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Six years ago, Kenyan folk singer J.S. Ondara left his home country behind to live with an aunt in Minneapolis and pursue his dream of becoming a musician. Though he was wholly unprepared for the windchills of the northern Midwest, he’s been able to channel his experience as a stranger in a strange land into his music and adjust to life in America.

The 26-year-old artist released his debut album, Tales of America, in February, which leverages his unease as an outsider into an album full of romantic storytelling—Ondara counts Bob Dylan as a major influence—but with a sound all his own.

We caught up with Ondara at Rough Trade in Williamsburg, where he made the second stop on his US and European tour. 

Onstage, Ondara presents himself as a traveling bard. He dresses in natty clothes, his guitar cases are stenciled with his name and strategically left leaning on the back edge of the stage, and a couple of dummy microphones are placed next to the real one, hearkening back to folk festivals of yore.

His voice, which has British-Kenyan inflections and earthy tones, often reaches up into a high, feminine falsetto. When he takes the stage for soundcheck, his presence has a centering effect on the room. Department heads from his record label, Verve Folkways, who have been fluttering about with preparations, become sharply attentive. Toward the end of the performance later, I spot a young woman wiping a tear from her eye.

In his introduction for the song “Turkish Bandana,” which he sang a cappella, Ondara explained that he never had access to instruments when he was growing up in Kenya, so he constructed songs purely vocally. Between songs, Ondara speaks fondly of his gently meddling, protective mother, who regularly chides him about his eating habits and asks him when he plans on settling down with a nice girl and getting a regular job.  

Friendly, funny and accessible, he was fully present and engaging as a performer—and then he was gone, back on the road.

This photoessay is the fourth installment in On The Road, a series of visual essays that explores the creative lives of notable musicians, onstage and off.

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WE'LL BE BLUNT.

We have a considerable $390,000 gap in our online fundraising budget that we have to close by June 30. There is no wiggle room, we've already cut everything we can, and we urgently need more readers to pitch in—especially from this specific blurb you're reading right now.

We'll also be quite transparent and level-headed with you about this.

In "News Never Pays," our fearless CEO, Monika Bauerlein, connects the dots on several concerning media trends that, taken together, expose the fallacy behind the tragic state of journalism right now: That the marketplace will take care of providing the free and independent press citizens in a democracy need, and the Next New Thing to invest millions in will fix the problem. Bottom line: Journalism that serves the people needs the support of the people. That's the Next New Thing.

And it's what MoJo and our community of readers have been doing for 47 years now.

But staying afloat is harder than ever.

In "This Is Not a Crisis. It's The New Normal," we explain, as matter-of-factly as we can, what exactly our finances look like, why this moment is particularly urgent, and how we can best communicate that without screaming OMG PLEASE HELP over and over. We also touch on our history and how our nonprofit model makes Mother Jones different than most of the news out there: Letting us go deep, focus on underreported beats, and bring unique perspectives to the day's news.

You're here for reporting like that, not fundraising, but one cannot exist without the other, and it's vitally important that we hit our intimidating $390,000 number in online donations by June 30.

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