“A killer combination of groove and angular harmony” – Soweto Kinch (BBC Radio 3)
“Steven Bamidele ain’t no fool” – Emma-Jean Thackray
Steven Bamidele presents his sophomore album ‘THE CRASH!’. A collision of cosmic soul, existential dread and a desperate search for meaning in the static.
Nigerian-born, London-based singer, songwriter, musician and producer Steven Bamidele's keenly anticipated ‘THE CRASH!’ is a sonically rich exploration of purpose, doubt and personal reckoning. Written against the backdrop of an ever-changing world, the album combines soul, rock and jazz, acoustic and electronic textures, along with daydream-esque storytelling for a thought-provoking journey in pursuit of something real in an age of hyper-curation and superficiality.
The album’s lead singles reveal nuanced interpretations of its central themes, each offering a distinct perspective. “The Fool” featuring renowned US-based composer, producer and multi-instrumentalist Sly5thAve, wrestles with the self-imposed loneliness of ambition; “Exoskeleton” reveals the paradox of shedding emotional barriers, only to forge a trauma-bonded connection; and “Cuckoo Goes the Clock” with British hip-hop artist Cam Thomas, questions who will be the ‘straw to break the camel’s back’ and disrupt the comfortable facade of feigned reactions, exposing the passivity behind the ‘good life’ – a life increasingly curated for public consumption on social media, where sincerity is often sacrificed for performance
“Truman”, a reference to the Jim Carrey film ‘The Truman Show’, explores how social media has normalised constant surveillance, fostering an exhausting cycle of self-presentation – a chilling phenomenon also explored in the musical comedy Bo Burnham’s ‘Inside’. Steven laments the loss of innocence, stating, “I’m a child in an adult’s body. I feel so nostalgic for the games I played, the friends I had. I was always a self-conscious kid but feeling like you’re constantly being viewed exacerbated it tenfold. Life before being a ‘musical artist’ was the “thing” was just way simpler”. Living in a habitual state of monitoring and inauthenticity, Steven explores the ridiculousness of this reality and what it has done to his peace of mind over the years.
“In my youth, I really enjoyed writing songs and playing instruments, there was nothing more to it for me. Musical success, to me, was starting and finishing a song. I genuinely believed widespread recognition would come through the merits of the music alone. I was blissfully unaware of the realities of the industry back then and what it would eventually become. As the internet expanded and became capitalised, a lot of my generation’s life, let alone my music, has become about how we come across to people online and how, in fact, that process has seeped into the way we are with people in person”
At its core, ‘THE CRASH!’ is a soulful meditation on the weight we place on relationships, the fundamental cost of growth and the search for direction in an imperfect world. It’s a deeply personal project, shaped by Steven’s own journey through faith, disillusionment and self-discovery. Raised in a strictly Christian household, Steven’s first crisis of belief came at 17, when he began questioning the very foundations of existence. As his faith unravelled, music became his new guiding force – a source of direction, discipline and identity. But as he turned 30, disillusionment crept in once again. The stark realities of the music industry, coupled with global uncertainty, reignited that same despondent weight he had battled in his youth.
“It was an intoxicating feeling when I was younger and had no responsibilities, to foolishly believe I was the first person in history who'd worked something out that no one else had. It gave me this twisted sense of power and was a big creative motivator. Where I'm at now, nihilism is debilitating, boring and unhelpful. I’ve worked to find a way to channel those feelings into this project. I’m really proud of it”
'THE CRASH!' also features “Wreckage,” which offers a critique of performative online culture, while “Turn Ugly” embraces doomsday paranoia, questioning whether an apocalypse would feel any more surreal than reality. “Nichiyoubi” with French-born singer, songwriter and guitarist Célia Tiab, offers a raw reflection on relationships and “The Moment That You Know” slows the pace, creating space for contemplation. “Take Cover” captures the thrill of escape, but “Withdrawn” featuring Brighton-based musician Scarlett Fae, soon unravels that illusion, marking the emotional breaking point of both a doomed relationship and Steven’s evolving connection to music.
Closing the album, “Phone Home” with Célia Tiab and Manchester-based Trumpeter Aaron Wood leaves things open-ended, its final words “I need to phone home” posing a lingering question of where meaning and solace can truly be found.” Navigating the habitual doubts of existence, Steven confronts pessimism with a quiet hope for forward movement, establishing himself as a thought-provoking and adventurous artist grappling with the profound questions of his generation.
His isolated upbringing has shaped the introspective nature of his songwriting, which pairs with his distinctive reverb-drenched falsetto, synth textures and syncopated beats, to create a forward-thinking, soulful sound.
Tracklist:
1. If It Matters
2. Wreckage
3. Turn Ugly
4. Exoskeleton
5. Cuckoo Goes The Clock (feat. Cam Thomas)
6. The Moment That You Know (Interlude)
7. Nichiyoubi
8. Take Cover
9. The Fool (feat. Sly5thAve)
10. Truman
11. Withdrawn (feat. Scarlett Fae)
12. Phone Home (feat. Aaron Wood & Célia Tiab)
