Tag: Tunde Adebimpe

Lyric Video: Philadelphia’s Soul Glo Teams Up with Tunde Adebimpe on Bruising Yet Vulnerable “Ppl Worried”

Since forming in Philadelphia back in 2014, rising punk outfit Soul Glo — currently Pierce Jordan (vocals, bass), GG Guerra (guitar, bass, vocals, programming) and TJ Stevenson (drums) — was dubbed the “future of hardcore” by Pitchfork after the release of 2022’s breakout effort, Diaspora Problems, a culmination of nearly a decade of playing basements, small clubs and DIY spaces and creative development.

Diaspora Problems has amassed over 14 million streams and critical praise from the likes of BrooklynVegan, who called it “. . . one of the best punk albums released in recent memory” and Pitchfork lauding its mix of ” . . . radical, actionable rhetoric, absurdist humor, and breathtaking vulnerability.” And building upon a rapidly growing profile, the band has been touring extensively, including opening for My Chemical Romance, paying Coachella’s Sonora Stage in 2023 — and they played the first hardcore set at NPR Tiny Desk.

The Philadelphia punks are currently on your with Chat Pile, Virga and Shallowater. The tour includes a November 10, 2026 stop at Brooklyn Steel, a hometown show on November 11, 2026 at Union Transfer, and more. Tour dates are below. And for more information, including tickets, check out: https://soulglophl.com/tour

The band’s newest album, NA I’M GON GRAB ALLAT is slated for a January 15, 2027 release through Epitaph Records. Simultaneously more intense and more approachable than Diaspora Problems, Recorded at Philadelphia-based Foto Club, NA I’M GON GRAB ALLAT isn’t all guitar-driven wth frenetic drum patterns and heavy hip-hop beats. The album features guest appearances from Commitment’s Tati Salazar, Mannequin Pussy’s Bear, New York-based experimental rapper MIKE, Chattanooga-based genre-defying rapper BbyMutha, Whipping Boy, OXBOW, and Buñuel frontman Eugene Robinson, and TV On The Radio frontman Tunde Adebimpe. But the band retains the familiar elements of their sound: fast, frantic playing, Jordan’s mile-a-minute delivery and Stevenson’s imitable drumming. The result is more than just a collection of 14 songs, but a profound and compelling journey through the complexities of surviving modern existence — hopefully with your dignity and sanity intact.

Throughout the album’s runtime, community is front of mind on the album’s lyrics, which the band’s Jordan Pierce describes as being “largely about failures, mine and others, in my relationships with different men in my life.” Having a long-held reputation as a vulnerable, funny and soul-baring lyricist, Pierce’s lyrics explores the idea that men live “constantly at the expense of everyone” while speaking of the Black experience within the punk and hardcore scene and everything life, resentment, relationship anxieties, drug abuse, self-discovery and breaking down the “male loneliness epidemic.” Pierce dedicates the album to “everyone, who has known the joy and pain of loving a man. All different types of love: platonic, romantic, familial, self.’

NA I’M GON GRAB ALLAT‘s latest single “Ppl Worried” feat. Tunde Adebimpe is frantic, swaggering and bruising, mosh pit friendly ripper anchored around the lived-in, deeply confessional thoughts of a dysfunctional yet very human narrator, wrestling with losing oneself in grief and heartbreak, the numbing solitude of addiction and cycles of self-sabotage with a vulnerable, self-awareness that’s unvarnished and all too real.

New Video: TV on the Radio’s Tunde Adebimpe Shares Dance Floor-Friendly “Somebody New”

Tunde Adebimpe, the frontman of the critically acclaimed Brooklyn-based band TV On The Radio will be releasing his long-awaited, highly-anticipated solo debut Thee Black Boltz Friday (!) through Sub Pop Records.

The Adebimpe and Wilder Zoby co-produced album features additional production and contributions from TV On The Radio’s Jaleel Bunton and Japhet Landis and more. The album’s material will not only showcase Adebimpe imitable voice and visionary soundscapes, but is a nod to his propensity to write and sing about the human condition — in all its form, under all its stressor, both big and small. 

Thee Black Boltz isn’t a TV On The Radio album. But for Adebimpe, in a lot of ways, the excitement of doing something on his own for the first time ignited a similar creative spark as during the early TVOTR days. The songwriting process is the same, he says, but with his bandmates, Adebimpe always knew that have didn’t have to complete his musical ideas. “I’ve been doing this thing with this group of people for so long, that I can just have a vague sketch of a concept and I know Jaleel or Kyp will have five brilliant ideas on where it can go,” he says. “But for Thee Black Boltz, I didn’t have that scaffolding to hang on. That was both terrifying and exhilarating.”

The album’s title is Adebimpe’s response to the macro unease of a post-pandemic world careening towards violent authoritarianism and the immense grief that has come from deeply personal losses, specifically the sudden passing of his younger sister while making it. In many ways, Thee Black Boltz is the TVOTR frontman’s desperate grasping of small moments of joy amidst the dissonance, chaos and sadness in any way he could. And understandably, the album was a way of processing everything in his life. “It was my way of building a rock or a platform for myself in the middle of this fucking ocean,” he says. 

As he writes in his notebook, “The sparks of inspiration/motivation / hope that flash up in the midst of (and sometimes as a result of) deep grief, depression or despair. Sort of like electrons building up in storm clouds clashing until they fire off lightning and illuminate a way out, if only for a second.”

“Also,” he adds. “it’s a good name for a cool metal band, and I think that most people would describe me as akin to a very cool metal band.” 

Earlier this year, I wrote about the Jahpet Landis-produced “Drop,” a meditative and deeply introspective song featuring looped beatboxing, shimmering and strummed bursts of guitar, whistling and skittering beats serving as a dreamy and subtly uneasy bed for Adebimpe’s plaintive delivery questioning the purpose of it all, when things seem so brutally nonsensical.

Thee Black Boltz‘s fourth and latest single “Somebody New” is a dance floor friendly synth-driven bop that recalls 80s synth pop — i.e., Nu Shooz “I Can’t Wait,” Depeche Mode‘s “I Can’t Get Enough,” Yaz‘s “Situation” and the like — but while rooted in modern thematic concerns.

The Adebimpe-directed video for “Somebody New” is a feverishly trippy and surreal bit of time travel back to the days of Soul Train and American Bandstand as we see the TVOR frontman performing the song in a crowded room of beautiful young people dancing — and a glammed out Gritty-styled puppet.

“I’m positive I fell asleep on a couch with the TV on sometime in 1982 and fever dreamt this exact thing,” Adebimpe says of the new video.

New Video: TV On The Radio’s Tunde Adebimpe Shares Meditative “Drop”

Tunde Adebimpe, the frontman of the critically acclaimed Brooklyn-based band TV On The Radio recently announced his long-awaited solo debut Thee Black Boltz.

Slated for an April 18, 2025 release through Sub Pop Records, the Adebimpe and Zoby Wilder co-produced album features additional production and contributions from TV On The Radio’s Jaleel Bunton and Japhet Landis and more. The album’s material will not only showcase Adebimpe imitable voice and visionary soundscapes, but is a nod to his propensity to write and sing about the human condition — in all its form, under all its stressor, both big and small.

Thee Black Boltz isn’t a TV On The Radio album. But for Adebimpe, in a lot of ways, the excitement of doing something on his own for the first time ignited a similar creative spark as during the early TVOTR days. The songwriting process is the same, he says, but with his bandmates, Adebimpe always knew that have didn’t have to complete his musical ideas. “I’ve been doing this thing with this group of people for so long, that I can just have a vague sketch of a concept and I know Jaleel or Kyp will have five brilliant ideas on where it can go,” he says. “But for Thee Black Boltz, I didn’t have that scaffolding to hang on. That was both terrifying and exhilarating.”

The album’s title is Adebimpe’s response to the macro unease of a post-pandemic world careening towards violent authoritarianism and the immense grief that has come from deeply personal losses, specifically the sudden passing of his younger sister while making it. In many way, Thee Black Boltz is the TVOTR frontman’s desperate grasping of small moments of joy amidst the dissonance, chaos and sadness in any way he could. And understandably, the album was a way of processing everything in his life. “It was my way of building a rock or a platform for myself in the middle of this fucking ocean,” he says.

As he writes in his notebook, “The sparks of inspiration/motivation / hope that flash up in the midst of (and sometimes as a result of) deep grief, depression or despair. Sort of like electrons building up in storm clouds clashing until they fire off lightning and illuminate a way out, if only for a second.”

“Also,” he adds. “it’s a good name for a cool metal band, and I think that most people would describe me as akin to a very cool metal band.” 

Thee Black Boltz‘s second single, the Jahpet Landis-produced “Drop” is a meditative and deeply introspective song featuring looped beatboxing, shimmering and strummed bursts of guitar, whistling and skittering beats serving as a dreamy and subtly uneasy bed for Adebimpe’s plaintive delivery questioning the purpose of it all, when things seem so brutally nonsensical. The song is accompanied by a vividly colored, animated visualizer.

Lyric Video: The Hauntingly Beautiful and Old-Time Folk of Rwanda’s The Good Ones

Primarily centered around its core, founding trio of co-lead singer Janvier Hauvgimana, co-lead singer and primary songwriter Adrien Kazigira and Javan Mahoro, the Rwandan folk act, The Good Ones, who hail from the outskirts of the nation’s capital Kigali, can trace their origins back to about 1978, when its members, who were still children, were taught music by Hauvgimana’s older brother. Sadly, Hauvgimana’s older brother, who was also blind, later died in the 1994 Rwandan genocide. The members of The Good Ones formed the band as part of the healing process after the genocide and interestingly enough, the band’s original trio featured individual members of each of Rwanda’s three tribes — Tutsi, Hutu and Abatwa — symbolically and metaphorically reuniting a country that had been split apart at its seams. But on a personal level, for each of the band’s founding members, the band was an active attempt to seek out “the good ones” after witnessing and enduring unthinkable horrors. 

Most of the members of the band are small plot, subsistence farmers — with two of the band’s members living on family plots that  have been passed down through several generations. Because most Rwandans are very poor, instruments are very rare. The members of the band do what poor people everywhere do. They find some truly creative ways to get by out of necessity — sometimes they may find and use a broken guitar; other times they may borrow a friend’s guitar; but in most cases they’ll make their own instruments, sometimes incorporating their farm tools.  As the band’s primary songwriter Kazigira writes material that routinely features interwoven, intricate harmonies between himself and co-lead vocalist Havugimana that may remind some folks of classic American Bluegrass — but also acoustic, Mississippi Delta Blues.  

Slated for a November 8, 2019 release through Anti- Records, The Good Ones’ forthcoming album Rwanda, You Should Be Love can trace its origins to a batch of over 40 songs that the band’s Adrien Kazigira had originally written. Most of the material centered around meditations on his now 13-year-old daughter Marie Clare, and the life-threatening tumor that has afflicted her left eye. Recorded live and without overdubs on Kazigira’s farm, the sessions were imbued with a further sense of loss: their longtime collaborator and producer Ian Brennan’s mother died and a former bandmember and founding member had both died during the sessions. The album also features guest appearances from an All-Star team of indie rock stars, including Wilco’s Nels Cline, TV on the Radio’s Tunde Adebimpe, Sleater-Kinney’s Corin Tucker, My Bloody Valentine’s Kevin Shields and Fugazi’s Joe Lally. 

Interestingly, despite the massive number of profound losses in the bandmembers’ lives, Rwanda, You Are Loved’s first single “The Farmer” celebrates the critical role farmers play in society and to a nation but it’s also an aching lament, acknowledging the bitter irony that farmers often can’t feed their own families and are struggling to get by.  Built around a sparse arrangement of strummed guitar, harmonized vocals, the song is a timeless one that has seemingly been sung by generations upon generations across the world — and in a variety of languages.