Seeing Jupiter Bokondji and his band Okwess International perform is an invariably thrilling experience. No matter the venue, event, or continent, it’s sure that once Jupiter and Okwess take the stage, the sparks will fly in all the best ways. They play music called bofenia rock, a mix of traditional Congolese rhythms, funk, and rock and roll, and they have nonstop energy and a passion for positive and revolutionary messages.
Coming four years after the last album, Na Kozonga, Ekoya is yet another invigorating offering from the band, one inspired by their last few years of travel in Mexico and, of course, their own roots in and around the diverse megacity of Kinshasa. Jupiter and Okwess‘ experiences along these transnational routes manifest thoroughly on Ekoya in content and creative collaborations.
Opening the album is Congolese singer Soyi Nsele, who gives a short and powerful speech at the beginning of “Selele”, condemning the worldwide disenfranchisement of Indigenous peoples and the related extractivist destruction of the natural environment. As she speaks, the ensemble begin playing behind her, bright guitar ostinati and suave basslines accompanying her impassioned pleas to the ancestors. Soon, Jupiter’s unmistakable voice enters the mix with a tonal and lyrical warmth. His song is an ode to infinite love, a call for productive empathy. It’s heartening that the group express some of the record’s foundational sentiments set to typically invigorating sounds.
A handful of additional guests add their own touches to Ekoya. Brazilian singer Flavia Coelho joins the band for “Les Bons Comptes”, which evokes proverbial wisdom with the reminder that paid debts are essential for lasting friendships; her voice is smooth and golden. Later, Zapotec rapper and activist Mare Advertencia Lirika brings verses to “Orgullo”, a similarly didactic song that warns of the dangers of pride; her style is sharp and muscular. Both fit well amid the heady group energy.
Though Jupiter and Okwess spend most of their time at higher speeds, they always include a range of moods on Ekoya. Slow cuts allow for more solemn topics. “Na Bado” praises reverently those whose work goes unrecognized. “Hay Que Escuchar” offers gentle wisdom to an imagined child. The final track, “Tout Passera”, reflects on the inevitability of death and holds faith in the belief that it is not the end.
Midtempo standout “Congo Blinders” embraces the entirety of the Democratic Republic of the Congo, calling for unity against aggressors and oppressors. Even taking it leisurely, though, the group close the tune with a pure rock and roll guitar solo. Every style of song gets full attention from Jupiter and Okwess.
As always, the songs on which they move the fastest show the group at their best. From the bounce of “Solobombe” to the shimmering grooves of “Ndanda”, Jupiter and Okwess make music that moves the body and mind. They are as expert as ever at pairing keen messages with bold music, making history and social commentary exciting. There’s no holding back this wonderfully outspoken group, and Ekoya is yet another success.
Jupiter and Okwess make music that moves the body and mind. They are expert at pairing keen messages with bold music, making history and social commentary exciting.