KAYTRANADA’s ‘BUBBA’ Danced the Decade Away

by Angelee Gonzalez

Just as 2019 came to a close and music lovers completed their “Best of the Decade” playlists, KAYTRANADA surprised the world with his own goodbye party.

KAYTRANADA is the stage name of Louis Kevin Celestin, a Haitian-born producer who grew up and began his career in Montreal. His musical inclination was apparent from youth, and in his early teens, he began dedicating his free time to making music in his basement. Uploading beats to Myspace and Bandcamp exposed KAYTRANADA’s musical genius to massive audiences of dance lovers and critics, and the popularity of his independent remixes spread his name within the electronic music community. KAYTRANADA released 99.9% under XL Recordings in 2016, and it succeeded in establishing KAYTRANADA as a producer to watch.

His sophomore project BUBBA was released on December 13, 2019, under RCA Records and higher expectations. It expands upon his previous accomplishments on 99.9%, utilizing every drum sound under the sun to create elaborate and full-bodied rhythms. He also returns to his cultural roots on several tracks, connecting electronic production with vibrant dancehall influences. Overall, BUBBA beautifully combines the euphoric energy of dance music with R&B, soul, and hip-hop in a way that is hypnotizing and unprecedented.

When it comes to making beats, KAY has explained in interviews that he feels most in his element when he works remotely. This hasn’t stopped him from collaborating with artists, though - in fact, BUBBA features 15 different rappers and R&B vocalists of varied popularity. Many of the songs include the rich, warm vocals of female R&B singers (Estelle, Tinashe, Charlotte Day Wilson, Kali Uchis, Teedra Moses, VanJess), while the selective inclusion of rap (Pharrell Williams, GoldLink, Masego, Mick Jenkins) allows their features to stand out. Almost all featured artists are people of color, and their soulful contributions truly complement the album’s sensual and catchy rhythms.

The first song on the album is “DO IT,” which begins with a tease: two seconds of drums and a pause. It then immediately picks up with KAY’s signature sample-heavy sound (the track samples three songs, layering them to create a drumming rhythm with no blank spaces). The lyrics refrain “do it,” seemingly symbolic of the high anticipation for his project. In the last seconds of the track, its gentle, twinkling chords burst into a sample that is funky and almost mechanic-sounding. It encapsulates the variety of sounds he masterfully combines.

With no warning, “2 The Music” starts with a crescendo of filtered drums and thoughtfully-timed effects. The unique vocals of R&B singer and producer Iman Omari add vibrancy to the song, which is only enhanced by the feel-good energy of his lyrics “I just want to vibe a little.” The last 50 seconds of the song is where the magic really happens, though - after the relief of Omari's vocals and a steady continuation of the track's ambient keys, KAY comes out of left field with one of the most infectious rhythms on the album. It’s a galaxy of chords, synths, and basslines that forces your body into motion.

The album’s first single “10%” featuring Kali Uchis adds an unprecedented splash of color. It was the album’s first single and much like its recently released music video, the song promotes a bright dance party with its deep bass, ambient chords, and Uchis’ luxe pop vocals. While “Taste” (ft. VanJess) uses different productional elements, the Nigerian-American duo’s seductive singing against the song’s techno-esque beat also calls for spontaneous hip swaying.

BUBBA further diversifies its appeal with “Vex Oh” (ft. GoldLink, Ari PenSmith, Eight9FLY), a perfect marriage of dance music production and African musical influence. The track marks KAYTRANADA’s second GoldLink feature, with 99.9% 's “TOGETHER” (ft. AlunaGeorge) being the first, and his cadence flows over the pulsing rhythm just as well. Eight9FLY’s vocals and Ari PenSmith’s bridge and chorus in Pidgin English give the song its own scene: a packed nightclub in the summertime, where the only people who exist are you and the one you’re dancing with.

As the album progresses, KAY’s playful dance music becomes deeper. Distorted sounds on “Gray Area” (ft. Mick Jenkins) and “Oh No” (ft. Estelle) react with their contributors’ mellow vocals, resulting in tracks that are equally peculiar and vibey. On the other hand, these distortions have an opposite effect when paired with Tinashe’s sultry riffs on “The Worst In Me;” her soul against a deep, fragmented bassline makes the track one of BUBBA’s more emotional products. Teedra Moses’ empowered soul decorates the minor chords of “Culture” in a similar fashion.

The album’s closing track “Midsection” is arguably the most independent from the album in terms of sound. The product of his creative collaboration with Pharrell Williams, it layers several instruments and funky rhythms to create a beach party sound. Many critics and fans seem to like this track the least, however, and many argue this dissatisfaction is a result of excess productional elements. On the contrary, others love it. Overall, this final is a source of disagreement and debate for listeners, which could have been his goal.

With the exception of its ending, BUBBA received an abundance of praise from fans and critics for its thoughtful construction and irresistible feel. It ended the decade with a celebration of life, love, and living in the moment, as well as the promise of a complementary independent project from KAYTRANADA in the future.