A rolling stone since birth, Sunni Colón is a multi-hyphenate artist based in Los Angeles, CA. The New York Times compares his work to that of James Turrell and Frank Ocean. Sunni’s made music for Film/TV like Netflix’s Dear White People and HBO’s Insecure & Ballers; he has collaborated, musically, with the forces of Kaytranada, Sebastian + the late great Mac Miller. When interviewed by Forbes, Questlove mentioned Sunni as 1 of 5 new artists he “love[s] right now.” Gaining recognition in 2013 after releasing a demo single “Temple,” Colón followed up with his debut EP, Thierry Disko, in 2016. This debut EP was celebrated by Solange’s Saint Heron as a “perfect blend of nostalgic funk, soul, R&B and rock & roll” and praised by i-D for its “compelling, contemporary spin on…70s funk grooves and psych-rock riffs.” Post-release, Sunni moved to Paris to complete his second EP, Satin Psicodelic, that would also self-release through his multimedia design label, TETSU. In only 6 months, Satin Psicodelic recorded over 1 million streams. He’s at peace on stage and when creating in solitude, but at his best when exploring other mediums + collaborating with friends. Sunni’s “new sonic and sensory immersive installation” Manifest 1.0 (which sold out three consecutive nights in East Williamsburg in 2017) is “changing the way we experience music.”

It’s no mystery, Sunni is innovative, his art transcends time and space + allows him to positively impact society. After dampening the appetite of listeners towards the end of 2020 with the releases of “Penny For Your Thoughts” and “Slip N’ Slide,” he continues to embrace his truest form of self-love and internal therapy, music. When not collaborating on projects, such as early 2021’s Google film with renowned director Joshua Kissi, Sunni spends time on his craft, methodically exploring and submitting to his emotions, in order to bring language and tempo to vehemence. The result is an infectious alt-R&B gem “Provide” whose horn motifs glide the listener over the wave of the rhythm section’s back beat, as its dazzling flute solo invokes early 70s jazz-funk explorations to ears; ultimately devolving into an atonal piano outro that provide the perfect curtain call to Sunni’s mellifluous and escapist vocal tone. It’s an ephonius escapism, one the dexterous artist intends for his upcoming EP to in turn provide, while unequivocally enabling a deeper understanding and sense of self.