After kickstarting the year with the irresistible ‘I Got Home’, which quickly garnered rave reviews from VIBE Magazine, SoulTracks, Wordplay Magazine, and IGGY Magazine, among others, award-winning French soul luminary BEN L’ONCLE SOUL has joined forces with Brooklyn-based funk and soul powerhouse ADI OASIS for the release of their electrifying new single ‘I’M GOOD’ out on February 14 via Enchanté/Believe. Taken from Ben’s upcoming album Sad Generation (arriving on March 21), the track delivers a sharp, ironic reflection on social media culture, ego-driven validation, and the illusion of success in the digital era. Infused with rich funk grooves, soulful melodies, and hypnotic rhythms, ‘I’m Good’ highlights the stark contrast between outward confidence and internal doubt, mirroring the constant battle between self-worth and online appearances
Your new single “I’m Good” with Adi Oasis explores the effects of social media culture. What made you want to tackle this theme in your music?
I’ve been on social media for over 20 years, I’ve seen a lot of stuff go by, like everyone else there are things I like, others much less… There have always been people who spread a bad vibe, who make hateful remarks but I think it’s starting to become commonplace.
The speeches are getting more intense, the meanness no longer comes from a desire to let off steam but it’s becoming a posture. I think it’s dangerous. We have loads of kids who build a personality on it and if no one is careful anymore it’s sad.
The song mixes funk, soul and deep groove. How did you approach creating the sound with Adi Oasis to match the message of the song?
I already had the melody of the chorus, it reminded me of the schoolyard when we teased each other with the other children. Putting it in the current context was easy after that. I addressed the racism and hate speech side and Adi the intrusive and invasive side.
We are complementary. Adi is my cousin, people don’t know it but we are from the same family so between us the benevolence has always existed so it was obvious.
You have been a global ambassador of French soul for over a decade. How do you think your sound has evolved up to ‘Sad Generation’?
I think it has opened up, back in the days, I only swore by Motown, Stevie Wonder and the Jackson 5. I listen to and assume a lot more musical influences today, contemporary artists from Little Simz to Leon Thomas… I have a better knowledge of my environment and it enriches my sound for sure.
Your hit “Soulman” remains a classic. Do you feel pressure to live up to its success, or has your artistic direction changed over time?
It is the opposite actually, I feel rather liberated. All artists seek to make a work that would make them famous or that represent who they are, I do not try to reproduce this pattern but rather to continue to paint a nice landscape around it.
You have cited artists like Lauryn Hill, Wu-Tang Clan and Aaliyah as influences for Sad Generation.
Well I love their music, it must transpire in a way in mine, but on this album I would rather say Billy Preston and Taj Mahal better than the Wu Tang hahaha.
How do these inspirations manifest themselves in the sound and the narration of the album?
I am not saying that they are there, I think that they are there… you know I let my music do what it wants, the principle is to feel free and to let it go. I do not think so. A lot of things happen unconsciously but I use the same tools, instruments. Sometimes I have phrasing and intonations that make me think of songs I know. What I love about it is that I built my own family by listening to all of them.
Social media plays a big role in today’s music industry. How do you personally manage to find the balance between digital presence and authentic art?
They are not really the same sectors of activity, I completely separate both of them to be honest. I go on social media very often to listen, read and discover but it doesn’t really affect my musical universe. I don’t post that much and it’s most often related to music.
Your live performances, from Glastonbury to the Montreux Jazz Festival, are legendary. How do you transpose the energy and emotion of your recorded music on stage?
I haven’t had the chance yet to do Glastonbury main stage yet, but I would love to! The connection with people never leaves me, it helps me create ambitious projects, large-scale stuff because the end result is them. I work in the studio to play these songs live, I always project my songs outside of the walls of the studio so in a way, it is already made for that, but it is true that we sometimes make longer versions for the stage, to make the pleasure last.
After six studio albums and an international success, what motivates you and excites you to make music?
Feeling the passion flowing in my veins, this divine happiness, I feel useful and at the right place in the laboratory, as if I was going to find something that was going to save humanity or something.
With Sad Generation on the horizon, what do you hope listeners will take away from this project?
The sound and positivity, the light, the hope, all the love that we put into this record.
You are going on a European tour after the release of the album. What can fans expect from your concerts this time around?
We have a new keyboard player this year Fred Dupont, a very talented dude and two background singers who harmonize the melodies, we work with a great team also on the lighting and screens that project images. It’s a completely immersive experience. Hope You’ll love it!
One love
Ben.
