Joshua Idehen & Ludvig Parment: Comforting Dance Music with Political Edge

The collaboration between Joshua Idehen and Ludvig Parment is resonating with audiences across Europe, offering a unique blend of spoken word and dance music that’s both politically charged and uplifting. Their debut album, “I recognize you’re hurting, everyone is hurting, everyone is trying, you have got to strive,” released March 6th via Heavenly Recordings, is already garnering attention, with several tour dates sold out. This isn’t simply music; it’s a carefully constructed space for both catharsis and celebration.

From London’s Jazz Scene to Stockholm’s Studios

Idehen’s journey to this point has been circuitous. Before finding a creative home in Stockholm, the British-Nigerian artist was a fixture on London’s jazz and spoken word scene. However, he felt stifled, unable to achieve the artistic and personal fulfillment he craved. A move to Sweden during the pandemic proved pivotal. “I had filled 40 and I had my daughter,” Idehen explained in an interview with Dagens Nyheter. “I came to a point where I didn’t want my music to be about depressive stages: either feeling sorry for myself, or feeling sorry for the world.”

This shift in perspective coincided with a meeting with producer Ludvig Parment, also known as Saturday, Monday. The pair began exploring a sound that fused gospel house, rave, and spoken word, drawing inspiration from artists like Faithless, The Streets, For Those I Love, and Real Lies. Their connection, built over a decade of acquaintance, proved fertile ground for experimentation. Parment, a trained music teacher who never pursued the profession, focused on crafting a sound that was both danceable and emotionally resonant. “I’m keen to secure a sound that is danceable but has enough depth to carry Joshua’s texts. It’s challenging, but I’m happy with how the balance turned out on the record,” Parment told Dagens Nyheter.

A Soundtrack for Troubled Times

The album’s title itself, “I know you’re hurting, everyone is hurting, everyone is trying, you have got to try,” encapsulates the duo’s approach. It’s a message of empathy and resilience, born from Idehen’s own struggles with grief and self-doubt following a challenging breakup. He describes the title as a poem he wrote to himself during a period of personal turmoil, a reminder to persevere even in the face of adversity. This vulnerability is a recurring theme throughout the album, offering listeners a space to acknowledge their own pain while simultaneously finding hope.

On stage, Idehen’s presence is captivating, and his music is designed to move audiences. A performance at the 2023 Polaris Prize ceremony reportedly had the entire room dancing, even including the King of Sweden. This ability to connect with people on a visceral level is central to the project’s ethos. Idehen actively seeks to create music that invites joy and movement, even amidst challenging circumstances. “When I write uplifting messages, it’s not about ignoring what’s happening in the world. It’s about being happy despite everything, without putting on blinders,” he stated in the Dagens Nyheter interview.

“Mum Does the Washing” and the Power of Anecdote

One standout track from the album, “Mum does the washing,” has a particularly engaging backstory. Originally conceived as a Twitter thread in 2015, the song is a humorous and insightful exploration of political ideologies framed through the everyday act of doing laundry. Idehen’s inspiration came from the storytelling traditions of his childhood in Benin City, Nigeria, where anecdotes were frequently used to convey complex ideas. The song’s lyrics, which include lines like “Colonialism: you barge into your mum’s room / Claim you ‘discovered’ her room,” offer a sharp critique of power dynamics and societal norms.

The song gained viral traction over the years, spreading across different corners of the internet. Parment added a verse about Zionism in 2024 before finally setting it to music. Idehen’s experience with online debates, particularly during the “Gamergate” controversy – a period of intense online harassment targeting women in the gaming industry – informed the song’s creation. He used the platform to voice his support for journalists who were being targeted with hate, and “Mum does the washing” emerged from that period of engagement. You can read more about the controversy and the support for Anita Sarkeesian here.

Blending Political Commentary with Dancefloor Energy

The duo’s music isn’t afraid to tackle difficult subjects. Idehen’s lyrics often oscillate between the roles of an encouraging life coach and a keen social critic. This duality is reflected in the album’s sonic landscape, which seamlessly blends energetic beats with atmospheric soundscapes. Tracks like “Choose yourself” deliver powerful political messages within a framework of compelling dance music. The combination is intentional, designed to engage listeners on both an intellectual and emotional level.

Idehen and Parment’s collaborative process seems to thrive on this tension. Parment’s production aims to create a space where Idehen’s words can truly resonate, while Idehen’s lyrics provide a grounding force for the music’s energy. The result is a sound that feels both urgent and hopeful, a soundtrack for navigating the complexities of modern life.

Tour Dates and What’s Ahead

The duo is currently on a European tour, with dates already sold out. Upcoming performances include Inkonst in Malmö on March 21st, Fasching in Stockholm on May 7th, and Way Out West festival in Gothenburg on August 15th. Information about tickets and additional tour dates can be found on the Way Out West website. Following the tour, the pair plan to continue exploring their unique sonic territory, pushing the boundaries of spoken word and dance music. Their collaborative spirit and willingness to address challenging themes suggest a promising future for this dynamic duo. You can also find more information about Joshua Idehen’s previous work, including his contributions to Sons of Kemet’s Mercury-nominated album ‘Black To The Future’, on Revamp Magazine.