Watching a band evolve in a short space of time is always fascinating. Often, artists make a huge first impression only to stall shortly after. Babble Hume are a case study in what happens when a band arrives with confidence and then does the work to build on it. Before diving into their latest release, George Cliverfox: Hymn of the Floating Palace, it’s worth revisiting the Johannesburg outfit that’s quietly taken the local scene by storm.
Babble Hume comprises Jiggy Stapes, Earldridge, Nnashe, S-Que and Iam6teen. As a five-piece, they bring a fresh perspective by stitching together genre and cultural reference points with ease. Their debut EP, Mulberry Tree, showcased a clear instinct for modern indie music, unfolding with a Bon Iver–esque openness to experimentation. That willingness to play, paired with strong crowd engagement at live shows, is what first drew audiences in. The intrigue sparked by Mulberry Tree has only grown since, positioning the band firmly as rising contenders.
Their second release of the year, George Cliverfox: Hymn of the Floating Palace, feels like a confident step forward. The six-track EP is a natural evolution of their sound, but deeper, more expansive, and marked by a growing sense of assurance. As the band puts it, “Project George brings all five of us together to create a cinematic, globally inspired sound that pushes South Africa’s musical boundaries.”
Across its 18-minute runtime, the EP achieves a surprising amount. Rooted in dreampop and neo-soul, it leans into bolder experimentation, weaving in jazz flourishes, electronic textures and subtle African musical cues. Standout tracks like “Cards on the Table” and “A Letter to George” pair smooth, layered production with confident vocal performances, demonstrating an ease with folding chillwave sensibilities into R&B-leaning songwriting.
Elsewhere, “The Floating Palace” and “Jessica Mable” explore lo-fi textures and hazy synths that nod to the exploratory edges of artists like Sango and early Blood Orange. “Jessica Mable” in particular stands out for its rhythmic complexity and tonal choices, echoing the percussive spirit of the DRC’s Konono Nº1 and lending the project a broader, global dimension.
Thematically, the EP feels scattered in concept but cohesive in feeling, circling love in its many forms and phases. “Spirit Gate” grapples with an ending that hasn’t fully settled, while “Daffodils” captures the vulnerability and uncertainty that comes with falling for someone.
Babble Hume remain something of an enigma. Influences surfacing on record aren’t unusual; making them cohere without anyone getting lost in the mix is. The leap from Mulberry Tree to George Cliverfox: Hymn of the Floating Palace signals serious potential and a band finding its footing fast. In a short span of time, this five-piece has made it clear who they are, and if these two projects are anything to go by, both longtime listeners and new converts are in for something special.
