Pa Salieu hails from Coventry in the UK, but spent the first 10 years of his life with his grandmother back in Gambia. Upon his return to the UK, he’s experienced his fair amount of turmoil. That includes losing friends, spending long nights scraping by to make a few bucks, and even getting shot in the head himself; With a shotgun no less! He lucked into being exposed to a friend who had a music studio, and gradually saw this music thing as a viable outlet to explore everything he’s gone through.
Throughout his short time in the music studio, Pa has created a style all of his own, and at 22 years old, I don’t think I have ever heard an artist that is so sure of himself and his sound at the very first try. He seamlessly blends grime, Afro-Beat and drill sounds to create a dark, imposing sound like none other. But at the same time, like even the darkest, dingiest trap house in the world, there is still always a small amount of light that shines through the cracks in the blinds.
Being “sent to Coventry” has a very specific meaning. It means to “deliberately ostracize someone…. treating them as if they are completely invisible or inaudible.” This ties directly into Pa’s album title, Send Them To Coventry. It reflects how Coventry, AKA the City of Violence, is seen in not just the UK drill scene, but by the rest of the country as a whole. Coventry is a place where you go to be ignored, to suffer a fate of anonymity. Instead, Pa is shining the light inward, back onto Coventry, in an effort to show that they will not be ignored and just like any place that is ravaged by pain, poverty and violence, there is always creativity and beauty to be discovered if you’re willing to put your preconceived notions aside.
Pa kicks of his debut album by informing all of us that he isn’t just any other drill artist. Instead of giving us a more typical drill sound in order to ease us into his more experimental leanings, he blends the propulsive tempo and synths of a dance or rave track with the posturing and shit-talking of a drill track. The outcome is “Block Boy” which is downright danceable, yet confrontational. The instrumental is skittering, and equally oppressive and cacophonous, as he demands that if “You bad, then rise up your Glock,” on the perfectly art-tuned chorus. He really has a unique, useful voice for someone who claims to not really know how to sing. The initial lines of “Look, my name is Pa and I’m from Hillset/ Bust gun, dodge slugs, got touched, skipped death,” act as the perfect summation of the touch points that inform his bars.
In addition to the small, layered changes to the track as it progresses, we hear a higher register from Pa, which begins another trend that he repeats throughout the rest of the album. When he uses this high pitched voice, it almost feels as if he is talking directly to the devil on his shoulder, or that voice in his head that is always egging him do wrong. On this first track, we see his voice declaring, “I was born on my own, mi never beg friend.” It’s like that internal monologue you have with yourself as you’re about to make a bad decision, but find a way to justify it in the end. It’s truly a fascinating aspect to many of these tracks.
“No Warnin'” with Boy Boy from Trinidad & Tobago lives up to it’s name, as it begins with these brash horn hits, as if the band leader is about 6 beers deep and is just telling a brass band to play a single note at seemingly random intervals. Pa, in his higher register, says, “Made me start warring again/ Eye for an eye, demonstration for them,” showing how his inner Block Boy is always fighting to influence his decision making. The chorus features a slick bassine, and Boy Boy gives us a rather energetic and bright performance. This adds to another theme of the album, which is were we see these bright, smoother moments sticking out amongst the dark and violent stories Pa and his guests tell. This is furthered as Pa performs another slickly sung outro as the beat morphs into something funkier, still reminding us exactly how dangerous Coventry is.
“Frontline” refuses to indulge in any of the catchier, more contemplative moments of the album. This track is all about the release of pent up anger and energy and anxiety. There is a repeating siren-like synth over the course of the track, complete with interspersed ethereal female vocals, and some bass that will absolutely rattle your ribcage. Pa talks about running into trap houses, using his blade like Rambo, and working from sun down to sun up. He spends plenty of the track giving plenty of evidence informing everyone that he lives what he raps about. I think the shotgun pellets he had stuck in his head would speak to that pretty strongly. This is Pa at his most confrontational, as he has no time for anyone pretending to live the life that has resulted in him nearly losing his own. It makes sense that this was the track that shot Pa into the spotlight. His emotionally sung refrain about falling in love with his guns was the first instance where he really showed that he’s got the vocal chops to do something extremely different and exciting.
“Flip, Repeat” plays like a triumphant meditation on the cycle of dealing drugs and hustling to make a living. Despite it being a mind-numbing, dangerous way of life, the track is almost uplifting, as Pa is simply reminiscing on the things he had to do in order to focus on his music and get the exposure he’s received so far. This features one of the most straight forward instrumentals, but the slight chipmunk vocal samples convey that feeling of positivity. He also shares a sentiment that helps explain a great deal of his success: “Fuck you, if you ever thought you could violate.” Just the idea that people out there thought they could get the better of Pa offends him to the point where he needs to repeat it twice. He may get in his artistic and expressive bag, but he still isn’t one to try in any situation.
“Informa” is a fantastic collaboration with M1llionz. This track is all about their hatred and distrust of “informers” or people who gossip and talk about things they have no business talking about. M1llionz is at his most laid back and breathy, as his verse details the paranoia of living this life. He explains, “Ain’t seen in your life what man saw in a night,” and details how he’s paranoid to the point where he knows he can’t trust his gun, because even guns jam and leave you vulnerable. Pa’s ear for catchy choruses and melodies shine here as well, since I’ve had the chorus stuck in my head ever since I heard it the first time.
“Over There” features a cycling, repeating synth that has a hypnotic quality to it. Pa employs some of his tightest flows here, really showing that he has a talent for crafting rhyme scheme and verses that just make you want to move. There are some nice flute lines throughout, as the instrumentation continues to be the second star on every track. Pa also gives us what may be his most technically well-sung chorus here, accompanied with the kind of auto-tune that aids his voice, instead of fights with it. He also has a keen sense of creating very strong imagery, with lines like “Everybody dies, this grind ain’t fair/ Fire came from the dragon’s lair.”
“Betty” is another ethereal, otherworldly track. The instrumental has this howling vocal sample, almost sounding like spirits in the wind singing and swirling around in the darkness of night. It’s eerie, and keeps you on your toes. It serves as a great reflection of the mindset someone like Pa has. It’s almost anxiety inducing, as Pa continues to recount his struggles on the street, illustrating the many times he’s overcome. You have no choice but to believe him when he says things like, “They ain’t did it, they ain’t did it like me/ Betty Betty, they ain’t badder than G, because even at only the halfway point of his debut project, he’s already proved that he is in a lane of his own.
“Pile Up,” is a smooth little interlude featuring some keys that Blanco would be right at home over. He also touches on his African heritage and his desire to simply find success in life, living up to the royalty that he comes from. At the end of the day, it’s all about piling money up and getting away from these things that mainly bring you pain.
“More Paper” with Eight9FLY” takes this subject matter and runs with it. The instrumental here is one of my favorites. The glistening synths are dripping with emotion, and sound like they should be kicking off an 80’s pop ballad sung by someone like Cyndi Lauper. It caught me so off guard at first, and hearing Pa’s gruff voice describe drillings and struggling over this kind of beat is absolutely exhilarating. This track really see’s Pa setting himself apart from the pack. After the beautifully sung chorus by Eight9FLY, Pa has the perfect platform to give us a very specific insight into his mind and past experiences, as he mourns those he has lost.
“When my brotha died, I swear I lost myself/ I blame myself, I never saw who killed AP/ Pain turns to anger when I’m reminiscing/ Mad most my life, really tryna find a way/ The day Manny died, I was confused/ Two days before, we both talked about living right.”
This acts as another reminder for Pa that despite the few moments of success and celebration, and plans you may have for the future, those plans can be squashed as you realize you lost another loved one. Pain and anger, confusion and sadness are always intertwined, but Pa ends the song on a more positive note, once again acknowledging his motivation to stay moving forward, focusing on that light that continues to shine through, even at the darkest times.
“Active” see’s Pa lean into his Afro-Beat bag much more, giving us another danceable track that is full of rumination on death, pride, and it’s relation to the streets. Lz Dinero’s verse stands out to me, as it really reminds me of Chief Keef, with his cadence and deliberate flow. Pa sounds like a completely different artist on the chorus, continuing to show how chameleonic he can be. Every verse here gives you something a little different, with solid wordplay, all fitting into the theme of their similar, yet varied experiences on the streets.
“T.T.M” or “Trap Til Morning,” acts as a sort of companion piece to “Flip, Repeat.” While that track has a more celebratory, revelatory aspect to it, “T.T.M” reflects the feelings you would get as soon as you sat down after a long night of trapping and surviving. It’s dark, yet composed; Intense, but calm. It’s a reflection of that mindset Pa had to have being out all night long, equally paranoid and exhausted of having to continue to live like this just to get by. There is plenty of Pa and that devil on his shoulder-esque character talking back and forth, as he reminds himself the numerous times he’s had to ride out to protect himself and get revenge. It’s a constant battle between just wanting to get by, or going out of your way to get revenge and take those around you down a peg or two. It is all so matter-of-fact, as he talks about how he could get done like Lenny in Of Mice and Men, but is still full of confidence since despite his lack of trust in anyone else, he asks himself, “How can I beef these nerds?/ They borrow their waps and most of them jam.”
“They Don’t Know” is one of the rare interludes that not only transcends the trap of feeling like pointless filler, but actually leaves me wishing that it was about three minutes longer. The instrumental absolutely THUMPS, and Pa’s voice, coupled with his expert use of auto-tune, has never sounded better. His flow is melodic and tight, and even in such a short track, he’s able to give you something of substance. “You don’t know about depression, most my n***** dying now/ The system showed one way, so I took a different route,” he raps. This comes after he compared himself to Hercules and the Roadrunner, running away from his competition, even interpolating the “meep meep,” sound effect to hilarious ends. I could listen to Pa in this flow, just rapping for minutes on end. I lost track of how many times I’ve ran this track back. It’s wild to me that such a short song is full of so many compelling and impressive aspects. THIS is how you do interludes. Other artists take note.
“My Family” with BackRoad Gee is one track I’ve talked about previously. It’s the most aggressive, in your face track Pa has ever made. BackRoad Gee feels like he’s manifested the late ODB’s energy and somehow upped the ante a bit. It is worth noting that the instrumentation here is some of the most impressive you’ll hear all year. It is ever-evolving, building up to the point with building string sections and chanting that you would normally hear in a massive, Roman epic like Gladiator, or 300. It then explodes into a danceable section backed by more ethereal singing and a siren that waxes and wanes throughout Pa and BackRoad Gee’s violent, energetic verses. This is one of those tracks that gets more impressive and immersive with each listen, because there’s always a new vocal line or instrumental piece that you will pick up on. It’s like a good movie that is filled with a ton of Easter eggs, just begging to be uncovered with each new viewing.
“B***K” is Pa’s most direct rumination on his identity and culture. He has touched on this here and there throughout the project, often mentioning his pride in his specifically dark skin, which he compares to gold once or twice, but this is the first time he’s designated an entire track to it. He uses some of the pride and information he gained from his time in Gambia with his grandmother to great effect here, reminding everyone that he “come[s] from warriors” and has tribal energy and pride coursing though is veins. He knows the true nature of his background, and exactly where he comes from. This fits into the overall tone of the track, which is not exactly carefree, but maybe more leisurely than you’d expect from a track with such heavy subject matter.
It doesn’t feature the scathing energy of a “Blacker The Berry,” or contemplative side and historically informed heft of Dave’s “Black,” but that is what makes this stand out. It is a track that feels comfortable. Pa understands his past, he knows where he comes from, and knows that regardless of the situation in Coventry, that can never be taken away from him. As he revels in all things black on the chorus, he notes “Di lifestyle Black/ But they fear that fact.” The world is afraid of anyone being unapologetically Black. This is reflected in the flute passages that feel like they were performed by your drunk uncle who has no musical ability whatsoever. It just fits this overall, “fuck you, I don’t care what you think,” energy that isn’t overtly confrontational, but instead sort of at peace. It isn’t loud and in your face, but Pa still let’s you know that he isn’t afraid of celebrating who he is, even if that makes some people uncomfortable.
It is also worth noting the inclusion of Albino individuals, and those over varying skin tones in the video to “B***k.” He is another artist who seems to be stressing a message of unity within his own community, as at the end of the day, they are all facing much of the same hatred. Certain individuals want to erase all Black history from the lexicon, no matter what their skin tone is. It is an important message that Pa clearly thought out and made sure to include in his art. His aunt, who has had a large influence in regards to his love for native Gambian music also performs on the track as well.
This then leads into the album closer, “Engery,” which is assisted by a beautiful vocal performance by Mahalia. I mentioned Kendrick’s “Blacker The Berry,” before, and the instrumental here reminds me of something off of To Pimp a Butterfly. It has this funky, Thundercat-esque bassline, soulful vocal harmonies, and reverb heavy guitar notes throughout. It’s another situation where Pa gives you just about anything but the normal drill inspired flair. It’s a wonderful and artistic way to end the album.
Vocally, Pa raps and sings all about how important it is to protect your energy, ignore the negativity and leaches, all while bettering yourself. Pa talks about the dire nature of life, as sometimes “it’s either the grave or the pen,” which makes it all the more important that you aren’t wasting time and effort on things that don’t matter. He treats us to some beautiful bars, which find that perfect middle ground between being pretty profound and motivational without leaning into corny, motivational speaker talk:
“Crown on my head, I was born shinin’/ They put us in the dirt so we keep dyin’/ I died a hundred times and I keep fightin’/ Cause you doin’ your people shaky and I’m still ridin’.”
Even in a society where people like him begin down low, down in the dirt, close to their graves as soon as they’re born, he’s still here and moving forward. He comes from royalty- from strength- and whether it’s his opps on the streets, or racists who would assume that he was in a gang if he ended up dead on the news, nobody can take away what’s inside him. It is a beautiful moment to end the project on, completing that arc in which the light finally breaks through all of the oppressive darkness he takes you through. It was peeking through at times, but by the time “Energy” comes around, there is a sense of peace and comfort that finally comes fully into view. Maybe he was able to finally get that Devil off his shoulder.
Pa Salieu is an artist like none other right now; Not just in regards to the UK scene, but I’d say in the entire world as well. His ability to mix flows, singing, melody with his themes of darkness, paranoia, violence, the Black experience, a surprising amount of positivity and a forward thinking mindset is unlike anyone I can think of. I swear it’s become a trend of my last few album reviews, but I can’t help it when these artists keep one-upping each other. As of right now, this may truly be my album of the year.
Send Them To Coventry features THE best production I have heard on any album, regardless of genre, country or artist, all year. It is layered and rich, transporting you to the very corners and trap houses Pa is rapping about. His he ability to walk you though his darkest moments, while also allowing you to revel in the lighter, more celebratory times is truly special. I know Pa is not the one creating the beats, but his ear for beats and ability to conceive these tracks as thought out ideas is shockingly impressive. It’s like where some artists are good at painting vignettes or small sketches, Pa is interested in creating vast masterpieces, the kind where you need a microscope to see the rich detail that is included with every single brush stroke. It’s the kind of painting where the paint is layered on itself, actually rising up off of the canvas; The type of work that you can feel psychically. It has a real weight and texture to it.
*Kwes Darko, AoD, Felix Joseph, Jevon, Chucks, HONEYWOODSIX, Yussef Dayes are the fantastic producers featured here, and they all deserve some sort of medal for their work.*
It begs questioning exactly where Pa will go from here, or instead, where he won’t go from here. This is his debut, which I just really cannot wrap my head around. It plants Pa firmly at the top of the list in terms of most exciting artists in the world. The genre bending, risking taking qualities he posses really do leave his future wide open. He’s got such a firm grasp on who he is as a human being that he has an entire world of music he could create and build upon. Right now, it’s like he has that fully fleshed out portrait completed. He could either set that aside for a new, fresh canvas, and just see what he comes up with. Or else, there is always room to add paint strokes and texture to the work he’s already done. In either regard, I don’t think this body of work with be his only masterpiece.
Whatever he decides to do, I’ll be tuning in. No longer is being sent to Coventry a bad thing. Pa brought us all to Coventry and showed us exactly what it has to offer. His next task will be keeping us in Coventry with him. I for one, am extremely confident he’ll do just that as he continues to move forward. His lyrics on “Betty” ring prophetically true: Nobody, I mean NOBODY, does it like King Salieu.
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