15 years in the making, Nubiyan Twist return with their fifth studio album, Chasing Shadows – a record that oozes the pulse, warmth and spontaneity of true human connection. Releasing on 20 March, it unapologetically blends jazz, afrobeat, hip-hop and electronic elements into one unique sound.
Tom Excell, bandleader and Sheffield veteran, can be found exploring the space between the organic and the digital in the studio, and between the Peaks and the city centre – driven by a belief that music is for humanity and positivity. We sat down with Tom to talk creation, the future and why Sheffield is home.
You wanted to capture the “chemistry and chaos” of it all. How did you capture that in the studio?
I think Nubiyan Twist is always prioritising the live side of our music. Since day one, we’ve focused on the live aspect, and audiences often say it’s another level compared with the records.
But luckily, the answer this time round was an amazing studio in Sheffield called Crystal Ship – a world-class space. It meant we could record ourselves playing together live as much as possible, which is really the goal. Obviously, you can now mimic that vibe artificially through AI and other means, but it doesn’t really matter. For us, we know we have to create it together.
So it’s primarily for us. We want to record as a collective as much as we can, and hopefully that comes through in the sound.
On that note, is the whole band on stage?
There are nine of us on stage, and there aren’t many bands of that size still touring as a collective. The smallest we ever got to was seven. It’s a raw, live experience without any backing tracks.
The project is called Chasing Shadows, but what does that title mean to you?
We were toying with loads of names. I’ve got a kind of awareness of AI – maybe even an anti-AI leaning behind the record – tied to the fact that we are a band of live musicians. Chasing Shadows felt like a nice way of leaving space for interpretation.
For me, it’s the idea that the sun has been shining on us forever – every human casts the same shadow. We’re all equal in that sense. But the ‘chasing’ part is about following the shadows of past generations and ancestors, and a way of life before digital control took over.
It’s about trying to preserve the best of the past – the teachings that are being lost – and chasing those who came before us.
You’ve introduced a new band member, Eniola Idowu, as lead vocalist. How does she fit into the group?
She’s a fantastic writer with a really fresh style and energy, which fits perfectly with the direction of the new material. There’s a great blend of soul, jazz and contemporary R&B.
She always catches my ear, and the material I was writing fit nicely with her style. We linked up in the studio and co-wrote a lot of the vocals together, which was a great process.
She’s also brought a younger energy into the band. We’ve been doing this for 15 years, so it’s refreshing to have new perspectives.
After 15 years together, how do you feel about being so ingrained in that community?
It’s a huge blessing. I feel over the moon that I’ve managed to keep making music with my closest friends, and new ones along the way.
It’s not an easy industry – the live sector is tough and facing plenty of challenges. Unless you’re incredibly lucky, it’s hard to make a living from your own music. The fact we’re still touring and writing as a large ensemble is something I’m really proud of.
You said it’s been tough. Have there been any lows?
There have been times when I’ve wanted to give it up. There’s so much work, and people don’t always understand the challenges of being in a band – especially as a bandleader.
But something keeps me going, and that’s the connection with the audience. Hearing how the music has helped people through hard times, or been part of their good times, is really special.
You’re touring this year and stopping at the Foundry in Sheffield. Are you excited to be back on the road?
Absolutely. Yorkshire feels like a spiritual home for the band. I’ve lived in Sheffield for six years now, raising my family here, and it’s influenced the music a lot – the city, the people, the Peaks, the nature.
It’ll be really special to play this new material to a home crowd.
For me, it’s the idea that the sun has been shining on us forever – every human casts the same shadow. We’re all equal in that sense.
How has Sheffield shaped your creativity?
It’s enabled me to keep doing this. I lived in London before, and there’s no way I could be raising children and making music in the same way there.
Sheffield offers community and affordability. I’ve always loved the creative energy in the north and felt it’s a shame people think they need to move to London.
There’s more breathing space here – to create, to be present. It’s made it possible to balance family life with running a large, complicated band.
You’ve worked with big names on this record, including Patrice Rushen. How did that come about?
It’s grown organically. I never imagined I’d collaborate with so many of my heroes.
It makes you realise the best artists are often the most open and humble. Working with Patrice was a real pinch-yourself moment.
So are the features community-driven?
Absolutely. Community is everything in music. Even with the negatives around AI, the positive is how strong that sense of community remains.
In this experimental space, bringing together different diasporic influences, that network is vital. The same goes for Mr Williamz – we go way back to sound system nights. It’s always been organic.
Why is ‘Threads’ (ft Patrice Rushen) only available on CD and digital?
That’s because we didn’t receive Patrice’s recording in time before the vinyl went to press.
It would definitely have been included otherwise, but things often come together at the last minute.
Which track best represents Nubiyan Twist in 2026?
It changes daily. Music is fluid – it depends on your mood.
Today I’d say ‘Mlonje: Voices Joined’ (ft The Zawose Queens). It feels fresh and unique. Their harmonies, the scales they use – there’s something deeply connected to nature in it.
It’s also the first time we’ve had a bass solo on a record, which I’ve been pushing for years. Tomorrow, it might be a different track.
The album has been described as ‘defiantly human’. Were there any mistakes that made the final cut?
Loads. Mistakes often become the most interesting parts.
A lot starts with a demo, but once the band gets involved, ideas evolve. Sometimes something unexpected happens and you realise it’s actually great – and that becomes the direction. That’s part of the art.
Full details and tickets at www.nubiyantwist.co.uk/listings
