With Reminiscence, released on February 20, 2026, Tita Nzebi presents a meditation on identity shaped by history, geography, and spiritual inheritance. Born in Mbigou, in the forested south of Gabon, Nzebi has long positioned herself as both artist and cultural transmitter. Singing predominantly in the Nzebi language, she resists the quiet erosion of heritage that often accompanies global recognition, but transforms that heritage into a source of strength. On this third full-length project for the BIBAKA Music label, she deepens her commitment to themes of dignity, memory, and freedom, crafting a record that feels both rooted and expansive.
Nzebi’s artistic journey has taken her from Central Africa to stages across Europe and beyond, including notable Paris venues such as the Café de la Danse and the 360 Paris Music Factory. Those experiences inform the cosmopolitan polish of Reminiscence, yet the album never drifts from its Gabonese centre. Recorded in Parisian studios and mixed at Real World Studios—the renowned facility founded by Peter Gabriel—the project benefits from technical clarity without sacrificing warmth. The production, handled with precision by Patrick Phillips, allows each instrument to retain its organic character. This balance between refinement and earthiness mirrors Nzebi’s broader artistic philosophy: tradition in dialogue with the contemporary world.
The album opens with “31_AOUT,” a track marked by solemn restraint. Rather than dramatising tragedy, Nzebi evokes silence—the heavy stillness that follows collective trauma. Her voice enters deliberately, measured and resonant, carrying the weight of remembrance without rhetorical excess. The effect is quietly devastating, and memory here is not nostalgia but obligation. By placing this piece at the beginning, Nzebi signals that Reminiscence will not shy away from history’s shadows, but will engage them with composure and dignity.
“A’TA” and “ARROGANCE” introduce sharper rhythmic contours, expanding the sonic palette. Layered percussion, subtle guitar lines, and call-and-response vocals reflect Bantu musical traditions while maintaining contemporary structure. Nzebi’s command of dynamics is particularly evident here; she modulates intensity rather than overwhelming the listener. “ARROGANCE” carries social commentary beneath its vibrant exterior, addressing human pride and relational discord. Yet even when critiquing, Nzebi avoids bitterness. Her tone suggests correction rooted in communal responsibility rather than condemnation.
One of the album’s most evocative tracks, “BAA’TE,” draws from maternal wisdom. Nzebi employs a metaphor inherited from her mother: humans as gourds clinking together in the wind, making noise but never breaking. The imagery is deceptively simple. Beneath it lies a profound reflection on coexistence and resilience. Instrumentally, the piece unfolds with gentle insistence, its melodic structure reinforcing the cyclical nature of the metaphor. The interplay between Nzebi’s lead vocal and the harmonised backing singers evokes the communal textures of Congolese male choirs, creating a sonic environment that feels ancestral yet immediate.
“ETC” and “KEA’DA” provide tonal contrast. The former leans contemplative, its balladic structure foregrounding lyrical introspection. Here, Nzebi emphasises the responsibility of adults to model integrity for future generations. The message resonates without didacticism; it feels lived rather than prescribed. “KEA’DA,” by contrast, pulses with polyrhythmic vitality. The groove is hypnotic, driven by intricate percussion patterns that invite physical movement even as the lyrics encourage reflection. This interplay between thought and rhythm exemplifies Nzebi’s skill: she crafts music that engages both body and intellect.
Midway through the album, “MBAMA” and “MBAMA SCENE” expand the narrative. The former offers layered instrumentation, with guitars weaving around percussion lines that evoke ceremonial procession. The latter revisits thematic motifs in a more theatrical register, almost as if staging memory itself. These companion pieces highlight Nzebi’s willingness to experiment structurally while preserving coherence. The rare instrumental richness—zither, guitars, bass, and Congolese percussion—creates depth without clutter. Each element contributes to a textured whole, reinforcing the album’s thematic preoccupation with interconnectedness.
The penultimate track, “NZEMBI,” introduces a symphonic dimension. Featuring violin and cello alongside traditional instrumentation, it offers spiritual elevation without abandoning cultural specificity. The title, meaning “God,” signals transcendence, yet the arrangement remains grounded. Nzebi’s vocal performance here is expansive and luminous, embodying a serenity that contrasts with earlier tension. Spirituality, in this context, becomes a path toward reconciliation—between past and present, between individual and community.
The closing title track, “REMINISCENCE,” gathers the album’s threads into a resonant conclusion. Backed by harmonised vocals and understated instrumentation, Nzebi affirms the necessity of remembrance as a living practice. Memory is portrayed not as a static archive but as an active force shaping identity and freedom. The track’s uplifting cadence leaves listeners with a sense of forward motion. If earlier songs confronted sorrow and social fracture, this finale gestures toward continuity and renewal.
In its entirety, Reminiscence stands as a mature and cohesive statement. Tita Nzebi achieves a rare equilibrium: she honours Nzebi and wider Bantu traditions while embracing global production standards. The album’s tonal variety never disrupts its unity; instead, each track contributes to a carefully constructed arc. By singing in her mother tongue and foregrounding ancestral metaphors, Nzebi asserts cultural specificity as a strength rather than a limitation. At the same time, the album’s universal themes—dignity, transmission, spiritual elevation—invite listeners from any background to enter the conversation.
With Reminiscence, Tita Nzebi affirms her role not only as performer but as custodian of memory. The album situates that identity within a broader human narrative. In doing so, she reminds us that while arguments may generate noise, they do not sever the deeper bonds that connect us. This is music that breathes across borders—rooted in forest soil, carried on international stages, and sustained by the enduring power of remembrance.
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