| Nneka is an African-German singer/rapper who mainly | | | | Lauryn Hill - she's just not as easy to relate to. This |
| sings in English. This collage of heritages, cultures and | | | | problem has two sources: her lyrics aren't as personal |
| influences all make for a sound that is completely her | | | | and her voice doesn't possess great emotional depth. |
| own. | | | | Nneka's voice is fairly high-pitched, and it doesn't have |
| She's often compared to Lauryn Hill, which is both an | | | | great tonal range. So while she can (and does) vary |
| easy and lazy comparison; other than being a black | | | | between soft and strong, fast and slow and loud and |
| woman who sings and raps, she doesn't bear much | | | | quiet, she seems unable of conveying subtle emotional |
| similarity. For one thing, her themes are much broader | | | | shifts within or between songs. In essence, her music is |
| and less personal - she's very focused on Africa and | | | | stronger when it's bold an bright than when melancholy |
| its suffering, in particular. | | | | or dark. This also makes her seldom-used rapping |
| The other difference between Nneka and Hill is that | | | | diction fairly weak. |
| Nneka's musical influences are rooted squarely in | | | | To her credit, Nneka plays mostly to her strengths, and |
| African pop. Although Nneka mostly cites hip hop | | | | there are no songs on this album that are truly sad. |
| artists as her inspiration, she draws much less from | | | | Even when she slows down in songs like the |
| them musically than Lauryn did. Instead, Concrete | | | | oppression-themed "Come With Me," she juxtaposes |
| Jungle is a musical collage, jumping from rap to | | | | the slower verses with more hopeful, stronger |
| acoustic guitar to reggae in its tones and attitudes, | | | | choruses. |
| while always staying true to her African heritage. | | | | Lyrically, she's good, not great. As mentioned earlier, |
| That versatility is probably the best aspect of her | | | | she lacks a certain personality. She writes mainly |
| music. She can juggle a lot of personalities between | | | | about oppressed African people, keeping herself within |
| and within songs. In "Africans," she effortlessly | | | | that group. But the best lyricists can highlight the |
| channels contemporary reggae while challenging | | | | injustices placed on people with their own dramatic |
| African peoples and countries to assume more | | | | stories. Nneka lacks this ability, and simply places |
| personal responsibility. Then, in the very next song, she | | | | herself within a greater "we." That creates a distance |
| mourns the suffering of those same people over the | | | | between her and anybody who is not among that |
| fast-paced "Suffri" - absolutely nailing the contrast of | | | | group of people. |
| sad lyrics and happy music in the process. | | | | In other words, Concrete Jungle is a fun and interesting |
| This versatility is everywhere, and it makes Concrete | | | | album that's easy to like and hard to love. Nneka is a |
| Jungle a bracing listen the first time through. It's an | | | | very good musician, singer and artist who is part of a |
| album that could only have come from a worldly | | | | "we" that doesn't include most Americans or |
| African artist, and it's a very appealing and natrual | | | | Europeans. Nonetheless, Concrete Jungle is a constant |
| blend of sounds. Every song is good, and good in a | | | | stream of good to great music that can be both |
| different way from every other song, making Nneka a | | | | powerful and poignant. It's overflowing with a positive |
| true one-of-a-kind artist | | | | Afrocentrism that focuses purely on |
| Nneka has strengths in abundance, but she's got one | | | | self-empowerment. For insiders, its inspiring, and for |
| significant flaw: she lacks a strong presence. This is | | | | outsiders, it's great music. And really, that's good |
| the main facet of her music that separates her from | | | | enough. |