Odeal Brings Us 'The Summer That Saved Me' EP

Full of sensitivity and feeling, British-Nigerian musician Odeal delights us in his return on his latest EP, The Summer That Saved Me, just in time for the warm weather and day parties that will occur all over London and the rest of the UK.

Known for his consistent approach to making two EPs to mark the seasonal change, his last one Lustropolis released in November, was about reaching towards a lost love.

And now, focusing on the immediate and the new, the recent experiences he has undergone as a result of receiving his British passport and being able to travel with restrictions to different countries, Odeal provides colourful images and dialogue on its follow-up up The Summer That Saved Me.

Summer, for many, is full of hope; it’s also closely associated with opportunity and curiosity. It’s a time where people are carefree, and more willing to take risks, like, for example, falling in love and getting involved with situations that will or will not last.

The Two-time MOBO Award winner and BET-nominated artist worked on ‘Miami’, which is the opening track of the project, finding inspiration at a beach with Harry Westlake.

‘Miami’ featuring Leon Thomas is a romantic offering that values the pleasure of slowness and meaningfulness in a summer encounter. Desiring to make it last, they met in Miami; however, the moment stretched to Argentina, South America. Vulnerability is given as Odeal pleads, “hold me, squeeze me, never release me.”

“I’ve always felt like pieces of myself exist in different places,” he explains. Odeal was born in Germany and but has lived in Nigeria, Spain, and the UK.“This EP was about reconnecting those pieces.”

 The Summer That Saved Me was written last March, and saw Odeal work with 14 producers to create the 7-track EP that flirts with Afrobeats, soul, R&B, jazz and Afro-Latin

One of the leading tracks in the run up to this project, ‘London Summers’ is a dedication and longing for what makes London so beautiful in the summer, amongst blue skies and sunlight, where the possibility of falling in love is moments away.

The ampiano influenced instrumental keeps things light, as Odeal explores the possibility of summer in a high-toned falsetto which nicely contrasts against the feel of the beat.

The third track, ‘Heart’, has a deep, funky bassline and jazz elements, including an expressive saxophone and an electrifying guitar. Piano notes fall underneath the feet of the instrumentation, and off percussion injects a groove that makes this the most experimental and full soundscape on the project, perfectly reflecting a night out. A bit possessive, urgent and immediate, it’s all about taking advantage of the moment when it might not come again.

Written on his last day of his LA trip, ‘Obis Interlude’ is a heartbreakingly vulnerable interception of the themes of the project so far. It timely diverts the plot and the image so far of a self-confident Odeal for something a little darker.

He demands more from his partner when they’re falling short, irritated about the lack of time spent together and the fear of it ending. Soulful, he chants, “I need more from you tell me what’s it going to take.”

You can hear the noise of plucked guitar notes on ‘Monster Boys’ as Odeal explores sexual desire and lust. Whilst the afro-jazz-inflicted ‘Patience’ exhibits a fun but genuine feel, it is about the virtues he loves in a woman. The saxophone, African percussion and Odeal’s voice encourage you to move.

A smooth number to end with, the slow jam ‘In The Chair’ is an expression of passion and sexual desire, with an unhurried pace that signals that this is a moment Odeal wishes to linger not quite ready for it to end. It’s a demonstration that there are two sides to desire, and there are many ways to enjoy a moment.

Listen here