It’s undeniable that Abraham Alexander’s biography is filled with surprises, perhaps none more so than the fact that the acclaimed Texas-based singer-songwriter didn’t find music until he was already in his 20s.
It’s all the more remarkable given the depth and scope of his 2023 debut album, “Sea/Sons,” which earned him broad acclaim and continues to find new audiences nearly a year after its release.
Alexander, who was born in Greece to Nigerian immigrant parents, will open for Black Violin at Wichita’s Orpheum Theatre on Tuesday, Feb. 6.
He recently spoke with KMUW about the reception “Sea/Sons” has received as well as his current experiences on the road with Black Violin.
This interview was edited for length and clarity.
Your 2023 debut album “Sea/Sons” was a very personal record. Can you talk a little bit about the decision to dive into the personal part with the songwriting?
I just wanted to be as honest as possible when I was starting the process of doing the record. I thought I had already laid down the foundation of being honest with myself and being vulnerable. I thought that I should just keep going down that path, and it would be such an incredible thing to make my introduction to people who want to know an artist on a deeper level. It was a way for me to tell my story. The only way I could do that was by being honest and being vulnerable.
It seems that people really embraced those qualities you’re speaking of when the record came out. Was that at all surprising or did you think, “Well, this is what I intended, so of course they’re going to receive it this way”?
No, you never know. Nothing is guaranteed. I feel like there are still more people who are being introduced to the record, but my intentions were honestly to do the best that I could with this record and put my heart into it and [figured that] the people who will find it will find it. It’s always a joyous occasion when someone does, and they reach out to me and tell me how much they love the record. But you never know. I could have put it out and people could have hated it. I’m definitely thankful that there’s a lot of love surrounding that album.
I was curious if you heard from people after the record came out who said, “I had a similar story. This is so much like my own story. Thank you for doing this.”
I did and still do. I just met someone last night in Vegas who talked about how much it helped them through their journey through cancer. I didn’t write it about going through cancer, but I think that pain is synonymous. Everyone’s going through it and everyone’s trying to find their way throughout the world and their way throughout their circumstance. Music is a powerful tool to do that.
Had you known the Black Violin guys before the current tour?
I knew about their music, but never did I think that these two worlds would collide out there in the classical and hip-hop realm. I think it works. What I’m doing is also unorthodox. You’ve got folk and blues and [singer-songwriter music] all fused into one. I do love them, and I did know who they were and though our worlds were [very different]. It’s been a beautiful run so far … I’m really blessed to be sharing the stage [with them].
I think that difference is really cool because it invites people who like a spectrum of music to come out to the show.
Absolutely. One of the band members yesterday got this book from this beautiful little girl. The title was [something along the lines of] “B Is for Black and It’s Beautiful.” To see people that look like you on a stage doing something that is not necessarily the most commercially celebrated is really, really cool. She couldn’t have been older than five and to see her bring a book out of her own accord and hand it to those guys just shows you how important [what we do can be] and the light that it can shed on others. Perception becomes reality. If all you see is putting you in a box, seeing something else can [be important]. That’s what this run is.
I wonder who the musicians were that you saw when you were young, who happened to be working outside the box and who inspired you.
I didn’t find music until I was in my early 20s. I went to my first concert at 25. Music wasn’t really a thing for me. But someone that really captured me and captured what I love was Kanye West. Some of his earlier work, like “Late Registration” and “The College Dropout” was, at that time, very impressive. [He was] someone who was taking his art to this new world and this new space and dominating by being himself no matter how crazy that was. I think that carried on with me, that [idea of] really not worrying what is happening around me as long as I’m being authentic.
It's astounding to me that you didn’t find music to that point in your life and, not only that, but you also made this record that’s been so well-received. And, on top of it, you have Mavis Staples and Gary Clark Jr. on it.
I don’t take it for granted. Having Mavis Staples and Gary Clark Jr. who are both multiple Grammy Award winners, you can’t mention music and not mention them. It’s impossible. To have them be part of my debut record is an honor and privilege. It feels surreal.
I would imagine that this tour is taking you to some places you’ve never been before. Have there been any places that surprised you? Where you said, “Wow, this city really seemed to get the music, and I really wasn’t expecting that”?
We played Las Vegas last night. The people were so kind and so generous and so attentive. It was a much older crowd. There were multiple people who said, “We took notes during your set,” or said, “What was it that you said here, or you said there?” I’ve actually never had that before, where people were coming up to me, asking me questions about what I said because they were taking notes on it. I think that was such a beautiful experience.
