Dance, No One's Watching is a powerful tapestry from Ezra Collective

Fast forward seven years later, Saturday evenings out have migrated from the raging chaos of endless happy hour cocktail bars, and instead, moved to late nights filled with harmonious feel good energy at Ronnie Scotts. The change in dynamic, of course, all stems from the huge rise in popularity of the genre after Ezra Collective made history by becoming the first ever jazz act to win the Mercury Prize last year with their critically acclaimed album “Where I’m Meant To Be”. Consequently, the quintet saw a whopping rise of 859% in album sales and streams, a sure sign that people’s perceptions of the synonymously ostentatious genre had been given a totally new lease of life thanks to the infectious energy of the group.

So where do you go after you’ve seemingly reached the peak of your career at only two records in? Well, sit back and take it all in, as bandleader Femi Koleoso told NME in an interview this year, that the record was made before they had even won the Mercury Prize. It’s ultimately refreshing knowing that their third record, Dance, No One’s Watching, had no weighty expectations behind it in the making; the huge pressure to create another award winning album, nor a sense of conceit.

A concept album of sorts, the record is based around the church and its impact on the purpose of dancing – an introspective look into the multifaceted culture, eloquently reflected throughout the thorough 19 track album. Gorgeous leading single God Gave Me Feet For Dancing, featuring the silky vocals of Yazmin Lacey has acted as the introduction of what to expect from the entire album, as Koleoso says “Dancing is a community thing, dancing is a spiritual thing…It’s our God-given ability to shake away the badness of life and dance instead.”

With plenty of atmospheric soundbites littered throughout, the record is fuelled by the quintessential Ezra Collective charm. Leading into the fast-paced tempo of The Herald, predecessor and aptly named Intro slumbers with what feels like a laid back warm up to welcome you into a warm hug of cheerful melodies that are yet to come. Much of that comes from the epic Ajala which kicks off with a candid yet predictable dialogue from Koleoso, “Stop stop stop, sorry sorry, you lot need to clap that part, do you know what I’m saying?”, emulating a similar vibrance to what we witnessed at last year’s Mercury performance with Victory Dance.

Although the record is abundant with eclectic intricacies sonically, with the likes of Hear My Cry carrying an incredibly anthemic composition and Shaking Body taking huge influence from Nigeria, it also simultaneously includes some of the band’s most commercial sounding work. The sultry bass driven No One’s Watching Me featuring one of London’s most exciting rising talents Olivia Dean, is incredibly easy to listen to on a never ending cycle, with Dean’s rich vocals and Ezra Collective’s sonics partnering just as well as wine and cheese. A rap collaboration also presents itself with Ghanaian rapper M.anifest and South African singer Moonchild Sanelly featuring on the late night infused Streets Is Calling.

A powerful tapestry of sonics ranging from mellow to rapid that permeate with soulful purpose, Dance, No One’s Watching is a joyful outpouring of enthusiasm which harnesses a deeper, yet fruitful, meaning.