One People One World Image
Metascore
71

Generally favorable reviews - based on 7 Critics What's this?

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  • Summary: The 10th full-length release for the saxophonist (and oldest son of Afrobeat artist Fele Kuti) was recorded mainly in Lagos with his band Positive Force.
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Score distribution:
  1. Positive: 3 out of 7
  2. Negative: 0 out of 7
  1. Feb 23, 2018
    80
    Kuti and Positive Force don't let up at all during One People One World. Impeccably sequenced, it runs from strength to strength, dazzling with expansive sonic textures, killer arrangements, and a musical genre palette that exists seemingly without boundaries. As a recording artist, Kuti has been reliably consistent, but this date is his masterpiece.
  2. The Wire
    Apr 5, 2018
    80
    It’s a beautiful album, easy to play and dance to, but no less than Seun’s, tinged with enough bitterness, anger and sorrow to provoke deep thought about West Africa’s richest and most problematic musical legacy. [Apr 2018, p.51]
  3. Feb 27, 2018
    70
    To come into One People One World with preconceptions of hot, pounding Afrobeat is to set oneself up for disappointment. To listen with an open mind is the key to appreciating Femi Kuti's unique music, not confined to a genre or locked in rigid ideas of stylistic tradition.
  4. 60
    It’s always been hard to translate the irresistible propulsion of Femi Kuti’s live shows into a comparably effective studio realisation, but with One People One World he makes a decent stab.
  5. Q Magazine
    Feb 23, 2018
    60
    Lilting protest number Corruption Na Stealing comes closets to discovering a rhythm of its own. [Apr 2018, p.111]
  6. Feb 27, 2018
    60
    Femi Kuti is still an entertaining performer and One People One World is almost tailor-made for live shows with its sharp performances and joyful tone. But listening to it on its own is a much less satisfying experience. These songs are too similar in tone and message, and unfortunately that makes for an undynamic album.
  7. Mojo
    Feb 23, 2018
    60
    Only final track, The Way Our Lives Go, a slowish ballad, counts as a surprising divergence from the template. [Mar 2018, p.95]