The album is a journey,

and the journey isn’t a one-way flight. 85 to Africa’s sounds bounce back and forth between continents, genres, and signatures of iconic eras of music. Jidenna’s Igbo heritage is a lead performer, alongside the influence of Afrobeat pioneer Fela Kuti, whose youngest son Seun is the opening track’s featured guest.

85 to Africa is a relatable and at times nostalgic window into the intersectional black experience,

opportunities. They’re tryna figure it out. They’re being moved as pawns because the “powers that be” know that if they do that they’ll keep them right where they are. They’re doing exactly what Trump does with white farmers and working-class people, what they call “white trash” in America, it’s the same thing, you know. Pin them against Mexicans, Arabs, black people, women. It’s the same thing here, pin you against other Africans; Zimbabweans, Nigerians, Mozambicans, you know. And I can’t stand it, it hurts me to see it. And my hope with, not just this interview and not just this shoot, but with every effort that I put forth, and [with] my artist friends, is that we make sure that we understand that we’re more similar than we are different. And that we’re more powerful when we’re learning about each other’s histories so that we can work together to build a prosperous future. But it starts with re-education and then trust, understanding, and then we’ll find prosperity among ourselves on this continent.’ producers from the US as well, and then some from West Africa, and then, of course, I’m in the lovely environment of Joburg, so I’ve been drawing inspiration from different artists and producers here. But this specific blend is very important. The London element is probably one of the most important because on this project I’ll be fusing different genres of African music with funk, trap and drill music, which is essentially the newest form of trap right now – the biggest thing, I think, besides the funk throughline is the psychedelic throughline, so that’s the blend. And I studied for, like, months to figure this shit out. It’s very formulaic for me – my approach to art is always methodical and scientific. Then we test the hypothesis, and we’ve been testing it. So a bunch of people came out, we had a whole house in Joburg, I won't say where [laughs], but I usually try to stay super-low-key whenever I’m here.’

Joburg was the right choice for his production camp for a few reasons: as the refuge where he finished his last album, it’s familiar. Having lost some family, he prioritises spending time with his sister, who’s based here. Finally, Joburg’s also connected to the album’s lyrical themes. ‘This is a place because of the violent history, displacement of people, black people in this country still have to fight to say “I’m the first black banker”, “I’m the first this”, in their own land, to say that, which is insane – because of all this, it creates a certain backdrop where the men here have suffered in lots of ways and unfortunately, many attack women, other Africans, and even themselves, with alcohol poisoning and what not. You find this anywhere that an indigenous people have been oppressed by a foreign oppressor. Native Americans, same issues. Aborigines, like anywhere in the world. So I thought that being in this environment we’d hear stories that there needs to be light shed upon them – for the record, there’s plenty of great men in this country, there’s plenty of great men in the world, and the rest of us are working on it. What I’m hoping this album is, isn’t, “You shouldn’t”, not one of those point-your-finger projects at all, it’s that

“yo, I understand, I’m with you, but we have to change as a mass of men around the planet. We have to change.”’

When he talks about that change, and about his other hopes and dreams for Africa and her Diaspora, it’s not with the hardened cynicism of Black Twitter’s peanut gallery. It’s with that same stillness, and a focused, determined optimism. ‘My mission, it doesn’t stop with

Africa alone. And I’m building a highway, not a one-way. This isn’t Marcus Garvey-ism. This is a new-age era where our generation, to me – millennials, specifically, when I talk about that, and Gen Z and everyone to come, and thank God for Gen X because they really were the turning point – our torch that we’re holding is that of building a two-way, multiple-lane highway that’s cultural, economic, spiritual, and uplifts people on both sides of that highway.’

For the continent, his plans include a Pan-african cultural school for young boys. ‘Like, I felt very unguided as a boy in the US, and I’m meeting more boys on the continent in different cities that feel that way like the older people are letting go of our hands. I wanna create that program with the intent of building esteem in young boys and hopefully training a new generation of boys that will view women with the same reverence, respect and appreciation that I was raised to. That’s gotta translate.’ For the Diaspora, he’s focused on reconnection because healthy roots are the only way to grow. His work on the board of Birthright Africa, an organisation offering an educational experience that brings youth to the continent, already serves this goal. ‘So far, it’s been going to Accra specifically. That’s mainly because Accra and the Ghanaian government have been very welcoming to the Diaspora, which is very smart for business and I hope that the Nigerians, the South Africans, the Kenyans, the ones that should’ve already capitalised on this, to be honest, Ghana came and was like “swoop! gotcha! you should’ve done this! Akwaaba! Boom! [laughs] So, what I’d like to see is that replicated across 54 countries.’ There’s also an investment fund in the works, for potential investors in the Diaspora to pour capital into African enterprise.

That’s the grand picture

Jidenna paints of his highway

– his purpose. ‘That’s why I was put here on planet earth, and I’ve known that since I was a kid. This wasn’t a new foundation for the album [85 to Africa], it was like dusting off your purpose, cleaning it up and presenting it better so people can hear it clearly.’

There are other plans, the fun, smaller, expected kind: an update to his merchandise that’s more aligned with his style, a clothing or accessory line he hopes to release this year, and becoming one of the greatest artists-turnedactors of all time after achieving world domination with music. Ultimately though, it all comes down to making that highway a reality. The goal is a leader, not a superstar. ‘At the end of my life, I know that I’ll be an international Pan-african statesman, with real estate around the continent and the Diaspora, and multiple compounds that include health clinics and tech centres that

I own with my family. My family’s net worth will be in the billions, and we’ll use all our gifts together – that’s how I see it. That’s what I obsess about.’

‘my mission doesn’t stop with africa alone. i’m building a two-way, multiplelane highway that’s cultural, economic, spiritual and uplifts people on both sides’