Although it is difficult to classify, A Way In lends itself to the worlds of Afrobeat, Cumbia, Salsa, and Soul-a stirring of potent rhythms and enigmatic melodies that make Mitchum Yacoub's sophomore album stand tall in the world of groove music. Syncopated dance tracks, definitive horns, and steady backbeats carry tales of anguish, love, and uprising. It is a record that reveals the human spirit: a confluence of thoughtful introspection and earth-shaking ritmo. Yacoub recorded, produced, and mixed the album, ensuring the meticulously layered sound first heard of his debut, Living High in the Brass Empire. His formidable horn section-Travis Klein, Bradley Nash, and Wesley Etienne-returns in full force and with a range of masterful spotlights. Longtime friend and collaborator Divina also returns, offering understated, soulful vocals on Hurtin', When I'm With You, and Gold. Panamanian vocalist, Lourdes Iri, stamps her debut on the resistance anthem Profecia and the sensual upbeat Cumbia, Deseo Celestial. These vocal tunes fit into a kaleidoscope of instrumentals, including Away, found in the echoes of Ethio-jazz, and Sala, which feels like Hermanos Gutierrez meets Willie Colon-after sharing a smoke and a listen to Water No Get Enemy. The diversity of vocal and instrumental pieces is unified by an understanding of vintage production styles and Afro-Latin musical sensibilities. Yacoub credits his father-who immigrated to Detroit from Egypt in 1968-for opening his ears to an array of global music. His childhood home resonated loudly with the sounds of Ali Farka Toure, Oum Kalthoum, Keith Jarrett, Santana, Toumani Diabate, Stevie Wonder, Lauryn Hill, etc. Later, while attending UCSC, Yacoub studied African music with Karlton Hester-a tenor saxophonist and former student of Joe Henderson-who introduced him to Afrobeat pioneer Fela Kuti. After hearing the hypnotic force of James Brown-infused funk with Yoruba drumming, Yacoub knew there was no turning back. It wasn't just Fela's sonic phenomena, but the summoning of a higher power in the call for justice. A Way In channels the spirit of Afrobeat and imbues the many genres mentioned above with an angle of self-reflection. In a time when artificial music is rising and originality risks being buried, this album offers a refreshing dose of soulful dance music-meant to bring people together, and inward. - Nelson Khoury 2026

Although it is difficult to classify, A Way In lends itself to the worlds of Afrobeat, Cumbia, Salsa, and Soul-a stirring of potent rhythms and enigmatic melodies that make Mitchum Yacoub's sophomore album stand tall in the world of groove music. Syncopated dance tracks, definitive horns, and steady backbeats carry tales of anguish, love, and uprising. It is a record that reveals the human spirit: a confluence of thoughtful introspection and earth-shaking ritmo. Yacoub recorded, produced, and mixed the album, ensuring the meticulously layered sound first heard of his debut, Living High in the Brass Empire. His formidable horn section-Travis Klein, Bradley Nash, and Wesley Etienne-returns in full force and with a range of masterful spotlights. Longtime friend and collaborator Divina also returns, offering understated, soulful vocals on Hurtin', When I'm With You, and Gold. Panamanian vocalist, Lourdes Iri, stamps her debut on the resistance anthem Profecia and the sensual upbeat Cumbia, Deseo Celestial. These vocal tunes fit into a kaleidoscope of instrumentals, including Away, found in the echoes of Ethio-jazz, and Sala, which feels like Hermanos Gutierrez meets Willie Colon-after sharing a smoke and a listen to Water No Get Enemy. The diversity of vocal and instrumental pieces is unified by an understanding of vintage production styles and Afro-Latin musical sensibilities. Yacoub credits his father-who immigrated to Detroit from Egypt in 1968-for opening his ears to an array of global music. His childhood home resonated loudly with the sounds of Ali Farka Toure, Oum Kalthoum, Keith Jarrett, Santana, Toumani Diabate, Stevie Wonder, Lauryn Hill, etc. Later, while attending UCSC, Yacoub studied African music with Karlton Hester-a tenor saxophonist and former student of Joe Henderson-who introduced him to Afrobeat pioneer Fela Kuti. After hearing the hypnotic force of James Brown-infused funk with Yoruba drumming, Yacoub knew there was no turning back. It wasn't just Fela's sonic phenomena, but the summoning of a higher power in the call for justice. A Way In channels the spirit of Afrobeat and imbues the many genres mentioned above with an angle of self-reflection. In a time when artificial music is rising and originality risks being buried, this album offers a refreshing dose of soulful dance music-meant to bring people together, and inward. - Nelson Khoury 2026