But Kweli has been known to stand his ground and nowhere is that more evident than on his Twitter feed. In the aftermath of the Michael Brown shooting in Ferguson, Kweli got into a heated debate with Don Lemon, when the CNN anchor was dismissive of his perspective and unfamiliar with the rapper’s persona. Kweli says he’s noticed his music gets played more often on the radio or he gets asked to appear on talk shows and interviews when there are racially charged events and tragedies in the media. It’s that sentiment that can be heard in the opening lines of “All of Us” when he says, “My name is prominent for entertainment that’s laced with consciousness, but really it’s just common sense.” It’s not an empty vacuum space,” Kweli told The Marquee in a recent interview. “I get asked this question a lot with Trump - who’s sent mainstream politics into disarray - I get asked if the climate is affecting the music. And though Kweli is honored to be held to that esteem, he’s no fair-weather activist. But often the spotlight is shone on conscious artists only when it’s convenient - assuming the current political zeitgeist is charging them with even more conviction. The past few years have been fraught with social and political chaos and in times like this, people look for truth in music. His latest release, Radio Silence, marks his eighth solo album and another return to the allegorical cave to drop some truth and enlighten us on the shadows of our reality. Now, two decades after his Black Star breakthrough with Mos Def, Kweli continues his path as the stoic face of conscious hip-hop. Album DescriptionHip-hop’s philosopher king throws down Radio Silence and reignites Black Starīrooklyn is responsible for a long lineage of hip-hop royalty, and though Kings County may not be a monarchy, Talib Kweli is its philosopher king. See More Your browser does not support the audio element. The primarily acoustic "Write at Home" involves more cooks - keys from Robert Glasper, spoken word from Datcha, vocal sweetening from Bilal - but closes out the album in purposeful, elegant form. "The One I Love" features BJ the Chicago Kid's confident hook, sampled Sampha on the brink of tears in the background, and even a Stevie Wonder-like harmonica outro from Frédéric Yonnet. The comparatively lighter tracks are necessary for balance but are cluttered on occasion. "They screamin' 'black-on-black' as an excuse for you to not care 'til the cops roll up in their SWAT gear," amid dozens of other lines, are delivered with that laser focus only Kweli possesses.
"She's My Hero," told over sorrowful soul-jazz from Oh No, regards the 14-year-old who shot and killed her abusive, life-threatening father after "They told the cops, but all that did was make him treat them rougher." A career highlight, it's also only one of many tracks on which Kweli asserts his stance against the school-to-prison pipeline and other forms of systemic oppression, as well as the mentality they sustain.
Kweli persists as one of the most inspired storytellers, wasting no syllables as he condenses and elucidates complex non-fiction. "I got a doctorate in rockin' it," he proclaims on prime Kaytranada chop "Traveling Light." But if there's one line that encapsulates this compact set, it's "Documentin' the struggle, I'm huddlin' with historians," placed over the Alchemist's swirling soul, ideally suited for the dissemination of realism and wisdom. Seven months after he and Styles P released The Seven, Talib Kweli offered his eighth proper solo album, his first since 2015's Fuck the Money.
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