• 06:00-10:00

    Breakfast 06:00-10:00

    • Nico

      As the older one in the team, Nic Mans has travelled to over thirteen countries where he has experienced new and interesting cultures and has pushed himself to new frontiers.From backpacking and island hopping in Asia to finding history lessons and admiring architecture in Europe and seeing the great spaces in North America, Nic has been on different soil for over three years and did it all.Tune in to the station to hear his diverse take on topics and share a laugh now and then!

      Read More
    • Tumi

      Tumi is a proud Pedi Capetonian who was born and bred in Mitchell's Plain. This sassy presenter is a good mix of being motherly, fun and determined to achieve everything she sets her mind to. Her motto is "Don't wish for it, Work for it" which she's lived by for most of her life boasting the fact she was the Head Girl of her primary school and High school among other amazing achievements.

      Read More
  • 12:00-14:00

    Halftime 12:00-14:00

    • Wesley

      Wesley eats, breathes and lives sport. Look up the word in the dictionary and there right next to it you'll find a picture of him. A man of many talents, he also has a keen ear for a good song. His powerful, sultry voice echoes through every show, keeping you entertained with all the right banter.

      Read More
  • 14:00-16:00

    Lunch 14:00-16:00

    • Celest

      Saying she has a "zest for life" does not entirely justify nor describe who Celest Anthony is. Being the only child has never stopped her from devoting a big part of herself to helping others. Born and raised in the Stellenbosch, she finds her passion in helping to develop and better the community. At the age of 25, she is currently on the road to obtaining her BA degree in Social Work, along with previous qualifications in community development and trauma counseling. Celest enjoys filming and watching documentaries, reading and spoken word. Her eccentric and extroverted nature is what makes her relatable and her determination and independence is what keeps her going each and every day. A dose of Celest a day is sure to keep the doctor away.

      Read More
  • 16:00-19:00

    The Drive 16:00-19:00

    • Nathaniel

      Nathaniel is a 5th year student trying to make beautiful radio. He loves music and when he's not DJing, he loves making it himself. he is married to Mother Nature, sorry ladies, as he is an avid hiker and enjoys the thrills of the outdoors.

      Read More
    • Gaby

      Gaby is a BSc Sport and Exercise Science graduate. She is Cape Town born and Joburg bred. Her bubbly personality and positive vibe can fill any room. Gaby is a free spirit who has a great love for music, especially house music, sport and the Kardashians. She is a true student of the radio game, her passion and enthusiasm for the media form runs deep, both as a listener and as an on air persona. Gaby brings a light hearted-ness to our line-up that allows people to relate and engage.

      Read More
  • 19:00-22:00

    Detour 19:00-22:00

    • Cher

      Cher hails from Cape Town, aims to conquer the influencer journey to market herself to the world.

      Read More
  • 22:00-01:00

    Hitlist 22:00-01:00

    • Arnold

      Born and bred in the town of Mossel Bay, Arnold moved to Stellenbosch to study LLB. Your friendly neighbourhood music guy, Arnold lives and breathes all things music. If you want to know anything about any artist past or present, he is your man! With a deep passion for science, video games and comic movies, he always strives to learn more about life and the people surrounding him. A vibrant personality with an unique sense of humour, his aim is to put a smile on every face he meets.

      Read More

John Legend

John Legend
Contemporary R&B
Release date
01 January 1970
John Legend
01 January 1970 | Contemporary R&B

John Legend’s sixth studio album opens with a burst of impassioned singing that sounds remarkably like a statement of intent. “They say sing what you know, but I’ve sung what they want,” he offers on a track called I Know Better, over a sparse piano backdrop. “Some folks do what they’re told, but this time, baby, I won’t.”

You do find yourself wondering if this isn’t a reference to Darkness and Light’s predecessor, 2013’s Love in the Future, the album that spawned Legend’s biggest hit to date, All of Me. The latter sold 12m copies and is clearly destined to soundtrack newlyweds’ first dances for the rest of eternity: in the event of a post-apocalyptic societal breakdown, when weddings take place in caves and involve eating the flesh of your mutual enemies in lieu of a cake, you suspect there’ll still be somebody in the corner banging two rocks together and wailing about loving your curves and your edges and your perfect imperfections. That kind of universal songwriting isn’t to be sniffed at, but elsewhere on Love in the Future, there was the distinct sense that Legend was steering his career rather too directly down the middle of the road.

In fairness, Legend has never been one of R&B’s edgier artists: in the world of American radio, they classify his style of music as urban adult contemporary, which sums things up quite neatly. Still, the excess of syrup felt a bit disappointing, particularly after 2010’s Wake Up!, on which Legend, energised by campaigning for Barack Obama, reworked a selection of 70s soul protest songs in the company of the Roots.

Perhaps Legend thought so too. Certainly, he seems energised once more by current events, as evidenced by his Twitter feed in the run-up to the US election and his angry, eloquent appearance on Bill Maher’s Real Time TV show three days after it. Even the credits of Darkness and Light seem to suggest a fresh sense of focus. It took a team of 24 producers and 44 writers to bring Love in the Future to fruition, whereas Darkness and Light was almost entirely produced by one man, Blake Mills, best known for his work on Alabama Shakes’ Grammy-nominated Sound and Color – the sparse, spaced-out southern soul sound of which gets rebooted to considerable effect on the album’s title track, complete with a guest appearance from the Shakes’ lead singer Brittany Howard, her voice weaving around Legend’s.

Meanwhile, the supporting cast of writers behind Legend and Mills has been slimmed to a mere 12, which by the standards of modern mainstream R&B albums counts as very much a skeleton staff. Among the credits lurk some fairly intriguing sounding combinations: Will Oldham working in tandem with the author of One Direction’s Best Song Ever; Oldham sideman Matt Sweeney – a man who has played guitar with Current 93 and fronted math-rockers Chavez – alongside Julia Michaels and Justin Tranter, who co-wrote Justin Beiber’s Sorry and Selena Gomez’s Good for You.

Moreover, Darkness and Light is an album bookended by striking political statements. I Know Better is followed by Penthouse Floor, arguably the best thing here. It starts out like a proud, hip-hop-styled assertion of black financial muscle, but something about the music feels uneasy: the scratchy guitar jars against the liquid bassline, the strings sound oddly tense. Then there’s Chance the Rapper’s guest verse: no sooner has he gained access to the titular penthouse than another guest racially abuses him and pushes him to his death.

By the album’s conclusion, a sense of wracked disenchantment seems to have taken over entirely. Same Old Story sets it to a backing of mangled vocoder and strings, like an urban adult contemporary take on the sound of Bon Iver’s recent 22, A Million. Marching into the Dark opts for a sparse scattering of vocal samples, clicks and guitar, the ebullience of the chorus’s melody at odds with the song’s lyrical bleakness (“What good is a dream when the dreamer dies?”) and the coda of queasy strings that brings the album to its conclusion.

But in between, Darkness and Light is slightly uneven. You’re occasionally struck by the idea that Legend and Mills are engaged in the act of throwing interesting arrangements at some pretty straightforward pop music, with varying degrees of success. Love Me Now has distorted backing vocals, a riff played on an out of tune piano and a propulsive rhythm track (not to mention a video featuring footage shot in Standing Rock, Orlando’s Pulse nightclub and an Iraqi refugee camp), but it can’t quite hide how identikit the song at its centre is. The production on What You Do to Me, however, really lifts the song out of the ordinary: it slips from a noisy, lurching bassline to a weird mass of multitracked guitars – they rise out of the mix about a minute in, then vanish, never to return – to something that sounds like booming stadium rock overlaid with echoing noise.

You can understand the desire to occasionally alter the album’s emphasis from the political to the personal – it’s the kind of thing Legend’s 70s idols did all the time – but even the most devoted fan might find their empathy running on empty when they reach Overload, a duet with Miguel which turns its attention to another of 2016’s burning issues: the daily struggle faced by John Legend in maintaining his relationship with a supermodel while in the media spotlight.

Elsewhere, though, he pulls the shift off with aplomb. Surefire and Temporarily Painless both pit a romantic relationship against the “nightmare” of the world outside. “Can we just forget about Trump for a bit and have it off?” seems to be the basic message, of which it’s hard not to feel Legend’s great hero Marvin Gaye would have wholeheartedly approved. If your spirits sink slightly when you note that he’s written a song about his baby daughter, Right By You scrupulously avoids gloopy sentiment. Instead, it prickles with unease about the future – “Just take care,” it pleads, gloomily, while the music follows suit: a mournful, insistent piano figure, topped off with Kamasi Washington’s flickering sax. Behind the melody, there’s a jazz influenced chord sequence. It never quite lands where you think it’s going to, and for all its occasional missteps, Darkness and Light pleasingly suggests that, six albums in, John Legend’s musical career might have started doing the same thing.

– The Guardian Review (https://www.theguardian.com/music/2016/dec/01/john-legend-darkness-and-light-review)