5x Grammy-winning musician and producer, PJ Morton, is widely known for his soulful blend of R&B, ?Gospel, and Pop, building a critically acclaimed career for himself spanning over two decades. Recently, Morton embarked on a transformative journey to four countries on the African continent, eventually coming out with his most recent album – Cape Town to Cairo. The project marks a significant chapter in his career, celebrating the cultural and musical connections between the African continent and the African diaspora.
As he sets out on his latest tour (6th – 15th September), which is taking him across various countries in Africa, Morton is eager to share this new body of work with fans. The tour is more than just a series of performances; it’s a celebration of his journey, the album’s creation, and the profound impact that Africa has had on his music.
In an exclusive interview with Anabel Rose from the iMullar team, PJ Morton sat down to discuss his experiences on the continent, the inspiration behind his new album, and what fans can expect from his tour.
This article has been edited for clarity and length
What inspired you to focus on Africa for your last trip as well as your latest project?
So I’ve partnered with Empire— the reason the idea kind of started in my head is because they asked if I wanted to collaborate with any of the African artists there on Empire. I don’t like to follow trends but I believe that they mentioned that because it’s so popular and blowing up right now. I didn’t want to do it for that reason, but it sparked a new idea, and I said, “Well, maybe I do want to make something in Africa, that would be cool.” Then I started to research Graceland, the album that Paul Simon did in South Africa. I looked at that and thought it was so cool how he collaborated, but I did see some of the criticism that he just took those sounds, went home and used them to create an album. For me, I wanted to go a step further, spend all my time in Africa and create completely in Africa, so I could be engulfed in what I was feeling and create from that. So, that’s kind of how it started and it ended up in a different place.
Were you familiar with sounds from the continent?
Yes. Some of the more popular songs I was aware of, but I wasn’t aware of how quickly genres can change, from one place to the other. Even within the same country, like within Amapiano, how many different styles there are. Afrobeat to afrobeats, highlife etc. So I was getting that education while I was there. I know a little bit about Afrobeats, the songs I like, and albums that I like but I was learning as I went. That’s why it was really important for me to not follow any trends but be authentic to myself and just go with the things that moved me. So, while I was discovering all these sounds, I was using them in a way that was authentic to me.
How did you select the countries?
It was based on what we could do on the continent and shows we could schedule. This was funny because Egypt ended up being a place where we couldn’t do much. After all, The Gaza Strip was right there, and the war was just starting up. I probably took on more than I could do on this trip anyway, so it almost worked out the way it was supposed to, because Egypt served as a breather for us, a time for rest.
The selection was never about the sounds necessarily, though they are interesting. For me, South, West and even East Africa were more about connecting to my ancestry. Egypt, however, was a place where we had a show scheduled, so that’s why we went there to perform and create. It’s an interesting choice, but I feel like it all worked out exactly the way it was supposed to.
What was your approach to recording and collaborating?
Empire helped us with scheduling and finding studios, but once we were there, we had studios scheduled in every place. Initially, I thought I was going to have all these writing camps and producers making beats I would write to. We did have producers, but as I got into it, I realized I needed to write the songs first, even before collaborating with producers. I needed to have a good song first before a producer could help me make it more authentic to the country I was in. So, I started with my usual approach: get the piano, work on what I’m feeling, create the beat myself, and build the song. For collaborations like with Fireboy DML, by the time I got to Lagos, I had maybe three songs, “Thank You”, “Count on Me” and “Simunye.” I let him hear what I had, and he liked “Count on Me.” We went from there, and he recorded it right there in the moment. It was a natural flow, and I didn’t want to force anything because that might make me write a song a certain way. I wanted to keep it as pure as possible.
How was it opening yourself up to receiving all these sounds while balancing your existing influences and knowledge?
I think my approach was a little different because I always start alone, just me and the piano or me and my engineer. A lot of the structure I was setting before this time. I wasn’t as open, especially because I was in a time crunch. I didn’t have the luxury to try this and that. I had to go with what I felt in the moment and stick to that. That’s why I couldn’t have too many cooks in the kitchen; I had to be done in 30 days. I was structuring a lot of it on my own and going with my feelings, building the songs almost immediately. There were spots where people knew where they fit in, and that’s why it felt so organic. If I left a spot open, it was to allow somebody to be authentic to who they are. That happened with Asa from Lagos, Fireboy DML, Ndambo Zulu from Johannesburg and so on. I think it’s beautiful, and it brings home what the record taught me: that we’re all connected. A Black American, a Nigerian, a South African on the same record—we all speak the same language because there’s a thread connecting us.
“All The Dreamers” instantly caught my attention because it samples vocals from Sofiya Nzau from Kenya. How did that come about?
That’s a funny story. I was writing so quickly and looking for inspiration everywhere, so I got on Splice and found a free vocal sample. I heard it and thought, “What is this?” I was in Nigeria with Xivo, a South African producer, and asked him what language it was. Nobody in Nigeria could tell me but the sample felt so good. I didn’t know it was already a song. They didn’t have the name on it so, I built the song around that sample. The song was called “Sample Lady” for a long time before I wrote the lyrics. I let Asa hear it with the sample when I went to Lagos, and she fell in love with it. All the music you hear now was there, but it didn’t have her vocals. I left it with her to write her part as we went to Ghana and then Egypt where we found out it was a Kenyan singer – Sofiya Nzau. This song came down to the wire, maybe on day 29 or 28. Asa still hadn’t sent it to me, and we had to get it done in two days. So I wrote,
“One hand in the air for all the dreamers, first they laugh and say you’ll never make it, then they dress in disguise and try to join in. You have only one life, please enjoy it.”
I sent that to Asa, and she sent me back the rest of the song. She needed that spark of inspiration because she didn’t know what we were going to write about, so I gave her a direction and that was it. We had all the songs for the record.
Was there a particular country or place in each country that stood out to you as a major source of inspiration?
Honestly, all of them in their way. South Africa, for instance, had a special connection because we recorded on Constitution Hill and everything that Mandela and that place represented felt like freedom. It was the first place I arrived in Africa, so it holds a special place for me. Lagos was also incredibly inspiring. There’s so much talent there—Fela, the continuation of Femi, Tems, Wizkid, Burna Boy, Fireboy, and so many others. It’s not by accident. I felt connected to Lagos; it reminded me of home in many ways—food, partying, the horns, the percussion. It felt like New Orleans to me, and I was creative there. We wrote songs like “All the Dreamers” and “Smoking Mirrors” in one day, after going to Felabration and experiencing the Nigerian people. So, South Africa and Nigeria were particularly inspiring. But I also loved how Ghanaian Highlife influenced me. These were the right places for me to go at this time. They all provided something special and different.
Now that it’s out for the world to hear, have you received any interesting feedback, especially from your existing fans?
Yeah, my existing fans trust me. As long as the music is good and of high quality, they’re usually supportive. They’ve been picking their favourites from the album. Some love “Found You,” which is more in my usual vein—a love ballad that’s doing well in the States. Others enjoy the funk of “Smoking Mirrors.” Different people have different favourites.
“All the Dreamers” is connecting as well, so it’s been beautiful feedback so far. We started in Europe with the tour, and seeing how people reacted to “Who You Are” and those highlife horns has been incredible. I think it’s a worldwide record that speaks to everybody in a different way. I’m excited to keep pushing and touring all of these places, especially after the documentary. I think it’s going to connect even more because people will see the process that created this. It’s not something you can compare easily—travelling to four countries in 30 days and writing a complete album is crazy. Seeing it all come together felt almost like magic.
What inspired your decision to tour these African countries, or was that always the plan?
I felt like I couldn’t make this record in these places and not play these songs live there. It was always important for me to come back, not just this time but to continue coming back now that we have this connection. I hope I can be a bridge that shows more about Africa and talks more about Africa. I want to keep this going. It was always the plan to return to the continent and play the songs I created there. It’s a full-circle moment, and I can’t wait to do that and to continue playing in more countries in Africa.
I’m also curious about the Afro-Orleans band. Was it put together specifically for this album and tour?
Yeah, for the tour. Once I started to discover how connected we are in Africa, I realized why we play certain things the way we do and how Jollof rice is like Jambalaya in New Orleans. I was going to go to Nigeria to work on the horns, but then I realized they remind me of home. So, I decided to blend my home horns with African-inspired music. That’s how the Afro-Orleans band came about—a mix of all these influences. It was after the album and after I developed the concept. I felt like I’m Afro Orleans, and the band is a reflection of that.
What were the challenges you went through trying to execute an album on the continent?
I think you had to surrender to the process. The same way I had to surrender to the songwriting and let these songs come as they are, that’s the same way I was approaching everything. Sometimes things in the airports took longer, or there was load shedding in South Africa, where the power was out, things. For me, I surrendered to it all and was just taking it in. Sure there are challenges, but that’s part of my passion now. I’m thinking of how we can remedy some of that. I have some resources, I know how some of these things should go. Honestly, this tour I’m doing, a lot of Americans don’t even play these many places in Africa. I feel like I could be a leader and help make that transition easier. Ultimately exchanging, sharing and collaborating more makes us all better. So there are challenges. Things move slower sometimes, logistically, but I look at that as an opportunity for us to grow and make it all better. All I know is, I’m pulling up and it’s just gonna continue to get better and greater.
You’ve always had a soulful sound since 2005. Do you think this experience will influence or alter the way you make music moving forward?
I wonder. I won’t know until I’m making it. I can’t unsee Africa now. It’s a part of me but, as you said, I’ll always stay authentic to the soul and R&B music that I hear. I’m open to different sounds, and I think Africa will continue to stay with me because it was such an impactful experience. I can’t imagine just dipping my toe in it. I haven’t been making music lately; I’ve been touring, planning, and working on this book. I’m interested to see how it will all come together because I did a year’s worth of work in 30 days. I wonder what the expression will be once I’m ready to make music again. For now, I’m just happy with Cape Town to Cairo. Maybe it’s because I did so much in such a short time that I’m not ready to say anything new yet.
Do you think the length of time you have to create a body of work affects the quality of the music?
I don’t think so. I think this project is a testament to that. It’s more about the environment and what creates the right inspiration at the right time. Watch the Sun was a completely different process; I took my time to get everything perfect. But I don’t think perfection is what makes art beautiful. Imperfections often do. I wanted to do the opposite this time—see what happens when I don’t have the luxury of time. Some songs were written in just two days. There’s no set time constraint; it’s more about where your soul and gut are at. I’ve written songs in 10 minutes and others in 10 months, so it just depends.
You’ve had an incredible career and achieved so much. How do you stay motivated and determine what’s next for you?
I try to stay a fan of music and the whole process. It has to be fun for me to want to do it. When I think about what’s next, I focus on what excites me. It’s not about what others think I should do or what’s the best business decision. It’s about what genuinely excites me. For example, going to Africa and staying there for 30 days with my band was an exciting and new experience. I try to keep it organic and follow what feels good, without overthinking it.
Your upcoming book, Saturday Night, Sunday Morning covers your experiences growing up in the church and your music journey. Will you also discuss how your recent experiences tie into the book?
Yes, that’s right. The book covers my upbringing, my musical journey, and more. I’ll touch on how my recent experiences connect to what I discuss in the book. Yeah, there is the chapter at the end of the book where we talk about this trip, not just about my experience, but how it all came together and where it stands in my career now because the book talks about the very beginning of how I got started in music, all the way to me being in a position where I can take my team to Africa and record this album with freedom.
Any word of advice that you would give for, especially someone who’s just starting?
I think it’s important, before you start, to figure out exactly what you want and why. I say that because it took me so many years to understand what I wanted. I wanted to connect to people, I wanted to write songs and people but I didn’t necessarily want to be famous. I wanted to be respected in music, for people to like my music and I thought there was only one way to do that at that time – sign to a major label. No major label would sign me. They didn’t believe that I had it so I had to kind of make them believe. Once I realized that I could get to people without them, it was a major shift for me. They had way less tools than they do today to make music and get it out.
Another thing is just to start. I used to try to wait for people to help me but sometimes you just have to start something. People don’t want to be a part of something that’s not already in motion. If you want to write songs, listen to your favourite songs and figure out what about them to make them your favourite and try to copy them. From imitation comes innovation. Then you start to find your voice in that.
The last thing I would say is to be authentic because I can only speak to people who want to be here for a long time. They want to do this for their lives, not get a hit song and be famous and then be gone. I’m talking about people who want a long career. Find the thing that makes you authentic and unique that separates you from what’s going on. If they can find other versions of you, they don’t need you. Whether that’s in your personality, how it can come through songs or how you perform. Sometimes when you’re different, it takes longer for people to catch on but stick to it if you believe in that.
Stream His Latest Project, “Cape Town To Cairo” Here.
