A Review of the album ‘Princesses Nubiennes’
Princesses Nubiennes is the debut album of the Afro-French duo, Les Nubians, and its mesmerising mélange of jazz, hip hop, and RnB mixed with African rhythms, makes for a captivating listen. Sung entirely in French, the album exists as an insight into the experience of African diasporic music, reflecting the duo’s Chadian heritage and their upbringing in France. This album is formative for the French Black music scene in the way in which Hélène and Célia Faussart impressively weave the themes of Black empowerment throughout the sonic experience, creating a piece of art which speaks directly to me and my reality as a feminine Black person.
The opening song “Demain Jazz” is seductive with its sleek jazz beat, enticing listeners into appreciating Les Nubians’ desire for peace. The chorus advocates for “paix pour les miens demain” and serves as a demonstration of the frequent hypnotic chorusing in the album, existing almost as elevating musical manifestations. While the album begins with sentiments of positivity for the future, “Les portes du souvenir” is a demystification of the past, a revelation of truths hidden in the Black experience. The twinkling progression of the melody, coupled with the seraphic violin chords, paints the scene of ascendancy into a realm of higher consciousness – a new understanding of the power inherent to existing as a Black woman.
Princesses Nubiennes Album Cover
Credit: Princesses Nubiennes, Les Nubians, 1998. Amazon, https://www.amazon.co.uk/Princesses-Nubiennes-Nubians/dp/B00000AGDS.
Through the opening songs of their album, Les Nubians establish their purpose – to reconstruct the essence of the Black feminine experience. The hit single of the album, “Makeda”, eponymously refers to the Queen of Sheba, a representation of feminine strength in various African folkloric traditions. Once again, the duo incorporates hypnotic choral singing to revere their ancestral connections to the “belle et puissante” Makeda, Queen of Sheba. The heavy bassline fortifies the empowerment in the lyrics “la reine de saba vit en moi, Makeda vit en moi”, smoothly laying on the melody and creating the song which has resonated with millions since its release over 20 years ago. Parallel to this song is “Princesse Nubienne” which continues the theme of Black royalty in a way which is relevant to the modern experience. While the notion of Black people all being descendants of royalty is now seen as outdated, Les Nubians touch on a previously unspoken theme within the Afro-French canon of music: the revalorisation of Black ancestral history as a form of empowerment.
Not unlike other neo-soul productions of the late ‘90s, the duo are able to gracefully lay their voices over slick rhythms; but what defines this duo is their use of French during a time where the Anglosphere dominated this genre of music. This linguistic diversion translates itself into musical liberation, as the duo turn outwards to music outside the softer sounds of jazz and soul. One of my favourite songs on the album is “Sourire”, its heavy bassline reminiscent of a DnB track, and its beautiful harmonies elevating the track, creating a satisfying union of ‘90s breakbeats with the duo’s West African inspired melodies. In a similar vein, “Tabou” is a cross continental blend of French rap and ‘80s Afrobeat, with a sample from British Nigerian Sade tying the track together. This track is by far the most musically complex; the saxophone, which mirrors itself onto the styles of Fela Kuti, takes listeners by the hand and guides them through the mesmerising sounds of Brit-soul artist Sade, and introduces its listeners to the stirring rhymes of the featured French rapper. The fact that these songs are so sonically brilliant is a demonstration of the undeniably compatible relationship Black music genres have in their ability to effortlessly transcend borders.
Credit: http://kalamu.com/neogriot/2015/08/19/video-audio-les-nubians/
The themes of empowerment are present throughout the album; however, Les Nubians show a vulnerability in their exploration of the emotional experiences of being associated with Black femininity. There is an appreciation of the sensualities of Black femininity in “Embrasse-Moi”, a funky RnB track which sits solitary in its exploration of intimacy. While artists like Lauryn Hill preached cautionary tales of love, Les Nubians created an RnB track with a bassline that plunges listeners into the sexy rhythms, embracing Black feminine sensuality. I appreciate how Les Nubians also explore the vulnerabilities attached to the Black feminine experience, and their final track is a poignant exploration into the suffering that presents itself in the face of Black empowerment. The chorus, in the typical Les Nubians style, is once again hypnotic, lamenting their pain in the lines “Assez de souffrances, Assez d'ignorance, Assez de misère, Assez de larmes versées”. The final line of the chorus, and consequently the final line of the entire album is, “assez de pouvoir” – a definitive declaration of the power which underpins the Black feminine experience with the melancholic yet ethereal RnB sounds, unveiling the bittersweetness of this pain and power.
Credit: Photo by Ádria de Souza/ Pref.Olinda on flickr
To me, this album is beautiful. It takes its listeners on a bewitching and captivating journey through the Black feminine experience, something never seen before by many Black French people. To hear yourself acknowledged in the language you understand is crucially formative, especially in the face of the rife anti-Blackness of 1990s France. While the success of the album was completely unexpected, the emotional depth and spirituality of the album transcends language, facilitating its popularity. The duo have gone on to release three more albums, but Princesses Nubiennes will remain timeless in its raw and honest depiction of the journey of empowerment for the Black feminine experience.
