Small Changes may be Michael Kiwanuka's Magnum Opus.

Michael Kiwanuka, I mean, where to begin... Hm, let's bring it right back to 2012 when the then 25-year-old beat out beloved American sweetheart Frank Ocean for the BBC's Sound of the Year award - arguably one of the most prestigious awards in the UK. Since, then he's gone on to win a Mercury Prize for his 2019 self-titled album Kiwanuka, which was also nominated for a Grammy. And, it's not that awards really matter or prove an artist's worth, but they are sure nice to have, eh? 

So, it's been five years, and Kiwanuka was due for a resurgence. Not one to disappoint, he came back with Small Changes, which may just be his magnum opus. Reviews have been mixed, with some in complete adoration of Kiwanuka's latest addition to his discography and others wishing he'd just have made a carbon copy of his first two studio albums - which, to that, I say, grow up, guys. When are we going to stop placing artists into sonic boxes, soldering them shut, and punishing them any time they dare create a song which isn't their hit from ten years ago? It's an age-old story, with emphasis on the word old, let's welcome the new. 

With that being said, I loved this album - which you may have guessed when I began referring to it as Kiwanuka's magnum opus... Oh well, if you hadn't caught that, now you know. 

Its eleven tracks come in at a compact forty minutes, which is a sweet spot for most listeners - most of us can spare forty minutes to listen to an album front to back at least once. Any longer, and you're asking too much, I fear, life is busy, and attention spans are declining rapidly. This album is swimming in a pool of soul, passing by its comrades (Bill Withers, Curtis Mayfield, Jimi Hendrix, to name a few) on the length with a smooth nod. As Kiwanuka reaches the end of the length, having paid homage to his comrades, he is enthralled and has enthralled his listeners in a tsunami of his unique, sonic world. This is neo-soul-jazz at its finest. 

Whether it was intentional or not, this album is entrenched in a profound spiritualness - sparsed with choral ensembles, organ arrangements, and bass riffs, which are rich in that Ugandan sound (thanks to his Ugandan heritage), I am keen for Kiwanuka to get this album to the altar. Somewhere, like The Church of St. James at Dingle's famous Other Voices festival, perhaps. 

This album may be predominantly stripped back, but it is overflowing with a groove which can only come from Kiwanuka's African heritage, love for folk, immense familiarity with Blue Note classics, and the bravery to be yourself in a world full of people trying to be somebody else. 

Support Michael and shop the album here, and find tour tickets here.