Uwade's Classics-Inspired Debut Album

Summary

Episode Summary: "Uwade's Classics-Inspired Debut Album" on All Of It

Introduction In this captivating episode of All Of It, hosted by Alison Stewart from WNYC, listeners are introduced to Uwade, a multifaceted singer-songwriter whose debut album, Florilegium, intertwines her passion for music with a deep academic background in classics. Released on June 24, 2025, Florilegium not only marks Uwade's official entry into the music scene but also reflects her scholarly pursuits, creating a unique fusion of art and academia.

Background and Musical Journey Uwade's journey into music and classics is a testament to her diverse interests and talents. Alison Stewart opens the conversation by highlighting Uwade's academic achievements:

"Back in April, singer-songwriter Uwade dropped her debut album called Florilegium. The album's name comes from Latin, which makes sense when you learn that Uwade studied classics at Columbia and then Oxford and is now in a PhD program at Stanford."
[00:28]

Despite being her first official release, Uwade is no stranger to the music world, having contributed vocals to Fleet Foxes' album Shore and touring with them. This rich background sets the stage for her own artistic expressions.

Deep Dive into Florilegium The title Florilegium, meaning "An Anthology of Writings" in Latin, aptly encapsulates the essence of Uwade's work—a collection of her artistic and intellectual explorations. Alison Stewart delves into the thematic elements of the album:

"It's so funny. This morning I just took pictures of tulips growing. Because they were just there. They were so pretty."
[12:00]

Uwade explains that flowers symbolize effortless beauty and resilience, themes that permeate her music. She further elaborates on the album's subtitle:

"I've written a song inspired by book four of the Idiot, so that is in my catalog. What's the name of it?"
[09:14 - 09:28]
"It's called Lady of Good Hope. It was recorded in 2020 and is in the vault, but one day it might be released."
[09:27 - 09:37]

Creative Process and Songwriting One of the standout moments in the episode is when Uwade discusses her songwriting process, particularly the creation of her song "Call It a Draw":

"I wrote that song in December of 2023. And what was going on in your life when you were writing it? Well, the usual. Heartbreak. Heartbreak."
[03:38 - 04:05]

She candidly shares how writing the song helped her navigate the end of a long-term relationship, offering listeners a glimpse into the therapeutic power of music. The improvisational nature of the song's structure reflects her emotional state:

"I just let myself pick some chords that I liked. I'm like, I'm just gonna see what comes with this as inspiration... I was like, no, I'm just gonna say something."
[04:27 - 05:02]

Academic Pursuits and Influences Uwade's academic interests deeply influence her musical creations. Currently pursuing a PhD at Stanford, her research focuses on the relationship between literature and enslavement in the ancient world. She shares:

"Slavery was a very massive institution in ancient Greece and Rome... there are lots of writers from the ancient world who were formerly enslaved. And I want to just see how that shows up, if at all, and what comparisons can be drawn to other cultures and times."
[08:12 - 09:01]

This scholarly perspective adds layers of complexity to her music, bridging historical narratives with contemporary themes.

Cultural Heritage and Representation A significant aspect of Uwade's identity is her Nigerian heritage, which she integrates into both her academic and musical endeavors. She addresses the often Eurocentric focus of classical studies:

"My dad was a fan. But then... the idea that it only focuses on Europe and also North Africa was such a huge part of the Roman Empire. People just forget half of these writers were coming from North Africa and probably even deeper that we don't even know about."
[10:11 - 11:06]

This commitment to diversity and representation not only informs her research but also influences the themes present in Florilegium.

Live Performances and Future Aspirations During the episode, Uwade performs "Harmaton," a track inspired by the Harmattan season in West Africa. The song resonates with themes of change, memory, and resilience:

"Harmaton Season this Out a day Talking... When the harma comes Will they know us then? Will we be forgotten? Never mind doesn't matter at all."
[14:17 - 16:24]

Looking ahead, Uwade expresses a desire to perform in Nigeria, celebrating her roots and the vibrant West African music scene:

"I would love to because I love West African music. I love Nigerian music, I love the energy of Nigeria, and I feel like it would just be so fun to do like a homecoming show there."
[13:08 - 13:48]

Conclusion Alison Stewart wraps up the episode by highlighting Uwade's upcoming projects, including her EP I Feel Different Every Day, which blends rock, R&B, and raw emotion into a cathartic sound. This episode of All Of It offers a comprehensive look into Uwade's intertwined worlds of music and academia, showcasing how her intellectual pursuits enrich her artistic expressions.

Notable Quotes

• "Flowers aren't just there to be beautiful; they embody resilience and effortless grace." – Uwade, discussing the album's themes. [12:07]
• "When the Harma comes Will they know us then? Will we be forgotten?" – Uwade, from her song "Harmaton." [14:17]

Final Thoughts For listeners seeking an enriching blend of culture, academia, and heartfelt music, this episode of All Of It serves as a profound exploration of Uwade's creative and scholarly journey. Florilegium stands as a testament to her ability to weave personal experiences with historical narratives, offering a unique and compelling addition to the cultural tapestry.

Transcript

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[Alison Stewart]

This is all of it. I'm Alison Stewart and we continue our show today with some more music performed live here at wnyc. Back in April, singer songwriter Uwade dropped her debut album called Florilegium. The album's name comes from Latin, which makes sense when you learn that Uwade studied classics at Columbia and then Oxford and is now in a PhD program at Stanford. The title means An Anthology of writings, which makes sense because even though this was her debut release, Uwade has been heard before. She provided vocals to the Fleet Foxes album Shore and toured with them when she joined us live in CR5. She began by performing a song titled Call It a Draw. Let's take a listen.

[Uwade]

Hold my head in a pillow, Carry me to all my friends. You were never meant to see me this low. I was never told how to pretend. I've been trying hard to save my breath. Praying this is just another test. But I was trying to melt into your arms. I never knew the arms, Never knew the arms. Call it a draw, call it a draw, it a draw, call it a draw, call it a draw, call it a draw, call it a draw, call it a draw. And in the distance makes it easier to see Sins of omission on the mantelpiece I'd risk it all to save you. You sleep in clothes I gave you. I've been trying hard to save my breath Seeing all the signs I must have missed When I was trying to melt into. I never knew the harm, Never knew the harm. Call it a draw, call it a draw, call it a draw, call it a draw, call it a draw, Call it a draw, call it a draw.

[Alison Stewart]

When did you write that song? Call it a draw.

[Uwade]

I wrote that song in December of 2023.

[Alison Stewart]

And what was going on in your life when you were writing it?

[Uwade]

Well, the usual. Heartbreak. Heartbreak. The things that happened to us all. Yes. I just ended a long term relationship and I didn't know what to do with myself. So I wrote this song and it really helped. Yeah.

[Alison Stewart]

Did it really help y' all?

[Uwade]

It did. It did. It gave me a place to say what I didn't know how to for a long time.

[Alison Stewart]

So it's interesting because in one article you said that that song relied less on structure and more on improvisation, which is understandable, given it's about heartbreak. Where do we hear that in the song?

[Uwade]

Oh, I think. I feel like. I think I usually like to have sort of a variety of chord progressions in songs, but this one was just basically the same thing throughout, except this sort of breakdown at the end. And so, yeah, I just let myself pick some chords that I liked. I'm like, I'm just gonna see what comes with this as inspiration. Instead of trying to craft some kind of journey melodically and thinking of taking people somewhere, I was like, no, I'm just gonna say something.

[Alison Stewart]

Has that continued with your writing, or is this sort of a unique situation?

[Uwade]

I think it's continued. I think the more I do sort of logic and sort of, like, computer production, the less I feel like I need to be not innovative because, you know, I think I still try to do things that I feel like are original to me. But, like, I think when I was just relying on the guitar, it felt much more like I had to do something different each time to keep people's attention. But I think less and less, I feel. I feel that. Yeah.

[Alison Stewart]

Can you tell us what the timeline was for recording this album?

[Uwade]

Oh, it was, I think, two years total, but only three or four sessions in those two years.

[Alison Stewart]

Oh, that's interesting.

[Uwade]

Yes. So I started recording it in December of 2022, thinking that it would become, like, an EP. I had only a few songs, and then time went by and there was no recording, and I was writing new songs. I was touring, and I was going to school. And then in 2024, last winter and spring, I had the opportunity to go into a studio in North Carolina and record at, like, breakneck Speed. Ten songs or like, well, seven songs and then a couple more in New York were mixed together. So it was sort of stop and starting over the course of two years.

[Alison Stewart]

How did you feel about that?

[Uwade]

It felt. It felt good because it felt like when I finally got to set everything down, it was time. I think it wasn't necessarily time for me to Release anything in 2022 when I recorded, because it wasn't complete, and it felt complete when I started in 24.

[Alison Stewart]

So you are in school?

[Uwade]

Yes.

[Alison Stewart]

You're getting your PhD at Stanford. Congratulations, first of all.

[Uwade]

Thank you.

[Alison Stewart]

How did you become interested in the classics?

[Uwade]

Oh, I was just talking to Simon about this. I was in high school taking Latin because I thought, you know, learning words and vocabulary might help me with my SATs, among other things. My dad was a Fan. But. But then I read book four of Virgil's Aeneid, where Aeneas betrays the queen of Carthage, Dido. And, like, it's very dramatic. It is dramatic, but I felt such an instant emotional connection. I was like, what she went through thousands of years ago is what I'm going through right now, because the guy I like didn't ask me to prom. So it's sort of that kind of that empathy, love, that is really what drove me to continue to search for that in these ancient texts, because it's so exciting to find that people were so similar so long ago. Yeah.

[Alison Stewart]

So what's the focus of your PhD?

[Uwade]

I'm still figuring it out. Okay. I've been interested in fables in the past, Aesop's Fables, but now I think I'm kind of interested in the relationship between literature and enslavement in the ancient world and the writings of the formerly enslaved. So I think that'll. That'll be the category that I. Oh.

[Alison Stewart]

Wait, say a little more about that.

[Uwade]

Well, I mean, slavery was a very massive institution in ancient Greece and Rome, but I think there were maybe more opportunities for sort of enslaved people to be manumitted and then to end up working in literary forms. And quite often for writers like, you know, Cicero and other greats, like, their slaves were the ones who were doing, like, the edits and the revisions and teaching their children. And there was whole categories of enslaved people who were also educated and educated others. And so I think there are lots of writers from the ancient world who were formerly enslaved. And I want to just see how that shows up, if at all, and what, you know, what comparisons can be drawn to other cultures and times.

[Alison Stewart]

That's so interesting. I'm wondering if your creative side, your musician side, if it ever collaborates with the academic side of you.

[Uwade]

I think not as much as I would like it to. I do write songs based on the things that I read sometimes. So I like. I've written a song inspired by book four of the Idiot, so that is in my catalog.

[Alison Stewart]

What's the name of it?

[Uwade]

Just curious. It's not out yet. It's called lady of Good Hope. It was recorded in 2020 and is in the vault, but one day it might be released.

[Alison Stewart]

Continue on, just want to make sure.

[Uwade]

But, yeah, I think I just. I like to give myself space from things. So, like, I feel like sometimes academia can be space from, you know, the stresses of creativity, but then sometimes I. I just need the release that writing and performing brings. So I don't know, I think maybe they should combine, but I'm not interested in ancient music, so I don't know.

[Alison Stewart]

Well, it's interesting because the classics. When I think of the classics, I think of them as being very Eurocentric.

[Uwade]

Yes, they are.

[Alison Stewart]

How do you. Is this something that you address on your album? Is it something that you address in your academia? Is it something that you address?

[Uwade]

Yeah, it is. Because my introduction to classics was from my dad, who was a, you know, black man. Grew up in Nigeria, raised in sort of colonial Nigeria. And so I never really thought of it as, like, a white discipline because the only person I knew who. Who was teaching. Yeah, it was my dad. And then like, eventually a bunch of other people. So I wasn't. I think that's what sort of kept me inspired to sort of, like, interrogate this idea that, like, oh, it's only. It only focuses on Europe and also North Africa was such a huge part of the Roman Empire. People just, like, forget. Half of these writers, you know, were coming from North Africa and probably even deeper that we don't even know about. So there's so much there. There's so much to explore.

[Alison Stewart]

My guest is Uede. I'm speaking to her. She's in WNYC Studio 5 performing. It's ahead of her debut album. Let's see if I can get it ready. Flor Florigium.

[Uwade]

Florilegium.

[Alison Stewart]

Florilegium.

[Uwade]

Perfect.

[Alison Stewart]

Florilegium. Florilegium. Her debut album, Florilegium. Where does Florilegium come from?

[Uwade]

It comes from this work of an author called Ovid, and it's in his Metamorphosis, I think. And he's talking about these bees that come from. Are born from, like, carcasses of bulls. Quite gory, but I think they carry flowers or something. Or they, like, I don't know, they bear the sea develop. I don't know, but it's from my readings.

[Alison Stewart]

Well, flowers are very central to the theme.

[Uwade]

Yes.

[Alison Stewart]

On the album, first of all. Why. Why flowers?

[Uwade]

Because they're so beautiful. And they don't have to try to be. They just are.

[Alison Stewart]

It's so funny. This morning I just took pictures of tulips growing. Because they were just there.

[Uwade]

Yeah.

[Alison Stewart]

They were so pretty.

[Uwade]

They're just there. And they don't run away from being there. And they can't do it. They're just like, I'm beautiful. Look at me if you want. I'm still gonna be beautiful whether you do or not. And I didn't have to do anything to Be beautiful. I just am so. I just love flowers. They're so great.

[Alison Stewart]

You've called the songs in this album Flowers of Gratitude.

[Uwade]

Yes.

[Alison Stewart]

Gratitude for what?

[Uwade]

Gratitude to you. Gratitude to everyone listening. Gratitude to my friends and my family and people who have followed me and supported me. It's been a while. I, like you said, albums are usually an introduction, but I was introduced about five years ago, so it feels like it's important for me to say thank you for staying along for the ride. And here are my flowers to you.

[Alison Stewart]

I read somewhere. I can't remember where it was, but I read somewhere that you have wanted to return to Nigeria to perform. Is that true?

[Uwade]

Yes, that is true.

[Alison Stewart]

As much as the Internet.

[Uwade]

No, no, it's true. I go back pretty regularly, but I've never done any playing there, partially because my music, you know, unless I write some more hot songs, I don't know how many people will be in the crowd. But I would love to because I love West African music. I love Nigerian music, I love the energy of Nigeria, and I feel like it would just be so fun to do like a homecoming show there.

[Alison Stewart]

That sounds good to me. Let's hear a final song from your album. What are we going to hear?

[Uwade]

This is Harmaton, inspired by a season that affects West Africa. Harmaton Season this OO a day Talking.

Up into the morning Dreaming of things that we wanted these days I cry for flowers crushed in bloom But I'll believe for you Living through every moment Letting go all I've been holding on to Portraits and terrible, efficient haunt me when will you decide? Are you happy with your life? Will you sway with me when my voice gives out? When the harma comes Will they know us then? Will we be forgotten? Never mind, doesn't matter at all.

When.

It'S brighter and it's time to be I feel lighter with no eyes on me look away now I can't bear the weight always to it Will you sway with me when my voice gives out? When the Harma comes around Will they know us then? Will we be forgotten? Never mind doesn't matter at all now the night has come O the mountains wait for dawn with me laughing I don't mind I don't mind I don't mind.

[Alison Stewart]

That was my conversation with singer and songwriter Uwade. The new EP from Chloe the God is called I Feel Different Every Day. It blends all rock, R and B and raw motion into a bold, cathartic sound. After a break, we'll hear her talk about the release and sing some live performances. That's coming up. Stick around.

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