When it comes to albums that traverse the African diaspora in their creation, we often bite our teeth, anxious that the cultural exchange doesn’t teeter on the edge of appropriation. Such is not the case with PJ Morton’s Cape to Cairo. The album emerges as a masterclass in musical exploration and genuine artistic dialogue. This ambitious project sees the Grammy-winning artist embark on a 30-day sonic pilgrimage across the African continent, resulting in an album that is as much a travelogue as it is a collection of songs. Morton’s journey, spanning from the jazz-infused energy of Cape Town, South Africa to the ancient echoes of Cairo, Egypt produces a work that is both deeply personal and universally resonant.
From the outset, Cape to Cairo establishes itself beyond the traditional parameters of an album; it’s a cultural artefact that maps the connections between African-American musical traditions and their continental roots. The opening track, “Smoke and Mirrors,” sets the tone with its blend of Afrobeats energy with bebop jazz sensibilities, dissecting the complexities of deception and shared humanity. The lyric “You bleed the same blood I bleed” serves as a powerful homage to our interconnectedness, regardless of geographical boundaries.
Watch “Smoke and Mirrors” Here:
As the album progresses, Morton demonstrates his versatility and willingness to step outside his comfort zone. “Please Be Good,” with its Afrobeats-infused rhythm, encapsulates Morton’s time in Nigeria. Here, he grapples with the desire for escape and freedom, themes that resonate across the Black diaspora. The production, helmed by Nigerian wunderkind P Priime, creates a lush sonic landscape that serves as the perfect backdrop for Morton’s soulful crooning.
Collaborations are the lifeblood of Cape to Cairo, each one a carefully orchestrated dialogue between musical traditions. “Who You Are,” featuring Mádé Kuti, is a highlife-inspired track that pays homage to the legacy of Fela Kuti while infusing it with Morton’s signature soul. The song’s genesis at Felabration in Lagos adds a layer of authenticity and spontaneity that permeates the entire album. Morton’s reflection on this track reveals a more profound connection: “It has the fighting spirit of Fela. I was experiencing the opposite of what people told me about Africa. It’s also about a journey through the music industry.”
Watch “Who You Are” Here:
Morton’s ability to bridge genres is perhaps most evident in “All the Dreamers,” a track that began with a vocal sample and evolved into a pan-African collaboration featuring Asa and Ndabo Zulu. The result is an uplifting anthem that speaks to the universal experience of underdogs and dreamers, its Afro-Cuban rhythms is a sonic narrative that envelopes the far-reaching influence of African music. Morton’s account of the song’s creation – from a splice sample to a full-fledged collaboration across different parts of Africa – captures the album’s ethos of cultural synthesis.
Even when Morton returns to more familiar territory with ballads like “I Found You” and “Thank You,” there’s a discernible African influence in the percussion and harmonies. These songs benefit from the raw and immediate nature of the recording process, with Morton capturing his “raw thoughts” and influences in real time. “Thank You,” in particular, strikes a chord of universal gratitude, born from Morton’s state of appreciation during his journey.
Watch “Thank You” Here:
The album reaches its emotional and thematic zenith with “Home Again” and “Simunye (We Are One).” The former, born out of a late-night jam session with The Cavemen in Lagos, captures the essence of homecoming and belonging. Morton’s description of the track’s spontaneous creation in their home studio adds a layer of intimacy to the album’s narrative. The latter, featuring the Soweto Spiritual Singers, serves as both a conclusion and an invocation. With its call-and-response structure and anthemic quality, “Simunye” feels like a modern hymn, celebrating unity and resilience in the face of historical adversity. Morton’s insight into the song’s inception – inspired by the word given to him by Jonathan Butler and the context of South Africa’s history – adds depth to its pan-African message.
Throughout Cape to Cairo, Morton demonstrates a nuanced understanding of his musical fusion’s historical and cultural significance. He doesn’t simply appropriate African sounds; he engages in a respectful dialogue with them, creating a work that is greater than the sum of its parts. The result is an album that speaks to the shared experiences of Black people across the diaspora while celebrating their diverse musical expressions.
PJ Morton’s Cape to Cairo stands out as a work of genuine cultural exchange and artistic growth. It’s a testament to the power of music to bridge continents and generations and a compelling argument for the continued relevance of the album format in the streaming age. Morton has not just made an excellent record; he’s created a musical document that charters the complex terrain of the African diaspora, inviting listeners to embark on their own journey of discovery and connection. In doing so, he has solidified his place not just as a musician but as a cultural ambassador for a new era of Pan-African artistic expression.
Watch “Simunye (We Are One)” Here:
