Chapter I
THREE MEN AND A LADY
(1957 – 1981)
Helen Folasade Adu was born on January 16, 1959, in Ibadan, Nigeria. Her father, Adebisi “Bisi” Adu, a Nigerian economics lecturer, met her mother, Anne Hayes, an English nurse, while studying at the London School of Economics. They married and had a son, Banji. When Bisi was offered a teaching post in Africa, the family relocated to Nigeria.
The name Folasade means “crowning glory” in Yoruba and is commonly shortened to Fola or Sade. From early childhood, everyone simply called her Sade.
When the marriage became strained, her parents separated. Anne returned to England with Banji and 4-year-old Sade, moving into her parents’ home in a small Essex village. Anne worked as a nurse while Sade’s grandmother helped care for the children.
At 11, Sade’s mother remarried and the family moved to the coastal town of Clacton. As a child Sade loved reading and kept a horse, which she paid for with part-time jobs, including delivering newspapers on her bicycle.
She developed an early interest in fashion and drawing, paying close attention to detail and becoming something of a perfectionist. Those years helped shape her commitment to family and friends, her insistence on honesty, and a personality that combined charm and warmth with a fierce temper and a dry sense of humor.
Sade also grew into a strikingly beautiful young woman: tall, slim, and graceful, with features reflecting both her Nigerian and British heritage. The look would later become iconic, but behind it was something more important. She had fallen in love with music. Listening to pirate station Radio Caroline, she absorbed American soul: Marvin Gaye, Curtis Mayfield, Donny Hathaway, Billie Holiday and others. As she grew older, she and her friends would drive to nearby clubs to hear soul and funk they could dance to late into the night.
Sade has called her upbringing “a typical no-frills English childhood” and, although her father remained in Africa while she grew up in England, she has described those early years as happy.
At 17, she moved to London to study fashion design at St. Martin’s School of Art. There she met designer Melissa Caplan, who became a close friend. Sade’s work in fashion took her briefly to New York with Spandau Ballet, and she later made her first trip back to Nigeria to visit her father and grandmother.
After completing art school, she started a small clothing business with a friend. When the practical side of earning a living began to overwhelm the creative side, she grew frustrated. To support herself she also worked as a waitress and did some minor modeling.
Chapter II
A BAND CALLED SADE
(1982 – 1983)
In the early 1980s, Sade went to a reggae concert and ran into friends who had a band and needed a singer. Though she had never sung professionally, they insisted she looked like a singer and asked her to help out until they found someone “proper.”
Sade’s voice turned out to be husky and honeyed, warm yet cool, as distinctive as her appearance. Manager Lee Barrett, who handled a funk band called Arriva, heard her and invited her to audition as a backing vocalist. She insisted she was not really a singer and was initially turned down, but when no one better appeared she was asked to join.
Arriva soon changed its name to Pride. The band later auditioned a young saxophonist and guitarist from Hull named Stuart Colin Matthewman, and a bassist, also from Hull, named Paul Spencer Denman.
Sade and Stuart began writing their own material apart from Pride’s main set. Although performing made her nervous, Sade found that songwriting came naturally and gave her a voice she could live with. The songs blended soul, American R&B and pop with a subtle mix of jazz, Latin and reggae touches. Sade wrote lyrics that were personal and story-driven, giving the music an emotional weight that was entirely its own.
“Smooth Operator,” co-written by Sade and Pride guitarist Ray St. John, was originally conceived as Sade’s solo feature within Pride’s show. Eventually it was decided that Sade, Matthewman, Denman and drummer Paul Cooke would perform a smaller set under Sade’s name, while still remaining within Pride’s orbit.
Without a better name, the new group simply adopted hers. Sade, the band, debuted as Pride’s opening act at Ronnie Scott’s Jazz Club in London, performing a cover of Timmy Thomas’ “Why Can’t We Live Together” along with early originals like “Cherry Pie” and “Hang On To Your Love.”
Before long, this smaller unit began to overshadow the larger Pride ensemble. When it became clear Pride were unlikely to secure a record deal, they reluctantly allowed the Sade group to move ahead on its own, under Lee Barrett’s management. A young keyboard player, Andrew Hale, soon joined, completing the core quartet.
As lead vocalist and principal lyricist for a band that carried her name, Sade Adu naturally became the focal point, setting the emotional and aesthetic direction of the music.
Through a mutual friend, the band connected with producer Robin Millar, who agreed to help them record a demo for CBS Records (now Sony Music). “Smooth Operator” and “Your Love Is King” were recorded and mastered and eventually led to a UK deal with CBS in late 1983. Sade accepted a relatively small advance in exchange for a higher-than-usual royalty rate for a new act, a decision that would prove extremely shrewd once the records began to sell. (Wikipedia)
Chapter III
“DIAMOND” IN THE ROUGH
(1984 – 1985)
Working with producer Robin Millar and engineer Mike Pela at Power Plant Studios in London, the band recorded its debut album, Diamond Life. Sade described the title as pointing to “a life with a hard edge but with a sparkle.”
Most of the songs were written by Sade and Stuart Matthewman. The closing track was a reworking of “Why Can’t We Live Together,” a song they had been performing live from the start.
Released in the UK in July 1984, Diamond Life arrived after “Your Love Is King” had already reached the UK Top 10. The album became an international success, going multi-platinum in several countries, spending 98 weeks on the UK charts and earning the Brit Award for Best British Album. (Wikipedia)
Initially the US label hesitated, delaying the American release until February 1985. Their doubts disappeared when Diamond Life climbed the Billboard charts and “Smooth Operator” became a Top Ten hit. The band won the Grammy Award for Best New Artist and the album eventually sold more than four million copies in the United States, making it one of the most successful debut albums of its era. (Wikipedia)
Sade’s combination of musical elegance, visual understatement and personal reserve quickly made her a media fascination. Yet from the beginning she insisted on guarding her private life, doing relatively few interviews and allowing the music to carry the story.
Chapter IV
A “PROMISE” KEPT
(1985 – 1986)
Even while Diamond Life was still gathering momentum, Sade began work on a second album. Again collaborating with Robin Millar and Mike Pela, they started recording at Power Plant Studios but, under growing media pressure, shifted to Studio Miraval in the south of France.
In July 1985, Sade performed at Live Aid at Wembley Stadium in London, playing “Why Can’t We Live Together,” “Your Love Is King” and “Is It A Crime” in support of famine relief efforts in Africa. Around the same time, she appeared briefly in Julien Temple’s film Absolute Beginners, performing the self-penned “Killer Blow.”
The band titled the new album Promise, drawn from a phrase, “promise of hope,” in a letter Sade’s father had written to her. Released in November 1985, it contained 11 original songs with a slightly jazzier feel than its predecessor but the same unmistakable sound: space, restraint and emotion.
Promise debuted at number one in both the UK and US and went on to become another multi-platinum global success. “The Sweetest Taboo” led the way in the US, while “Is It A Crime” and other tracks became enduring fan favorites. (Wikipedia)
The band embarked on a major world tour that ran into 1986, with shows across Europe, Japan, Australia and North America, including a landmark performance at Radio City Music Hall in New York. The pace and press attention took a toll, and Sade increasingly pushed back against tabloid intrusion, setting a pattern of long breaks and carefully managed visibility that would define the rest of her career.
Chapter V
IN THE NAME OF “PRIDE”
(1987 – 1991)
After some time away from the spotlight, Sade reconvened to make their third album, the first to be produced entirely by the band. Working again with Mike Pela, they recorded at Compass Point in Nassau, Studio Miraval in Provence and Studio Marcadet in Paris.
Released in May 1988, Stronger Than Pride presented a leaner sound, stripping away some of the brassier textures of the first two albums in favor of a warmer, more spacious approach. The songs, all written by the band, explored love, independence and vulnerability with the same cool intensity that had become their hallmark.
“Love Is Stronger Than Pride,” “Paradise” and “Nothing Can Come Between Us” led a global run of success. The band toured Europe, Australia, Japan and the United States, including its first large-scale arena tour in America. The album sold more than three million copies in the US and continued the group’s run of multi-platinum releases worldwide. (Wikipedia)
After the tour, Sade stepped away again, this time to regroup emotionally and personally. The next studio album would arrive in 1992.
Chapter VI
LOVE DELUXE AND THE FIRST LONG SILENCE
(1992 – 1993)
In 1992, Sade released Love Deluxe, an album that deepened the band’s sound with darker textures, ambient influences and a more modern production approach. Songs like “No Ordinary Love,” “Cherish The Day,” “Kiss of Life” and “Pearls” expanded their musical palette while remaining unmistakably Sade. (Wikipedia)
Love Deluxe went multi-platinum, reaching the top ten in numerous countries and becoming another cornerstone of the catalog. Over time, the album has come to be regarded as one of the essential records of the 1990s, appearing on lists of the greatest albums of all time from publications such as Rolling Stone and Apple Music. (Wikipedia)
Following the Love Deluxe tour, the band stepped away from recording. What was initially a break stretched into years, during which all four members pursued their personal lives and side projects.
Chapter VII
THE WAITING GAME
(1993 – 1999)
In 1993, the video compilation Life Promise Pride Love was released, gathering 14 of the band’s videos and effectively summarizing their first decade. That same year, Sade recorded a cover of “Please Send Me Someone To Love” for the soundtrack of the film Philadelphia, earning a Grammy nomination for Best R&B Performance by a Duo or Group. (Wikipedia)
In 1994, Sony released The Best of Sade, a 16-track compilation that became another multi-million seller and helped introduce a new generation of listeners to the band’s work. (Wikipedia)
A live album and concert film, Lovers Live, culled from the later Lovers Rock tour, would follow in 2002, but much of the mid-1990s was quiet on the Sade front. (Wikipedia)
During the long hiatus, Sade herself focused on personal matters. Her marriage to Spanish filmmaker Carlos Scola ended, she restored and reinforced a house in Highbury, spent time caring for family members, and generally avoided the music industry.
Stuart Matthewman, Andrew Hale and Paul Denman formed their own project, Sweetback, releasing an album in 1996 and working with various artists. Stuart in particular became an in-demand collaborator, working with Maxwell and others, composing film scores and producing under the alias Cottonbelly. Paul Denman moved to Los Angeles, later returning to England, and eventually recovered from a serious breakdown, committing to a healthier life. Andrew Hale built a studio called Deliverance in London, composed for fashion shows and opened an art gallery. (Wikipedia)
In July 1996, Sade and Jamaican producer Bob Morgan welcomed their only child, a daughter named Mickailia “Ila” Adu. Sade spent long stretches living in Ocho Rios, Jamaica, raising Ila largely out of the public eye. (Essence)
A highly publicized driving incident in Jamaica and ensuing legal case briefly pushed Sade back into the headlines, but she remained deeply ambivalent about returning to the music business. She later acknowledged that without the persistent encouragement of the other band members, she might never have recorded again.
By the late 1990s, as Ila grew older, Sade began to consider returning to the studio.
Chapter VIII
SOLID AS A “ROCK”
(1999 – 2001)
In 1999, after nearly a decade without a studio album, Sade regrouped to begin work on what would become Lovers Rock. Recording began at Andrew Hale’s Deliverance studio in London, then shifted to El Cortijo in Spain for a series of focused sessions. As a mother, Sade insisted on a different rhythm: short stretches of intensive work followed by time at home with her daughter, who was often cared for by Sade’s mother in England.
The band and engineer Mike Pela eventually completed the album at Sarm Hook End in the English countryside. The resulting record featured an intimate, acoustic-leaning sound that drew on “lovers rock” reggae as a touchstone, while still sounding completely like Sade. Lyrically, Sade was more direct and personal than ever, writing about love, parenthood, migration, injustice and resilience.
Released in November 2000, Lovers Rock debuted at number 3 on the US Billboard 200 with first-week sales of more than 370,000 copies, becoming the fastest selling album of the band’s career at that point. It was quickly certified multi-platinum and went on to win the Grammy Award for Best Pop Vocal Album. (Wikipedia)
In 2001, Sade undertook the Lovers Rock tour, their first in almost a decade, playing arenas across North America and Europe. The shows were documented on the live album and DVD Lovers Live, released in 2002. (Wikipedia)
By the early 2000s, Sade had sold tens of millions of records worldwide and had become a rare kind of star: globally famous, deeply influential and yet almost fiercely private. Rather than capitalizing with constant releases, the band chose long pauses, returning only when they felt they had something worth saying.
Chapter IX
SOLDIER OF LOVE AND THE QUIET RETURN
(2002 – 2012)
After Lovers Rock and Lovers Live, the band once again stepped back. There were no new Sade studio albums for another decade.
Behind the scenes, life continued to evolve. Sade spent much of her time in England, raising Ila, staying connected to family and keeping a low profile. Matthewman, Hale and Denman continued their work as writers, producers and musicians for others.
In 2008, the four core members reunited in earnest to begin a new album. The result, Soldier of Love, was released on February 5, 2010. It was darker and more cinematic than Lovers Rock, with heavy drums, burnished guitars and lyrics that framed love, endurance and survival in stark images. (Wikipedia)
Soldier of Love debuted at number one on the Billboard 200, selling around 502,000 copies in its first week, the band’s first US number-one debut since Promise. The title track won the Grammy Award for Best R&B Performance by a Duo or Group with Vocals, giving Sade a fourth Grammy. (Billboard)
In 2011, Sade released The Ultimate Collection, a career-spanning compilation that included new tracks such as “Still in Love With You” and “Love Is Found,” followed in 2012 by Bring Me Home: Live 2011, a live album and concert film recorded on the band’s 2011 world tour. That tour marked their first return to many stages in over a decade and reintroduced them to a generation that had discovered their earlier albums retroactively. (Wikipedia)
By this point, the band had achieved a rare consistency: every studio album, live album and compilation had reached the US Top Ten, and worldwide sales were estimated in the tens of millions, with some sources placing them above 70 million records. (Wikipedia)
Chapter X
FLOWERS, UNKNOWN ROADS AND LEGACY
(2013 – present)
After the Soldier of Love cycle, Sade once again returned to a long, deliberate quiet. The band did not release another full studio album in the 2010s, but when they reappeared it was with the same sense of care and selectivity.
In 2018, Sade contributed “Flower of the Universe” to the soundtrack of Disney’s film A Wrinkle in Time, directed by Ava DuVernay. It was the band’s first new song in seven years and was written and produced by Sade, Andrew Hale and Ben Travers. (Wikipedia)
Later the same year, they released “The Big Unknown” for Steve McQueen’s film Widows, a haunting ballad about grief and survival that closed the movie over its end credits. Both songs were greeted as reminders that the band’s signature sound remained intact and emotionally devastating. (Wikipedia)
By the mid-2010s, estimates of Sade’s global sales often placed them above 70 million records, and in 2024 the band was nominated for induction into the Rock and Roll Hall of Fame, a recognition of their lasting impact on popular music. (Wikipedia)
Today, the band Sade remains what it has always been: a tight, quietly working quartet of Sade Adu, Stuart Matthewman, Paul Denman and Andrew Hale. They appear only occasionally, speak rarely and release new music only when it feels necessary. That deliberate pace has become part of the legend.
From Diamond Life to Lovers Rock to Soldier of Love and beyond, Sade’s work has defined a particular kind of musical space: intimate but universal, understated but emotionally exact, cool on the surface with a fierce, human heat underneath. The gaps between albums have only deepened the sense that when Sade speaks, it is worth listening.