Gordon Koang might be the biggest musical legend you’ve never heard. Born in South Sudan, Koang and his cousin, Paul Biel, began playing gospel music and historical tales and were soon selling self-produced indie CDs and tapes. Koang’s reputation grew and grew until he was in high demand everywhere in his homeland and became known as “The Michael Jackson of South Sudan.” While touring in Australia in 2013, violence erupted in South Sudan and both men applied for asylum in Australia – leaving families behind in hope of bringing them to Australia soon. Koang and Biel weren’t granted Australian citizenship for another six years after they hit it big with a couple sharp singles and their shows became rallying points for refugee charity efforts.
Koang’s newest album (his eleventh, mind you), Unity, is an uplifting tribute to both of Koang and Biel’s home countries and to hope, love, and faith.
Koang opens the album with “Aslyum Seeker” – a straight-up story of him finally receiving his Australian citizenship (“My dear asylum seeker, we know you’re waiting for your permanent protection visa. We know you’ve been waiting a long time.). He seems to be reciting one of many letters he received over the course of six years while dancehall beats thump behind him and he sings without holding a grudge.
“Stand Up (Clap Your Hands)” was the song that got the attention of Australian music aficionados everywhere and helped them realized Gordon’s music could be a new national treasure. It’s wonderfully catchy (and his first song with English lyrics) and will make you do exactly what the title suggests. The thumping beats of “Kone Ke Ran” provided by Biel and Gordon’s traditional thom (sort of a Sudanese lute) mix to provide a hypnotizing rhythm that’s impossible to ignore.
“South Sudan” is, of course, a song about his much-missed homeland and the wife and children (one of whom he has yet to meet) who await the day they can travel Down Under and meet up with him. The mix of handclap beats, hand percussion, and Koang’s intricate chords is delightful. The bright organ chords on “Mal Mi Goa” are a beautiful addition to Koang’s thom strumming.
The bouncy organ of “Tiel E Nywal Ke Ran (We Don’t Have a Problem with Anyone)” produces instant hip-shaking and grooving. It, like the entire album, is full of bright energy that cannot be ignored. Gordon’s thom is right out in front on the closer, “Te Ke Me Thile Ji Kuoth Nhial.” His Nuer language vocals skip along with his strumming and Biel’s hand drum beats.
I read a quote from Gordon about people listening to his music who might not understand Nuer. He said, more or less, “Don’t worry, God will translate it for you.” The themes of hope, love, longing, and unity are universal, and this record is a beautiful message from Gordon, Biel, and the Creator.
Keep your mind open.
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[Thanks to Brid at Pitch Perfect PR.]
