Genesis Owusu channels political fury into genre-defying third album

Genesis Owusu has released his third studio album, Redstar Wu & the Worldwide Scourge, arriving with significant expectation after his previous records, Smiling With No Teeth and Struggler, both won the ARIA album of the year. The new LP follows a period of intense global touring for Struggler, with this follow-up instead being crafted in the intimacy of a converted church in Wales alongside collaborator and producer Dann Hume. The setting has resulted in a tightly wound production that balances punky scuzz with intricate electronic undercurrents, including synth and bass elements reminiscent of the band Underworld.

The album represents a conscious departure from the dense symbolism of black dogs and unkillable roaches that characterised his earlier work. Owusu-Ansah, whose real name is Kofi Owusu-Ansah, has stated that the project exists “very much on planet Earth in the 2020s”. This intention is evident in the opening singles, Pirate Radio, Stampede and Death Cult Zombie, which skewer billionaires, alt-right figures and casual racism with equal parts vehemence and wit. The record also features a dance-oriented fourth single, Life Keeps Going, which hints at the genre-hopping style that defines the full tracklist.

Central to the album’s narrative is the alter ego Redstar Wu, described by the artist as “me seeing the world as it is”. This persona delivers a fierce performance on The Worldwide Scourge, where Owusu-Ansah raps breathlessly over a lurching beat about a world in collapse. The track includes lyrics addressing the conflict in Gaza, serving as a central statement of the artist’s engagement with current global events. The album also features guest appearances from US rapper Duckwrth on the funk track Hellstar and New Zealand indie-pop artist Ladyhawke on the woozily romantic Falling Both Ways.

While the album engages with the unease of the present moment, including references to Andrew Tate and political figures, it maintains an accessible and fun quality. The production incorporates a notable electronic undercurrent, particularly on tracks like 4Life and the late-album standout Big Dog. Vocally, Owusu-Ansah displays a range from luxurious crooning on Blessed Are the Meek to the chanting vitriol of Most Normal American Voter. The record was road-tested in September at three intimate gigs at the Sydney Opera House, where the artist demonstrated the magnetic charisma that grounds the music’s political fury.

Redstar Wu & the Worldwide Scourge emphasises Owusu-Ansah’s uniqueness within Australian music, channelling his lived experiences as a Black artist into unabashedly political songs. Despite the heavy subject matter, the album concludes with a softer landing through tracks like Situations and One4All, bringing the record full circle. The Guardian Culture notes that the depth of feeling across the LP makes a strong case for the durability of the album format, offering a raw and human source of hope amidst the noise of the 2020s.