Album Review: 'Lahai' by Sampha

You may or may not have heard of Mercury Prize Winner Sampha. Chances are, you have, but maybe not through his solo work. Sampha's name has been scattered in features and credits for years, sometimes even taking the forefront on other artists albums, like on Stormzy’s “Samphas Plea”.  Sampha could easily be compared to James Blake, someone who provides vocals that add dimensions to tracks elevating it beyond its origin, with somber subject topics and hauntingly beautiful vocals. Even when taking a more passive seat in tracks, like on Kendrick Lamar’s “Father Time”, Sampha's talents earned himself a Grammy nomination. With his release of his second album “Lahai”, after a 6-year hiatus, Sampha doesn’t seem to be taking a backseat much longer. 

Admittedly, I am a huge fan of Sampha. I have been desperate to see him live for years since his debut album “Process”, and only grew with impatience when I regrettably missed his comeback shows at St John-at-Hackney Church in East London earlier this year (his first since appearing at Longitude Festival in 2018). Out of desperation, I was lucky enough to see him at All Points East this summer, a festival which wouldn’t have been as convincing without his name printed halfway down the lineup. The multi-instrumentalist gave a mesmerising show, performing emotional tracks from his Debut album like “(No One Knows Me) Like the Piano”, to teasing then unreleased tracks “Only” and “Suspended”. Having soaked in these new tracks, the British rain and the reality that he didn’t play my favourite song "Incomplete Kisses" (a frustration I rambled with nearby fans about), fans like me were only left filled with eager anticipation for the pending release of “Lahai”. 

"Lahai", which Sampha explained is his grandfathers name, middle name, and next musical chapter, further paints Samphas relationship with grief, a subject central to debut album Process, and new found growth and belonging. Released October 20^th, its themes provide familiarity to a long-term listener, with family values being a key theme running through the 14-track LP, highlighted further by the album name.  

Samphas opening track “Stereo Colour Cloud (Shaman’s Dream)” opens with the theme of time, saying “I wish you, could, time / Time, missile, back, forward”, the fast pace of the drums and piano melody pushing you into this album. In an interview with i-D, Sampha suggests the album plays with this idea of time as a constant, linking with the idea of mortality, an idea that may be tied to his loss of his grandfather and mother, and the birth of his daughter in 2020. Sampha plays with the imagery of a bird, too; “We grow a pair of wings and fly on high”, showing Sampha's more conceptual side in this album. Moreover, the album represents this transformative period of his life. 

The next three tracks really highlight Samphas growth as a person, father and artist. Spirit 2.0, one of the singles released before the album, is a standout track of the record. Lines like “I’m drifting into open skies, and I don’t feel so scared” help tell a story of acceptance and personal spirituality. The warm synths and mellifluous vocals give strength to the listener and provides comfort in times of change and uncertainty.  

Lahai opens us up to Sampha's process with the stages of grief. “Suspended” really showcases Sampha's vocals, remaining his undeniably most incredible asset. Despite this, the production is perfect, mixing R&B with techno effortlessly. Jonathan L Seagull is another highlight, another clear reference to birds and self discovery. This track brings together more group vocals and dramatic piano brings a more theatrical spin, like that of fellow Mercury prize winner Little Simz’ Sometimes I might be Introvert. Sampha is less narrative in nature and lets the listener unpick the melodies, letting the soft instrumentation build and tell the story.  

Another note-worthy track is “Only”. Having heard this live at All Points East, it brings me back to how much I appreciated it's short and sweet nature in comparison to his more heavy, intense discography. Within the album however, it fits perfectly. On “Evidence”, a seeming ode to the love, or life, of his daughter, the songwriter perfectly encapsulates the new found life that is fatherhood. While I personally can't relate to the experience of fatherhood, Sampha effortlessly paints a story where any listener can slot their own experiences in, and hear their own stories through his. 

Overall, Sampha shows a healed, refined side of the electronic artist, personally and musically. The album extends a comforting embrace that says “hey, there's another side of grief to be on, and there might be meaning to this life!”. Ultimately, this album seems to be as therapeutic for the listener as it was for him to make, and only further shows Samphas potential when the stage is his.  

To see Sampha when the stage truly is his, find tickets to his upcoming shows here, or listen to Lahai here!