Tuff Times Never Last Kokoroko

• 1 Never Lost 04:23
• 2 Sweetie 04:04
• 3 Closer To Me 05:23
• 4 My Father in Heaven 02:29
• 5 Idea 5 (Call My Name) [feat. LULU.] 04:51
• 6 Three Piece Suit (feat. Azekel) 04:34
• 7 Time and Time (feat. Demae) 03:14
• 8 Da Du Dah 03:48
• 9 Together We Are 03:40
• 10 Just Can't Wait 06:22
• 11 Over / Reprise 06:45
• Total Runtime 49:33

Info for Tuff Times Never Last

Tuff Times Never Last’ is a spirited and vibrant collection of songs serving as an optimistic reminder to tightly hold and embrace the many dualities that occur in life. Over the course of the 11-song suite, the album explores togetherness, community, sensuality, childhood, loss and above all perseverance.

Initially drawing inspiration from a viral social media meme, co-bandleader Onome Edgeworth said of the title’s origins and meaning: “It’s true! Although we’re reflecting on joy and celebration, you realize that a lot of that beauty comes out of challenges and difficulties. It felt like a natural truth that we discovered whilst writing”.

The accompanying artwork was painted by Luci Pina, the acclaimed illustrator whose work has been sought and commissioned by the likes of The Cut, Soho House, DICE, Apple Music and It’s Nice That. Embedded within the image is Kokoroko’s ode to London in the summer. Speaking on its design, co-bandleader Sheila Maurice-Grey said: “The remit was summer in London, family and sense of everyone being in a congregation-like audience, and us being the musicians”.

The artwork’s imagery and colour was inspired by feelings of innocence and nostalgia - coming of age in London and those rare summer nights where everything felt full of hope. The cityscape also pays homage to Spike Lee’s 1994 film ‘Crookyln’ and Rick Famuyiwa’s 1999 opus ‘The Wood’. The band saw these movies as heartwarming representations of black family, community and resilience that served as a balm for them as Londoners. Speaking further on this, co-bandleader Onome Edgeworth said: “‘Crooklyn’ is very emotional, but also very uplifting. It felt like how I grew up. This album is us sharing our own feelings, hopes and dreams. We didn’t always have those stories in the UK”

Three years on from their debut album ‘Could We Be More’ which peaked at No.30 on the UK Albums Chart and received acclaim from The Guardian, The Telegraph, Financial Times, Jazzwise, CRACK Magazine and Downbeat Magazine, ‘Tuff Times Never Last’ sees the London band with careless abandon expand their wide-ranging palette and influences.

While the afrobeat jazz of their previous work is still a core part of the record’s sonic design, the new album largely pulls from British R&B from the 80s, neo-soul, West African disco, bossa nova, lovers rock and funk. Sonically taking cues from the likes of Loose Ends, Don Blackman, Common, Sly & Robbie, William Onyeabor, Patrice Rushen, Ofori Amponsah and Cymande. Throughout this instinctive evolution, the septet's seasoned musicianship preserves the essence of who Kokoroko are as masterful jazz artisans.

Speaking on the band’s progression in sound, co-bandleader Sheila Maurice-Grey said: “Innately, we’re jazz musicians but we've tried not to kind of box ourselves into one sound. So there is a level of freedom we're starting to feel. We want to continue being as creative as possible without feeling any boundaries”.

The unveiling of the new album comes alongside the LP’s lead single ‘Sweetie’, a tantalising first taste of the new record that bridges the gap between where the band has been and where they’re going. A tribute to the playful bond between lovers, ‘Sweetie’ is a horn-led and wonky-sounding tune saluting West African disco. It expands upon the band exploring more electronic sounds and toying with obscure drum machine and synth sounds.

‘Sweetie’ marks Kokoroko’s first dose of new music since their EP ‘Get The Message’. Released last November, the project spawned ‘Three Piece Suit’ featuring Azekel - their honouring of Nigerian elders contemplating home, lineage and ancestry in 1960s London.. Upon its release, the EP earned praise from Rolling Stone Africa, Bandcamp Daily, The Fader, YAMS, OkayAfrica, TRENCH, Official Charts, NOTION, CLASH, DMY, Rough Trade and The Stranger.

Kokoroko

Engineered by Christoph Hans Skirl
Mixed by Dilip Harris
Mastered by Stuart Hawkes at Metropolis Studios, London
Produced by Miles Clinton James

Kokoroko
The London-based eight-piece musical group led by trumpeter Sheila Maurice-Grey is truly sitting at the intersection of past and present by sharing their cultural heritage through KOKOROKO’s music. And this message is not only embodied in their sound but also in the name of the octet translated from Nigerian Urhobo origin as “Be strong”. Their early track 'Abusey Junction' was the band’s well-acclaimed success that got appreciated by more than 25 million viewers on YouTube. This year was not less fruitful for KOKOROKO and brought the release of their debut album Could We Be More. Having presented the uplifting sounds of their release from Brazil to Amsterdam the band finishes the year by performing at the O2 Shepherds Bush Empire in London.

In the same manner, as their debut album, the show opens with ‘Tojo’. The substantial soul fanfare accompanied by the electronic sounds of the track immediately transports the crowd to outer space filled with the unique charm and positive spirit of KOKOROKO. People moving to the grooves of the talking drums and dreamy brass create unrushed waves of motion as the tracks evolve.

“We are very excited to be here, such an honor!” - the group leader Sheila confesses to the audience. And it’s not hard to believe that London takes a special place on the KOKOROKO’s roster as it's a hometown for most of the band members.

Listening to ‘Baba Ayoola' gives everybody a journey back in time to 2020. The fluidity and calmness that the group radiates from the stage give its playing an incredibly natural feel. After a couple of tunes and virtuosic instrumental improvisations the first notes of ‘Abusey Junction’ appear and the crowd explodes cheering to a well-known song. Unarguably being a backbone of tonight’s set the live performance of the track creates an almost magical atmosphere of ease in the crowd. By the time ‘War Dance’ is playing all the levels of O2 Shepherds Bush Empire transform into dancing stalls. Followed by ‘Ewà Inú’ and ‘Body and Soul’ the energy reaches its peak finishing the night with chant-like vocals of ‘We Give Thanks’.

During the night KOKOROKO soulfully reconnected with their fans through the soothing blends of afrobeat and jazz. The show once again reminded everybody that afrobeat is not something that should stay within our parents' generation and it seems like KOKOROKO will make sure it stays around.

This album contains no booklet.