Nigerian-born, Ghana-based artist Tommy WÁ has always been adept at genre-bending, blurring the lines between Afro-fusion, Highlife, Soul, and Folk music with the ease of a musician who understands that borders, whether geographical or genre-based, are meant to be crossed. His new EP, “Somewhere Only We Go”, is a testament to that philosophy: a five-track journey that feels intimate and expansive, like a late-night conversation with an old friend under a sky full of stars. Here, Tommy WÁ isn’t just making music, he’s crafting a sanctuary, a place where emotion, spirituality, and groove coexist in perfect harmony.
The EP opens with a declaration; “Operation Guitar Boy” is a mission statement wrapped in warm, sun-kissed guitar riffs and percussive rhythms that nod to West Africa’s rich musical heritage. Drawing from the intricate guitar work of Highlife legends like Ebo Taylor, Tommy’s voice glides effortlessly, half-sung, half-spoken, as if he’s letting you in on a secret. Layered with warmth, the record balances richness and restraint, leaving space for the rawness of his lyrics to shine. Amidst the vocal riffs and voice cracks, there’s a sense of purpose here, a quiet confidence that sets the tone for what’s to come. The perfect homage to Sir Victor Uwaifo’s “Guitar Boy”.
If the opening track was earthbound, then “Celestial Emotions” soars. A dreamy, almost psychedelic soundscape cradles Tommy’s thoughts on love and longing. The bassline pulses like a heartbeat, while shimmering synths and layered harmonies create a sense of weightlessness. It’s a song that feels like floating, between heartache and hope, between the physical and the divine. The influence of modern Afropop lingers in the background, but Tommy WÁ makes the sound unmistakably his own.
The title track, “Somewhere Only We Go”, is the EP’s emotional core. A slow-burning, soulful ode to a love that exists in its private universe. Sonically, the record embodies a minimalist but deeply evocative production, with sparse piano chords and a muted guitar lick that lingers like a half-remembered dream. Tommy’s voice is at its most vulnerable here, cracking just enough to let the ache seep through. It’s the kind of song that makes you want to close your eyes and disappear into its world. Then comes the sudden shift in energy with “Keep On Keeping On”, a track that serves as both defiance and liberation. Where the previous songs dwelled in introspection, this one is a burst of forward motion. Tommy’s lyrics are both personal and universal, a reminder that perseverance isn’t just about survival but about finding joy in the struggle. The instrumentation radiates brightness, almost celebratory, as if the song itself is cheering you on. This pivot in tone feels intentional; a necessary jolt of energy before the EP’s spiritual climax.
The EP closes on a note of pure, unadulterated euphoria with “God Loves When You’re Dancing”. A fusion of Gospel, Highlife, and Folk, this track is a sermon in motion. The melodies are infectious, the harmonies radiant, and Tommy’s delivery brims with the kind of conviction that makes you believe every word. It’s a celebration of faith, of life, of the simple, sacred act of moving your body without fear. In this final moment, the pilgrimage feels complete: from the grounded mission of “Operation Guitar Boy” to the transcendent release of the closing track, Tommy WÁ has taken us somewhere only he could.
“Somewhere Only We Go” isn’t just an EP, it’s a pilgrimage. Tommy WÁ guides us through heartache and triumph, through quiet introspection and unbridled joy, with the deft touch of a storyteller who knows that the best journeys are the ones that leave you changed. By the time the final notes of “God Loves When You’re Dancing” fade out, you’re left with something rare: the sense that you’ve been let in on something sacred. And maybe, just maybe, you have.
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