NPR Music Tiny Desk Concerts

From the very first note, Sunny Jain’s music promotes the idea of not just crossing boundaries but obliterating them all together. The percussionist, composer and bandleader has roots in South Asia and his band and album Wild Wild East are expertly adept at infusing the sounds and melodies of that part of the world into an intense yet joyful performance. There are references to his parents’ journey to the U.S., Sufi dance music and the mash-up of Bollywood and the Italian westerns of the 1960s. Sunny Jain’s latest musical exploration is another road taken from his days leading the Brooklyn bhangra band Red Baraat (which did an explosive Tiny Desk concert in 2017) and if you listen closely you’ll hear how unique his musical vision is. In fact, if his musical projects were actual travel junkets, I would whip out my passport and jump on board as soon as I could.

It is difficult to merely take in a performance by the Rwandan group known as The Good Ones. The pathos of the band and the country’s recent history permeates the duo’s existence and its music. Adrian Kazigira and Janvier Havugimana were taught music by the latter’s older brother, who then perished during the country’s brutal genocide. They formed a band as a way to process their nation’s trauma and also bring together Rwanda’s three tribes: Tutsi, Hutu, and Abatwa. From the start, the simple guitar fingerpicking style and very sparse rhythm guide the plaintive vocals into a trance-like meditation. The music is a fascinating mix of guitar strumming that combines the kind of cyclical song form you hear on the West African kora and vocal harmonizing common to many African musical traditions. The group’s origin story may be tragic, but The Good Ones’ determination to spread its musical message is an inspiration.

The Japanese House, a.k.a. the recording project of U.K. singer-songwriter Amber Bain, put out my favorite album of 2023: In the End It Always Does is an irresistible electro-pop record full of warmly relatable songs about desire, regret and the fear that no one will ever love you as much as the dog nestled in your lap. It's a wonderful record that's buoyed by impeccably chosen guests — MUNA's Katie Gavin, Bon Iver's Justin Vernon, two members of The 1975 — and a pervasive mood of low-key dreaminess. At the Tiny Desk, Bain recasts four of In the End It Always Does' songs in fresh arrangements that swap out the synths while highlighting the more organic sounds of brushed drums, a violin, a spare piano and the occasional baritone sax. And, though she closes with the album's effervescent lead single "Boyhood," Bain also uses her set to center the album's softer material — particularly the lush gem "Baby Goes Again," which has no business languishing as a deep cut.

The BLK ODYSSY aesthetic ignites all of the human senses and it's impossible to nail down exactly what type of music he makes after one, two or even three listens. When he arrived at NPR headquarters, Juwan Elcock, aka BLK ODYSSY, pulled out a lifelike severed human head made of silicone and placed it on the Desk. It's the same head seen in the hands of a woman on the cover of his latest album, DIAMONDS & FREAKS, a project that depicts love and lust as addictive vices.

Hania Rani makes beautiful music that’s haunted, yet enchanted. The Polish pianist and composer blurs the lines of ambient, classical and house — submerged beats pulse under ripples of piano, synths and her delicate voice. She regularly performs in concert halls across Europe, but during an American tour she brought the cinematic, yet intimate songs of her album Ghosts to the Tiny Desk.

San Diego-based trio Thee Sacred Souls made its mark at the Tiny Desk with satin vocals and vintage melodies. Paying homage to southern California Latino culture meeting American soul roots, the group's sweet fusion melodies brought history and love into the space.