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| Sons of Kemet | |
|---|---|
| Name | Sons of Kemet |
| Background | group_or_band |
| Origin | London, England |
| Genres | Jazz, Experimental, Afrobeat, World |
| Years active | 2011–2022 |
| Labels | Nonesuch, Smalltown Supersound |
| Associated acts | Shabaka Hutchings; The Comet Is Coming; Polar Bear (band); Melt Yourself Down |
Sons of Kemet were a British jazz ensemble formed in London in 2011, noted for blending jazz with Caribbean, African, and electronic traditions and for sociopolitical lyrical themes. The group built a global profile through acclaimed recordings, festival appearances, and collaborations that intersected with contemporary scenes in South London, New York City, Paris, Berlin, and Tokyo.
Formed by reed player Shabaka Hutchings alongside percussionists from diverse diasporic backgrounds, the band emerged amid a resurgence in London scenes connected to venues such as Cafe Oto, Ronnie Scott's Jazz Club, and festivals including Glastonbury Festival, Le Guess Who?, and Montreux Jazz Festival. Early lineups drew on members with histories in acts like The Invisible (band), The Heliocentrics, and Sons of Jah. Their debut EP followed performances at EFG London Jazz Festival and led to a first full-length on independent labels with attention from critics at The Guardian, Pitchfork, and The New York Times. Subsequent albums coincided with tours across Europe, North America, and Australia, and with collaborations involving artists from Neneh Cherry to producers linked to Hyperdub and Ninja Tune. The group announced a formal end to their collective activities in 2022 after a final series of concerts, amid members pursuing projects with Mogwai, Anna Calvi, Lauryn Hill, and solo work including Hutchings' ventures with Shabaka and the Ancestors.
Their sound fused elements traceable to John Coltrane, Pharoah Sanders, and Sun Ra while incorporating rhythms and timbres associated with Afrobeat, Calypso, Soca, Bebop, and Dub. Critics compared their polyrhythmic approaches to ensembles like Fela Kuti's bands and rhythmic frameworks found in West African music traditions performed by groups such as Orchestre Baobab and Babatunde Olatunji. Horn arrangements and improvisation referenced modern contemporaries Kamasi Washington and Ambrose Akinmusire, while production aesthetics showed affinities with Four Tet, Floating Points, and Thundercat. Lyrical and conceptual themes engaged with diasporic narratives associated with figures like Marcus Garvey and movements linked to Pan-Africanism and drew on poetic forms similar to work by Gil Scott-Heron and Linton Kwesi Johnson.
Core personnel included founder reed player Shabaka Hutchings alongside dual-drum lineups featuring percussionists who had worked with acts such as Soweto Kinch, Mica Levi, Nubya Garcia, and Kokoroko. Over time, membership featured musicians whose credits included recordings with Skepta, Jorja Smith, Sons of Jah, GoGo Penguin, and session work for Nile Rodgers. Guest contributors on recordings and stages included vocalists and horn players associated with Anita Baker, Seal, Moses Boyd, Erykah Badu, and producers linked to Burial and Burundi beat ensembles. The band’s rotating personnel model echoed practices of collectives like Art Ensemble of Chicago and Sun Ra Arkestra.
Their discography consisted of multiple EPs and studio albums released on independent and major-imprint labels, receiving distribution in the UK, US, and EU markets. Records reached charts monitored by Billboard, Official Charts Company, and critics at outlets including NME and Mojo. Standout releases featured collaborations with guest artists tied to Angelique Kidjo, Tony Allen, and producers from Smalltown Supersound. Vinyl pressings and limited editions were sought after by collectors of Impulse! Records-era jazz reissues and contemporary collectors aligned with Rough Trade and Warp Records communities.
The ensemble played headline slots at venues and festivals such as Royal Albert Hall, Barbican Centre, Coachella, SXSW, Roskilde Festival, and Woodstock (Poland), as well as club dates in Amsterdam, Barcelona, Milan, and Stockholm. Their stage shows featured visual collaborators from the Young Vic and Barbican networks and sound engineers with credits including work for Björk and Radiohead. Tours often paired them with acts like The Roots, Arca, and Femi Kuti, and included radio sessions for broadcasters such as BBC Radio 6 Music and NPR Music.
They received nominations and awards from institutions like the Mercury Prize, MOBO Awards, and industry panels at events hosted by PRS for Music and the BPI. Critics honored their albums in year-end lists from The New Yorker, Rolling Stone, and The Wire, and the band gained cultural recognition in exhibitions at institutions such as the British Museum and maintainers of archives linked to Black Cultural Archives.
Category:British jazz ensembles Category:Musical groups from London