Etuk Ubong’s live session on KEXP, brought to the stage in partnership with Les Trans, is a visceral exploration of "heat" and the relentless human struggle for survival and salvation. The set pulses with a raw intensity, often repeating the word "heat" as a rhythmic foundation for a deeper, more agonizing commentary on "people suffering in the land". Ubong’s lyrics explore into a world of "monkey cries" and existential dread, repeatedly asking "when would the savior come to save us" from the cycles of evil, war, and corruption that define the current landscape. He paints a stark picture of a society riddled with "division and confusion" and "stealing," yet he counterbalances this bleakness with a repetitive, driving chant for "freedom" that demands the people "go free".
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Central to the performance is the profound dichotomy of existence, as Ubong observes that "some say life is beautiful" while "some say life is hard" or "a mystery". This philosophical tension is resolved through a plea for "light to shine on the chosen one," a figure seeking clarity and purpose amidst the chaos. A poignant and critical section of the performance addresses the broken promise of education and religion; Ubong notes that while people "go to school" and "struggle to church" in search of learning and salvation, they often find themselves trapped in a cycle of "poverty" and "struggle". He critiques a system where the mantra "education is the key to be successful" feels increasingly disconnected from the reality of those laboring in the streets, markets, and roads every day for survival.
The performance captures the exhausting, repetitive cycle of the everyday hustle, where individuals "study and pray" just to stay afloat. Ubong highlights the irony of those who leave education behind because of the "poverty" that schools were supposed to alleviate, only to find the same struggle for survival waiting for them in the marketplace. This "survival to be successful" is the heartbeat of his message, portrayed through the relentless repetition of "heat" and the observation of "people suffering in the light". Ultimately, the session serves as a rhythmic cry for a "savior" and a "new world," framing the artist not just as a musician, but as a witness to the profound social and spiritual "heat" of his environment.
