naya ali interview

Photo by Neil Mota

Music

Naya Ali on the power of music to shape minds, start riots and get spiritual

by Darcy MacDonald

An interview with the Montreal rapper about pushing herself to new heights and finding new strengths on her latest album, “We Did the Damn Thing.”

From her first shot at it on her 2018 EP Higher Self, to leaving a 9 to 5 career life in pursuit of a calling in music, and through successive, successful and increasingly refined projects since, Naya Ali has kept the faith. 

With a tight collaborative team that harnesses the composition and production skills of Adrian X and Kevin Figs alongside top-notch technical studio talents, the Ethiopia-born, Montreal-raised hip hop talent re-emerges from the lab after a couple of years spent crafting her second studio LP, We Did the Damn Thing.

Available everywhere via Bonsound records on Friday, Feb. 7 and launching with a high-concept concert at la Ministère on Saturday, Feb. 15, her latest incorporates new ideas, new sounds and a deeper execution of a distinctive musical vision.

Threading inventive production with live instrumentation, through subtle nods to her cultural roots that complement a polish she’s worked hard for and a flex she’s earned, We Did the Damn Thing sounds exactly like what its title proclaims. 

The accomplished ambition of the music speaks for itself. Here’s what Naya Ali had to say about the process. 

Darcy MacDonald: Firstly, what are you most happy with on the new record?

Naya Ali: Honestly, the album as a whole. I’m super proud of what we created. I took my time lyrically, pushed myself in songwriting and experimented with new sounds, like on “Trading Tables” or “Life.” I challenged myself.

I’m also really proud of the title and what it means for the culture, for me, for my community, my family, where I come from and where I am now. I think it’s a well-put-together record, both musically and in its messaging.

DM: Tell me about the (album art) image with the close-up of your eyes and the bead of sweat running down your forehead.

Naya Ali: The one with the sweat ties into the themes of the album — roots, culture and giving flowers to those who came before us. The sweat running down my forehead represents a lot,  like the sweat trickling down our brains for generations. It’s about recognition, homage and also the present. Blood, sweat and tears. I think most people can relate to that. 

There’s also intensity in my eyes. It’s a powerful image, even outside the album’s context. There are a lot of cultural codes within it — braided hair, baby hair, sweat. It’s all very intentional, with clear references to my culture.

DM: You’re very forward about your spirituality. In hip hop, God gets name-dropped. Some artists go deep on the concept (but) fans sometimes tune that part out. How do you bring God into the room when you’re creating? 

Naya Ali: I don’t think I bring God in. God is already present. My spirituality is deeply embedded in who I am, so it naturally comes into my music. Creating is a spiritual experience, to make something from nothing.

When I’m on the mic, freestyling, and I hit a pocket — what I call a state of flow — it feels like ideas and words come from somewhere beyond me. I’m not consciously thinking; I’m a transmitter. It’s ever-present. It’s like nature. You don’t bring nature inside music. It’s already there. You just build around it.

DM: Do you think there’s a new openness to the idea of a higher power, or do you see more rejection?

Naya Ali: I don’t preach. It’s not my role. But people ask me to share my experience, and I do. Music is powerful. It can shape minds, start riots, and it’s energy-based. I use it to uplift and I believe that aligns with God’s work. 

People are losing faith in those in power and looking for something greater. I think that’s leading to a spiritual awakening. I do think people are opening up to a higher power because of everything happening in the world. There’s so much darkness, and people are searching for light.

DM: Where do you draw from to converge talent, creativity and belief?

Naya Ali: Honesty and humility. The greatest thing you can do is serve others rather than be self-serving. Of course, I have moments of ego. I want to be the best rapper! (laughs) But I try to approach music from a place of giving.

My mom is deeply religious, so I grew up in the church. That foundation shaped me. As I got older, I branched out and looked for God in different places, only to realize God is within us. As long as you keep the light on, you can create with purpose. If I create selfishly, I can say a lot of nonsense. That’s when I could sell out.

DM: How do you create with your team?

Naya Ali: We start from scratch, setting an intention: what are we trying to say? What’s the vibe? I freestyle on the mic, find melodies and my team builds from there. It’s very collaborative.

I’m deeply involved in production, especially on this record. I led the choir sessions on many songs. On “Freedom Creepin’” (with Dominique Fils-Aimé), I had a significant hand in production.

DM: You’re singing a lot more on this album.

Naya Ali: I didn’t plan it that way. It’s just the evolution of my voice. On this album, I pushed myself with tracks like “Turning Tables” or “Life.” Trying new things helped me discover new strengths.

Musically, I also focused on adding more live instrumentation. There’s a lot on this album. There are Ethiopian influences, like the flute you mentioned is a traditional Ethiopian flute. I wanted to incorporate elements of my culture subtly but in an enchanting way.

DM: In 2019, you told me you left a marketing job to give yourself a year to make hip hop your career. How do you feel about that decision now?

Naya Ali: I’ve grown so much! Not just musically but as a person, daughter, friend, partner. This journey has shaped my character in ways I didn’t expect.

You know, I’m here because my mom made a bold decision to move to Canada. That’s something I have to recognize and truly live. I’m proud of what I’ve done and who I’m becoming. That’s what this album represents. I really quit my job (back then), we really made this album — we really did this! My mom really came from Ethiopia and built this life. It’s crazy.

I used to be a fan of myself in a surface-level way. Now, I’m working on myself deeply. I love music, but I’ve learned it can’t take over my whole life. Relationships matter. Life is short and unpredictable. ■

Naya Ali on the power of music to shape minds, start riots and get spiritual

Naya Ali launches We Did The Damn Thing at le Ministère (4521 St-Laurent) on Saturday, Feb. 15, 8 p.m., $25. This article was originally published in the Feb. 2025 issue of Cult MTL.

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Posted in Music

by Darcy MacDonald

Contributor
Darcy MacDonald has been with Cult MTL since day one, a decade ago. Which means today, he’s a middle-aged white guy (albeit one more interested in other people’s ideas than in his own). He was previously a columnist and reporter for Montreal Mirror, and has also created content (FKA “written”) for RBMA, Noisey, Montreal Gazette, The National Post and probably some other great places he’s forgotten about. Music, culture, community and miscellaneous questions in search of answers all come across his desk, sooner or later.