“I work with people that are equally as enthusiastic about the project as I am,” Ali says. “Jake has been a friend since before either of us had a serious career and he always talked about doing a project together. I think it’s important to get a producer’s full attention when doing an album.”
Throughout his career, critical discussion has tended to focus on Ali’s incisive lyrical focus and vocal delivery. This is no surprise, given his fierce left-wing political stance, but without engaging production it’d be difficult to get so many people paying attention.
“I choose beats that put me in a mood and then try to identify when I’ve felt that in my life,” he says. “I start writing the song to describe that moment. On a rare occasion I’ll try the words on another piece of music and some really interesting magic can happen that way, but most of the time I write to the music and the songs are born that way.”
Brother Ali’s lyrics regularly dig into less-than-satisfactory aspects of American life and the ugly mechanics of the political system. These can be difficult truths to digest, causing feelings of disgust or helplessness. But despite operating within the realm of popular music, Ali isn’t afraid to highlight issues that might scare off sensitive listeners.
“I try to be of benefit to myself, my message and my audience,” he says. “There are definitely times when I try to explain things in a way that’s understandable to the listener, but I don’t water it down for them. I respect and trust their ability to hear what I believe to be true. The concern that I have is in delivering the message with precision and nuance. I want people to know that I love them, and hate injustice.”
While Ali’s lyrical perspective never becomes naïve, he softens the blow somewhat by injecting signs of hope and encouragement for people to take a stand against injustice. “I live in a faithful, hopeful space and this allows the complete ugliness of the current state to be palatable for me,” he says. “It’s very cruel to diagnose darkness if you’re not willing and able to prescribe and administer light.”
Along with broader societal/political themes, several Brother Ali songs disclose intimate details from his personal life. Mourning in America cut Stop the Press is a prime example; disclosing details of departed friends and family members, strains on his marriage and his eventual creative rejuvenation after the split with Ant.
“I include the details that I feel are necessary to convey feeling and meaning. I’m down to be open with my own information. I draw the line with my loved ones’ details, though. There are things that I could share about them that would make incredible songs, but it wouldn’t be right to mine other people’s treasures like that.”
Ali’s huge emotional investment and unflinching activism means his live performances are liable to stir up myriad emotions. And that’s exactly how he likes it. “I’ll give a song a break if I start to get a sense that I’m going through the motions and it’s just becoming part of the show. I have to relive those things when I do the song live.”
Considering much of Ali’s output aims to raise awareness, educate people and inspire pro-active behaviour, it raises the question of whether live performance or recorded music exerts greater power over listeners’ emotions.
“I think the connection between hearts is what changes things,” he says. “All of the evil in the world has its origin in a diseased and hurt heart. If we can connect the hearts with something true, nothing is impossible. I try my best in the albums and live shows to make my heart as accessible as possible so that anyone whose antenna picks up on what I’m putting out can connect.”
Hip hop has historically been an effective medium for protesting against injustice and rallying activism. Although it’s easy to suggest the glory days are behind us, when observing the state of contemporary hip hop, Ali sees plenty of men and women utilising it for this purpose.
“There are a lot of artists offering greatness in hip hop: Rapsody, The Reminders, Amir Sulaiman, Jasiri X and Sa Roc are just a few. In the mainstream I think Kendrick is absolutely necessary right now. The dominant culture has never missed an opportunity to condemn black genius, which is responsible for every and all forms of modern music. That is, until they find a way to co-opt and steal it for their own devilish purposes. But the truth belongs to the Creator and falsehood isn’t rooted in anything. Ultimately falsehood and evil survives only as long as truth allows it.”
BY AUGUSTUS WELBY
