Tag: Electric Deluxe Recorders

Single Review by William Ruben Helms

New Audio: Tiwayo Shares a Soulful and Contented Sigh of Appreciation

Tiwayo is a Paris-born singer/songwriter, who released two critically applauded albums, 2019’s The Gypsy Soul of Tiwayo and 2023’s Desert Dream, which he supported with opening slots for Curtis Harding, Cody ChesnuTT and Marcus Miller among others. Adding to a growing international profile, the Parisian-born artist was celebrated by the likes of Norah Jones, Tony Visconti and Don Was.

As the story goes, Tiwayo, who has been nicknamed “The Young Old” for his timeless vocal, had nearly vanished before the scene when he crossed paths with Grammy Award-winning producer, songwriter and Black Pumas founder Adrian Quesada at Les Eurorockéennes Festival. Quesada heard Tiwayo’s demos and knew he must work with the acclaimed French artist.

Tiwayo’s third album, the Adrian Quesada-produced Outsider, which is slated for an April 10, 2026 release through Record Kicks Records was recorded at Quesada’s Austin-based Electric Deluxe Recorders.

Throughout his career, Tiwayo has refused to play by the genre’s rules. In fact, he stands uniquely apart as a Frenchman in Texas, as a soul singer with a bluesman heart, and a traveler, who is constantly an outsider. And while embracing being an outsider, he eschews the polish and shine of the contemporary soul revival scene for a raw, unvarnished take on the sound that to hm carries the deepest power.

Sonically, Outsider is a genre-bending take on soul that features contributions from Quesada’s Black Pumas bandmates, as well as guest spots from Eric Clapton‘s Doyle Bramhall II and JOVM mainstay Kendra Morris.

Outsider will include the previously released “I’ve Got To Travel Alone,” and “Up For Soul,” which received airplay from KCRW, KEXP, BBC Radio 2, BBC Radio 6, Jazz FM, Radio Eins, Jazz Radio, RAI Radio 1 and others, as well as its third and latest single, “Sunshine Lady.”

Arguably one of the brighter, more buoyant tracks of the album to date, “Sunshine Lady” is a crafted bit of Memphis and Muscle Shoals-inspired soul featuring Jay Mumford (drums) and Terin Moswen Ector (bass) that showcases the French artist’s catchy hooks, a soulful groove and Quesada’s unerring knack for gritty and timeless sounding production with earnest, lived-in lyrics and an effortlessly soulful delivery. At its core “Sunshine Lady” is a contented sigh and an expression of gratefulness for having a romantic partner, who completely and patiently understands you and what makes you tick. This is anchored by the understanding that finding that sort of partner can seem both extraordinarily lucky and rare, which fittingly adds to overall sense of thankfulness within the song.

“Sunshine Lady” was sparked by a comment from a close friendly, who told the French-born artist, “You always write sad songs, why don’t you write something happy to change a little?” Taking that suggestion to heart, Tiwayo wrote the song as a tribute to his partner, a constant source of patience and comfort during intense periods of home studio work.

Single Review by William Ruben Helms

Formed back in 2016, the Austin-based outfit Superfónicos — Jaime Ospina (vocals, gaita, percussion), Nicolás Sanchez Castro (bass, melodica, vibes backing vocals), Nick Tozzo (Congas, tambor alegre, timbales, percussion), Daniel Sanchez (drums, percussion, backing vocals), Chris “Zumbi” Richards (trombone, bombardino), Evan Marley Hegarty (keys), Erick Bohoroquez (guitar, backing vocals), and Andreas Villegas (guitar, backing vocals) — have specialized in a sound that features elements of Colombian funk, cumbia and Afrobeat, informed by the fact that most of the band’s members have deep roots in Colombia.

While highlight the country’s Caribbean coastal sounds, it is also a celebration of the human spirit, telling stories of the displaced, folkloric tales form the countryside, and the reminder to let go and embrace experiences that are more connected to the earth and our ancestors.

The band has played Austin City Limits Festival twice — in 2018 and 2021. They’ve also shared stages with the likes of Ozomatli, Aterciopelados, Jungle Fire, Grupo Fantasma, Brownout, Meridian Brothers, Sudan Archives and Allah-Las.

2018’s Suelta EP was recorded with Black Pumas‘ founder Adrian Quesada, 2019’s Cumbealo EP was record with Spoon‘s Jim Eno, and their full-length debut, the recently released Renaceré was recorded with Grupo Fantasma’s, Caramelo Haze’s and Money Chicha‘s Beto Martinez.

Renaceré translates into English as “I will be reborn” and thematically, the album’s material touches upon rebirth resilience and the cyclical nature of life through the lens of their unique take on Colombian Roots fusion, which owes as much to Africa and the Americas, as it does to Colombia — and the bandmembers’ Colombian heritage. According to the band’s Jamie Ospina, “This record is a celebration of the resilience of the human spirit and life. We all went through hard times in the last 4 years but here we are; breathing, singing, dancing and what not.” Nicolás adds, “The cycle of life and the concept of rebirth play heavily into the theme of the record. Many ups and downs happened during this period, for the band and society as a whole, but ultimately we came out of the process stronger, like a blade forged in the flames.”

The album’s recording process spanned several years, beginning just before COVID-19 lockdowns and concluding earlier this year. Most of the album was recorded at Beto Martinez’s Lechehouse Music, where Martinez captured the sounds and textures of Colombia’s Caribbean Coast with gaita flue and tambor alegre. “We also use the Bombardino (Euphonium) on many tunes. It is commonly used in Colombian Cumbia arrangements but is not as common stateside,” the band says. Additional recording took place at Public Hi-Fi with Spoon’s Jim Eno and Electric Deluxe with Aaron Glemboski.

Renaceré latest single “La Verdad” is a lush and strutting bit of psychedelic cumbia anchored around buzzing and twinkilng keys, shuffling rhythms, expressive horn bursts paired with an incredibly catchy hook and chorus. The song’s narrator tells a tale about a juglar (a troubadour) searching for his lost love and losing his mind. Ultimately, the song — and its narrator — suggests that those who are deemed crazy often hold the truth.