Pa Salieu’s ears were always tuned to something bigger. Fusing the UK rap sonics of his Coventry upbringing with the unique intonations of his Gambian homeland, 2020 single “Frontline” turned everyone’s heads when it dropped. First came a co-sign from UK drill miscreant SL in the form of collab track “Hit the Block”, then a remix of “Frontline” by Ivor Novello award-winning jazz musician Yussef Dayes, and then certified hood classic “My Family feat. Backroad Gee”. But, just as Pa Salieu’s star was beginning to shine brightest, his freedom was ripped away from him.

In 2022, Pa was sentenced to 33 months in prison for possessing a bottle as an offensive weapon. However, his latest run since being released in November of last year marked more than just a return to form. Comparing freedom to the first taste of water after a long fast, Pa immediately honed in on the globetrotting hybridisations that had been present since the start of his career. His music leaned into the spiritual instrumentation of the African continent, he styled himself after newly elected populist Burkinabé president Ibrahim Traore in his Dazed winter 2024 cover shoot, and, on his debut album, proclaimed himself an ‘African Alien’. He’s even recently begun to learn the Gamian sabar drum (referred to outside of the country as the djembe). 

Landing on Glastonbury’s Shangri-La stage next week, Pa’s performance is set to celebrate this new chapter in his career. To tie in with this, and the launch of Glastonbury’s 2025 Hub (which curates personalised Glastonbury-themed Spotify experiences), Pa Salieu has designed an exclusive Dazed playlist to soundtrack the festival. Featuring Ghanaian funk-rap outfit K.O.G. & The Zongo Brigade, Malian multi-instrumentalist Vieux Farka Touré and reggae legends Black Uhuru, the playlist is rooted in Pa’s new turn towards live and organic instrumentation. 

Listen to Pa Salieu’s ‘Freedom of Sound’ playlist above. Below, in conversation with Dazed content strategy director Danil Boparai, the genre-defying artist dives deeper into this new chapter in his career.

What does playing Glastonbury mean to you personally?

Pa Salieu: When I played Glastonbury the first time, it was the year I got sent down. That first performance, I didn’t get to feel it like that, there was too much going on in my mind. It’s a chance to give my whole art while being free. That means a lot.  

Can you give us a hint of what that set’s going to feel like? 

Pa Salieu: It’s gonna be a feeling of freedom. My performance has always been emotional. It’s the only time everything comes together, my frustrations, my freedom, my full form – it takes control. Obviously, that’s why I have the band, every different instrument speaks its piece, just like reading a book. Every instrument has its own universe, and the stage is a whole universe. I had my first show the other day at SXSW Festival, I hadn’t performed in a while – since Gambia. It was a different feeling, I just felt alive.

What have you been up to recently? Have you been back to The Gambia? 

Pa Salieu: I feel fully free, I can go back to the Gambia anytime I wish, and just not come back until September. I’ve been doing drumming lessons; we call it the sabar, but here, they call it the djembe. One day, I see myself controlling a 50-drummer band. You see, drumming is like Kung-Fu – you have the master in the front going ‘dun dun’, and the students in the back, ‘dun, dun dun’. This is where I see my music – a proper African orchestra, an evolution of music. 

Last year, you came out of prison and then your Dazed cover dropped. How do you look back on that period?

Pa Salieu: Obviously, big up my brother IB Kamara! It was just freedom. I came out, and [outgoing Dazed editor-in-chief IB Kamara] is always showing me love. Even before I did music years ago, I came to London and there was a show on. That’s where I first met IB and, from there, we were tapped in for years.

Then, when I came out, he hit me up about a Dazed cover. I wanted a military aesthetic, but freedom. In jail, I learned about a president called Ibrahim Traore [of Burkina Faso] and he’s basically doing good things for Africa. It’s important to African trajectory right now within our history. I’ve been researching about everything. 

Do you have any rituals before you perform, or do you just go out there and do it? 

Pa Salieu: Nah, I never wanted to recognise anxiety because I didn’t understand what it was like, I thought it meant scared. Anxiety is so much deeper. When I first started performing, years ago, I had that feeling that I was gonna pass out, my chest was always beating – bro it’s so real! Even last week I realised that, now, when I perform, I just don’t think about it. Control. That’s the only option. We’re only anxious because we love it. 

Do you have anything specific on your rider? 

Pa Salieu: Skittles. I’m talking the red pack, the tropical pack… but, now, coming out it’s more like a lot of Vocalzones, just looking after my actual voice! 

Can you tell us a bit about your playlist?

Pa Salieu: It’s just freedom of sound, music with instruments. 

Do you have anything coming up that you can share with us?

Pa Salieu: I’m working on a song this week. I got an album coming, a joint project with a very close friend of mine… 

Finally, do you have a message for your fans?

Pa Salieu: Thank you for your straight energies through the lowest times of my life. The last four years have been trials and tribulations on the inside, behind closed doors. I appreciate everything.