’m sacrificing myself to deliver a message,” says the composer, multi-instrumentalist and now podcast-maker Adrian Younge. “We aren’t aware enough of black history, nor of the integral role black people have played in building America. There is an educational sterilisation going on and it’s my duty to make people understand that history of racism – something America has pioneered.” With more than 400 years to cover since US slavery began, Younge’s project to educate the public is a vast and complex one. Yet, speaking on a video call surrounded by analogue recording equipment in his LA studio, it is a story Younge believes he has spent his life and career building up to. “This is my What’s Going On project, my record talking about why we are in the place that we are in,” he says. “It’s as if James Baldwin hooked up with Marvin Gaye to make a record produced by David Axelrod. It’s psychedelic soul but it is very professorial at the same time. There’s so many layers to it.” Indeed, there are. The resulting project comprises a 26-track album, written, played and recorded entirely by Younge, entitled The American Negro, a four-part podcast – Invisible Blackness – hosted by Younge – and a short film, again written and directed by Younge himself. Such auteurship could seem somewhat egotistical but Younge – a 42-year-old musician who has made his name in collaboration with the likes of Ali Shaheed Muhammad and Kendrick Lamar – sees it as necessary. “Pre-Covid, I was travelling the world performing and I was shocked at how little people understood about racism and its history,” he says. “Racism is a learned behaviour and one America developed through building its nation on the backs of slave labour and those economic gains. America is a slavocracy: it is a nation founded on bigotry, and those principles continue today. People might think racism no longer exists because there is no longer a slave system, but they don’t realise the laws that enabled the slave system still put us in a position where we have to jump over insurmountable handicaps to just become equal.” It is an incendiary argument and one that has found an increasing foothold in historical scholarship. The writer Edward E Baptist recently argued that the expansion of slavery during the first decades of American independence was foundational in enabling the country’s modernisation, while film-makers such as Ava DuVernay have convincingly plotted the continual subjugation of African Americans through the legal and penal system. While Younge’s album puts luscious orchestral arrangements and spoken-word interludes to use in creatively unfurling the development of structural racism in the US, it is through the podcast Invisible Blackness that he most comprehensively lays out his thesis. With guests including Public Enemy’s Chuck D, the trumpeter Keyon Harrold – whose son was recently in the headlines after being falsely accused of stealing an iPhone – and Digable Planets rapper Ladybug Mecca, Younge explores how his guests’ creation of socially conscious hip-hop influenced his own understanding of inequality. He also uses his previous career as a professor of law to authoritatively detail the origins of this American “slavocracy”. “I use the phrase of the show’s title to illustrate that we all have invisible blackness, this sense of ‘otherness’ inside us, because we are all descended from the first human being in Africa,” Younge says. “It all means that we are radically equal. And I have black radicals on the podcast, like Chuck D, to find out what he had to go through to educate others about this. We’re all looking at the past to understand what’s happening now, to inform people so they can ultimately make their own opinions with all the knowledge at their disposal.” It is a measured approach, yet not one without moments of visceral, emotional charge. Most strikingly, the cover art for The American Negro album is a black-and-white image of Younge being lynched, in the fashion of a “lynching postcard”. “Lynching was a form of bigotry porn: it is the galvanising of a group by emotion, rather than thought, as it’s easier to act without thinking,” he says. “Lynching was a celebratory event, one where people would pay to take ‘souvenirs’ like a thumb or an eyeball and they would then send each other postcards to say: ‘I was here’. So when you look at the album cover, which represents one of these postcards, I want to highlight how we were seen as the symbols of evil in America. And viewing the image now, we symbolise the American problem of racism. I want people to have a personal experience when they see it; I want them to see me as any other person of colour that can be killed with no judicial reprisal. I want people to see that I am real and I want them to see themselves in me.” It is a powerful image, one that calls up the horrors of history while referencing its grim modern iteration: filmed police brutality against people of colour. In fact, the May 2020 police killing of Minnesotan George Floyd occurred while Younge was at the beginning of recording his album. “George Floyd’s death didn’t affect the progression of the record at all and that’s what’s sad, right?” Younge says. “It’s the same thing; before that you had Eric Garner and before that, you had so many black people dying without judicial reprisal. That is what makes the world complacent towards the treatment of black people, because it’s so commonplace.” However, the global Black Lives Matter protests sparked by Floyd’s death did augur something different. “Part of me is happy that Trump was president because, while he has inspired more bigots, his lack of reaction to these police killings and white supremacy has also launched the greatest global protest that we’ve seen regarding race. He’s removed complacency,” says Younge. “I have two daughters and I see how young people are so much more woke than they were before now. There’s 12-year-olds on TikTok explaining racism because of him.” Despite the centuries of ingrained inequality laid out in Younge’s project, is it still possible to hope for a future change? “We’re in a better place now than we have been for decades,” he says. “America has been forced to acknowledge there is a problem but there is a deferred commitment to solving it. Our governments have the power to make those changes and so they need to make it happen – and soon.” Until then, Younge is keeping occupied. “Right now, I am the busiest I’ve ever been in my life,” he says, “but I’m doing something good and so it feels good. I’m giving so much of myself because this is an ongoing fight. This project is something that people could look back on 50 years from now and still have more to say.”