“The world doesn’t stop for one achievement. Life keeps moving”

There’s something fascinating about Black Pumas, one of America’s biggest cult bands, and their rise. Their origin story is humble: Adrian Quesada, guitarist and producer, was recommended to connect with Eric Burton, then a singer-songwriter busking across Austin, Texas, the band’s current base. Burton brought a dynamic to their eventual 2019 self-titled debut album, one that was crying out for some humanity. ‘Colors’ from that collection went viral and became something of a rallying cry for appreciating simple pleasures in the world around us. They garnered several Grammys nominations, including Record Of The Year for ‘Colors’, and performed virtually at President Joe Biden’s inauguration. They’re a ‘if you know, you know’ type of sensation.

But how do the backslapping and industry hype feel when you’re in it? “I didn’t stop to think about it because the world doesn’t stop for one achievement. Life keeps moving,” Burton tells NME on Zoom from Paris. “All I’m focused on is the next song and the truth it tells. That’s my job and all I worry about. I don’t care about who’s inviting us to do this, that or the other because that stuff is here today and gone tomorrow.”

It’s not unusual for a band to shrug off past achievements when promoting their new material, but with Burton, you can’t help but put faith in what he’s saying. While their new album ‘Chronicles of a Diamond’ (out October 27) is a major step-up and a reconfiguration of the band’s creative process, all of this is futile, Burton says, if you’re not chasing the truth in your art.

“Success isn’t about those events, it’s honesty to ourselves and the conversation and our truths. When you hit something close to the source, you can’t help being moved by it. If you tell the truth in your work, people will discover it.”

That sincerity has won out. ‘Chronicles of A Diamond’ is more honest to how Burton and Quesada see themselves as creators. ‘More Than A Love Song’ shows flashes of Curtis Mayfield’s 1971 ‘Roots’, and implores the listener – and indeed Burton himself – to look beyond superficial attainments for true validation; ‘Ice Cream (Pay Phone)’ embraces the band’s gnarlier, rock-influenced tendencies on one of their most joyous creations.

This change in sound came from Burton and Quesada reassessing their relationship. There’s a 12-year age gap between the two, with Quesada already having success with Latin Rock band Grupo Fantasma before meeting Burton who was a more natural, forward-facing performer. Their debut album reflected dynamic, with Burton “freestyling like Jay Z and Lil Wayne” on the record’s already-existing framework and songs that Quesada had worked into shape.

This time Burton sought to take a noticeable role in the production of the music, a first for him in the context of a studio. The pressure was immense. “It was a heavy haul for me to prove to myself that I belong here,” Burton says. “I had to learn a new language in communication: from busking on the street to becoming something of a ‘recording artist’ with production ideas.”

The band cut short their previous tour to be fully aligned and invested in the project. Burton moved his mother from California to Texas to be nearer and keep him grounded in his purpose after years as a touring musician on the road. He now had to solely focus on producing the goods in the studio. “I had quite a big mountain to climb. But it’s been important for me to be able to walk into a room and be proud of myself and not reach for validation,” he adds.

Credit: Jesse Lirola

Burton points to some early wins that gave him some confidence. ‘Ice Cream (Pay Phone)’ was an old song of his that was revisited during a 2am writing session, the band using a melodic calling that’s more playful than they’ve ever done. On closing track ‘Rock and Roll’ – a concoction with its origins in the band’s electrifying live shows – a sludgy but hypnotic beat builds to a Tame Impala-sized sonic explosion. Where their debut album favoured a direct nature, ‘Chronicles of a Diamond’ shimmers and refracts in the same way the album’s namesake does under a microscope and light. It is undimmed and fascinating.

“I was so lucky to have someone like Adrian to help me with the more unorthodox disposition I was taking to creating some of these tracks,” Burton says of the two’s creative relationship. Indeed, ‘Chronicles of a Diamond’ glistens at every turn, an album that’s drawn upon a certain truth and conversation. An open dialogue between these two collaborators; Burton and his insecurities and capabilities; the band as performers on the stage.

“The audience can always tell when something is being faked. It takes a millisecond for them to recognise that. It’s quite a privilege to be beckoned upon in saying something, reflecting on what is going on today and being a mouthpiece to culture today, so you have to respect that honesty” Indeed, ‘More Than A Love Song’ has already landed at Number One on the Billboard AAA (Adult Alternative Airplay) chart in the US.

While the occasional big opportunity may still land their way – the band were a part of the celebrations at the F1 Grand Prix in Austin earlier this month – they are determined to continue building that connection with the fans. They’ll play a run of sold-out shows in Austin in December, hit up New York’s iconic Radio City Music Hall in January and then to these shores in March for a massive show at London’s Eventim Apollo.

It’s this open-ended conversation that spurs Burton on in his endless search for honesty: “It’s not enough for me to have the validation of my peers. This is bigger than the Grammys, bigger than playing festivals, having money, power and authority and a job.”

Black Puma’s ‘Chronicle of a Diamond’ is released October 27 on ATO Records

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