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Kweku Collins

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  • Chicago (25)
  • Philadelphia (5)
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  • Vallis Alps (7)
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Kweku Collins Tickets

Kweku Collins Tickets

Kweku Collins Concert Tickets

Prepare for an unstoppable performance with Kweku Collins tickets. The artist is commanding the rap and hip-hop genre with dynamic live shows. Since its emergence in the borough of Bronx, New York, the rap hip-hop movement came on the scene in the 1970s. Drawing on sociocultural influences, the genre is known for lyrical content that speaks from experience. Born out of the struggles faced by African American and Latino communities, the genre has become one of the most diverse and universally expressive genres in music today. In addition to its spoken word rap and poetic stylizations, it is often backed by DJ turntables synthesizers and drum machines.

Artistically divided into popular sub-genres like hardcore old school and gangsta rap, a bevy of notable artists have brought rap hip-hop to the masses. From tried and true legends to emerging phenoms, the genre continues to boast the best music has to offer. Artists like Snoop Dogg, Eminem, Nicki Minaj and Jay-Z are just a few famous names in a string of successful performers. Buy your Kweku Collins tickets from TicketSmarter today and get ready to be entertained.

How much are Kweku Collins tickets?

Kweku Collins ticket prices usually land in a moderate range of pricing. Getting into a live show can average around the $50 range. Prime spots will typically run upwards of $100 and VIP packages at festivals held at prominent venues can go for over $1,000.

When do Kweku Collins tickets go on sale?

Be among the first to get Kweku Collins concert tickets. Admission is typically available as soon as a tour or festival is announced. You don’t have to wait to get your tickets. Our site has tickets even before they go on sale to the public in many cases and there’s no need for a pre-sale code.

Kweku Collins Tour Dates & Concert Schedule

It’s common to catch Kweku Collins appearing at large-scale venues across the United States. You can expect performances from popular platforms like the Staples Center in Los Angeles, California and major hip-hop music events like SXSW and Rolling Loud Festival Miami at the Hard Rock Stadium in Miami Gardens, Florida.

You don’t have to miss another show on the Kweku Collins concert schedule. Our easy-to-navigate site offers a plethora of tour dates and you can easily find tickets at many pricing levels. From live performances at Hot 97 Summer Jam to Virgin Fest , there’s nothing like the excitement of a live show. Feel the vibe live and save your seats today!

Songs from the Kweku Collins Tour Setlist

Kweku Collins's setlist while performing in Atlanta , GA at “Purgatory @ The Masquerade” included the following songs:

  • Lonely Lullabies

Source: Setlist.fm

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Kweku Collins at Red Bull Sound Select

Kweku Collins: A Chicago Rapper With a Fresh Voice

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Red Bull Sound Select

Red Bull Sound Select Presents: 30 Days in LA 2016

Pusha t, haim, yg and more perform at 30 days in la, a monthlong red bull sound select music series..

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Kweku Collins

Upcoming kweku collins festivals appearances, upcoming kweku collins concerts near me.

Stream Kweku Collins "ET" song

Kweku Collins lets loose new song "ET": Stream

Plus, he's mapped out a North American tour with Joseph Chilliams.

August 30, 2018

Stream Kweku Collins' "Sisko and Kasidy" single

Kweku Collins goes to space on new single "Sisko and Kasidy": Stream

Star Trek-referencing track follows his excellent Grey EP.

July 6, 2018

Ric Wilson Track by Track hand chair graffiti

Ric Wilson breaks down his new EP, BANBA, Track by Track: Stream

Six-track effort sees the rising Chicago rapper and activist continuing to establish his name.

May 18, 2018

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May 9, 2018

Ric Wilson, photo by Michael Salisbury

Ric Wilson taps Kweku Collins for new song "Sinner": Stream

Another peek at the Chicago rapper's upcoming BANBA EP.

Tame Impala, photo by Philip Cosores

Pitchfork Music Festival reveals 2018 lineup: Tame Impala, Fleet Foxes, and Ms. Lauryn Hill to headline

The War on Drugs, Courtney Barnett, Chaka Khan, Noname, Earl Sweatshirt, Saba, Blood Orange, and Japandroids are also set to play the Chicago festival.

March 13, 2018

kweku collins tour

Consequence of Sound's SXSW party to feature Dan the Automator, Hinds, Sunflower Bean, Kweku Collins

Part of this year's Brooklyn Bowl Family Reunion, the event goes down Thursday, March 15th at Austin's Historic Scoot Inn.

March 7, 2018

Brooklyn Bowl Family Reunion

Consequence of Sound's SXSW party to take place at Brooklyn Bowl Family Reunion

Three-day event goes down at Austin's Historic Scoot Inn from March 14th-16th.

February 28, 2018

kweku collins tour

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Kweku collins at over yondr, greenville, ny, usa.

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  • Death of a Salesman ( 1 )
  • Ghost ( 1 )
  • International Business Trip ( 1 )
  • Kings ( 1 )
  • Lonely Lullabies ( 1 )

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kweku collins tour

Kweku Collins

Kweku Collins is a rapper from Evanston, Illinois. Exposed to music throughout his life by his father, an African and Latin percussionist and storyteller, Collins began to put out self-produced mixtapes in his sophomore year of high school. After emailing his EP Worlds Away to independent hip hop label Closed Sessions in early 2015, Collins was invited to record with them; Closed Sessions signed him soon after. His 2015 EP Say It Here, While It’s Safe made waves upon its release, and his first full-length album Nat Love, released on April 8, 2016, ought to heighten his visibility.

Photo Credit: Courtesy of KEXP

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Kweku collins talks identity, race and new album nat love, stupid rose, similar artists, anderson .paak.

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The Break Presents: Kweku Collins

From a suburban town outside of Chicago, a fresh new artist is making waves. That artist, Kweku Collins (pronounced  kway-koo ), is a biracial rapper whose sound can't be categorize as one thing. That can be credited to his upbringing. His father is an African and Latin percussionist who taught Kweku how to play the drums when he was four. His mother is an Evanston schoolteacher who fostered Kweku's passion for words, which would eventually lead the budding rapper to become a member of Evanston High’s poetry team.

While still in high school, he was signed to Chicago label Closed Sessions. He would decide to skip college and drop his  Say It Here, While It’s Safe  EP  in 2015. Last year, he would see his stock rise when he released his debut full-length,  Nat Love  but his recent Grey EP is starting to turn this local artist into a budding star. Grey  showcased Kweku's versatility and honesty in his lyrics.

"This goes back to the tour I went on. I was given the opportunity to go around and to take the music that I made, and perform it in front of thousands of fans and I got to observed how they reacted to music," he tells XXL while in New York City. "I got to observe everything. I took all that information over the last year and compounded that with the things that I went through in my personal life and transferred that into Grey ."

Collins wants to make music for a wide range of people to listen to, he adds, "I wanted to make music that would make people jump and also music that would make people feel. In a lot of these songs I just tried to find a common thread. I think I come from this interesting position. I know its super corny when mixed people talk about how they’re mixed. But I think I do this in a way where I understand that equalizers are very important. The two opposing sides in this country are very polarizing, Black and White. So being mixed, I feel like I learned how to be that middle ground and finding the common thread and I apply that to my music."

With his Grey  project still going strong, get to know Kweku Collins for The Break.

Age:  20

Hometown:  Evanston, Ill.

I grew up listening to:  “I grew up listening to everything. My father is an African and Latin drummer. I grew up doing Capoeira and playing my kpanlogo drums, so a lot of Brazilian and West African influences. Bob Marley, the Beatles and a little bit of Led Zeppelin. As I got older my sister got me into hip-hop. I heard 'Jesus Walks' on the radio and that’s started the beginning of that. That led me to like Will Smith and his Lost and Found album in 2005. That’s one of my favorite albums [ laughs ]. I found Guru and Gang Starr and it all started from there, a lot of Black Sabbath and Jimi Hendrix, too.

"I was really young when I started making music. We lived in upstate New York for the first five years of my life. I remember my dad would be the one that would stay home with me and there were drums all over the house. The first thing I can remember is playing drums with him. He would teach me. He made these instructional videos on how to play and he’ll pop it into the VCR when he left for shows and I would just sit there with the drums and practice all day. I was probably like four.

"I started rapping when I was young. I was still in elementary school. I wrote and I knew I really like [my raps] and I started just freestylin’. I would make my bed that morning and just rap. It didn’t even rhyme. I really started making music my freshman year in high school. That’s when I really started taking music seriously. I thought I was good at it, not great but better than some of my peers."

My style’s been compared to:  “I would say bohemian hip-hop, kind of everything and it can morph into whatever. I get a lot of Kid Cudi comparisons. I get compared to Chance The Rapper a lot, I think at lot has to do with the melodies. I grew up listening to Kid Cudi and I came up after Chance. There’s also like, with Lil Wayne, when he started singing on the autotune shit, I got recordings of when I was in middle school over little Garage Band beats with the autotune not even working trying to sound like Lil Wayne and it just same came out as a prepubescent Lil Uzi Vert."

Most people don’t know:  “I’m allergic to nuts. [ laughs ]"

My standout records or biggest moment to date have been:  “My favorite moment was [when] I did a show in London last year, and it was a really intimate venue and it was a lot of people there and they all knew the words. They were jumping around and singing and having a good time, more energy than a lot of shows in Chicago or stateside period. That was really cool. I’m from thousand of miles away and they fuck with me."

My goal in hip-hop is:  “I just want to make a career out of this for decades until I’m done. I don’t really have goals on what I want the music to do or what I want to say. I got things I want to say and I got things that I need to say but ultimately it’s never up to me. It’s really up to the people. So I want people to take what they can from my music. There’s plenty of room for all of us to be out here and to shine."

I’m going to be the next:  “I want to be the continuation of the Hendrix’s and the Bob Dylan’s and the Marley’s and the Basquiat’s and the Sade’s, those people were all about the art."

Follow Kweku Collins on  Twitter  and  SoundCloud .

Standouts: Grey Days

"Stupid Roses"

"Aya" featuring Allan Kingdom

"Lonely Lullabies"

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Passion of the Weiss

‘I’m smoking weed in a foreign place, let me sit down and take a picture,’ Kweku Collins explains triumphantly. His latest EP, grey , was born after sparking up a joint and taking a nighttime walk last winter in Copenhagen. Not even 21, the Evanston artist was on the last leg of his first European tour when he walked passed a staircase leading up to a towering set of double doors. His own version of the Rocky Steps, Kweku ran up to the doors, snapped a picture, and it was ‘damn near the cover’ of the project.

Not even a year removed from his genre-blending debut LP Nat Love —which mixed psychedelic rock influences with spoken word raps—Kweku had been fiending to put together a new EP. In the spirit of some of his favorite concept albums—Marvin Gaye’s What’s Going On and Bob Dylan’s Blood on the Tracks —Collins took a literary approach to grey , structuring it as if it were a screenplay. Broken up into three distinct acts with two storylines, the EP zooms in on the complications that came once ‘music and [his] personal life got intermingled.’ The tender acoustic ballad “Youaintshit (Shine On)” acts as a final apology, while “Dec. 25th” eulogizes two loved ones: an old friend and his great grandmother.

Though the project tackles loss, grey manages to stay afloat with sharp accents, bright piano lines, and sunny breakdowns. “Lucky Ones” is as bouncy as it melodic and “The Continuation” is an optimistic look at days to come. In that same breath, Kweku Collins keeps his head above water by giving himself over to his music. Though he hates cliches, he attests that music is his therapy. When Kweku Collins and I spoke on the phone, we discussed his musical influences, how his music keeps his head above water, a track by track breakdown of grey , and the days leading up to its recording. — Donna-Claire

In terms of background, you come from a very supportive and creative family: music, language, dancing. What was the pivotal moment where you all saw that music was the definite path for you instead of college?

Kweku collins: it was different for my parents. for my dad, he was more supportive early on. he saw that music was something i wanted to pursue—he saw the drive. he saw that i was finding my voice, and he’s always been about following your passions. you know: if it becomes something that you can do and you can make a career out of it, then go for it. my mom took a little bit longer; she took the more scholastic path. she’s well over college educated and she’s a teacher, but it was right before 2015 started, when blogs started listening and picking up my music. she saw that things started to happen, so she got behind it after that., in an older interview you mentioned that you don’t see yourself as a chicago artist just because you live close to the city. so if it’s more than location, what makes a “chicago artist”, kweku collins: really, it is location. evanston isn’t chicago and that’s just how it is. i feel like when you live in chicago or live near chicago, you understand. i’m sure it’s the same thing for a lot of cities that have suburbs. when you’re from chicago and there’s me coming from evanston, if somebody was to ask me where i’m from i’d tell them i’m from chicago. then they’d ask, ‘oh, what part’ then i’d tell them that i’m actually from evanston, so it’s like ‘well, you’re not really from chicago.’ it’s like a chicago pride; people from chicago are proud to say that they’re from chicago. for me, it’s like, why would i want to say that if i’m not really from there it seems like a front to say i’m from chicago and i don’t like to front. fronting is stressful, and i’m not with that., what makes an “evanston artist”, kweku collins: where i come from influences my music the same way where anyone comes from influences their music. the people that i’ve met and the experiences that i’ve had, and the place that i come from and the people that i live with, and all that has been affected by where i live. i would not have experienced these things had i not lived here, and that is true for literally anyone., in another interview you mention that you see your race as “operating fluidly.” in terms of the new ep, grey , that’s a very fluid color. so are there any moments where you have a fluid identity on the project, kweku collins: as far as artistically, i think my identity is fluid, but i also think that makes it kind of the same. in my music i feel like i take on just one big identity, and i’m just trying to get to the farthest corners of my imagination and bringing back whatever i can. i don’t think there’s a massive identity shift between me as a person and me as an artist. they’re pretty much the same thing., in an interview with interview , you described the project as several acts of a screenplay. can you breakdown each act for me, kweku collins: it’s all of the same story, but i break up the storylines. the storylines shift between a sonic storyline and an actual plot. so the first three songs, sonically, those go together really well. we’ve got “lucky ones,” “aya,” “jump.i,” and i think those songs flow into each other really, really nicely. “lucky ones” has multiple layers, but it’s really about checking your privilege. for me, personally, about being a male, being a black male, being a white male, being biracial, coming from where i do, living where i do, and things like that. it’s also about being an artist and how there are millions of artists that want to do even what i get to do, on the small scale i get to do it at, and they don’t get the opportunity. or they’ll miss the opportunity, or they won’t capitalize on it like they should have. so i do feel lucky in that way. i am one of the few artists that has gotten to do what i’ve done. “aya,” content wise is different from “lucky ones,” but the sound really links up. “aya” is about finding later in your life that there was something missing, like you feel like there was something missing when you were growing up. you feel like there was something that you needed. that takes us to “jump.i,” which is more about being here and ready, and how i’m going to try to—it’s cliche as hell—take life by the horns. i’m gonna fight for this shit and i’m gonna fight to the death. then take that into “international business trip,” which is a celebration of hard work and perseverance. also, it’s kind of a flex. so all of that tracks me through a little bit of personal life, and then it gets into more career type shit. in “jump.i” there’s a couple mentions of cracks forming in a relationship. then you fast forward to “international business trip,” and the machine is turning and things are going. that falls into “youaintshit (shine on)” where things are going really well, but then there’s this parallel story of this relationship that is falling apart. a lot of that is due to what’s going on up here with the music. so that moment tracks the falling apart of this relationship, then you go into “oasis.” that, to me, is like the last moment the couple has before they really say goodbye. then “oasis” goes into “things i know,” which sonically matches up. the topic changes, because “things i know” is really my take on death and what i was thinking when i thought of death at the time. what links those two songs together is the piano lines. i think they go together really smoothly, especially with that rustling in the beginning of the song. then we go into “dec. 25th,” which also deals with death in a more personal way, but the piano is in there, too. so that links up. then we have “the continuation,” which is a summary of the whole project. it’s a restorative message, and a message of hope. it’s like a period, but it’s also a comma. it’s a dot dot dot, essentially. we’re not done here, we’re still moving, but also we’ve been through shit and moved on..

Where does such a literary approach come from and does it change the way you put together a project?

Kweku collins: all of my favorite albums are all albums with concepts and plot lines. my favorite albums are albums you listen to front-to-back, because they’re meant to be listened to front-to-back, like marvin gaye’s what’s going on . that’s like one of the first concept albums. then we’ve got the beatles with sgt. pepper’s and bob dylan blood on the tracks . then fast forward to kendrick lamar, with every album he’s ever made, damn near. there’s tame impala, same thing. those albums you can really dissect. literarily, it’s a very important thing, especially when you get down to kendrick and bob dylan, and tame impala and their last album currents . when you listen to the story and the lyrics, it actually paints a picture and it’s like a screenplay. so those are the albums that resonate with me, and because i’m an artist my thought is, ‘why would i not do the same thing’ if this is what my idols are doing, why should i not strive to be on that level oh, frank ocean i completely forgot frank ocean: blonde , channel orange , nostalgia, ultra . all the way through, the songwriting is on point and so is the story., “aya” sounds the most like a theme from nat love that’s been evolved for this ep. do you ever look back into your catalog when you make new music, kweku collins: i definitely do, but not consciously. when i was making “aya,” i could hear other songs in it, but i don’t ever go back and listen to older tracks and think, ‘i should make songs like this.’ all of that stuff is just still inside of me, so each song i make is an evolved version of something i’ve already made. or it’s something completely new, but i still think artists are always building on themselves. so there’s always hints of the previous work, even if it’s not completely obvious, because that’s just the nature of the person. my personality is always going to be in my music; therefore, you’re always going to be able to trace any element of my music back to another piece of music that i’ve made., i hear that in “youaintshit,” which sounds like the spiritual successor of “the rain won’t save.” on that song, you’re singing about promises and broken promises, and i’m wondering who is the “you”, kweku collins: the ‘you’ in “youaintshit” is directed at me. i wasn’t talking to another person like, ‘you did all this fucked up shit, but you ain’t shit.’ that’s directed at me., it sounds like you’re really frustrated with yourself on that song, so can you give me some insight into how it feels to take such a deep look into yourself and maybe not like what you’re seeing, kweku collins: with that song and writing that, i had come to a point where i felt like whatever happened, happened. i just had to come to terms with that. the other person involved in that situation, we didn’t end things badly. we ended things understanding where the other was at. you know, we ended things very respectfully and amicably. i don’t really feel any way about myself other than ‘oh, i did that. i gotta watch myself in the future and look out for next time.’, you’ve got a cover of “maps” on the project, so let’s talk about the yeah yeah yeahs. are there any other places where they or another indie-punk group influence your music directly, kweku collins: yeah it’s not on grey , it’s actually the other “oasis” on nat love . that one, i took a lot of not so much indie punk, but moreso tame impala and psychedelic-rock influence. as far as indie-punk, there’s a little bit of bon iver on “things i know,” but he’s not really punk..

You address death in several places across the EP, so what obstacles came with tackling something so dark?

Kweku collins: when it comes to death, and all my music, i try to keep it very personal. i’m not into imposing my beliefs on anybody or anything like that. i try to be aware of that with my music. the only challenge with writing about death is, it’s kind of fucked up, but cliches. when i hear cliches in songs that are supposed to be very personal, it makes it harder for me to relate, because it seems too much like ‘oh, you’re saying this because you think it’s going to hit really hard.’ there’s just a lack of connection for me, and i think it circumvents the point. so for me, the challenge is to say the least, but the most., “dec. 25th” is one of those specific deep cuts, eulogizing two loved ones, but you don’t sound like you’re drowning in your emotions. how do you keep your head above water when you’re writing, kweku collins: it’s like how i keep myself from drowning when i’m in real life. yeah, things might be going on and i might be dealing with loss or a breakup, but there’s no point in wallowing. there’s no use in self pity; there’s more harm in it than good. so i have to keep going and maintaining, and i’m really lucky that i have people in my life that i can talk to if i need to. if i don’t have anyone around me to talk to, i can write the feelings down and i can go and make music. making music for me—okay, a cliche—is like therapy. a lot of the times, i feel like i don’t need to talk to somebody, i just need to make a song. that helps me put it to bed, and put the emotion to rest. i don’t really think getting down 24/7, not like turning up, but like, ‘this and this and everything is shit,’ is cool at all. i think that’s really corny. it’s natural to be sad, and that’s part of being human, but i think if you’re gonna put it out into the world, i feel like using sadness as a tool to help people get through theirs should be the objective. so that really keeps me from drowning and wallowing when i’m writing, because i get to release. knowing that this is about this, and other people could be feeling this way, the song also has to be able to find hope and healing in the music as well..

Let’s talk about the picture Closed Sessions tweeted out of you in Copenhagen last year next to this huge set of doors. It was captioned as the place where grey was born. Tell me about that location and that eureka moment.

Kweku collins: so last year i was on a tour in november, and we went through europe. copenhagen was the last stop on the tour. the whole tour and the few days leading up to the tour, i just had this feeling that i wanted to make an ep and i wanted to put out new music. over the time of the tour, i started to have this idea of making an ep and calling it ‘ grey ,’ but i didn’t know what i wanted it to sound like. there were things going on in my life, too, where i was having some struggles. so we were walking around copenhagen at night, and we had just sparked up a joint. so we come up to the stairset that you see in the photo, and there’s a chair at the top so i say, ‘yo, take a picture of me up there.’ i got up, took the picture, came back down, and thought, ‘woah that’s damn near the cover.’ immediately, i figured out what i wanted it to sound like. so it was all right there. the second i got home from tour, i got right to work., in the picture, you’ve got a really confident expression on your face., kweku collins: if i was looking confident at that point, it was less because of the project and more like, ‘i am on the last leg of my first european tour, i have seen more countries than i ever thought i would. i’m smoking weed in a foreign place, let me sit down and take a picture.’, on the whole the ep feels like you zoomed in on a very specific time in your life, so can you breakdown the timeline of making the project and where you were at during the recording days, kweku collins: i was in an odd place recording. i technically started recording for the project before i even started the project. i had two songs done before i even knew i was going to make this project. i started “jump.i” the summer of 2016. the recording process after that, there was a lot going on in my life career wise. the music was jumping off, but conversely there were some complicated things going on in my personal life. music and my personal life got intermingled for a while and it kind of sucked., i really hear that when the beat comes in on “youaintshit,” you sound like you’re really off kilter., kweku collins: definitely, and an off kilter topic, too. it’s supposed to sound like that. that breakdown is supposed to be very sunny, but it’s also supposed to be a little melancholy. it’s a, ‘you know you fucked up with someone you cared about, and you can’t tell them you’re sorry because you said it too many times.’ that was my way of saying, ‘i know that’s where we’re at, but this is true and i just need you to know this. and this is the last shit i’m gonna say.’ that’s what the beat was supposed to say. that’s why the beat sounds all janky and a bit subdued., the last song suggests you’ve got much more up your sleeve: “it won’t wait ‘til we older.” is there a second album on the horizon, kweku collins: i wouldn’t say that it’s ‘on the horizon,’ but i will say that there will be a second album..

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As of right now there haven't been any big Kweku Collins concerts or tours booked for the States. Sign up for our Concert Tracker to get informed when Kweku Collins shows have been released to the lineup. See us on Twitter @ConcertFix for announcements pertaining to Kweku Collins. In the meantime, view other Rap / Hip Hop performances coming up by Kottonmouth Kings , Yung Pinch , and Goodie Mob .

Kweku Collins Concert Schedule

No events =(, about kweku collins tour albums.

Kweku Collins came on the Rap / Hip Hop scene with the appearance of the album 'Nat Love' released on November 30, -0001. The track '' quickly became a success and made Kweku Collins one of the newest emerging artists at that time. After that, Kweku Collins published the most famous album 'Nat Love' which features some of the most listened to tracks from the Kweku Collins catalog. 'Nat Love' features the song 'Nat's Intro' which has been the most sought-after for fans to see during the performances. Apart from 'Nat's Intro' , most of other songs from 'Nat Love' have also become sought-after as a result. A few of Kweku Collins's most famous tour albums and songs are seen below. After 2017 years since releasing 'Nat Love' and having a huge impact in the business, music lovers consistently gather to see Kweku Collins on stage to perform hits from the complete collection.

Kweku Collins Tour Albums and Songs

Kweku Collins: Nat Love

Kweku Collins: Nat Love

  • Nat's Intro
  • Stupid Rose
  • Vanilla Skies
  • Ego Killed Romance
  • Death Of A Salesman
  • 1:30, Curbside
  • The Outsiders
  • The Rain That Wouldn...

Kweku Collins: Say It Here, While It's Safe

Kweku Collins: Say It Here, While It's Safe

  • Holla If Ya Hear Me
  • Never Say Die
  • Lonely Lullabies
  • Love It All

Kweku Collins: Grey

Kweku Collins: Grey

  • International Busine...
  • Youaintshit (Shine On)
  • Oasis2: Maps
  • Things I Know
  • The Continuation

Kweku Collins: Ghost

Kweku Collins: Ghost

Kweku Collins: Say It Here While Its Safe

Kweku Collins: Say It Here While Its Safe

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Kweku Collins could be coming to a city near you. Browse the Kweku Collins schedule just above and click the ticket link to see our big selection of tickets. View our selection of Kweku Collins front row tickets, luxury boxes and VIP tickets. After you track down the Kweku Collins tickets you desire, you can purchase your tickets from our safe and secure checkout. Orders taken before 5pm are generally shipped within the same business day. To purchase last minute Kweku Collins tickets, look for the eTickets that can be downloaded instantly.

Kweku Collins Top Tour Album

Kweku Collins: Nat Love

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COMMENTS

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