By Larry Krayn

When it comes to the creative scene in Newark, you’ve got to think poetry. When you think poetry, Sean Battle is assuredly one of the first names that comes to mind. Born in Camden and making his way north by way of a BA degree from Rutgers New Brunswick and an MFA at Rutgers-Newark, he’s an Adjunct instructor at Essex County College, the founder of successful attire and promotion company EvoluCulture, and a published author.

Battle is a force in Newark, and he’s a force on the mic and at the CEO’s desk. Poignant with his words and pulling no ideological punches, he carries a power of authenticity that exudes through the room. Between a plethora of projects and shows, Battle has recently managed to add something new to his resume: an album. It’s spoken word, but it’s also a tapestry of musical innovation, conveying moods and providing moody backings to the inflections of his poems and voice. “Don’t Run” was released on October 1, and after having had the chance to sit and vibe with it for a few weeks, I sat down with Sean, and we discussed the album and beyond.

You’ve obviously spent quite a bit of time honing your craft—specifically performing live and writing/publishing books. What brought about the idea for a spoken word album, and what about that medium is different and more/less beneficial than the other ways you put out your work?

From the time I published my first full-length poetry book—The Forest of Bricks—until now, I had pictured doing at least one book and then the album. It was important for me to be published first, as I had it engrained that what is quality on the page, will be so onstage. Four books later and I finally got it done. 

When it comes to the difference in mediums, I long understood that the spoken word predates the written, and that both have their own music. Looping the appropriate blend of other music with it—which, to me on this project was splashes of jazz, lofi and boom bap—is but another experience that I learned to be a part of poetry as an art form. Some take things better when written, others take in better when performed and recorded. 

When we say spoken word album, I think some may think of a capella type recordings, where vocal inflections alone drive the context and emotive cues of a piece, but this is much more than that, with instrumentals, guest vocalists, and some catchy refrains. Would you call this a spoken word album? A fusion album? Something else? 

It’s a poetry album, a spoken word album, and a spoken-word poetry album. Depends on how I’m feeling that moment and in what room I’m in when describing it. But it’s all those things because I own all those variations. 

What was it like pulling together all of the collaborators on this project? You had features, production, and I’m sure other contributors. Was it a challenge? How long did it take to finish the vision that you had for the project?

It was fluid, pulling everyone together. The IZM., who provided all the music, made it his business to ensure my first album would be complete, and that it would be a quality experience entering the realm of recording artist. He got what I was going for, as shown in the tunes he sent me specifically for this, but was also surprised when I picked out certain beats (Malpractice) that he just had in storage for someone to use in general. 

This was even before I met Adam Bergo and the crew at Todavia Studios through a mutual in poet Reg E. Gaines. Adam served as engineer and just immediately got what I was going for while guiding me into presenting the vision in a quality way. 

With poems and music picked out one by one between 2022 and this year, and with me having a mastery and understanding of what the poems were to be, it was nothing to get into the studio and start recording. Mainly because of how comfortable I felt working with Todavia. From April to September, we knocked everything out in time for the October 1st release. 

The album was supposed to be released last year, but my and EvoluCulture’s work with the Dodge Poetry Festival pushed things back. Thus, 2025 became the year of “get this shit off me.” Not only did I release my fourth poetry book back in late March—On the Right Side–but then the album itself early October. Some of the poems from the book are also in the album: “Limbo” (featuring Gail Campbell), “Frolic While Black Man” (feat. Janetza), and “Teardrop”. 

Gail and Janetza were two people I knew I wanted to work with as early as 2023, once the probability of the album being a thing grew. I have shared stages with them in a number of occasions and waiting for the right project to have the honor of them being features. The same goes for my friend and sister in art and spirit, Treasure Borde, who sang for the album’s title track and intro. 

Fun fact, she suggested instead of naming the album Black and Blue—after the poem of the same name, and the only one with no music—to take the poems chorus (Don’t Run Nigga, Don’t Run), as that gave me more to work with. That led to the writing of the title track itself. 

Finally, R.A.P. Phenominal had me on his track, “Freedom,” years ago, released on his album Alumnai. As I was working on the track that became “Tick Tick Boom” I saw an opportunity to use the poem I wrote for his track—also in On the Right Side, entitled “Triggered”—as part of the chorus for mine, which led me to have him on the track itself and come full circle. 

My original thought was to have both projects connect as a new and selected poems type collection, hence the album containing poems from the first three books. However, book number four wanted to go in a different direction in general, and became a fully new collection. 

The title of the album is “Don’t Run.” Obviously that title alludes to a specific piece on the album, but is there a greater meaning overall?

Regarding the title, this project is a self-portrait in the serenity prayer: living with what I can and cannot change, all in the same breath. Though some poems come with more fight than flower and vice versa, they are never completely absent of either. This comes out in the title track, which serves as prologue before track 2, and the true catalyst poem, Black and Blue, which is a reflection on the night I was mugged after graduating grad school, and the lessons learned from it. As a little hint, I find that the heart of the project is towards the end of this very poem.

We are living in tumultuous times. You’ve been an artist and voice that has not only drawn attention to some of the challenges faced in our society, but also calling out those who merely virtue-signal or engage in symbolism over substance. What do you see as the best methods of resistance, progress, and activism today? How does this project, and your overall work contribute to those pursuits?

I welcome it all. Whatever ways people can spread the word, through words and action. I’m not built to protest, and I mean REALLY protest, as in be out in these streets. My activism is the stage, and in the classroom as an educator. Wherever I have a chance to plant and nurture seeds, I will.  

Regarding my album, songs such as Bulletproof Vest and G.R.I.O.T., the ending track of the album, can be seen as anthems by some. I’m particularly fond of G.R.I.O.T. (Greatness Recited In Our Time), which is me putting my foot down on the poet / singer / emcee / orator’s part in archiving in real time the tragedy and triumph of truth, so no story gets lost in translated oppression.  

EvoluCulture has found success in gathering a successful and recognizable roster and in turning art into endeavor in terms of events, projects, and promotion. How has that platform helped to launch this album, and what is next for the team?

I timed the album’s release to be within the month of our 11th anniversary, so the cross-promotion has been clutch. Our Director Of Music, the IZM, is my producer. Our President, Treasure, is singing on the project, along with three former Evolution Dopen Mic features: Janetza, Gail Campbell and R.A.P. Phenominal. The host of my release party, D1V1N1TY was also a Dope Mic feature, and, like the others, has become an incredible friend and confidant. 

Through EvoluCulture, I cultivated my own community that helped manifest this entire project. I am forever grateful. 

Anything else we should know about the project? And where can people download their copy? 

DON’T RUN can be purchased and downloaded exclusively at poetseanbattle.bandcamp.com. The project will be on other streaming services down the line, but I wanted to give folks an opportunity to support the artist directly. Thank you all who have, and will soon do so, and thank you to The Newarker for the platform.

Sean Battle is the CEO & founder of EvoluCulture Ventures, a Newark-based integrated arts organization, and the host of its flagship event, Evolution Dopen Mic. He also holds an MFA in Creative Writing-Poetry and a BA in English from Rutgers University. Battle’s first single, “Bulletproof Vest Incorporated,” can be found on Bandcamp, and his fourth poetry collection, “On the Right Side,” can be found on EvoluCulture.com.