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Rapper K’Naan often references his homeland of Somalia in his music. “A lot of MCs talk about violence, but they really haven’t seen it or had it affect their lives,’’ he says. |
K’Naan tells stories from his mean streets
One of the central personas of hip-hop has been the thug who understands the ways of the cruel streets. Don’t tell that to K’Naan, a rapper and musician who grew up in war-torn Somalia.
“When I hear all this talk about thug life, I laugh,’’ K’Naan, 31, says from New York, where he lives most of the time now. “A lot of MCs talk about violence, but they really haven’t seen it or had it affect their lives. It’s like watching a film, because you know that you are listening to something that is unreal and unbelievable. I know what I’ve seen, and that’s real.’’
K’Naan, who’s on tomorrow’s Rock the Bells tour at the
Much of the material from his two albums - 2005’s “The Dusty Foot Philosopher’’ and this spring’s “Troubadour’’ - is preoccupied with his homeland and how its troubles have affected him. In “Somalia’’ he sings: “This is where the streets have no name and the drain of sewage/you can see it in this boy/ how the hate is brewing.’’
On a number of tracks, he calls out rappers for their bogus macho swagger. In “What’s Hardcore,’’ in which he describes the violence of Somalia, he flows: “I make 50 Cent look like Limp Bizkit’’ adding his former country is “harder than Harlem and Compton combined.’’
What makes K’Naan’s music so compelling is not only his lyrical agility and social conscience but his ability to draw on so many musical resources - from his African roots and reggae stylings to hip-hop, pop, and rock (“If Rap Gets Jealous’’ from “Troubadour’’ features Kirk Hammett of Metallica).
“I consider myself an artist above all things,’’ K’Naan says. “Therefore, I don’t want to commit myself to one style of music. Many people call me hip-hop and that’s fine, but I am not just a hip-hop artist.’’ K’Naan also played guitar and added percussion - as well as some supple singing - on his albums.
K’Naan says he learned English by watching television, and he studied the cadences and fluid wordplay of older rappers like Rakim. “I’m lucky that I didn’t do it now,’’ he says. “I would only be able to talk to you about popping champagne corks.’’
Most of his songs are potent, detailed narratives and evocations of Somalia and the struggles his people have gone through and continue to endure.
He says that he is committed to shedding light on the country and adds that the shift to living in North America was disorienting. “When I first arrived in Canada, I needed to figure out things and life was difficult. I did odd jobs, but I always knew that I would be a musician and survive.’’ In “Rap Gets Jealous’’ he talks about saving money to “send it back to Mogadishu where my family and friends getting patched up again.’’
He says he named the new record “Troubadour’’ because he has always seen himself as a storyteller.
“I used to tell stories to my family since I was a boy. Sometimes I had memorized up to 120 stories, and some would last up to 45 minutes. It’s just something I love to do.’’
His new record features many guests - including Adam Levine, and Damian Marley - and it’s diverse musically. “Bang Bang’’ has a soaring pop hook and could easily be a single. “America’’ is a straight-up hip-hop track in which he trades verses with Charlie 2na and Mos Def. “Fatima’’ is a sweet lament of lost love spurred by subtle horns and underlined by organ fills. Despite the lyric’s sadness, the song turns into a joyous singalong.
Both of his records are rhythmically intricate, tightly arranged, and supremely melodic, which gives them accessibility for mass audiences. But K’Naan says he’s not sure that this is the direction he’s going to follow in the future.
“I never have a master plan,’’ he says. “Music should have no formula. The melodies and lyrics come, and I strive for the most beautiful music possible. I don’t affect it as much as it affects me.’’
© Copyright 2009 Globe Newspaper Company.
