Genesis Owusu's third album, Redstar Wu & the Worldwide Scourge, arrives with high expectations following the success of his previous records, Smiling With No Teeth (2021) and Struggler (2023), both of which won the Aria Album of the Year. The new LP, described as his best and most complete work to date, showcases the Ghanaian Australian artist's genre-hopping style, blending snarling punk, neosoul, and dexterous hip-hop.
A Bold Artistic Statement
The album's first singles—Pirate Radio, Stampede, and Death Cult Zombie—seethe with righteous anger, targeting billionaires, alt-right figures, and racism. These tracks are both politically charged and moshpit-ready. The fourth single, Life Keeps Going, offers a danceable contrast, hinting at the album's genre diversity. Recorded in a converted church in Wales with producer Dann Hume, the album features tight production and intricate details, from punky scuzz to an electronic undercurrent reminiscent of Underworld.
Track Highlights
After the opening salvo, Hellstar introduces sleazy funk with a guest verse from Duckwrth. Falling Both Ways, featuring Ladyhawke, is a woozy romantic track, while The Worldwide Scourge delivers breathless rapping over a lurching beat, with lyrics condemning global injustices like the Gaza conflict. The second half turns inward: Situations is a soft rumination, Runnin Outta Time is pacy and charismatic, and One4All brings a serene close. Standout tracks include 4Life with its dreamy electronic vibe and Big Dog, which evokes Underworld's synth-heavy style.
Political and Personal
Owusu-Ansah channels his experiences as a Black artist into unabashedly political songs that remain accessible and fun. The album references Gaza, Andrew Tate, and the “Orange Man,” grounding it firmly in the 2020s. While some may find this claustrophobic, the raw human art offers hope. Redstar Wu & the Worldwide Scourge cements Owusu's uniqueness in Australian music, emphasizing his charisma and lyrical wit over external influences.
