Our journeys are what make us. We are as much about the people and places we leave behind as those that we settle into. Few emerging artists have considered this more deeply than British artist Wesley Joseph. Originally hailing from Walsall, he moved to London to study film and has spent years meticulously melding stories from the streets with atmospheric, high-concept R&B. All in an attempt to understand the places that shaped him.
His debut album, Forever Ends Someday, feels as if it were pulled from the depths of Joseph’s soul. It’s a product of years of conflict, struggle and hope as he tries to reconcile the distance between his roots in the West Midlands and his artistic aspirations. From the very first note, he establishes himself as an artist with a clear, singular vision on an album that never baulks from the dark side of life and never takes shortcuts. Musically, it fuses fluid electronics, sophisticated soul, and gritty hip-hop on an album that continually enthrals.
The opener, “Distant Man”, begins in an understated fashion, with crystal-clear piano notes framing Joseph’s soulful vocals as he wistfully reflects on his artistic journey. Any sense of calm is fleeting as arpeggiated synths and punched pads fracture the mood. It perfectly captures the vulnerability at the heart of the album. On the one hand, lines arrive, fully formed and confident, but scratch the surface, and you uncover an imagined conversation between his current and future selves as he looks for reassurances that all his efforts will eventually be rewarded.
“White Tee” is similarly impressive, held together by a funk bassline and vibrant hip hop percussion, yet tempered by twinkling piano notes. It’s contemporary British hip-hop filtered through classic 1970s soul and R&B. Lyrically, it serves as a diary entry, offering a window into the daily threat of violence that shadowed his youth in Walsall. The bridge impressively captures the visceral chaos of a fight in a club, sublimating it into a soaring, angelic gospel crescendo.
“If Time Could Talk” dials back the intensity and showcases his ability to write soulful, pop songs. The production is impeccable with electronic flourishes and sounds spun into delectable melodies as he muses on his artistic and personal journey: “If time could talk, it would tell you that I’m on my way / It would tell you all the things I had to do to stay.” It quickly becomes apparent that Joseph is a master of his craft. In the more experimental R&B “Pluto Baby”, it’s clear that every beat, melody and note has been carefully and meticulously considered and refined. As a result, no two listens are the same, revealing off-kilter percussion and ambient swirls.
Soulful rap ballad “Quicksand” is an arresting artistic statement. By showcasing Wesley Joseph’s fluid delivery, every line adds depth to his story until it feels like an entire lifetime distilled into a single verse. The jaw-dropping finale finds him wrestling with his past with such vulnerability that it will stop you in your tracks. The gritty “Piece of Mind” serves notice of his ability to craft a straight hip-hop tune with a twist. Notable for featuring a typically maniacal cameo verse from hip-hop heavyweight Danny Brown, this is still Joseph’s show with his elegant vocals acting as the perfect foil. It’s a clear standout and should serve as his calling card for years to come.
“July” also features a big-name guest in the form of British R&B star Jorja Smith. It’s a blissed-out, soulful tune steeped in lush musical textures. At first, it feels perfectly fine-tuned for sun-drenched festival slots, but beneath the surface lies a bittersweet ode to the friction of outgrowing one’s roots. “Seasick” again highlights the dynamic production. Atmospheric electronics and acoustic guitar do battle with pounding beats in a musical tug-of-war. Musically, there is always a fascinating idea lurking around the corner.
“Shadow Puppets” is a resilient anthem for those who have had to struggle to reach their goals; the fight and sheer force of will are palpable in every line. Cinematic closer, “100 Miles” finds him contemplating the distance, both literal and metaphorical, he has travelled from his upbringing in Walsall. There is a sense of him finally realising which roots to cultivate and which to cut back. Musically and thematically, it serves as a fitting conclusion to a very personal journey.
Forever Ends Someday sounds like an album that has been a lifetime in the making. Ultimately, it’s a sweeping and ambitious collection of tracks that serve as a vivid self-portrait of a hugely talented new voice in British music. By boldly articulating his past journey, Wesley Joseph has set the stage for a spectacular future.