Some people say guitars have songs living inside them. Aaron Livingston, the Philadelphia-based musician who performs as Son Little, experienced this firsthand while touring through Australia last fall. Heād been working on his second album, and believed heād written all the songs he needed. But near the end of the tour, in the countryās Northern Territory, he was loaned a guitar by the beloved Aboriginal singer Geoffrey Gurrumul Yunupingu.
āI feel like his energy was in the guitar, and I could feel it while I was playing it,ā Livingston says from a tour stop in Annapolis, Maryland. āI holed up in this hotel room for really just a few hours and ended up with five songsāthree are on the record. I think there was a certain vibe that got in there, and I realized that I wasnāt quite done; I had a little bit more to say. Those three songs that I did use became the heart of the record. I think thatās when I would say it really came together clearly for me.ā
New Magic comes two years after Son Littleās self-titled debut, and itās a great leap forward, sonically and conceptually. Livingston is both a singer/songwriter and a musical alchemist, fusing electronic and hip-hop elements with blues and soul. On acoustic songs like āLetter Boundā and āMad About You,ā Livingston demonstrates the vocal versatility heād only hinted at before, and more rhythmic cuts like āBread & Butterā and āASAPā find him in sexed-up, bluesy R&B mode. With its sunny, tropical feel, āBlue Magic (Waikiki)ā is the albumās most energetic and lighthearted track, but Livingston explains that finishing it was anything but carefree.
āThat was the one song I tinkered with the most,ā he says. āI made it two different times, in different keys, with different tempos. I took a lot of things in and out, and I was trying lots of stuff to get it to sound the way I wanted it to. I was at the point of getting frustrated. I was in Hawaii at the time, and I thought, āMan, Iām in Hawaii. This is nice. I shouldnāt be here tweaking this song. This isnāt the moment for that.ā And so I went outside to the beach, where everybody was at.ā
Having collaborated with artists like the Roots, RJD2, Portugal. The Man, and Mavis Staples (he produced her 2015 Grammy-winning EP Your Good Fortune), Livingston seamlessly incorporates many different genres into his solo work. But his adaptability is often only discussed when it concerns him and other contemporary Black musicians.
āIām always asked to talk about the convergence of different styles in my music, and I donāt think a lot of white artists are asked the same thing,ā he says. āTheyāre just making music. No oneās asking Feist about the convergence of different genres in her music. Iāve never seen anyone ask Kevin Parker [of Tame Impala] about the convergence of different styles in his music. But when I listen to them, I hear hip-hop, I hear R&B, I hear rock, I hear psych-rock, I hear jazz. But no oneās asking them about that. Theyāre asking me because Iām supposed to be one of, like, three different things. If I donāt fit into one of those things, we have to talk about why I donāt fit into one of those things.ā
As for the owner of the charmed instrument that would inspireāmusically and spirituallyāmuch of New Magic, Livingston says Geoffrey Gurrumul Yunupingu died last July, less than two months before the albumās release.
āHe passed away, unfortunately, before I could thank him in person for loaning me this guitar.ā