, Himoud Brahimi, Mohammed Dib, Mouloud Feraoun, Max-Pol Fouchet, André Gide, Armand Guibert, Emmanuel Roblès, Jules Roy, puis Antoine de Saint-Exupéry, Kateb Yacine… Et il rêve de devenir le carrefour d’une « pensée méditerranéenne qui ne se limite pas au môle d’Alger », le tout, dans un local de quatre mètres sur sept seulement… Un vrai miracle littéraire. Et un bien beau sujet donc.

Mais quel étrange traitement… Le choix de la brièveté et d’une légèreté constante. A peine Kaouther Adimi ébauche-t-elle une description qu’elle l’arrête deux phrases plus tard, voire deux mots. Tout le livre n’est qu’une succession de courtes idées, courts chapitres, alternant avec la reconstitution imaginaire d’un hypothétique journal d’Edmond et avec le récit, lui aussi fictif, de la fermeture de la librairie par un commerçant algérien en 2017, qui veut la transformer en boutique de beignets… Symbolique choix de l’aliment gras et non raffiné pour succéder à la mémoire et aux textes. Mais ce récit contemporain est, lui aussi, évacué avec hâte, comme si l’auteur ne pensait qu’au potentiel ennui du lecteur. L’auteur ou l’éditeur ? Paradoxe ultime pour un livre qui se veut un hommage à une littérature profondément ambitieuse, politisée et risquée.

Pendant une centaine de page, cette lecture alléchante laisse l’impression, surtout à travers le journal fictif, de parcourir des ébauches… Puis un souffle s’installe un peu avec l’aventure parisienne de la maison Charlot. Entre les pages de journal, Kaouther Adimi insère de courts chapitres qui reviennent sur des dates clés de l’histoire algérienne : 1930, 1945 à Sétif, 1954 et le début de l’insurrection algérienne, ou encore la « décennie noire » des années 1990. Le tout reste… intéressant. Du fait de l’histoire originelle incroyable du groupe de Charlot. Des dizaines d’anecdotes passionnantes, sur la publication controversée de Silence de la mer de Vercors ou la mort accidentelle de Saint-Exupéry y apparaissent, évoquées seulement en deux lignes dans le journal fantasmé. Même le jour de la libération, le 25 août 1944, n’aurait inspiré à Charlot que : « Paris libéré ! Hourra ! ». Le 4 janvier 1960, la disparition d’Albert Camus ce simple : « Camus ! ».

Le livre forme toute de même une collection d’idées riches et passionnantes, mais limitée par la forme et le style, qui laissent malgré l’enthousiasme une impression d’inachèvement.

–

Nos richesses de Kaouther Adimi
Le Seuil, 222 pages, 17 euros

-

#TRACKS20ANS - Massive Attack (2003)

L'émission d ARTE  Tracks fête ses 20 ans et ressort les archives. 

L'occasion de retrouver cette interview de 3D et Daddy G, l'un de leurs derniers entretiens télévisés en France... 

Avant-goût de notre discussion de mardi sur Massive Attack et Bristol à La Colonie !

#TRACKS20ANS - Massive Attack (2003) - TRACKS - ARTE

Published on 8 Sep 2017

Avec son premier album Blue Lines (1991), Massive Attack s’est imposé dans les oreilles de toute une génération, mais aussi dans les charts. Car le groupe anglais a tout bonnement inventé le trip hop, défrichant le terrain pour des artistes comme Tricky ou Portishead. Au début des années 2000, TRACKS a rencontré les musiciens de Bristol pour une interview-flashback lors de la sortie de leur quatrième album, 100th Window.

----

Evénement FB :

https://www.facebook.com/events/1959983860890067/permalink/1963242893897497/

Writing about Massive Attack... 'Out of the Comfort Zone' - Plan for 2018

Hello everyone. 

Just to keep the potential English readers updated, know that, in a very Bristolian manner, the release of the English version of my book about Massive Attack and Bristol will not be released this autumn... But in 2018.

If all goes according to the plan ;) ....

More details:

Writing about Massive Attack...

'Out of the Comfort Zone' - From Paris, via the Caribbean, London and Africa to England again...

Hello,

Just a post to say I'm now done with the work on the English version of my book on Massive Attack and Bristol's art and music scene... Remain the last stages of proofreading / editing.
But the aim is now to get the book to be out in the UK / US / Australia next year. 

While still giving a few talks about this incredible artistic scene in France, I'm bringing a few details for the English speakers.

This fascinating story takes us from the jazz, but mainly punk and reggae scenes born in the 60s in the West Country to the incredible show Massive Attack gave in their hometown in September 2016, for the first time in a decade.

See this incredible picture:

Massive Attack on stage for the very own festival in Bristol, on The Downs, in September 2016

From The Pop Group and Black roots to The Wild Bunch, the years 1977-87 have been incredibly formative for those who would come to define the sound of the nineties and beyond.

-

My goal in writing this book was to meet as many Bristolians as possible, spend a lot of time in the city and interview members from all their greater bands and from the street art scene. And I was lucky to be given plenty on time with the city's most talented artists.

I was inspired to write about the city when Massive Attack travelled to Lebanon, in the summer 2014, more involved than ever in helping Palestinian refugees. I realised how much more power they had than us, journalists, to raise attention and awareness. And of course the goal was to meet with them to get them to explain their own journey.

I spent weeks and weeks in Bristol to interview people, visit places, recollect memories and feel the city's ethos. I travelled to Istanbul, Iraqi Kurdistan, Sicily, Dublin, Belfast and Edinburgh in the meantime, for work, putting things in perspective. I therefore also followed the evolution of the UK, from the last general election to the referendum on the so-called "Brexit"... 

I also saw Massive Attack live seven times in six months in 2016... in Dublin, London, Paris and Bristol -  of course. To see them on stage, witness their creations and meet some of their collaborators or musicians and artists they inspired.

-

Named in the French version 'En dehors de la zone de confort' ('Out of the Comfort Zone'), my book is centred on one artist mainly, the famous 3D, and quotes him and about thirty of his friends, collaborators, inspirations, influences and passionate admirers or recent partners in crime.

It tells the story behind a rare group of politically aware bands and artists in the UK, bands who produced a revolutionary sound and always tried to also bring a form of consciousness in their discourse.

The book cover has been created from an astonishing and mesmerizing artwork by Robert Del Naja himself, originally designed in 2009 for the E.P. named 'Atlas Air'. Deep recognition for his generous agreement to use it for this book.

-

My tell of the story starts with Massive Attack's first album, the remarkable and inimitable Blue Lines, and goes back to their first influences. This includes their very own hometown, Bristol, a port city that has been enriched by the colonies in America, the sugar and the slave trade in the eighteenth century. That very history also provoked a counter reaction and a sense of rebellion in its inhabitants, who fought against slavery a few decades later and rioted against unfair political decisions, inequalities, big corporations, etc.

This sense of rebellion materialized in the city's culture from the 1960s and mainly the 1970s, when the Caribbean population imported their very onw reggae music in the city's homes and clubs just before Bristol gave birth to its own punk and post-punk movement.

Then started Bristol's homegrown sound with the unforgettable band The Pop Group - and friends like Nick Sheppard and his band, The Cortinas, Maximum Joy, the Glaxo Babies, etc.

From then started a new movement.

A few years later, hip hop and electronic music started to pour into Bristol's records shops and nightclubs and a new generation of DJs started to bloom. From that trend came to life the now legendary Wild Bunch, a collective that changed the game and gave to Bristol its gateway into the history of music. The Wild Bunch was originally an informal posse composed of the joined efforts of two young Black DJs, Miles Johnson, known as DJ Milo, and Grantley Marshall, nicknamed Daddy G. They were quickly joined by Nellee Hooper, a massive fan of punk music, who acted as a sort of producer / manager.

The Wild Bunch was enriched in 1983 by a couple of MCs and by the first blooming and generally admired graffiti artist in the city, nicknamed 3D, aka in real life Robert Del Naja, an 18 year-old music junkie.

After years of adventures that this book retells, Grant and 3D formed Massive Attack in 1988 with their young friend DJ Mushroom and their talent soon outburst everywhere else in the UK when they released their first album in 1991.

In their path came to form a large number of other bands, producers and DJs, including the well-known Tricky and Portishead. A few years later, the graffiti movement 3D invigorated and revolutioned also took off in a wider scale.

-

I wanted to write about Massive Attack's relationship with their city, Bristol, to show the roots of their greatness & mention their predecessors. To demonstrate how the city's history had a major influence on these self-taught and conscious, rebellious artists.

I then realized it would also be fascinating to retell the band's links with the artists and musicians who followed them, with their many brilliant collaborators and with those they inspired, from UNKLE to Gorillaz.

The book follows Massive Attack's journey in the UK and further away around the world, via their tours and collaborations, in America and in the Middle East notably.

Therefore, this book becomes a form of parallel history of British culture, from an underground and unorthodox point of view. Bristol epitomizes another side of England, less known and much more humorous and rebellious!

-

It's now been more than two years that I'm coming regularly to Bristol.

I've interviewed more than 25 musicians, artists and other local actors - and first and foremost the brilliant, Robert Del Naja aka 3D. We met regularly for more than a year and discussed further for months.

The least I can say is that he's a real artist, an incredibly open, curious and cultivated mind.
D is, even, too discrete and very humble. So much it was hard to believe so much modesty could match his bubbling and unstoppable creativity... 

He is also deeply aware of world affairs and engaged into holding a discourse through his music and his art; and for that rare boldness we should all be thankful.

Starting this two-year conversation with such a genius was somewhat game-changing, as you all can imagine.

Very much worth 390 pages of read... But that's my view!

-

More soon... 

 What do you do when you finally have a little bit of time after years of overstuffed time schedules? You go on holidays? You party?

I'm sorry I don't... I know we should, I should. I will.

But before, I'm sharing this.

-

Libya: Arbitrary detention of refugees, asylum-seekers and migrants must stop

1 September 2017

Guillaume Binet/Myop

Men detained in Abu Salim detention centre. Detainees spend days and months in Libyan detention centres, without knowing when they will be released.

Médecins Sans Frontières (MSF) is calling for an end to the arbitrary detention of refugees, asylum-seekers and migrants in Libya. For more than a year, MSF has been providing medical care to people held inside Tripoli detention centres in conditions that are neither humane nor dignified.

“Detainees are stripped of any human dignity, suffer ill treatment, and lack access to medical care,” says Dr Sibylle Sang, a medical advisor for MSF. “Every day we see how much unnecessary harm is being caused by detaining people in these conditions but there is only so much we can do to ease the suffering.”

Medical teams treat more than a thousand detainees every month for respiratory tract infections, acute watery diarrhoea, infestations of scabies and lice, and urinary tract infections. These diseases are directly caused or aggravated by detention conditions. Many detention centres are dangerously overcrowded, with the amount of space per detainee so limited that people are unable to stretch out at night, and there is little natural light or ventilation. Food shortages have led to adults suffering from acute malnutrition, with some patients needing urgent hospitalisation.

With no rule of law in Libya, the detention system is harmful and exploitative. There is a disturbing lack of oversight and regulation. Basic legal and procedural safeguards to prevent torture and ill-treatment are not respected. With no formal registration or proper record-keeping in place, once people are inside a detention centre there is no way to track what happens to them. This makes close monitoring and follow-up of patients extremely difficult. From one day to the next, people can be transferred between different detention centres or moved to undisclosed locations. Some patients simply disappear without a trace. The medical care MSF is able to provide in these circumstances is extremely limited.

Access to the detention centres is restricted when clashes take place between heavily armed militias in Tripoli. In addition, the management of the detention centres can change overnight and access to patients held inside has to be renegotiated. Other detention centres remain inaccessible for MSF due to ongoing violence and insecurity.

Increased funding alone is not the solution to alleviating the suffering of refugees and migrants being held in detention centres. A narrow focus on improving conditions of detention, while turning a blind eye to the complex reality of the current situation in Libya, risks legitimising and perpetrating a system in which people are detained arbitrarily, without recourse to the law, and are exposed to harm and exploitation.

MSF calls for an end to the arbitrary detention of refugees, asylum-seekers and migrants in Libya.

---

For the past year, Médecins Sans Frontières has been providing lifesaving and primary healthcare to refugees, asylum-seekers and migrants detained in Tripoli. If security conditions allow and if it is considered safe to do so, medical teams visit seven different detention centres nominally under the control of the Ministry of Interior on a weekly basis. Since activities started in June 2016, teams have visited a total of 16 detention centres. 

In Misrata, MSF is providing healthcare to refugees and migrants in held in four detention centres. Each month medical teams provide about 100 medical consultations and makes around a dozen referrals of detainees in need of further medical assistance to secondary and tertiary healthcare facilities. MSF recently opened mobile clinics in Misrata and further south to provide medical and humanitarian assistance to migrants and refugees outside official detention centres. 

MSF has worked in Libya since 2011 to support the health system, which has been impacted by the renewed war and the ensuing economic recession. To help public health structures which struggle with shortages of medicines and staff, MSF continues to respond with donations and other support. Responding to the needs of communities affected by the conflict, MSF is also providing paediatric, gynecological and obstetric care, as well as mental health services, in Benghazi.

Sound of London: Skepta

 Grime hero...

Skepta - 'Hypocrisy'

Published on 6 Aug 2017

BBK Takeover @ o2 London : https://www.bbktakeover.com/tickets

-

"Hypocrisy"

They try to disrespect me
When they're online especially
But everyting cool when they check me
Because I'm so cool and deadly
See, I had to realise slowly
That nobody actually knows me
Yeah, man, I've got fifteen different iPhones
But I am so not phoney
They try to disrespect me
When they're online especially
But everyting cool when they check me
Because I'm so cool and deadly
See, I had to realise slowly
That nobody actually knows me
Yeah, man, I've got fifteen different iPhones
But I am so not phoney

See them online, they're vexing
They see the shirt I'm flexing
They see my spliff get larger
They see the girl I'm sexing
I'm a Nigerian eagle
In London smoking illegal
Nah, we are so not equal
Them man are cloning people
Anything I do, they bite
How do you sleep at night?
Is it codeine and Sprite?
I switch up the steeze on guys
I stand up in the rain, I'm dancing
Then I look at the game, start laughing
It's not a joke, though, got the fakes in a chokehold
I'd love to see them gasping

'Cause they try to disrespect me
When they're online especially
But everyting cool when they check me
Because I'm so cool and deadly
See, I had to realise slowly
That nobody actually knows me
Yeah, man, I've got fifteen different iPhones
But I am so not phoney
They try to disrespect me
When they're online especially
But everyting cool when they check me
Because I'm so cool and deadly
See, I had to realise slowly
That nobody actually knows me
Yeah, man, I've got fifteen different iPhones
But I am so not phoney

Everyday I'm shitting and I'm pissing
On this hypocrisy
Everyday I'm shitting and I'm pissing
On this hypocrisy
Everyday I'm shitting and I'm pissing
On this hypocrisy
It's that uncontrollable demon
They didn't wanna see, greaze

I declined some amazing dinners
And I'm still blazing Rizlas
I wanted to make some changes
I was not taking pictures
Now look at the labels dying
Nobody else is signing
We know the truth they're hiding
See, the plaques on my wall just shining
And I've already seen my death
We were the last ones left
I saw the hood get gassed
I had to hold my breath
I was a young black yout
The teacher took my zoots
They tried to show man Roots
They tried to send man loops
Now you have to respect it
I've been around the world, I'm tried and tested
Getting back money that I invested
Don't know about me? Get connected
No, I don't do that conscious rap, but
Man still know about Wretch and Kendrick
Top five niggas, don't get offended
Murdered the beat, no, it ain't attempted
I meant it
And I'm still top three selected
They never showed me the guest list
Nah, we just walked in the exit
Just came back from the Ivors
And look at what we collected
The MBE got rejected
I'm not tryna be accepted

They try to disrespect me
When they're online especially
But everyting cool when they check me
Because I'm so cool and deadly
See, I had to realise slowly
That nobody actually knows me
Yeah, man, I've got fifteen different iPhones
But I am so not phoney
They try to disrespect me
When they're online especially
But everyting cool when they check me
Because I'm so cool and deadly
See, I had to realise slowly
That nobody actually knows me
Yeah, man, I've got fifteen different iPhones
But I am so not phoney

Everyday I'm shitting and I'm pissing
On this hypocrisy
Everyday I'm shitting and I'm pissing
On this hypocrisy
Everyday I'm shitting and I'm pissing
On this hypocrisy
It's that uncontrollable demon
They didn't wanna see, greaze

-

The official Skepta YouTube Channel: https://www.youtube.com/channel/UCcfVrE3mmeQZ_RN3u5cUECA/featured

Biography

Joseph Junior Adenuga, aka Skepta, has always managed to balance being part of a scene with following his own path. 

 Like so many others, the North London MC and producer is parlaying a youth spent cutting his teeth on pirate radio and in grime raves into a mainstream career with seemingly unstoppable momentum, but along every step of the way he has done things his own way - and he has no intention of changing this to please anyone. 

 His first two albums - 2007's wittily titled ‘Greatest Hits’ and 2008's ‘Microphone Champion’ - were both released on his own crew's independent Boy Better Know label, and he has put the hard yards in when it comes to live performance.  Hard work means little without talent, though, but Skepta has plenty of that. He's nothing if not versatile: he can do menacing, he can do witty; he can do thoughtful, he can do feel-good party tracks. He can make you laugh and get you hyped up, and he's never less than a thrill to listen to.  His latest album, Konnichiwa, out on Boy Better Know as well, features guests such as Jme, Novelist, Wiley and global superstar Pharrell Williams as well as the full BBK crew. 

 "I'm never going to run away from Grime, it's my home," Skepta states. "No matter what I make or MC on, when you look at me, you have to see grime - I've contributed to the inner history of the scene. Beats that I've made, clashes I've had that are legendary; I've made proper marks in grime, and no matter what I do I'll always touch base with it."  "People are now realising that there's success to be had in music," he says. "Back in the day, the only path out was football. It's good to show the youth that there's another path."

Sound of Lagos: WizKid

 Bring light and warmth to this morning:

WizKid - 'Come Closer' (Redux – Official Video) ft. Drake

Published on 7 Jul 2017

Follow Wizkid:
http://wizkidofficial.com
https://instagram.com/wizkidayo
https://twitter.com/wizkidayo
https://facebook.com/wizkidmusic