Music reviews

JILL SCOTT does not rush records. She only goes into the studio when she feels she has got something she needs to say.

The American singer’s sixth album, To Whom This May Concern, arrives a decade after her last effort for exactly that reason.

“It took me 27 years to make Who Is Jill Scott?,” she says of her landmark debut. “And all the experiences in those years I put into that album.

“These projects don’t just happen overnight, it doesn’t work that way. So, it took me ten years to make this album.

“Why did it take so damn long? Because it takes time to make a great meal. It takes time to decorate your home. You don’t rush it. I took my time because I care.”

Writing only when there is something urgent to say, and letting the music lead the message, is the way the Grammy-winning artist and actor creates.

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She says: “I wait for it to come and the things that came out of me for this album shocked the hell out of me, too.

“On some songs, I’m an anthropologist, studying people. I’m on social media and hearing how a lot of people are not satisfied and that’s a damn shame.

“It’s a little harder for me to just sit on a park bench and watch people.”

I meet Scott at her publicist’s office in central London.

I am very excited about the musicianship on this album. The horn players and the bass, which is all over this album, is amazing.

Jill Scott

Dressed in orange, she is bright, friendly and effortlessly glamorous, although she says the jet lag has been hard to deal with.

She’s been over here for a week of promotion, including an album launch where she introduced tracks from To Whom This May Concern and took questions from fans.

“That was a pretty exciting night,” she says. “And the response was great, which was good as I was scared because it’s the first time playing this new music for a bunch of people in a room.

“I am very excited about the musicianship on this album. The horn players and the bass, which is all over this album, is amazing. It’s not a plug-in, it’s a player.”

At 19 tracks long, this is an impressive album. Collaborators include Trombone Shorty, Maha Adachi Earth, DJ Premier and rappers Tierra Whack, JID and Ab-Soul.

Recent single Pressha and Don’t Play touch on relationships.

Jill says: “Pressha is about a toxic past relationship while Don’t Play is a template for how to have a date where you actually want to get to know someone.

“It’s not just about what box they tick or what salary they earn. Then BPOTY — Biggest Pimp Of The Year — I wrote after looking at society and thinking, ‘My God, these folks are pimping us’.

“Like the pharmaceutical companies. I had been taking some medication and I didn’t really need it, I was being pimped and so it began with that story.”

‘Music is medicinal’

A diverse record blending soul, rap and jazz, it features beautiful ballads such as Me 4 and Àse, showcasing the poetic storytelling Scott has long been celebrated for.

“When I heard how diverse the music was, it made sense as an album,” she explains.

“People are going to get what they’re going to get what they need from it at different times. I believe music is medicinal. Like when I first heard of Billie Holiday, I didn’t really hear her until I got my feelings hurt.

“Then I listened again and everything clicked and made sense — how poignant her words were — and that’s why this album is called To Whom This May Concern.”

Be Great is a superb track as both a declaration and mantra, designed for everyday moments of courage.

“I want people to play it before their auditions, job interviews or anything that matters to you,” says Scott. “Go ahead and be fantastic at it, whatever it is.

“I just got the music and the lyrics popped out. I see it as Golden’s cousin [her 2004 anthem]. Yeah, they’re definitely related.”

Offdaback, which Scott says is her favourite track on her new album, pays homage to her heroes who came before her, artists and pioneers who stood up for freedom and music.

“The ancestors have to be honoured,” she explains.

“Whether it was your grandmother who worked in somebody’s house in order to make sure your mother had food, or it was your dad who worked three jobs so you could go to college or so you could live your dream.

“As an artist every day I’m reminded of how many people have made a way for me to be here.

“My office wall has photos of all the people who have inspired me. Diana Ross, Missy Elliott, Led Zeppelin and Queen Latifah are on there.

“I admire so many. Nina Simone for being so frank and fearless; Tina Turner for being so brave and using her voice.

“The list goes on. Frankie Beverly was beloved to me and Prince was my number one, and Bette Midler showed me that you don’t have to be around, knocking on doors all the time. You can disappear for a while, too.

“I went to see Frankie Beverly and Maze and they’d not had a record out for 25 years but everyone at the show is up and singing at the top of their voices.

“Music is about that feeling, about camaraderie and unity. I feel really honoured that anyone would feel that about my music.

“However, I’m still working on the other stuff that comes with that.”

There was a recent social media post of Scott being stopped by a fan who recognised her on the street — and she tells me she still finds that side of fame difficult.

Staying human

She says: “I value my time in just taking a walk, I really do. It’s important to me and it helps me balance everything else. The guy was sweet and I loved his freckles but being stopped in the street is not easy for me.

“Yes, 26 years later, I’m still working on it. I get good advice about it. My mentors tell me the value of maintaining the private self and staying human.

“When people put you on a pedestal it’s a very dangerous game and it’s not the game I play.”

When Scott emerged in 2000 as the voice in neo-soul, blending R&B, jazz, soul and spoken word, she found the spotlight overwhelming.

“It was terrifying and exciting,” she says with a smile. “I had a good two or three weeks where I was like, ‘This is so fun’. And then it didn’t stop.

“People were driving by my house playing the album at full capacity at three o’clock in the morning.

“I don’t want to sound ungrateful, because that’s not where I live — I live in grace and gratefulness all the time.

“It just was never my priority. I see people who are far more famous than me, and God bless them, but balance really matters to me. I’m a writer first, I just happen to sing.

“I have to be human and recognise how flawed I am and how much I’m working through things and honouring myself in all the things.

`’So, my goal is to be grand and gracious and have patience with other people. And when I can’t, I go into the house. That’s how I live.”

I think as a society, we’re holding on to a lot of people that don’t benefit our lives.

Jill Scott

Pay U On Tuesday is a fun song which Scott says: “Comes from being exhausted of family members who I used to be friends with that just don’t value the same things.”

It’s a direct song which even comes with a disclaimer (in the form of a track called Disclaimer) before it.

She laughs and says: “Oh yes there’s a disclaimer. But cutting ties is sometimes needed.

“Maybe they’re not ready to be respectful now, but I think as a society, we’re holding on to a lot of people that don’t benefit our lives.

“What I’ve learned in these 53 years is that I love when the people around me bloom and I want to continue to bloom.

“This album has been brought to you by education for your home. For your family.

“I definitely don’t like being perimenopausal. That’s not fun. It’s made certain things a lot more challenging, like staying fit, and sometimes you don’t sleep and a dress doesn’t fit but I count on the joys.

“I’m a big advocate for a book called The Celestine Prophecy, which reminds me to constantly look for beauty.”

Growing up in North Philadelphia, “Jilly from Philly” says she owes her positivity and happy childhood to her mother and grandmother. “My mother showed me art and creativity and I’m grateful,” she tells me.

Although there was a lot of drugs and violence around her, she also saw “kind and beautiful-spirited people” — and that spirit is at the heart of the track Norf Side.

“It’s a celebration of the place,” she says.

For that song, she wanted another voice from North Philly and her son Jett suggested Tierra Whack, a brilliant MC and remarkable poetess. “We are both a reflection of that place,” she says.

Scott, who has a charitable foundation in North Philadelphia which has been sending kids to camp and to college for more than 20 years, says she could have made an album about what’s going on in the US politically but chose a theme of personal revolution over performative outrage and political frustration.

‘Joy, passion, rage’

“I think that’s another album,” she says. “Right now, I’m really focused on growth and healing — the human stuff.

“Then maybe there will be the kind of revolution that this kind of turmoil deserves.”

On the death of mum-of-three Renee Good, who was shot by an Immigration and Customs Enforcement (ICE) agent in Minneapolis last month, she says: “This has been going on in the United States for longer than my whole life — it’s not new.

“It just happened to happen to a Caucasian woman so the world is shaken and they’re seeing it.”

Making a name for herself in acting as well as music and poetry, she has starred in 2007 comedy Why Did I Get Married? and TV series The No1 Ladies’ Detective Agency.

Scott says she is taking her time when it comes to choosing her next role, paying close attention to both the director and the writing.

Live performance, however, is non-negotiable. “I will be touring. That is a fact.”

For now, the focus is firmly on this record. “I just want people to come back and listen to it again and again,” she says.

“I’ve sprinkled levels of joy, frustration, passion and even rage. When that last chord plays, I want people to sit with it — and then start all over again. Each time, there’s something new.”

• To Whom This May Concern is out on February 13.

JILL SCOTT

To Whom This May Concern

★★★★★

BEFORE making his most ambitious album Cosmic Opera Act I, Labrinth reached a crossroads: Was he chasing fame or authenticity?

He says: “Am I on a journey to be famous or am I on another journey where creative fulfilment doesn’t always mean being super-successful?”

The album, he explains, came from choosing the latter — and finally being at peace with that decision.

Labrinth has had hits and won major awards since being discovered and signed to Simon Cowell’s Syco label in 2010.

I thought it was weird that I wasn’t obsessed with awards and accolades, and I questioned if I was in the right industry

Labrinth

These include MOBO and Brit Awards for collaborations with Tinie Tempah, an Ivor Novello, an Emmy for his Euphoria soundtrack, alongside Grammy nominations for work with The Weeknd, Beyonce and Billie Eilish.

Chatting on a video call from a studio in LA, the singer and producer says: “There were moments in my career where I found myself more focused on novelty and gold.

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“There are artists who want to be at the Grammys in three years — that’s their focus. They want to be successful and famous within a certain time and organise all of that in their head.

“For me, I was more focused on the music than the fame. I’d be obsessed with a guitar sounding like a Chuck Berry record and I started to question if I was in the right place. Should I be chasing success?

“I thought it was weird that I wasn’t obsessed with awards and accolades, and I questioned if I was in the right industry.”

On his recent single, the hip-hop confessional Implosion, Labrinth says: “I was losing my mind. It was ripping away from my ego.

“When you taste success, it’s an addictive drug, and you don’t know you’re obsessed. It’s chasing dopamine. You don’t know you’re addicted until you try to pull away.

“If you need success to be validated or to be fulfilled, then there’s something wrong. And that’s where the implosion for me was. I needed to evolve beyond these urges and needs. Then I got an ADHD diagnosis and everything made sense.”

That was two years ago, when the artist born Timothy McKenzie finally got an answer that explained his behaviour.

He says: “I was lucky and went to see a doctor in the US.

“It can take months, even years, to get answers. I went to see Dr Amen, who is a celebrity doctor, and he did a scan of my brain.

“He could literally point things out like where I’d hit my head when I was ten. He did a real deep dive into how my brain works. And after that, it allowed me to be a lot more forgiving with myself.”

The idea for Cosmic Opera Act I came from the inner turmoil Labrinth had experienced with his mental health in the entertainment business while trying to define his own success plus his love for films like Star Wars.

“I still haven’t been to an opera — I know that sounds insane,” he says with a laugh.

“The opera is connected to drama and deep emotion.

“Then the cosmic part was after reading an article which said there are as many connections in our brain as there are stars in our universe.

“So that was the perspective of the title — with mental health the subject.

“I’ve always been a fan of opera from a distance, and I’ve always enjoyed the idea of exploring it.

“Also, I grew up with films from the Eighties like Indiana Jones and Star Wars. Those film scores stuck in my mind and I wanted to make an album that incorporated and explored their sound.

“Of course, me working in film and TV pushed me further into that direction.”

I wrote that song to show how I had evolved from the pain and confusion about my dad. I looked at myself as being a mini Luke Skywalker coming out of his demons

Labrinth

Labrinth’s love of Star Wars was also the inspiration behind one of the many standout songs on the album, S.W.M.F. (Star Wars Motherf***er), the singer feeling at peace with his demons.

It was a battle that helped him agree to soundtracking the Christmas John Lewis advert, a remake of 1990 rave classic Where Love Lives with original vocalist Alison Limerick.

“The John Lewis song was the finish line of dealing with demons for me — which was my relationship with my father.

“The John Lewis storyline was about a father and son’s relationship, so me doing the ad was like me saying, ‘Hey, Dad, I get it’.”

He adds: “Our relationship wasn’t great. My dad, who has passed, was violent and not present. He’d had a horrible childhood with an extremely violent stepfather, and that affected the way he was a father to me.

“I saw him occasionally. He was a bit of a ladies’ man, and I don’t think he knew how to be present enough for me as a kid. He didn’t do stuff like taking me to the park or giving me advice.

“Also, he was violent with me, trying to knock me for six when I was very young.

“So I had to face those demons and it made me think about my own anger or frustration. But when I look back, I feel pity for him, because he didn’t have the tools that I have today.

“It was the same with ADHD — I wanted to understand my brain and the way it works, so that I could be the best father I can be to my three young kids. And, in that journey, it made me think of my dad compared to my relationship with my kids and the moments they needed me — because I never had that.

“So I wrote that song to show how I had evolved from the pain and confusion about my dad. I looked at myself as being a mini Luke Skywalker coming out of his demons.”

God Spoke is a special gospel-influenced track inspired by Labrinth’s struggles with religion.

He says: “I grew up very religious. My grandad is a reverend and my mum is a devout Christian. She came over for Christmas to be with her grandkids, and we had loads of talks about religion.

I had a really bad temper. I would be kicked out of class all the time and I’d end up in the music room

Labrinth

“I’m spiritual, but I don’t follow a practice. I have all the respect for those who do follow a religion but I see God as unlimited and infinite and in a lot more places than a room or a structure — that’s why, to me, it’s bigger than one religion or one place.

“So God Spoke is like a homage to my grandad. When I was a kid, a lot of people would come to church for redemption. So I wrote that I’m at the end of being the old me, and I’m ready to grow and morph into the new me.”

Burn out

Labrinth says music was his saviour as a child and he would spend hours making music after being excluded.

“I got in a lot of trouble at school,” he says.

“I had a really bad temper. I would be kicked out of class all the time and I’d end up in the music room.

“Eventually it got to the point where I would get in trouble purposely, just so I could go there, because it was the easiest place for me to be, and the most peaceful.”

Labrinth says there is still not enough help with artists and their mental health in the entertainment industry.

He says: “RSD — Rejection Sensitive Dysphoria — is associated with ADHD and there are many artists in the music industry with this.

“Artists don’t learn how to manage their careers or their mental health. When they get a deal, they can burn out because they don’t have the tools to support the way their brain works.

“A lot of artists can end up in drug abuse, because they don’t have the skills to deal with a song not working.

“There isn’t a support system in the music industry — and it’s needed.”

In April Labrinth will take Cosmic Opera Act I to Coachella festival in California.

He says: “I am still working on how that looks, because it’s not cheap to do what is on the record. But I have big ideas and big visions for how I want to present the music and what I want to explore sonically.”

The Hackney-born star last played the festival in 2023 and was the talk of the weekend, with surprise guests Billie Eilish and Zendaya — in her first live show in over seven years, performing I’m Tired and All For Us from Euphoria on the second weekend.

“Zendaya was not planned at all,” says Labrinth. “Billie was the first week but Zendaya, who was on a film set, said she couldn’t make it.

“Then she called me to say she was going to Vegas to watch Usher and would be passing by. So it was literally last minute.”

Labrinth is looking forward to working on the score for Euphoria season three because Oscar-winning composer Hans Zimmer has joined the show’s production team.

He says: “The show is special because it speaks to the language of this era. That’s what inspired me.

“And this time, having Hans Zimmer involved — an experienced genius — makes a difference. I’ve always wanted to work with him, so this is my chance to do so.

If I could work with anyone next I’d say David Attenborough

Labrinth

“Gladiator was the film that got me on to Hans, and True Romance is another I love.

“He and Beyonce picked my song [Spirit] for Lion King so then I was like, ‘Well, I need to meet this guy’. It seems like life is trying to pull us together.”

Labrinth has learned a lot from working with superstars.

He says: “Beyonce has been a fan for a long time, because she’s checked out a lot of my records. She’s very kind, and treats people with respect, and is a real professional.

“Abel [The Weeknd] was like an animal in the studio. He knows what he wants and then it goes crazy when he releases something.

“If I could work with anyone next I’d say David Attenborough. I know he’s not a musician, but I love his voice and I’ve always wanted to put him on a record. Morgan Freeman and him — their voices are musical instruments to me.

“But next I’m in London working with Skepta. The UK has some special artists and I’m dying to get over there to perform.”

LABRINTH Cosmic Opera Act I

★★★★☆