played in a circle of musicians — different voices, synths, drums, and electronics vying gracefully for center stage. The shows required smaller, more intimate venues, like St. John at Hackney Church in London, where he performed three nights in October ahead of the release of his new album,. “It looked beautiful in there, and aesthetically just felt like the right kind of place to have it,” Sampha says.
I feel like having the performers align in that way definitely does something different for the crowd. Is that something that you’ve noticed over time as you guys have performed more? As you take this out into the larger world and people start to hear the album, what do you hope one of the big takeaways is from all of this?
Oh yeah, definitely. There’s been this kind of weird overlapping. I guess I touch on time and thinking about it’s nonlinearity, which might be akin to some sort of Afro-futurist notions, but also playing some of these songs early before the albums come out. Some of the songs have taken on a different life of their own, which I’ve gone and rerecorded some of those songs, so it does play on that kind of notion of time in a sense of going back and readdressing something and also looking forward.
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