the underrated progenitor of art-rock Afrobeat

Bursting onto the scene in 2007 with the self-released single ‘We Know All About You’, Bones immediately set herself apart as a true original. Characterised by blaring horns, a kick-ass Afrobeat rhythm and dark Orwellian lyrics concerning the surveillance of the state, Bones’ debut was remarkably original. The track received a decent amount of radio play in the UK, though it failed to make much of an impact on the charts – it seemed as though Bones had fallen into the unfortunate trap of being far ahead of her time.

With her 2009 debut album, Bone of My Bones, Ebony expanded on the brilliance of her early singles, creating a masterpiece that still holds up as one of the finest releases from that period. Despite its somewhat lacklustre reception, it cannot be argued that Bones music was ignored entirely; the immense opening track, ‘W.A.R.R.I.O.R.’, has been used repeatedly within films like Moxie!, the FIFA 11 soundtrack and even an advert for the Citroën DS3. However, Bones flirts with the mainstream would be criminally short-lived.

Four years after the release of her debut, Ebony Bones released the follow-up, Behold, a Pale Horse. A testament to her dedication to independence and individuality, the album was released on the singer’s very own independent label, 1984 Records. Failing to make an impact on the mainstream, the album featured a maturing of the intense danceability of her debut, including backing by the Symphony Orchestra of India and a cover of The Smiths’ ‘What Difference Does It Make?’. The album serves to support the incredible musical vision of Ebony Bones, who seemed content to be operating outside of the mainstream, disrupting industry norms and creating vibrant material for a cult following.

Gaining attention for her infectious live performances and colourful fashion sense, in addition to her musical career, the 2010s saw Bones construct her magnum opus. In the wake of the UK’s Brexit referendum, the songwriter released the seminal track ‘No Black in the Union Jack’, a stunning indictment of racist attitudes within the UK. Retaining the essential beat and rhythm of her earlier work while intensifying the political messaging that had always been present, the track featured on Bones’ third album, Nephilim.

Other than fleeting rumours of a return to music, Bones has been largely silent since the release of Nephilim six years ago, leading to questions over her potential retirement. However, given how brightly the flame of Ebony Bones has always burned, it seems incredibly unlikely that she would simply peter out into obscurity. Even her earliest material, promoted on MySpace, stands the test of time. With current trends in popular music, Bones is long overdue for a renaissance.

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