For contemporary music critics and devoted followers alike, the arrival of a new full-length release from genre-defying composer, vocalist, and cellist Ayanna Witter-Johnson has been a long time coming. Fourteen years after the release of her celebrated, self-funded Truthfully EP—and a full seven years following her official debut album, Road Runner—Witter-Johnson is finally unveiling her eagerly anticipated sophomore long-player.
To mark the occasion, the polymath artist takes center stage at London’s historic LSO St Luke’s on Old Street for a landmark album-launch performance titled New Roots: First Light. This event serves a dual purpose: it introduces her new material to the public two days ahead of its commercial release, and it formally inaugurates her tenure as the venue’s new Associate Artist.
This new record is a milestone of artistic independence. It is Witter-Johnson’s first entirely self-produced project, forged across isolated rural writing retreats, tour-stop hotel rooms, and the profound stillness of the global pandemic lockdowns. Eschewing the sprawling collaborative footprint of past endeavors, this record positions Witter-Johnson as a near-complete aural auteur. Playing voice, piano, cello (fondly nicknamed "Reuben"), bass, synthesizers, and handling programming single-handedly, she has crafted an intimate yet expansive sonic statement.
Thematically, the album grapples with heavy, resonant subjects: British-Caribbean identity, the generational legacy of the Windrush pioneers embedded in her own lineage, the processing of grief, and the arduous personal journey of reclaiming one’s footing in a shifting world. As the music community gathers in the architectural splendor of the Hawksmoor-designed church to witness the live birth of this chapter, it is clear that Witter-Johnson’s idiosyncratic blend of classical discipline, jazz improvisation, and soulful pop-crafting has reached a powerful creative zenith.
Detailed Chronology: From Birmingham Town Hall to LSO St Luke’s
To truly appreciate the weight of Witter-Johnson’s current trajectory, one must trace a path back through the milestones, collaborations, and relentless foundational work that have defined her career over the past decade and a half.
The Formative Years and Breakthroughs (2007–2012)
The author’s initial encounter with Witter-Johnson occurred in April 2012 at Birmingham Town Hall, where she opened for Cuban pianist Roberto Fonseca and his band during the tour for his critically acclaimed album Yo. Though positioned safely in the back rows of the auditorium, the reviewer recalls how Witter-Johnson’s opening set completely outshone the headliner. At the time, she was billed simply as "Ayanna," touring in support of her self-released Truthfully EP.
That seven-track release showcased her unique performance blueprint: utilizing her cello not merely as a melodic lead or orchestral anchor, but as a fully realized rhythm section. She would pluck, strum, bow, and strike the instrument, simultaneously operating a cowbell with her foot on tracks like "Unconditionally"—a poignant dedication to her mother inspired by a formative trip to Cuba.
Even at this early stage, Witter-Johnson’s resume boasted elite classical and jazz credentials. She had already completed the London Symphony Orchestra’s prestigious Panufnik Young Composers Scheme, held an Emerging Artist residency at the Southbank Centre, and lent her voice and cello to Courtney Pine’s Afropeans project. Recorded live at the Barbican in October 2007 to mark a revival of the Jazz Warriors, that performance also featured rising luminaries Shabaka Hutchings and Nathaniel Facey.
Further cementing her international reach, Witter-Johnson traveled to New York in 2010 while studying at the Manhattan School of Music. There, she made history by becoming the first non-American competitor to secure first place at the legendary Amateur Night at the Apollo in Harlem. The prize money earned on that famous stage directly funded the recording and pressing of the Truthfully EP, paving the way for a MOBO Award nomination for Best Jazz Act later in 2012.
Deepening Ties with the London Symphony Orchestra
The thread connecting Witter-Johnson to the London Symphony Orchestra runs like a golden seam through her entire artistic life. Following her time in the Panufnik scheme, she participated in the LSO’s Soundhub initiative in 2011. It was during this creative hothouse that LSO principal percussionist Neil Percy first witnessed her jaw-dropping multi-instrumental dexterity: singing, playing the cello, and striking a jam block with her foot, all at the exact same time.
This institutional relationship continually bore fruit on a grand public scale. In 2021, her piece DreamCity rang out across Trafalgar Square. The following June, her ambitious work FAIYA! received its explosive premiere in the same iconic public plaza, conducted by Sir Simon Rattle and featuring a massive ensemble of LSO players, Guildhall students, and fifty-five young musicians from East London.
This rich collaborative history culminated in Ocean Floor, a recorded partnership with the LSO Percussion Ensemble and pianist Gwilym Simcock. Captured live inside Jerwood Hall at LSO St Luke’s in November 2022, the album was released via LSO Live the subsequent autumn. Her appointment as Associate Artist at Lso St Luke’s is therefore not a sudden promotional stunt, but the formal codification of a 15-year artistic marriage.
The launch event, New Roots: First Light, reflects this multidisciplinary vision. Hosted by Ashley Joseph, the evening weaves together music, poetry, dance, and open conversation. Witter-Johnson is joined by poet Inua Ellams, dancers Remi and Anya Ferdinand, and her tight-knit backing band featuring Chris Morris on drums and percussion alongside Joshua Domfeh on piano and keyboards. Witter-Johnson herself commands voice, cello, and piano, anchoring a night that proves unequivocally that she is no longer the opening act, but a formidable headliner taking her rightful place at the pinnacle of British arts and culture.
Supporting Context & Metrics: Deconstructing the Sophomore LP
A closer examination of the sophomore record reveals a meticulously constructed body of work. Built almost entirely by Witter-Johnson’s own hands, the album relies on her multi-instrumental prowess. Chris Morris steps in to supply drums on four tracks, while James Yarde—who produced her earlier releases—contributes targeted percussion to "Pioneers" and additional programming to "Equinox."
At the structural and tonal core of the mix is "Reuben," the affectionately named cello that provides the subterranean bottom-end and visceral warmth across the tracklist.
Track-by-Track Breakdown
Side A
- "Deep Within": Serving as the album’s opening salvo, this track explores generational endurance and unyielding positivity. Witter-Johnson’s vocal delivery carries a distinct, soulful homage to the timeless cadence of Marvin Gaye, warning of impending trouble while fiercely vowing not to break beneath its weight.
- "You Can Have Everything": Conceived in Paris on the eve of the COVID-19 lockdowns, this track introduces external instrumentation—driving drums and pulsating synthesizers swelling beneath the cello. It pushes her sound firmly into the pop stratosphere, drawing inevitable, compelling comparisons to the sonic grandeur of Beyoncé.
- "Blue": A masterclass in minimalist intimacy, this song strips away the electronic sheen, placing voice and cello back at the epicenter. The vocal performance is breathtakingly tender, while the cello sits unobtrusively deep within the mix, allowing the emotional resonance of the lyricism to pierce the listener.
- "Equinox": Beginning with a solitary, evocative piano motif, the track gradually expands as Witter-Johnson’s voice enters, soon followed by a robust rhythm section. Notably, this track opts for a traditional bass guitar to anchor the low-end rather than her signature cello.
- "Now You’re Flying": Bringing Side A to a close, this composition returns to the exposed, front-and-center configuration of voice and cello. It is an uplifting, soaring piece that highlights the raw synergy of her core performance style.
Side B
- "New Roots" (Title Track): Co-written alongside the atmospheric "Equinox" within an online song-a-week community during lockdown, the title track opens Side B with chilling, subterranean cello lines. Witter-Johnson’s vocal enters, swiftly followed by a sweeping orchestral swell. It stands as the emotional axis of the record, serving as a vital reminder that true renewal always begins in the present moment.
- "First Light": Here, Witter-Johnson’s cello playing reaches a ferocious new technical peak, capturing the unfiltered spirit and grit of urban street life. Any lingering pop polish from Side A is entirely washed away in favor of an earthy, visceral authenticity.
- "Don’t Want Your Company": A thoroughly contemporary, intellectually stimulating composition that refuses to shy away from sonic friction and lyrical boundary-pushing.
- "Pioneers": Originally carried over from the Ocean Floor Suite and finally recorded here in its definitive, intended form, this stands out as the album’s crown jewel and an exceptional radio single. Imbued with the rhythmic heat of Cuba—fourteen years after her fateful support slot for Roberto Fonseca—the song functions as a direct address to cultural appropriation, critiquing entities that continually strip-mine Black culture, repackage it as trendy, and sell it back to the masses, all while anchoring its chorus in the profound ancestral origins of African heritage.
- "More Than Enough": Closing out the standard tracklist, this song showcases Witter-Johnson’s formidable cello-percussion technique in all its glory: furious finger-taps, aggressive strumming, and a steady foot-tapping rhythm. It provides a rousing, crowd-pleasing finale that successfully flirts with mainstream accessibility.
Official Statements & Artistic Vision
Throughout the creation of this project, Witter-Johnson has been vocal about the underlying themes of cultural reclamation, personal grief, and the search for identity within the modern British-Caribbean diaspora.
Speaking on the conceptual genesis of tracks like "Pioneers," Witter-Johnson has emphasized the importance of honoring the Windrush generation—including those within her own family tree—who laid the groundwork for future generations while enduring systemic erasure. Her music acts as an auditory archive and a protective shield against the commercial exploitation of Black artistry.
Furthermore, her new role as Associate Artist at LSO St Luke’s marks a transformative moment for the institution and the artist alike. In public statements surrounding the New Roots: First Light residency, representatives for the LSO and Witter-Johnson have underscored a shared commitment to breaking down historical barriers between classical orchestral spaces and contemporary, genre-fluid BIPOC artistry.
By integrating poetry, dance, and cross-genre instrumentation into her tenure, Witter-Johnson is not merely performing music; she is actively redefining what an institutional classical residency can and should achieve in the 21st century.
Future Outlook & Live Itinerary
With the release of her sophomore album, Ayanna Witter-Johnson steps into an exciting new era of global visibility. The long wait between releases—bridged by pandemic reflection, composition for massive public spectacles, and meticulous self-production—has yielded a mature, uncompromising artistic statement. The critical consensus is clear: while her pop-leaning ventures successfully reach out to a broader mainstream demographic, her true, unmatched power lies in the raw trinity of her voice, her cello Reuben, and the profound stories of her ancestors.
To support the release of the record, Witter-Johnson has mapped out an extensive international tour itinerary that takes her from the historic walls of LSO St Luke’s to prestigious festivals across Europe and the UK:
- 16 September: New Roots First Light (LP Launch Concert), LSO St Luke’s, London, UK
- 24 September: Me Festival Opening Concert with Ragazze Quartet, Amersfoort, Netherlands
- 25 September: Me Festival: New Roots, Amersfoort, Netherlands
- 26 September: Me Festival: Ocean Floor with Bl!ndman, Amersfoort, Netherlands
- 21 October: Canterbury Festival, Canterbury, UK
- 5 November: Jassmine, Warsaw, Poland
- 18 November: EFG London Jazz Festival, 93 Feet East, London, UK
Fourteen years after a mesmerized audience member watched her captivate a Birmingham crowd from a supporting slot, Ayanna Witter-Johnson now stands firmly at the top of the marquee. This sophomore record has been a long time coming, but for listeners willing to listen closely, the wait has been more than enough.
