Tems’ No Woman, No Cry song featured on Black Panther: Wakanda Forever Prologue EP

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Tems' No Woman, No Cry song featured on Black Panther: Wakanda Forever Prologue EP

Tems’ No Woman, No Cry song featured as a prologue soundtrack on Black Panther: Wakanda Forever

Tems' No Woman, No Cry song featured on Black Panther: Wakanda Forever Prologue EP
          Tems (Nigerian Singer)

Nigerian singer, songwriter, and record producer, Temilade Openiyi better known as Tems has chocked another success as her song titled “No Woman, No Cry” is featured on the prologue EP of Marvel film’s Black Panther: Wakanda Forever movie.

The song was featured on the prologue EP along with “A Body, A Coffin,” song by Ghanaian singer, Ama Serwah Genfi known professionally in the creative arts indusrty as Amaarae, better known for her work around representation of gender and race in music and the song titled “Soy” by Mexican rapper, singer, and music composer Ángel Jair Quezada Jasso better known by his artistic name Santa Fe Klan, who incorporates genres such as la cumbia1​ and rap in his musical production Mexican.

Tems' No Woman, No Cry song featured on Black Panther: Wakanda Forever Prologue EP
              Amaarae (Ghanaian singer)
Tems' No Woman, No Cry song featured on Black Panther: Wakanda Forever Prologue EP
Santa Fe Klan (Mexican Rapper)

The Marvel film Black Panther: Wakanda Forever, which recently received its first trailer, will be released on November 11.

The Disney Music Group released the three-song Wakanda Forever Prologue EP today.

Ludwig Göransson, the film’s composer, produced the three songs.

Listen to it below.

The EP is explained in a statement released by the film’s director, Ryan Coogler, and Göransson.

“This Prologue is an aural first glimpse of Wakanda Forever. The sound world for the film began with extended trips to Mexico and Nigeria. We spent our days working with traditional musicians who educated us about the cultural, social and historical contexts of their music. We built a catalogue of instrumental and vocal recordings with them that explored both traditional and non-traditional uses of their musical material. During the nights on these trips, we had recording sessions with contemporary artists who were akin to the characters and thematic material explored in the film. Using the script as a blueprint, along with the recordings from the traditional musicians, we began to build a musical vocabulary for the characters, storylines and cultures. The instrumental score and soundtrack for Wakanda Forever both organically grew from these sessions and workshops. They are conceived together as a singular entity to create an immersive and enveloping sound world for the film.”

 

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