Admittedly, I don’t review much in the way of R&B or soul, but I think that’s because I’m very much old-school in my tastes. I did go through a phase in the mid-80s, with icons like Luther Vandross and Alexander O’Neal, though I suspect that was largely down to being coerced into listening to Radio London, back when this was very much Tony Blackburn’s genre of choice. Oh, how times have changed.

The album opens with "I’ve Got To Travel Alone", and it immediately brought to mind another era of greats, the 60s legends like Percy Sledge, Sam Cooke, Wilson Pickett and the incomparable Otis Redding. It’s not just soul in the voice, but heart in the delivery. And, as often happens when an opener unlocks those kinds of memories, I found myself genuinely excited for what was to come.

Ah, that infectious drumbeat that opens "Sunshine Lady", followed by organ and then guitar, setting a soundbed rich in influence, all carried by a young voice with an old soul. Apparently, Tiwayo actually means “The Young Old”, and it’s not hard to see why when you hear his voice. The song itself is upbeat and embodies the very definition of soul.

With "Daddy Was Born With the Blues", there’s a clear shift in mood, with strings and a picked guitar casting things in a darker, more reflective light. If I were to picture an accompanying video, it would be in black and white, walking late at night through a sleeping city, collar turned up against the chill. There’s even a subtle hint of Massive Attack, as though this could have inspired one of their tracks. Kind of paradoxical when you think about it. I also really love the guitar work in the latter part of the track, which adds a slightly different influence, but it works so well.

"My House Is Your Home", for me, is a song that screams classic. I have to admit, I trawled the internet for a while because I was convinced it must be a cover, but it isn’t. That really speaks to the quality of both the music and the lyrics, which evoke that era so convincingly. Another strong indicator for me was that, after recording my notes on the track, I had to go back and listen again, properly this time, without multitasking. It’s the kind of song that demands your full attention.

"Up for Soul" was a slightly strange track for me, mainly due to the opening. I couldn’t quite tell whether the sounds were a troop of chimpanzees, a flock of seagulls, or some other bird entirely. It makes for a disconcerting start, and a curious choice, especially as it fades quickly and doesn’t feature again for the rest of the track. I’m not entirely sure what he was aiming for here. That said, the track itself struts along confidently, with some wonderful guitar accompaniment.

With a more 60s vibe, "Electric Spanish" opens with electric piano and bongos, immediately evoking that era of spy films where the scene shifts to a late-night club. However, when the vocals come in, the feel of the track changes slightly, as they move to the forefront. The opening instrumentation provides a firm foundation on which the vocals stand proud. And again there is some great guitar work, which breaks out around the middle of the track.

The next track, "Unchained Lovers", has an interesting opening that starts on a high note and then descends in an unusual, almost gothic way. It’s initially fleeting, but then the organ comes in, giving the track a very distinctive tone, like something from a 1930s horror film. As the song unfolds further, that mood shifts away slightly, though it still lingers, buried deeper in the arrangement, giving this track a very unusual dynamic.

There’s something very familiar about "Dark Skies". It feels less R&B and more contemporary. The chord changes have a familiar quality, as if they’ve been heard many times before. That’s not a criticism, just an observation. Again, the vocals lift the track, giving it a different flavour from the preceding tracks. Different, but eminently enjoyable.

And whoa, here’s another added texture in "Mama Gave Me The Will", something we haven’t heard much of up to this point: brass and jangly piano. Actually, I say brass, but as the song unfolds I think it’s more likely electric guitar with a lot of reverb, and that impression is reinforced as it develops. It has a wonderfully brash, unapologetic sound. For me, it has all the ingredients of a song to striptease to. I’m not sure how Tiwayo will feel about that comparison, but it just has that kind of raw energy. Again the guitar and piano work on the latter half of the track are incredible.

And now for something smooth, "Love Of My Life". As the song opened, I found myself thinking of Barry White, half expecting his voice to come in, especially given the sentiment of the title. It’s more laidback and chilled. That said, I wasn’t at all disappointed when the vocals arrived, which still carry hints of Otis Redding, resulting in another wonderful track.

Closing out the album is "Peace Makers", which ends things on an upbeat note. For me, I think I would have preferred the final two tracks to be switched, but this is still a fun, energetic track, with keyboards that strongly remind me of Billy Preston and the infectious energy he was known for.

This a fantastic release. A reflective soul and R&B album that blends nostalgia with contemporary impressions, drawing on strong influences from classic 60s and 80s artists while highlighting a more modern edge. It focuses heavily on vocal performance as the central thread, supported by rich and varied instrumentation including guitar, organ, piano, and brass textures. Overall, it presents a consistently engaging and textured listening experience that balances familiarity with individuality and occasional moments of surprise.