Moor Mother

ow do you engage the stunning, evocative, haunting gift that is Moor Mother’s latest album The Great Bailout? Only by following the trail of verbal and sonic poetry delivered. Only by letting Moor Mother and her co-conspiring collaborators – Lonnie Holley, Mary Lattimore, Alya Al Sultani, Kyle Kidd and more - “people who have their own path of positivity and connectedness,” be the tour guide.

Coming out on March 8, The Great Bailout is Moor Mother aka Camae Ayewa’s ninth studio album and third with ANTI- Records. Called “the poet laureate of the apocalypse,” by Pitchfork, Ayewa’s music contains multitudes of instruments, voices and cacophony that take on themes of Afrofuturism and collective memory with the forebearers of jazz, hip hop and beat poetry in mind.

So: Come! Come look! Come see! Come hear! Come see London, come see Liverpool, for the first time even if it for the millionth. Know its provenance, know its haunting. Clear the mist over your eyes and heart as if the famous London Fog has been cleared by the clarion call of Moor Mother. For this is what The Great Bailout is: a call to knowing through a sonic scene that is unafraid to look a violent legacy in the eye.

“Research is a major part of my work, and researching history - particularly African history, philosophy and time - is a major interest,” Moor Mother explained. “Europe and Africa have a very intimate and brutal relationship throughout time. I’m interested in exploring that relationship of colonialism and liberation, in this case in Great Britain.”