In recognition of Black History Month, Atwood Magazine has encouraged artists to contribute a collection of essays that explore themes of identity, music, culture, inclusion, and beyond.
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Today, Pan Amsterdam, a versatile musician based in New York City—who is also an MC, trumpeter, composer, and storyteller—shares his essay titled ‘On Identity – A Look into Integration from One Artist’s Experience’ as part of Atwood Magazine’s Black History Month initiative!
Pan Amsterdam is the musical identity of Leron Thomas, a musical wanderer hailing from Houston and now settled in New York. Thomas, who blends the roles of rapper, jazz trumpeter, producer, and musical director, creates music that navigates a dreamy, nighttime realm where his various musical styles intertwine into a uniquely strange yet consistently cohesive sound.
He debuted as Pan Amsterdam in 2018, having released eleven diverse and experimental studio albums under his own name prior, starting with 2005’s Dirty Draws Vol.1 and culminating in Dingo Babies, released last November. Throughout his career, he has collaborated with renowned figures in the jazz sphere, such as Roy Hargrove, Billy Harper, Charles T Olliver, and Bobby Watson, while also boasting impressive partnerships beyond jazz, including work with artists like Mos Def, Bilal, Guts, and Lauryn Hill.
After studying Jazz and Contemporary Music at the New School in NYC and collaborating with artists such as Iggy Pop and Metronomy, he blends experimental hip hop, jazz, funk, and electronic sounds, producing genre-defying tracks that morph in various ways. His upcoming album ‘Confines’ showcases his improvisational style, blending thoughtful concepts with spontaneous creativity. He refers to his approach as organic, mirroring the unpredictable nature of life, and likens his sound to a combination of George Clinton and Bootsy Collins.
‘Confines’ delves into a range of subjects, covering racial politics, identity, and pop culture references. With a stream-of-consciousness approach, Pan Amsterdam raps about various topics, spanning cultural insights to food. This blend of humor, social critique, and self-reflection offers a view of the world through a childlike, almost extraterrestrial lens, while his influences from gospel, jazz, hip hop, and even the Grateful Dead contribute to this diverse sound.
The title of the album signifies Pan Amsterdam’s refusal to be limited by genre. The music reflects influences from the golden era of hip hop while paying homage to artists like Kool Keith, Busta Rhymes, and MF Doom. ‘Confines’ also represents a significant personal moment for Thomas, dedicated to his late father, as he embraces his transformation into Pan Amsterdam after experiencing years of frustration within the jazz scene.
Pan Amsterdam's journey was sparked by his disenchantment with the barriers set by jazz gatekeepers and his embracing of hip hop, leading to early works that captured the attention of icon Iggy Pop. Their collaboration on ‘Confines’ solidified Pan Amsterdam's position in the music industry. With his new album released under Heavenly Recordings, Thomas reflects on how music forges connections among kindred spirits, enabling him to liberate himself from his past and continue his creative growth.
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A Look into Integration from One Artist’s Experience
by Pan Amsterdam
I failed first grade.
Upon reflection, this placed significant pressure on my family and me. I can recall many of my teachers' names from my first grade experience more vividly than those from my second round in first grade. I remember their hairstyles, scents, laughter, and subtle sarcasm. One striking memory involves a teacher who organized an event she referred to as “nationality” day. She aimed to teach us about nationality, asking us to share our own. I believe she meant to inquire about our “race” or “ethnicity,” not nationality, since we are all citizens of the United States.
Regardless, we sat “Indian Style” in a circle, discussing our races and ethnic backgrounds. I mostly heard phrases like “I have Scotch-Irish blood” or “German blood” or “French,” etc. A few students identified as Hindu or Pakistani as well. So when my turn arrived, I stated I had “Scotch-Irish” and “German” heritage. The teacher maintained a frozen, plastic smile for long enough to create discomfort in me and the entire class before her gaze shifted to the girl sitting next to me, and I heard her grit her teeth and say, “Kimberly?”
My parents relocated to the ‘nicer’ suburbs of Northwest Houston. It was my first experience in a predominantly white environment and there were many aspects I needed to adapt to. The cultural navigation was a comical challenge. I felt pressure to know the latest urban slang, fashion, and dances to entertain my white, yellow, and brown friends. Even if that wasn’t always necessary, I still
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Musical multi-hyphenate Pan Amsterdam (also known as Leron Thomas) presents his essay, ‘On Identity – A Look into Integration from One Artist's Experience,’ as a contribution to Atwood Magazine's Black History Month series!