A year and a half after playing at Campo Pequeno in Lisbon, Masego is set to close the 2025 edition of Ageas Cooljazz, which kicked off at the beginning of July and runs until the 31st – exactly when the American musician headlines the night. Tickets are still available, priced between €30 and €45, for the show at Hipódromo Manuel Possolo in Cascais. The opening acts will be Razy and Amaura.
At 32, Masego recently left Los Angeles – where he was living until he lost his home in the devastating California wildfires that displaced thousands. An eternal traveller, mainly in search of his African roots – son of a Jamaican father and African-American mother – he ended up moving to Salvador, Brazil.
The capital of Bahia state and the first capital of colonial Brazil, Salvador is renowned as the heart of Afro-Brazilian culture. With over three million inhabitants (including its outskirts), it is also considered one of the places outside Africa with the largest Black population worldwide. These reasons led Masego to make Salvador his new home.
The musician released his latest album, the self-titled Masego, in 2023. Known for his saxophone skills and distinctive vocals layered over modern instrumentals blending hip-hop and electronic elements, he presents himself as a constantly evolving creative who has also found visual arts a powerful way to express himself. In a transatlantic interview with Time Out Cascais, he previews his Cooljazz concert, talks about his move to Brazil, and explains what drives him as an artist.
You recently moved to Salvador, Brazil. Why did you choose Salvador, and how has the experience been?
I'm easy-going – I go where Black people are. Historically, that's where the majority of Black people outside Africa live, and that intrigued me. The experience has been very cultural, quite peaceful – simply a good break from my American life.
Had you been to Salvador before?
I’d read about the city, and I first learnt about Salvador through Michael Jackson’s They Don’t Care About Us video. So, I was a kid then.
But you had never actually been there before?
No, never.
I imagine the cultural and artistic vibe in Salvador must be really inspiring for an artist. Do you think this will influence your music going forward?
Yes, I think all the environments we’re in influence what we create.
Are there specific things you can already identify as inspirations for your music?
I wish I was smart enough to predict what’s coming in my life, but I’m not. I try to live by the idea from Atomic Habits – surrounding myself with things that produce the best, healthiest outcomes, and then see what happens. Maybe in two years we can look back and say, “Ah, I see what that did and how it led to those results”. But for now, I’m just living.
Everything is still fresh then. You mentioned having a different perspective or way of life compared to the American way, which can often seem quite self-focused or insular. You, on the other hand, have travelled extensively and speak a lot about experiences with Black communities around the world, especially in Africa and Jamaica. How has this enriched you, and do you think it’s something many Americans miss out on?
I agree with that. America tends to focus on America. My dad was military, so I travelled a lot growing up, which gave me a global perspective. My brother-in-law is Korean, my best friend is German. I’ve always been curious about other cultures. When I first went to London, it was to understand their local music compared to what I was used to. So, yeah, I feel more European than American nowadays, just in how I see and consume things. The one thing I do agree with about America is that its culture is one of the biggest exports – American music and styles are everywhere. But beyond that, we all need to travel more, do the tourist thing, then go back and spend time with locals, really understand a place. Because otherwise, it’s just internet research. I’ve been to Portugal, Germany, France – I know more than someone just Googling.
And now you’re back in Portugal, which obviously shares language and history with Brazil. Are you excited about this concert? I read in an earlier interview that you were really looking forward to playing Lisbon on your European tour.
I’m excited, I love playing there. The first time I played Lisbon was one of the most diverse crowds ever – looking out, I saw all kinds of people connecting with my music. That was really cool for me. I also explored Porto’s art scene on my own, and checked out where expats hang out in the Algarve. I love the different vibes you have there. And every time I play Portugal, my luggage gets lost, so I have to perform in the clothes I flew in – which always makes the show more memorable!
Let’s hope it happens again. Will the concert be mostly based on your latest self-titled album, or not necessarily?
I’m at a point where I see my music in seasons. Season one was Pink Polo, Loose Thoughts, the SoundCloud era – my show then reflected that. Now, I’m touring a time period, a season, influenced by my current travels. I have a lot of music, but also other things – like how AI has changed how I perform. I rely more on doing everything myself. It’s all very musical and nostalgic. This season will be different. The album is there, and I’ll keep releasing new music, but this season of Masego could go on forever if I want it to.
Speaking of AI, how has it changed your creative process?
It’s divisive. It forces you to pick a side. The average listener sees AI as a threat to creativity. If someone hears an album and thinks AI was involved, it feels less authentic. So, I have to say, “Hey, it’s me playing saxophone and keys, these ideas are mine”. It’s like staking a claim: “This is me, not that”. I love moments like this – reminds me of the rap beef between Kendrick Lamar and Drake – two sides, pick one. I love having to choose.
You mentioned seasons, but you’re also known for your love of improvisation, which comes from your street artist days and jazz influences. What do you love most about improvising?
It shows people it’s real. Sometimes artists get too performative, but we should be present in the moment. Improvisation lets me do that. It’s like: I feel this way right now, so I’m going to create something with this energy. Only this city will get it – a private joke between me and the place. That’s way more special than playing my set like a robot. I make new music every time I’m on stage. That makes it interesting. Miss a show, miss that moment. Not just: “Oh, I went to Masego’s show, he played the album”. I’m in a different space, creating a live experience for you.
That makes every show special. And your saxophone, often linked with vintage jazz and old-school sounds, has been made fresh and modern by artists like you, appealing to a contemporary audience. I’m sure you weren’t thinking about that when you started, but is it something you feel?
When I first heard jazz, it was pigeonholed as smooth jazz or neo-soul in my city, and I didn’t like that. I wanted to play jazz over trap beats, electronic production – that felt fresh to me. Wanting to be a bit different got labelled as cool, which I love. There are lots of others like Braxton Cook and Venna making saxophone cool again. It’s about doing what you want, and sometimes people say, “That’s cool”. And I’m like, great! But I just wanted to not be what they told me I should be.
Definitely. You also have a natural fascination with Black culture and communities. Playing jazz, an African-American music tradition, over trap beats – which comes from the same communities but different generations and places — feels like a full circle.
The more I learn about music, the more I see it all comes back to Black culture. I’m just doing my part – saying, “I’m a Jamaican Black man with African roots. Here’s my story, my view of life.” I love how the more time I spend with music, the more I see the connections – it’s like, “That sounds like this, that sounds like that”. So, I’m just an ambassador.
Has anything recently caught your attention or surprised you? Any sounds or artists?
Who’s really surprised me? I’m always a fan of some artists. I love what Leon Thomas III is doing – a musician winning the public’s eye: singing, writing, playing instruments. I like that. Always a fan of Jazmine Sullivan. Also what’s happening in Nigeria with Wizkid and his crew. I have my palette of artists I draw inspiration from when I need to recharge.
Are you always working on new music, or do you have seasons where you focus more on touring and others for creating? Or is it all fluid?
Good question. I used to make a track a day. Then I fell for cinema and video. Now, to stay creative, I create in that medium. When I’m around my community – my London brother, my German brother – that tension makes me want to make music again. Otherwise, I just need to create something daily. I’m always in the gym too, which is creative – working muscles in different ways. I think it’s made my music better and more complete. I’m no longer just dumping tracks. It’s like, “Yesterday I created with a camera, today I’ll go back to pen and paper.”
Are there specific goals you haven’t reached yet but really want to? You’ve done so much over the years – multiple albums, hits, global shows... what’s still missing?
This might sound nerdy, but there’s an anime called Solo Leveling. Basically, it’s about a guy starting at zero, the worst of the worst, who gets blessed with the ability to get better every day if he tries. The potential is unlimited. That inspires me today – I still don’t think I’m a good enough musician. The people I admire, I want them to be fans of my musicianship too. Same with composers – there are composers I love, and I want to reach their level. Singers who make choices I’m still trying to master. I see my life like that anime: every day I just want to get a little better, a little stronger, learn better dance moves, all that. I’m past needing awards or validation. Now it’s just this endless fight – how great can I become?
Ageas Cooljazz, Manuel Possolo Racecourse, Cascais. Thu, 31 Jul. 30€-45€