When skill and mastery reach a point of mass replication, authenticity is the last distinguishing differentiator. I’m saying this at a time when the word “authenticity” itself is loosely being thrown around. Is music still a “universal language”? Was it ever was? During a discussion with some friends on this topic, I was of the view that music no longer spoke to a universal audience, and that it had succumbed to the creation of niches and target segments; the type of stuff they teach at Business school. But is this a fair assessment of a subject which is constantly evolving? Ever since that exchange with my friends, I have become very selective about what I want to discover. But, I also realized that it wasn't the genre lines that drew me to a listen. I felt that in most cases it was the story; the visual detail that stimulates a repeated fondness of a song or an entire album.
One such musician who possesses such artistry is Nia Keturah. Her ‘poetic visualism’ is revealingly unapologetic and progressive at the same time. But these images she paints through her lyrics are far from being repetitive and monotonous. This is, in my view, something female rap musicians in the industry often struggle with: the ability to give variations in their musical tales. However, Nia Keturah has managed to master this very early in her career. Whether it’s the melodically playful Control, or the delightfully conscious Proper Poppa, her ability to address a broad spectrum of issues without isolating the listener reflects on what I mentioned earlier about authenticity. Po Lil Black Girl is her third and latest offering, and features the works of producer Wino Willy, alongside other notable storytellers such as ABGOHARD on the reflective yet uplifting, Blunt People.
Whether music is still universal or not, it’s here to stay. It’s through artists like Nia who reinforce the universality of it. We can’t afford to isolate the storytellers, and more importantly, we can’t afford to dilute authenticity. Let’s embrace the last bit of positivity that’s left
phsicsmag (p):Please tell us, what inspired Po Lil Black Girl?
Nia Keturah (NK):I've always wanted to speak to the Kanye line "black female addicted to retail” with an entire record dedicated to exploring materialism in a black girl's world. PLBG was that record. The lightbulb moment was an interview my friend HOA Bossman did about a song we had done together entitled "Paris"…he said something to the effect of "we all know a Paris who has not been to Paris"…the interviewer retorted with "or a Mercedes on the bus or a Diamond with no diamonds." It was such an elegant way to explore the current condition of the black female.
p: When did you touch base with Wino Willy to start working on the project? Take us through some of your in studio experiences.
NK:Willy attends Morehouse and I attended their sister school, Spelman. I met him at a weekly open mic held on campus. Willy is like a brother to me...we disagree, we fight, but we also get very hyped and encouraging. Working with him a blessed yet frustrating process.
p: Po Lil Black Girl is your third body of work. How have you evolved as an artist since the Missed Education of Denise Huxtable (MEDH)?
NK:I've come more into what I know to be my unique sound. As an artist I know what my voice is capable, figuratively. Literally, I understand now more than ever how my voice can penetrate. Comprehending both of these things allows my new records to have a fuller sound.
p: Any exciting new projects we expect from you in the near future?
NK: Look out for something lively very soon.
p: Lastly, do you feel music is still the “universal language” it once was, or are artists better off creating musical niches for themselves?
NK: I think music is the "language of understanding". It gives us windows and doors to other lifestyles. I think it will always possess these doors and windows. Inherently, music is a way to create a niche, but eventually most niches get a window or a door.
this interview will be published in PhsicsMag's 4th annual issue
