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Review: Kokoroko, Electric Bristol – ‘The familial camaraderie of the band shone through’
After a hectic Monday, nothing felt more needed than a trip to the Electric to wind down to Kokoroko’s beautiful arrangements.
Credited with igniting the recent resurgence in West African-inspired jazz, the London-based seven-piece have just released their second studio album, Tuff Times Never Last, a joyful 11-track album.
The album was released on Gilles Peterson’s independent Brownswood label in July, which led to them also performing in a headline set at the We Out Here festival, a music festival that Peterson founded, in August.
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The album’s title, a humorous reference to the famous meme known by the same name, captures the group’s resilience and sense of unity.
The band’s unity was on full display when members stepped out from backstage to enjoy their warm-up act, Zena, a British-Ethiopian two-piece made up of Yohan Kebede, Kokoroko’s keyboardist, and bassist Menelik Mulugeta Claffey who played some of the best live bass I’ve heard in a while.
They started off with some covers of beloved Ethiopian jazz tracks, the touchstone of their sound, before delving into their new and upcoming releases.
Kebede quipped that this must be the first time someone has opened for themselves at a gig and professed his love for playing to Bristol crowds.
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After the duo lulled the crowd into a warm calm, Kokoroko came on stage and opened with their track Higher, off their 2024 EP Get The Message.
What is perhaps most striking about the group is that their talent is so multiple and varied.
All members play a part in vocals, primarily led by Sheila Maurice-Grey and Anoushka Nanguy who also led the horns section with trumpet, flugelhorn and trombone.
All members excel in driving complex arrangements together, from Kebede’s psychedelic synths to Tobi Adenaike’s Benson-style guitar.
So much musical range was on display.
The two-hour set mirrored the duality of Tuff Times Never Last.
Floor-fillers like Just Can’t Wait were weaved among reflective tracks like Never Lost.
The set prompted fond memories of blasting Britfunk legends like the Brand New Heavies and Loose Ends in my dad’s car.
Each Tuff Times Never Last track performed also differed from the recorded version, enabling each member to showcase their talents through unique solos.
A highlight was the band’s cover of one of my favourite Lovers’ Rock songs, Paradise by Jean Adebambo, which suited their choric and melodic style and provided a quick breath in between their up-tempo tracks.
Kokoroko finished with their toe-tapping hit Sweetie, one of the first songs they recorded for the album, and it did not disappoint.
Over / Reprise concluded the set and cruised everyone into the evening feeling euphoric and proud to be witnessing some of the greats of the contemporary British music scene.
It was the familial camaraderie of the band that shone through the most on all 11 tracks of Tuff Times Never Last and it shone through again through Kokoroko’s live performance.
Main photo: Holly Greenwood
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