It’s been over a decade since Wizkid’s debut album, Superstar, launched him into stardom, solidifying his place as one of his generation’s most promising stars. Since then, he has delivered standout projects such as Ayo, Sounds From the Other Side, and most notably, Made in Lagos, arguably his finest and most successful album to date.

Wizkid has continuously evolved, redefining his sound since Sounds From the Other Side, a shift that culminated in the globally acclaimed Made in Lagos. This transformation, likely influenced by his exposure to diverse musical landscapes, moved him away from the high-energy "kpalongo" sound that once dominated his catalogue and the industry at large. Instead, his recent work leans towards a more relaxed, soulful style, enriched with lush instrumentation. However, his last two projects—More Love, Less Ego (2022) and S2 (2023)—while maintaining his refined direction didn’t resonate as expected, leaving him in search of a project that could rival or surpass the success of Made in Lagos.

Titled Morayo after his late mother, whom he lost in 2023, fans anticipated Wizkid’s most introspective and heartfelt project to date. However, rather than centering solely on introspection, the singer chose to highlight the various personas of his artistry since his debut—infused with romance and a touch of playful sensuality that remains a core ingredient of his music.

The album begins on a reflective note, sampling Fuji legend Kwam 1 De Ultimate’s performance at Wizkid’s mother’s funeral. With rich instrumentation—primarily gangan drums and saxophone—that permeates the album, the opening track, Troubled Mind, sets the tone. As the title suggests, Wizkid reveals his vulnerabilities on this mid-tempo P2J-co-produced record, making it an apt introduction to the project.

While Troubled Mind lays a soulful foundation, the energy shifts instantly with the second track, Karamo. It’s a lively, groove-packed party starter that rekindles the high-energy "Lamba Wiz" fans have longed for. The tempo builds further with Kese, a lead single that amassed a record-breaking 1.57 million streams on Spotify within 24 hours of release. With its irresistible Afrobeats rhythm and dance-floor appeal, Kese is undeniably a standout on the album, crafted to ignite clubs and playlists alike.

The project’s first feature comes from Asake, whose appearance on the album was a pleasant surprise, especially considering their recent collaboration on the Grammy-nominated song MMS, which was highly praised by music lovers. Unlike the solemn and reflective tone of MMS, their new track Bad Girl takes a more uptempo approach, celebrating a lady with playful admiration. While it’s a decent record, it falls short of being exceptional. Given the massive success of MMS, Bad Girl might struggle to maintain momentum and could fade quickly, unable to compete with the impact of their initial collaboration both sonically and in terms of potential.

Wizkid’s transition since Sounds From the Other Side, which positioned him as a soft-spoken, soul-stirring R&B artist, continues to evolve impressively, often yielding stellar results within this spectrum. Time is one of the laid-back tracks on the project, delivering a well-deserved dose of lush melodies. The tempo seamlessly carries into Piece of My Heart, a silky R&B duet featuring American singer Brent Faiyaz. The track is particularly noteworthy for its structure as a two-in-one record, shifting sounds within the same song. Its exceptional delivery and unique arrangement make it another standout on the album, solidifying its place as one of the lead singles preceding the project’s release.

Known for infusing Caribbean influences into his music through tracks like Joro, Mamacita, and others, Wizkid explores similar themes with Break Me Down. This track blends sensuality with an upbeat tempo, merging Afro-Caribbean vibes with an R&B flair. Its groove is enhanced by a stellar yet understated performance from an unknown songstress. The tempo resets to a party-starters template with Bend, a proper Afrobeats banger that many anticipated. Slightly heavier than Kese, it has all the makings of a club anthem and could easily become a standout track from the project. In contrast, A Million Blessings feels underwhelming and skippable. Despite the orchestra-inspired production laced with Afrobeats elements that attempt to elevate it, the track lacks the energy and flair to leave a lasting impression, coming across as an album filler.

Wizkid’s signature soulful, feel-good sound makes a strong return on Après Minuit and Bad For You, featuring French rapper Tiakola and American singer Jazmine Sullivan, respectively. These tracks showcase his ability to carefully select collaborators who seamlessly complement his artistry. This approach has paid off in the past with tracks like True Love featuring Tay Iwar and Projexx from Made in Lagos, and the pattern continues to shine here.

While Soji leans on its Afrobeats roots, it doesn’t rise above being another filler. On the other hand, Don’t Care delves deeper into indigenous Afrobeat vibes, offering a more grounded and authentic Wiz. Meanwhile, Slow and Lose are beautifully delivered soft-tempo tracks that resonate with Wizkid’s introspective side, adding a refreshing calm to the album’s flow. The project ends on a high note with Pray, a track that ties together the album’s reflective and celebratory themes.

With P2J producing fourteen tracks and P.Priime and DAMEDAME handling the remaining two, the album boasts a rich and robust soundscape, instrumentation, and production. However, the production could have benefitted from more diverse input to balance out the P2J-heavy contributions.

While Morayo strays beyond the female-centric, romantic, and sensual themes that often characterise Wizkid’s music, it falls short of presenting a cohesive core theme. Whether tied to the significance of its title or simply as a standalone project, the album lacks a unifying thematic structure, leaving it feeling somewhat disjointed. It doesn’t deliver the kind of immersive experience that channels the listener’s thoughts in a specific direction—perhaps towards romance, as has been the hallmark of some of Wizkid’s most memorable works.

Nonetheless, the project is more inclusive, showcasing nearly every artistic phase of Wizkid’s career. It marks an intentional return to crafting proper Afrobeats bangers, a dimension of his brand that has been notably missing in recent years. Morayo is a blend of Wizkid’s signature styles, presented on a more mature and well-rounded level, making it accessible to fans across different stages of life. Despite these highlights, Morayo as a whole feels decent but doesn’t quite possess the standout quality needed to compete with several other Nigerian albums released in 2024. It’s a solid addition to Wizkid’s catalogue but lacks the groundbreaking appeal that defines his most celebrated work.

Overall Rating: 7.0

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Nigerian Afro-fusion singer and songwriter Olúwadámilọ́lá Adédọlápọ̀ Amínù, popularly known as Minz, has released his debut album, By Any Minz, and it's a refreshing project amidst the slow year for quality releases that the Afrobeats scene has witnessed.

The first time I stumbled upon Minz was in 2019, on a track called Boogie Down by Bowale. Beyond how great the song itself was, Minz’s guest verse stood out—it was soothing, precise, and his delivery in the final part was nothing short of captivating. Since then, Minz has continued to refine his artistry as a singer, songwriter, and producer. His COVID-19 lockdown release Quarantino, cleverly named after the buzzword "quarantine," along with BDMN, further displayed his skill and versatility, keeping me hooked on his evolving craft. One of his greatest strengths is his versatility, seamlessly transitioning between the mainstream scene and the alté movement—a niche community that thrives on authenticity and uniqueness.

Minz would eventually get his big break with Wowo, a massive record that took over the scene. The success was quickly followed by a remix featuring BNXN and Blaqbonez, but interestingly, the original track held its own and wasn’t overshadowed by the remix, showing its destined greatness.

In 2024, the independent Minz continues to play by his own rules, although he now has backing from powerhouses like Mr. Eazi’s emPawa and BFA, owned by Davido’s former lawyer and business partner, Bobo Ajudua. Minz successfully releases his 15-track debut album, By Any Minz, featuring heavyweights like Davido, Tekno, Blaqbonez, Projexx, Zinoleesky, and others. The album title, By Any Minz, a play on "by any means," tells Minz's story of ruthless dedication and belief in his unique style and brand, which are finally paying off. He has stuck to his sound, which isn't necessarily mainstream, and by playing by his own rules and means, he's found his breakthrough and continues to shine.

The album opens with Revelations, a mid-tempo, introspective tune that reflects on how far Minz has come despite the challenges. This is followed by Shadow, where his street-hop side takes centre stage. While Minz is often recognised for his soulful delivery, his use of "lambas" on this track highlights his hood background and street credibility, shaped by growing up in Surulere. The head-nodding track is executed flawlessly and sets the tone for the rest of the album. The catchy hook, “E bo kolo far”—a TikTok phrase meaning "push it till it’s seen"—further underscores Minz's persistence and ambition.

Wowo is a reflection on the ugliness of life amid its sweetness, projecting closure and syncing perfectly with the album’s direction. Wap, undoubtedly a sex-playlist tune, features guitar chords and whispers that set a seductive mood, while Minz’s laid-back delivery of the vocals fits the vibe perfectly. While Davido’s verse wasn’t bad, he may not have been the best choice for this song. A smoother, more soulful voice like Wizkid, Fireboy, Lojay, CKay, or even Projexx (a guest on the project) could have made the song even better. Nonetheless, the track remains solid.

The tempo picks up with Diallo, a makossa-inspired highlife-infused tune featuring Tekno, who delivers flawlessly. The energy slows down again with Ja, an Afrobeats record that celebrates the beauty of a woman’s waist and the beads adorning it. Then, Do brings the energy back with its log-drum-driven sound, where rapper Blaqbonez flexes his melodic skills.

Drama stands out as a track that will likely appeal to the alté community. Featuring songstress Moliy, who delivers divinely and could easily be mistaken for Ghanaian singer Amaarae, the song is refreshing and enjoyable. Lon3ly, translating to "Lonely," speaks of Minz’s yearning to see someone special. F.U., another song for your sex playlist, is a standout record, showing just how much Minz has refined his mid-tempo love songs. Jamaican artist Projexx also delivers a great verse.

READ ALSO - Odumodublvck speaks on chances of winning BET awards, his next project & more

Low follows with a slight uptick in tempo, where the street-hop side of Minz resurfaces. The album then transitions to Sokoto, an Amapiano-inspired Afrobeats banger for the clubs, with Zinoleesky showcasing his immense talent. Disembark blends Afrobeats with an 80s funk twist, making it a distinctive tune on the project. Minz, once again, delivers decently.

One of the standout tracks, Mo de ma (short for "mo de ma de be," meaning "and I will get there"), serves as a prophetic declaration that Minz will achieve his dreams "by any Minz." The track concludes with the voice of Grammy-winning legend Angelique Kidjo, recorded during a life-changing interaction with Minz in Paris—a moment the singer proudly shared on social media. The album wraps up with the remix of his global hit Wowo, ending on a familiar note. However, it doesn't quite match the strength of the project's intro, leaving room for a more impactful outro. Ideally, a new song rather than one already pre-released could have provided a stronger finish to this otherwise impressive debut.

Thematically, By Any Minz is well-rounded, touching on life’s journey, love, emotions, and everyday struggles. Overall, the album is cohesive, enjoyable, and refreshing. A good number of producers, including 255 and Mike BGRZ, contributed to the project, but the live instrumentation could have been richer, especially for a soul-inspired Afropop artist like Minz, whose lyrics often hit home. Stronger instrumentation would have elevated some tracks.

With this debut album, Minz—who has spent years paying his dues with patience, consistency, and sacrifice—shows remarkable growth while staying true to his unique style.

Rating: 7/10

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Nigerian ace rapper and music executive, Chibuzor Nelson Azubuike, popularly known as Phyno, has released his fifth studio album, Full-Time Job, and it lives up to expectations as a project from a veteran artiste who has consistently championed traditional music and cultural representation

Making a strong entrance into the industry with his debut album No Guts No Glory in 2014, which had smash tunes like Alobam, Ghost mode and more, the 37-year-old rapper has since released four more studio albums, including his latest, Full-Time Job. Although Phyno took a three-year break, his comeback project is a well-delivered reminder of why he has excelled in the music space for over a decade.

The intro of the album 'It's Nothing' gives you everything you need, as a rapper should on a project: introspection, self-awareness, and skillful showmanship. The rich production, delivered by one of the highly under-recognized yet spectacular hip-hop producers in the game, Major Bangz, cements the song's quality. A very strong hip-hop intro, allowing the rapper to express himself properly. The skilled MC goes in hard, delivering and showcasing his prowess as one of the best rappers the continent has ever seen. The vocal performance by Emma Odia enhances the cultural identity Phyno subscribes to.

The album’s tempo quickly elevates with 'Back Outside' featuring Phyno’s signee, Cheque. The amapiano-inspired, log-drum-infused record, paired with Cheque’s catchy hook, is a song for the streets and a potential club banger. Phyno flows effortlessly—a thoroughly enjoyable track. A foreign presence is introduced on the project in the form of British rapper Chip on 'Eyes on Dem'. One might have expected a drill or grime track, or at least a proper hip-hop song, but there’s a twist: it’s a mid-tempo, funk-inspired 80s-style record. Chip delivers his verse through singing, and Phyno follows suit. Though it’s a decent track that caters to a broader audience, it may not be particularly memorable. Phyno's 2023 hit 'Do I' boosts the tempo again, offering listeners familiar ground. Songstress Fave is introduced on 'Deep,' with love as the central theme. Like most duets between male and female artists, the song focuses on affection, with both expressing how deeply they are in love. Fave shines with her patois-influenced vocal delivery.

'Time of My Life' showcase Phyno’s "the world to Afrobeats" approach, in contrast to the more common phrase, "Afrobeats to the world." A drill track might have been expected, but British drill rapper ArrDee is instead featured on an amapiano-infused Afrobeats tune. Impressively, ArrDee delivers some lines in Phyno’s native language, Igbo. Both artists share verses, making the song a potential fan favourite if promoted well. The title 'Nwayo Nwayo,' which translates to "softly, softly" already hints at a feel-good Igbo highlife tune, and Phyno delivers exactly that. The lead guitar cuts through the track, providing an ear-catching touch. Phyno follows this with 'Men Don Show Face,' which delivers just what is expected. Featuring veteran highlife singer Flavour, the song benefits from Flavour's expertise in crafting irresistible hooks. The groovy and rhythmical Oghene music formula—responsible for hits like 'Levels,' 'Game Changer,' 'Egedege,' and 'Big Fish'—is applied brilliantly, resulting in a definite hit record.

Phyno continues his strong run with 'Grateful.' The hip-hop track samples Princess Njideka Okeke's 2004 gospel classic 'Kporo Ya Isi Na Ala,' and Phyno stays on theme, offering praises to his creator and reflecting on his life journey. The sample adds soul to the track, which complements the rapper's introspection. Phyno maintains this reflective tone with the interlude 'Nwoke Esike' (loosely translating to "Man of Strength"). The piece features Nigerian fraudster and convicted felon Hushpuppi, whose ironic intro and outro advise listeners to live within their means, be content, and work hard. Phyno’s singing, backed by solemn choir-style vocals and meliorated by a lead guitar, reiterates the message of being a "man of strength," showing up in the face of adversity.

The tempo shifts again with the Afrobeats-infused "Trouble Maker." Another interesting change comes with 'Pinterest,' an urban Afro-fusion/Afro-swing tune featuring British-African group NSG. Here, Phyno plays on the guests’ turf rather than keeping things local, as he did with ArrDee. The song is beautifully delivered and ideal for summer. Grammy-winner Burna Boy makes an appearance on the remix of Phyno’s 2023 smash hit, offering a familiar sound for listeners. As expected, Burna Boy delivers an exciting performance. Mavin singer-songwriter and producer Johnny Drille, who has been relatively quiet lately, makes a surprising appearance on 'Sweet Karma,' a love-themed track, as expected. The album concludes with 'Anthem Ndi Eze,' another Oghene-inspired song, which rounds off the project beautifully. It is well-produced and seems destined to become an anthem representing Igbo culture.

Overall, the album boasts impressive production and direction, with standout contributions from Nigerian producer Jaysynths. He showcases his versatility across eleven of the fifteen tracks, including gems like 'Back Outside,' 'Do I,' 'Deep' (co-produced with Greamer), 'Time of My Life,' 'Nwayo Nwayo,' 'Men Don Show Face,' and 'Grateful.' Major Bangz also makes significant contributions, producing the album’s intro, 'It’s Nothing,' and the soundscape-shifting 'Pinterest.' Duktor Sett and NiphKeys add their touches to tracks like 'Nwoke Esike.'

The album is cohesive, on-brand, and culturally rich. Although it also caters to a broader audience, the traditional rhythms and influences never falter, keeping local listeners connected no matter where they tune in from. Even for those unfamiliar with Phyno’s language, the music composition and delivery offer something enjoyable. Phyno's performance feels effortless, with seamless delivery across both his rapping and singing, solidifying the album title and affirming that he is well-rooted in his craft, treating it as a full-time job even if there are breaks in between

Overall, it’s a solid 7.8/10 album, easily one of the year’s best projects from a Nigerian rapper, and it also stands out as one of the rapper's best projects in his catalogue.

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Over the years, this exceptionally talented singer-songwriter has evolved, continuously sharing glimpses of his life at various stages. From an innocent lover boy to a rising star, navigating wealth, global recognition, personal struggles, and self-discovery, his music has mirrored this journey. With his debut album Laughter, Tears & Goosebumps, the world was introduced to a 23-year-old breakout star whose reality was centred on love, emotions, and fantasies. A year later, following chart dominance, awards, newfound wealth, and the challenges of fame, his sophomore album APOLLO reflected a shift from fantasy to reality. Fireboy began to explore themes of lust, sex, self-awareness, and introspection, as seen in tracks like '24 (Interlude),' where he grappled with the pressures of life in 'Airplane Mode' and even touched on the subject of mortality and legacy in 'Remember Me.'

Fast forward two years, and the now 26-year-old artist has spent three years navigating the highs and lows of global stardom. His experiences have shaped him, as he candidly admits in the opening track 'Change' from his third album, Playboy. As the album title suggests, the once soft-hearted Fireboy has transformed into a more hardened version of himself—a "Yoruba demon," as it is called —navigating a world that has toughened him. He’s become more carefree, indulgent, and detached from emotions, and for the sake of his sanity, he's decided to embrace the wild ride, even documenting his experiences with vices like MDMA in 'Peru.'

Now, five years into his superstar journey, Fireboy has seen it all. He appears to have a deeper understanding of himself and life, leading him to embrace his multifaceted identity. His latest album, titled Adedamola after his real name, represents this synthesis of his different personalities into a cohesive, authentic whole.

The album opens with 'Iseoluwa,' a groovy yet reflective track that translates to "the wonders of God" in Yoruba. The song's elegant introduction features the omele (a baby talking drum) flanked alongside the gangan (talking drum), creating a Selense or Jenleke vibe, meaning it’s not overboard, calm, but filled with enough rhythm to keep you shaking. Fireboy’s delivery is swift and focused, expressing gratitude, self-reflection, and optimism: "Life has been good to me; I do not take this with levity," he declares. The track, produced by Bassiqally and Nxrth (Fireboy's brother), is enhanced by soothing female backup vocals sprinkled across and a magical saxophone performance, making it a perfect intro and an instant Fireboy classic.

The energy picks up with 'Call Me,' a vibrant Afropop track that showcases Fireboy’s versatility beyond being tagged an "Afrobeats artiste." With a '90s pop influence, the song sees the loverboy confessing his love and commitment, while the log drum, often referred to as the "808" of modern Afrobeats, adds depth. The album then shifts gears with 'Ecstasy,' where Identity is switched as the frivolous playboy Fireboy comes to life. The song, themed around sex, sweat, flashbacks, and lust, features veteran Afrobeat musician Seun Kuti, whose saxophone performance adds soul to the track. However, the use of the log drum here slightly disrupts the glossiness expected in a song about lust—a balance that Fireboy had previously achieved on 'Tattoo' from his APOLLO album.

'Hell and Back' follows, where Fireboy’s vocal prowess takes centre stage, reminding listeners of his ability to deliver across genres regardless of the soundscape or tempo. The singer-songwriter shows he can sing-sing! like he did on 'Sing' with Oxlade. The song is both groovy and soulful, with the log drum, violin, and saxophone creating a rich soundscape. The album’s first guest appearance comes from Lojay on 'Letting Go,' a mid-tempo track about the difficulty of moving on. While it’s a solid record, one might expect more from the collaboration given the capabilities of both artistes.

Listeners are finally treated to one of the most anticipated tracks on the album, where the saxophone and violin blend together to evoke a wave of nostalgia. The tenor saxophone’s entrance is delivered with such vigour that it immediately stands out; it’s jazzy, bold, seasoned with experience, and unmistakably marked by Lagbaja's signature style. Traditional instruments like the omele and Lagbaja’s iconic bata drum provide the perfect rhythm, allowing Fireboy to flow effortlessly with his soul-stirring lyrics: "Sometimes I know it, sometimes I don’t know how to show it, but somewhere at the back of your mind, I hope that you know I love every single moment with you." Once again, Fireboy showcases his vocal prowess with subtle falsettos while performing alongside his childhood idol, who has been pretty inactive in the music scene, with the last time the icon surprising popped out being the AMVCA performance in 2022. To heighten the nostalgic feel, Lagbaja delivers a sensational verse that transports listeners back to the era of classic hits like the 2000-released 'Nothing for You.' The heavy traditional drums give the track a distinctively African and deeply rooted essence—thankfully, without any log drums. It’s a flawlessly executed song.

The album then slows down with the solemn acoustic tune 'Ready,' featuring Grammy-winning singer, songwriter, multi-instrumentalist, and bandleader Jon Batiste on keys. The soul-stirring chords provide a canvas for Fireboy to fully spread his wings and soar, which he does effortlessly on this track—he truly shines. Although Fireboy's vocal and lyrical delivery has been strong throughout the album, this song especially highlights his vocal brilliance. The energy picks up again with 'Wande’s Bop,' a track where Fireboy pays homage to the Afropop "source"—Wande Coal—whom he has consistently credited as a major influence. The song is intentionally crafted to echo the sound of Wande Coal’s 2011-2016 era, bearing similarities to 'The Kick.' It’s a club banger that Fireboy delivers with ease. The high tempo continues with the Afro-funk track 'Change Your Life,' dominated by vibrant trumpet lines, once again showcasing why Fireboy is the complete package—a true pop star capable of delivering across various genres.

One of the album's standout moments is 'Obaa Sima,' a song that, despite being released earlier, feels even more powerful in the context of the album. It's a prime example of how singles can find new life within an album, showing listeners the connection that might be missing as a single. This track is followed by 'Need Me,' which sonically picks up where 'Obaa Sima' left off. You might think it’s the previous song still playing until you realise it’s actually a new track. The song's themes focus on love and commitment. 'Yawa,' another pre-released song, sounds even better within the album's framework, with Fireboy's delivery on the second verse standing out as particularly impressive. Interestingly, the song features label colleagues Olamide and Asake as backup vocalists.

The album is close to curtain-falls with 'Everyday,' definitely a fan favourite because of how rhythmically pleasing it is yet poignant. The absence of unnecessary log drums makes it soulful and glossy, allowing the trumpet and the guitars to properly pierce through—something that could have also been achieved in 'Ecstasy.' The album concludes with 'Jon's Interlude,' a piano rendition of Fireboy's lyrics from 'Ready.' While soothing, this choice might not have been the most fitting way to end the album, especially after the spectacular introduction. A more impactful conclusion could have been achieved with an introspective-themed vocal delivery on a similar piano progression, helping to ground listeners after the album's dynamic journey. Additionally, if 'Jon's Interlude' were to remain, it might have worked better as a middle track, aligning more with the traditional role of an interlude. Overall, the album's ending could have been more compelling.

READ ALSO - Although experimental, Asake's 'Lungu Boy' comes across as the least of the trio

The production on the album was brilliant, with standout performances from producer and bassist Bassiqally and producer Nxrth, who worked on more songs than others. Bassiqally contributed to seven songs, including gems like 'Iseoluwa,' 'Back n Forth,' and 'Change Your Life,' while Nxrth came in behind with production credits on five records. The album also featured legendary ace producer ID Cabasa, alongside other incredible talents like Pheelz, Semzi, Magicsticks, Blaisebeatz, Telz, Jon Batiste, and others, which is why the album was so cohesive and organised, considering the many experienced creatives involved in the production.

On Adedamola, Fireboy is able to merge his personalities as a bad boy and a lover boy on this album, hence the allusion to being a "Casanova with Roses" who would still open doors, send flowers, and do all that lovey-dovey stuff, which points to why he must have referred to the album as home. "Every single part of me went into this album. It's so personal, and it feels nostalgic, like a call to home. That's why it’s titled Adedamola," he said in an interview. With this project, Fireboy reminds everyone that he is truly in love with music and very intentional about his craft. However, this project could have had some commercial edge over others if it had a couple of bangers like 'Wande's Bop' to keep the clubs going. Regardless, the singer-songwriter makes very enjoyable music and will be here for a very long time.

Fireboy is one of the few Nigerian modern-age artistes who can properly curate an album with thematic and sonic cohesion. On this project, the singer demonstrated that there’s probably no need to over-experiment to show growth. It is very possible to stretch your soundscape while still remaining cohesive, as he has done on this album. Although it may not be his best album, it is definitely just slightly behind his debut album 'Laughter, Tears, and Goosebumps'. However, considering the spectrum of growth (as you wouldn’t expect him to create an LTG-type project at his current age), this might actually be his best project so far. Regardless, the gap between this album and LTG is not so wide, and it is definitely in the Album of the Year conversation as it stands. A solid 8.7.

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The neo-fuji singer has shown intense dedication since he fully came into the spotlight, churning out four projects in three years, two in his debut year. With these three projects: his self-named EP 'Ololade', his debut album 'Mr. Money With The Vibe', and his sophomore album 'Work of Art, the singer has gone on to become one of the most exciting Afrobeats acts to break out in the modern Nigerian music era since Wande Coal & Wizkid. The YBNL-Empire singer and performer has sold out the iconic 02 Arena in the United Kingdom, the Barclays Centre in the US, and the Scotia Bank Arena in Canada, all of which have less than 19,000 capacity.

The title "Lungu Boy," is a description of the singer's identity and roots, regardless of where he goes or how far he travels. "Lungu" is originally an Hausa word meaning "shortcut," "dark alley," or "dirt road"; however, it has become a popular slang, especially in Southern Nigeria, contextualised as the "Ghetto" or the "hood." In a broader sense, it means the "streets," which attest to why Asake might be calling himself a "Lungu boy." If you are not a "nepo baby," having to strive for yourself and "enter the streets" to get things done without support or soft landing, you can be accorded as a "street child," hence "Lungu child."

Also, Asake is from Lagos Island in Nigeria, an urban area of the early Lagos that has now largely become a "Lungu," therefore every allusion to the singer's identity based on the album title ticks. Although a "Lungu Boy," Asake on this album documented his so-far-gone lifestyle and how international he has become, with hip-hop influences in his music, skating, face tattoos, western fashion, etc., which are dominantly foreign entities.

The album kicks off with a soul-soothing sampling of Asa's classic 'Eye Adaba,' a powerful and prayerful song that is perfect to start your day; your journey. Asake starts the album on this note, creating the impression that the album is about to take the listener on a surreal journey. The one-minute, twenty-one-second intro had the Asa sample run for forty seconds before Asake took over with a "step on the gas" delivery, accompanied by a switch in beat from being solemn to a slightly fast tempo. A good intro that warms you up for what is to come.

The highly anticipated collaboration with Wizkid titled 'MMS' follows. When the tracklist dropped, one would have wondered why a heavyweight like Wizkid would be quickly introduced on the album instead of the usual way of delaying the big features to a later time on the album. However, listening to the highly enjoyable and introspective mid-tempo song, one would see why Asake made it the second track. After the soothing Asa sample, it only made sense to follow it with such a feel-good song. As expected, the mid-tempo tune with an R&B feel was a familiar ground for Wizkid to deliver smoothly, strictly staying on topic too.

The tempo in the album increases with 'Mood'; although not in party mode, it was just enough to have you nodding your head. It's another feel-good song that was perfect to follow the previous one. The fourth song 'Heart' kicks off with a Spanish guitar to usher in a love tune that saw French-Gabonese singer Anäis Cardot give an impressive bridge and noticeable back-up vocal to sweeten the song. The song switches from time to time from its Southern American feel to a Kanye hip-hop type beat, and knowing that Asake flows almost like a rapper, his delivery on the song was good. It is a decent song, but not exceptional. 'Worldwide' follows, although a familiar log drum-based tune that speaks on how "blown" Mr. Money has become. The delivery, production, and overall quality of the song seemed lazy.

The already-released 'Active' is a high-energy tune that seamlessly blends Afrobeats and hip-hop, showcasing the unique sides of Asake and the featured act, Travis Scott. Another catchy composition deployed by producer Sarz on the song is him interpolating Adewale Ayuba & Jazzman Olofin's 'Raise the Roof,' which ended up being a major highlight of the song.

The tempo is again dropped with 'Suru', another introspective tune themed on being patient in life, featuring English rapper Stormzy, whose verse was delivered seamlessly. "Ise oluwa ko seni to ye," a familiar line from Apala maestro Haruna Musiliu Ishola, saw the need for a traditional feel to the song, which was not properly executed and represented with just gan gan drums; other traditional components should have come to play.

The western influence on Asake was shown with 'Skating.' The mission-impossible-action-film-like beat was dominant throughout the song; however, the singer struggled with thematic depth and delivery when singing about his newly found hobby.

Asake reunites with his primary producer, Magicsticks, who came through with the log-drum-dredged soft landing for the singer on 'Wave'. As a way to show that the "Lungu boy" has indeed gone international, Asake enlisted another British rapper, Central Cee, for the fan favourite song.

The album experienced a noticeable upgrade with 'Mentally.' It was the confident, delivery-conscious, and precise Asake known to be a hit machine on that record. The run is complimented by another monster jam produced by Sarz, 'Uhh Yeah.' The fuji prowess of the singer came to full flesh, and it was an instant show of the "Ololade mi Asake" that we know, especially the second verse. Sarz went nuts on the production. Interestingly, the song bore a resemblance to rapper Reminise's highly underrated club banger 'Fantasi,' which was also produced by Sarz. The enjoyable run ends with 'I Swear' another lazy attempt (especially with hook) by the singer to deliver a Lamba (a street slang for being poetic while braggadocios about one's ability or something), a terrain he is familiar with and has excellently delivered in previous albums with songs like What's Up My G.

Another letdown follows with 'Ligali', a slang that emanates from the Fuji world, especially from Fuji icon Wasiu Alabi Pasuma Wonder, which loosely translates to "mingle." One would have expected a flamboyantly delivered Fuji-themed song flanked by all the traditional components needed to leave listeners giving it their all on the dance floor, drenched in sweat, but they rather met an Afro-fusion leaned tune, which does not necessarily do the job. As the experiment continues, Asake embarks on a Caribbean dancehall voyage with Brazilian singer Ludmilla on 'Whine'. The singer again clearly struggled with the ragga persona he tried to embrace and, as a result, created a song that might be easily forgotten by many.

READ ALSO - Can Asake attain the "Holy Trinity" with upcoming album 'Lungu Boy'

The curtain closes on the album with a bonus track. The highly anticipated 'Fuji Vibe', whose snippet already cemented in the hearts of his listeners, was elongated and flamboyantly performed by the singer alongside his band The Composers - like one would have expected of 'Ligali.' The 5-minute-long song, at a point, transforms from its Fuji stance to the new-age deep trenches sound known as Mara which encompasses dance moves like Faaja, Ogba, Mara Pupo, Scissors Feet, and a slew of others. It was engineered specifically to be performed and enjoyed live. A moment.

The production on the album was quite decent, with standout performances like Sarz's brillance on the house-infused log-drum-dominated 'Mentally', the Fuji-EDM 'Uhh Yeahh," and the Afro-fusion laced with hip-hop display on 'Active'. The veteran producer and DJ constantly make it known that he is a godfather in the game with his sensational productions over the years. His protegee, P.Prime, produced seven tracks off the album, with 'Start', 'MMS', and 'My Heart', proving to be standout productions that showed his versatility as a young producer and the immense prospect he is to the Nigerian music scene. However, songs like 'Suru' could have had more components to properly deliver the tune.

Magicsticks came through on 'Wave' as well as his contribution on 'Fuji Vibe' alongside Asake and the composers—two solid productions off the album. The Caribbean feel on 'Whine' was accomplished thanks to Haitian producer Sak-Pase, though it's not a standout production.

Asake struggled with songwriting on this album; unlike his previous albums, many music enthusiasts have linked it to the probability of his label boss, Olamide, being absent from the process. Maybe. Away from the dominantly subpar lyricism on the album, in Asake's bid to explore, he struggled with his delivery as well; not a lot of Lambas could be be enjoyed from the neo-Fuji act on this project.

Because of how experimental the album is, the sonic sequence was not as cohesive as his first two albums. Working with three unfamiliar producers might have been a reason, unlike the usual Magicsticks-Asake collab that has been consistently showcased over the years. The experimentation on the album resulted in a non-cohesive project, as songs were scattered all over without proper direction. However, on thematic cohesion and depth, it's two ways: if the singer's "Lungu Boy" is supposed to tell the story of a "Lungu Boy" still in the "Lungu," it failed. However, if it's to tell the story of a "Lungu boy" that has gone worldwide but still very much in touch with his roots, the choice of track titles, song themes, and sound direction tallies, although not excellently executed by the artiste.

In conclusion, Asake's 'Lungu Boy' is a decent album; the artiste was bold to have experimented with new soundscapes, but the outcome wasn't great. Although it tends to become one of his commercially biggest albums, as singles can easily propel a project in the modern streaming era. 'Lungu Boy' is the least enjoyable album Asake has released so far, failing to match the standard and qualities of his previously released album.

Overall Rating: 6.5

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Basically, this album is a significant milestone in King Promise's journey, as it reveals an artist who has found his unique sound and voice.

Following the success of his debut album As Promised, released in 2019, and the much acclaimed 5 Star (2022), True to Self is a vulnerable and honest project, inspired by King Promise's real-life experiences, particularly his romantic relationships. Furthermore, the album offers a glimpse into his inner world, allowing listeners to connect with him on a deeper level. With his signature blend of highlife, Afrobeats, and R&B, King Promise has created a sound that is uniquely his.

In this article, we highlight five of the best songs on King Promise's True to Self album:

1. Terminator

Firstly, produced by Ghanian producer, KillBeatz, Terminator is an undisputed banger and one of the top 5 songs on his critically acclaimed album True to Self. Previously, released in 2023, this hit single is a masterclass in King Promise's ability to craft infectious hooks and melodies. Consequently, the song's upbeat tempo, combined with its catchy chorus, makes it a certified club banger. King Promise's vocal delivery is effortless, showcasing his signature blend of highlife and Afrobeats. Basically, Terminator is a declaration of love and devotion, with King Promise promising to be a loyal partner. His vocal chemistry with the backing vocalists adds a sweet harmony, making the song a true standout on the album.

2. Perfect Combi ft Gabzy

Notwithstanding, King Promise's Perfect Combi featuring Gabzy is a harmonious collaboration that stands out as one of the top 5 songs on his critically acclaimed album 'True to Self'. Released in 2023, this Afro-pop single was produced by the talented Ghanaian producer, MOG Beatz. Perfect Combi is a melodic track that showcases King Promise's vocal chemistry with Gabzy. Additionally, Perfect Combi is a love song that celebrates the perfect pairing of two individuals. King Promise and Gabzy trade verses and harmonies, their vocal delivery effortless and sincere.

3. Permission Granted ft FAVE

Also, King Promise's Permission Granted featuring FAVE is a sultry collaboration that stands out as one of the top 5 songs on his critically acclaimed album True to Self. Although, released recently, this afro-fusion single was produced by the talented Nigerian producer, Blaise Beatz. Permission Granted is a sensual and intimate track that showcases King Promise's vocal chemistry with FAVE. Subsequently, Permission Granted is a romantic expression of desire and intimacy, with King Promise and FAVE trading verses and harmonies. Their vocal delivery is effortless, making the song feel like a private conversation.

4. Paris

Emphatically, Paris is a sonic masterpiece that stands out as one of the top 5 songs on his critically acclaimed album True to Self. Released in April, 2024, this Afro-pop single was produced by the talented Ghanaian producer, GuiltyBeatz. Although, Paris is a melodic track that showcases King Promise's vocal prowess, delivering a captivating performance that showcases his range and control. Also, Paris is a love song that paints a vivid picture of a romantic getaway. King Promise's vocal delivery is effortless, making the song feel like a personal serenade.

5. Continental ft Shallipopi

Lastly, King Promise's Continental featuring Shallipopi is a captivating single that stands out as one of the top 5 songs on his critically acclaimed album True to Self. Released on Wednesday, June 12, 2024, this Afrobeats fusion was produced by the talented Ghanaian producer, GuiltyBeatz. Meanwhile, Continental is a sonic masterpiece that showcases the musical chemistry between King Promise and Shallipopi. The song's instrumental, crafted by GuiltyBeatz, is a beautiful blend of Ghanaian and Nigerian rhythms, creating an intoxicating sound that complements the artists' vocals. Also, Shallipopi delivers a signature verse with confidence and swagger, while King Promise showcases his smooth vocals and intricate melodies. The fusion of their distinct styles results in a truly continental sound that celebrates the vibrancy of Afrobeats.

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Her debut album, Born in the Wild, showcases her unusual variety and astonishing talent.

Following the release of the GuiltyBeatz-produced Me & U with Not An Angel in 2023, Tems released Love Me Jeje, an afro-fusion hit produced by Spax and GuiltyBeatz, in April 2024, just a few weeks before her debut album Born in the Wild. Tems, Spax, Sarz, London, GuiltyBeatz, Nsikak David, DameDame*, and P2J co-produced the 18-track LP, which was released on June 6, 2024. 

Tems and GuiltyBeatz, a powerful team, produce the acoustic gem Born in the Wild, which opens the album. Tems gives the project a personal touch by including her mother in the Special Baby (Interlude), in which she remembers Tems' early years and offers her warm counsel and support.

In this article, we highlight five of the best songs (aside from singles) on Tems' Born in the Wild album:

5. Free Fall featuring J. Cole 

P2J produced Free Fall, which could be another masterpiece on this album. The afro-fusion single includes J. Cole, an American rapper and record producer. Tems sings about not making a place for her beloved. She couldn't help but confess that she would rather be alone than with her lover, whilst J. Cole appears to be in denial, refusing to accept that it is his responsibility that it is no longer working. It's a relatable and pleasant tune.

4. Boy O Boy

Boy O Boy is an acoustic masterpiece showcasing Nsikak David's mesmerising guitar skills, with extra production by Guilty Beatz, resulting in a deep, textured sound. You could tell Tems was singing from a place of anguish. It's either she was seriously injured or someone close to her was severely served breakfast. The sentiments expressed on this record can only be nonfiction.

3. Gangsta

Spax produced Gangsta, which sampled Dianna King's L-L-L Lies. It is undeniably one of the best songs on the Born in the Wild album. The mood is highly addictive, so be advised! 

2.  Get it Right featuring Asake 

Tems collaborates with Asake on Get It Right, a mid-tempo afro-fusion single produced by Sarz. Get It Right is a funky song with a touch of amapiano on a party banger.

1. Turn Me Up

Turn Me Up is music that I never anticipated discovering on a Tems album, and it's a complete revelation. This up-tempo banger, peppered with reggae adlibs, has a complete vibe from beginning to end. Turn Me Up, produced by the great London and written by Michael Hunter and Tems, stands out as one of the project's rare beauties.

Notable mentions;

1. You in My Face 
2. Forever 

Listen to the Born in the Wild album by Tems here. Get Fresh updates via Twitter and Facebook

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Listen to "Afro-Lover" Album

The newly released body of work captures the highs and lows of the singer’s life experiences and the raw emotions behind them, topping all off with smooth, seductive vocals that will get anyone buzzing with excitement.

All 13 tracks on “Afro-Lover” highlight Young Rob’s vulnerable side in a twist of varying emotions. This breathtaking musical odyssey begins with the enchanting and pre-released ‘I Need Your Love,’ featuring talented saxophonist, Joko Magic. The beautiful song sets fans up for a tale of ultimate seduction with ‘Mami’ – a sizzling song for the dancefloor in which Young Rob confesses his love for Latino and Hispanic women.

Of course, Young Rob’s admiration for women goes well beyond Latin America. And he extends his veritable Casanova status to another confessional song, ‘Brown Skin Girls.’ One of his mesmerizing collaborations from 2021 alongside producer, Heaven Boy, the song’s glossy vocals and candied lyrics are enough to seal the deal in welcoming all brown-skinned girls to the party.

Then there is the party-shaking ‘Bo Noor,’ a standout track that promises to steal the show with its body-snatching beat. Done with artists, Samuel G and MikeMillzOnEm, this indelible groove is nothing short of a masterpiece. Young Rob and his fellow compatriots sound amazing, thanks to the producing might of one of Nigeria’s renowned producers, Zibit. ‘Fire’ sneaks in after with its raging tempo. Young Rob’s versatility takes center stage here and is wrapped in an authentic African sound that will have you bobbing your head non-stop thanks to its upbeat production.

What follows next is a powerful collaboration with rising artist, Amuga Temper and the Ewesang ‘Mevado’ is the track to beat. ‘Mevado’ captures Young Rob’s triumphant journey through the industry: the highs and lows, which leans much closer to the next song, ‘Otanfo.’ The two’s fates are intertwined, with the latter seeing Young Rob enlist legendary Ghanaian rap artist, Paa Dogo to address his detractors in what closes off as another mammoth of an anthem.

Listen to "Afro-Lover" Album

Young Rob dials back the simmering tension thereafter with ‘Mama Africa.’ The track plays like a heartfelt conversation between the diasporan and his beloved home. There are cues to the continent’s history, the singer’s displacement and instances where he reminisces about his childhood in a manner emphatic of his unwavering connection to his roots. Things only get emotionally intense from here, with ‘Oh Baby’ drifting listeners off into chapters of regret and heartbreak. Producer, Yann Gabriel takes the reins for this one, adding more heft to Young Rob’s emotions in a flavor that is comforting.

It’s a rollercoaster of emotions from there on. ‘Moko B3’ sees Young Rob rediscover love with a poignant narrative that will take minds back to the singer’s message even long after it is over. But things take a sour turn on 'My Baby.' Easily the album’s most delicate song, ‘My Baby' laysout Young Rob's pain and explores feelings of losing one’s true love. The experience is profound, coming on top as an unbelievably sincere cut.

‘Higher’ works to give renewed hope moving forward. The euphoria of finding a new love brings Belgian-based Ghanaian superstar, Bakilla and Young Rob together as they seek out a “superwoman" of their own the sunny track, produced by Pimps Beat, comes replete with an endearing hook that is too hard to ignore. To wrap it all up, Young Rob taps Vance for the final song, 'Nothing Like Me,' bringing home all the album’s diverse emotions together in a chilled package. The Nigerian-American artist accomplishes this feat very well, helping Young Rob bring “Afro-Lover” to an eventful end.

Listen to "Afro-Lover" Album

If you’re in for a new album to keep your ears buzzing in this new month, “Afro-Lover” Album is a must-listen. Its ambiance and rollercoaster of emotions make a compelling case fit for anyone who loves music that moves the body, heart and soul. Don’t miss this captivating musical odyssey by Young Rob.

CONNECT WITH YOUNG ROB ON SOCIAL MEDIA:

Twitter: @youngrobuk
Instagram: youngrobofficial
Facebook: Young Rob

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BNXN's latest album, Sincerely, Benson, released on October 5, 2023, marks a significant point in the artist's career evolution. Formerly known as Buju, he rebranded to BNXN in 2022 to establish a unique identity, setting himself apart from Buju Banton. This transformation paved the way for some notable collaborations and recognition.

In March 2022, BNXN joined forces with Pheelz for the track Finesse, a song that reached a respectable peak at 52 on the UK's Official Singles Chart. By July of the same year, he made a prominent entrance into the UK music scene with his feature on Jae5's Propeller, alongside British rapper Dave, achieving his first Top 40 single in the UK, landing at number 38. The highlight of his year came when he clinched The Headies 2022 Next Rated Award, a prestigious honour presented at the Cobb Energy Performing Arts Centre in Atlanta, Georgia, on September 4th, 2022.

Sequencing 

As for the album itself, Sincerely, Benson offers a diverse soundscape, with its sequencing playing a pivotal role. The album commences with My Life, setting a laid-back, chill vibe that smoothly transitions into the groovy wordplay of Best of Me. BNXN's knack for seamless transitions continues until GWAGALADA, where a noticeable shift between Pidgin and English disrupts the musical flow. Sweet Tea seems hastily inserted, disrupting the album's cohesion before leading into Realize featuring Taves. This slight inconsistency in sequencing prevents the album from maintaining a fluid narrative.

Production, songwriting, and melody

All tracks are beautifully produced, but only a few seem to be bops. The album's strengths lie in BNXN's collaborations with other artists. Tracks like Gwagwalada and the Sarz-produced English & Pidgin, which samples Magic!'s No Regret, shine brightly. Additionally, Tempo's outstanding production on the chest-thumping Say My Name showcases BNXN's ability to elevate his artistry through teamwork.

Album theme and overall delivery

In terms of theme and delivery, Sincerely, Benson aptly lives up to its name. The songs authentically reflect BNXN's life and style, providing listeners with a genuine glimpse into his world. However, there's room for improvement, and BNXN could benefit from further honing his craft.

READ ALSO: 'Regret' Lyrics by BNXN Feat. 2Baba

In conclusion, BNXN's Sincerely, Benson is a noteworthy release that showcases his artistic evolution and potential. While the sequencing could use more careful attention to maintain a consistent flow, the album's collaborations and themes authentically represent BNXN's musical journey. As he continues to refine his skills, BNXN's future in the music industry looks promising, and fans can expect even greater things to come from this talented artist.

Overall Rating  - 7.1/10

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Ruger dropped his debut album, Ru the World, on September 4th. The highly anticipated album did not disappoint, as Ruger delivered excellent songwriting and melodies on this 17-track project.

The afro-fusion album features acts like Stefflon Don, Sauti Sol, Govana, and more. Ru The World also features previously released singles, including, Asiwaju, Bun Bun, Jonzing Boy, Kristy, and Red Flags.

Ruger has been releasing a string of successful singles that have driven demand for his talent. 

The song starts off very strongly with the intro song, ‘Tour’. It is a fusion of dancehall and electro-music influences. This song sets the pace of the album, Ruger is confident, successful and ready to go harder.

Read Also: 'Tour' Lyrics by Ruger

A seamless playlist

The sequencing of the songs on the album is seamless and even. Through exploring different themes, the songs phase into each other very well. There is a bit of discordance when the song moves from an explicit one to a more emotional track. However, it doesn’t change the seamless way into which the songs blend into each other giving a relaxing, enjoyable experience.

Proud lover themes and excellent delivery

Ruger is not afraid to brag about his talent and it is one of the prominent themes on the album. The songs Tour and Asiwaju see Ruger talk about making it to the current height of his career. He also sings about how in demand he is by everyone.

 His songs Dear Ex and Red Flags show more of his emotional side. Ruger sings about his relationship with love, women, and of course, his exes.

The collaborative artists also hold their own well on the songs, Stefflon Don was a tad underwhelming on Addiction. On the other hand, Sauti Sol, Jugglerz and Projexx are amazing on their tracks. Their unique styles elevate the songs that they feature.

Ruger lives up to the hype he built for this album. His songwriting, melody progression and storytelling is at an all-time high on this project. The songs are enjoyable and catchy and will have listeners on the dance floor while thinking about their exes.

Overall rating: 7.5/10

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Patoranking’s fourth studio album, World Best, is a picture of dancehall fusion mastery. The album was released on September 7, 2023, and features international heavy hitters like Ludacris, Beenie Man, and Popcaan.

Patoranking has been making music since before he signed to Igberaga Records in 2010. He fully claimed the limelight in the Nigerian music scene with his 2014 hit song, Girlie O. Since that time, Patoranking has not only been a regular but also a favourite on Nigerian music playlists.

His fourth album, World Best, sees him at his finest with his dancehall and afrobeats fusion. The album has been highly anticipated since he dropped the Tonight and Abobi singles off it.

Read Also: Patoranking Tells Africa About Dar Es Salaam In His New 'Kolo Kolo' Video Ft Diamond Platnumz | WATCH

Album sequencing

The album starts off great with the intro song, Inshallah. However, the songs do not blend seamlessly into each other. While some songs have a stronger appeal than others on the album, they do not flow into each other.

There are several points in the fifteen-track album where the end of the songs is filled with silence. While this does not reduce the quality of the content on the album, it throws off the listener a little bit.

Patoranking’s use of amapiano, EDM and dancehall influences should be appreciated. Each song is a different experience that pursues a different story.

Excellent production and catchy melodies

Patoranking knows how to put a melody together. Almost every single song off this album has a hook that is an earworm. Inshallah, for example, has a catchy chorus though its lyrics are simple.

 Every single beat on this album is impeccable. The rounded bass, the mix of modern and traditional instruments, the bounce. Each beat serves the ears with the vibes Patoranking is trying to cultivate.

Patoranking is the best

The album theme of being the best at what he does is strongly portrayed on this album. Patoranking teams up with other artists at the forefront of the craft from around the world. Ludacris, Beenie Man, Gyakie, Popcaan, Diamond Platinum and more! 

Some of the most notable singles from the album are his collaborations with other artists. The Miracle Baby track with Ludacris is a testament to the handwork Patoranking has put into his career. Miracle Baby though he may be, has the handwork and talent to back up his successes.

Kolo Kolo with Diamond Platnumz is also a well-delivered track. The seamless merge of dancehall and afrobeats is delectable and will have listeners on the dance floor before they know it.

All in all, the album is an enjoyable body of work. The listening experience could have been better with a smoother transition between songs. 

Overall Rating: 6.5/10

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Burna Boy is one of those artists who hasn’t lost his ‘hunger’ for outdoing his last project. Love Damini, though with some big hits, lacks the wholistic theme, and intentionally that went into its older siblings, African Giant and Twice As Tall. On the other hand, I Told them has this specific quality. 

The Perfect Sequence

I Told Them's track sequencing makes it feel like one long playlist. All the songs blend delightfully into each other. The first interlude doesn’t seem to fit in as seamlessly as the other tracks, but this is understandable as it's a recording of a call. The rest of the album floats the listener from song to song on the best chords and beats. 

Burna Boy makes use of different sonic elements to achieve the impressive sound of the album. He is generous with the synths and acoustic guitar. He is, however, not afraid to sprinkle a saxophone here or a flute tune there. Now, let's dive into the tracks.

Read Also: 'It's mostly about nothing!' - Burna Boy defines what Afrobeats is to him

I Told Them ft GZA

This song is a great opener for the album. It captures perfectly the ‘I told you so’ theme that Burna Boy is trying to sell. He wants his haters to know that he has made it and that he already told them earlier. This song has a catchy melody, and Burna’s vocals have improved since his last album.

Normal

This song was a bit underwhelming, but the hook/chorus immediately elevated it to a banger level. The second verse is much better, as it has a steady bass and, of course, a catchy melody. The short length of the song makes it memorable because the hook is very catchy.

On Form

On this track, Burna Boy is fully in his bragging bag. The chorus is a perfect blend of the choral background vocals that are prominent in Asake and Seyi Vibez’s music and Burna’s. It’s catchy and speaks to his desire to outdo himself. "Ah, e no dey tire me", the artist says, talking about how he is never tired of improving his craft.

Sittin’ on Top of the World ft 21 Savage

This song was pleasant, but the use of a Brandy sample was slightly underwhelming. The song samples Brandy ft. Mase’s ‘Top of the World’ but though the hook is catchy, it lacks a certain pzazz that the first three tracks of the album had. 21 Savage was very impressive on this track and ties in seamlessly with Burna’s vision

Tested, Approved & Trusted

This is easily one of the best songs on the album. Opening with strong vocals and a sultry saxophone riff, the song is a masterpiece. The song has heavy dancehall and reggae influences and Burna is in top form with lyrics, melody and delivery. 

Cheat On Me ft Dave

This track also samples another popular song, Cheating On Me by Kwabs. The melodic pattern is similar to his earlier hit song, ‘Bank On It’. Dave slides on this track too easily, as his bars belong on an afrobeats jam. The collaboration is a success, as the song is pleasant and has high replay quality.

Virgil

Burna’s tribute to the fashion powerhouse, Virgil Abloh, is a recording of them on a call where his phone dies. This serves as an interlude to the next song, which actually pays a tribute to Virgil in the lyrics.

Big 7

This song has such a catchy melody. The artist shouts out Virgil Abloh again in this song. Mostly, he sings about being inebriated. On this fun-sounding track. It is very enjoyable and would probably be one of the higher-ranking songs from this project.

Dey Play

The artist coined popular slang to create this track’s chorus. This song is also very catchy, and the call and response make it such a fun listening experience. The lyrics are also very fun. Burna talks about moving so quickly career-wise that people are confused.

City Boys

This song is one of the clips that Burna released early this week to promote the album. The song kicks off with a wonderful tinkling sound and a strong first verse. This is a headbanger and will have listeners in the club on the dancefloor. This song explores the idea of the inner lives of city boys and celebrities.

Giza ft. Seyi Vibez

Seyi Vibez shines brightly on this track. This is a great introduction to Seyi Vibez for anyone who was hesitant to give his sound a chance. The song is very catchy, yet unique. Burna also blends into Seyi’s sound in a seamless way. The song has very fun vibes and is bound to appeal to listeners who love to dance.

12 Jewels ft Rza

This is another interlude track, and it itemises the twelve important things that a man should aspire for.

If I’m lying

Burna changes the pace of the album with this RnB-heavy record. A beautiful acoustic guitar string sequence accompanies his singing. The chorus is emotional and beautiful.

Thanks ft J Cole

In the echo of Burna Boy’s feeling that he is underappreciated by Nigerians, this song captures his feelings on the matter perfectly. “Is this the m@#$^&&%) thanks, I get?, for making my people proud every chance I get?”
The chorus on this is stellar with its catchy melody and synth chords. J Cole, of course, comes through the sickest bars.

Talibans II- Bonus Track

This song is groovy, with a catchy melody and a pleasant beat. The song is a fusion of afrobeats and reggae in perfect degrees. The chorus is honestly one of the best ones on the album.

Album themes and delivery

The overarching theme of the album is proving the haters wrong, and I think a lot of the music addresses it adequately. Within the album, he explores smaller themes of handwork, tracing isolation and embodying a successful person. 
As usual, Burna’s delivery is strong and charismatic. 

Conclusively, though, I found the album enjoyable, some of that enjoyment was reduced by Burna’s earlier comments in an interview about Afrobeats having no substance. He also implied that he invented the afro-fusion genre to make up for the lack of ‘substance’ of Afrobeats (he did not, afro-fusion existed long before he dropped his first single). His hubris made me expect a lot more from the album than I eventually got, but it is not a bad album at all. In fact, it may score him another Grammy Award nomination.

Overall Rating - 7.7/10

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In the early hours of this morning, veteran Nigerian musician, popstar, and multi-dimensional artist Olamide became available for streaming worldwide. We decided to take a dive into the mind of the certified hitmaker to see what his highly anticipated album has to offer.

Olamide kicked off his career with his hit song Eni Duro in 2010. Since that time, he has become a regular face topping the Nigerian music charts with his subsequent projects.

From the beginning of his career, Olamide has also been keen on collaborating with his peers and fellow artists in the industry. This collaborative trait has not diminished as Unruly boasts collaborations and features from all over the industry.

     An unruly sequence

Unlike what the name of the album denotes, the arrangement of this project is anything but unruly. The project has a cohesiveness that one can attribute only to the consistency of Olamide’s presence on the tracks. The album begins with the song ‘Celebration’ which is a song that opens with the most wonderful string intro. In Asake-like fashion, the song has wonderful accompanying chorus vocals throughout the song. The first track blends into the next song ‘Jinja’ as smoothly as milk blends into tea. Olamide’s sequencing game is very strong on this album and a listener will find that they’ve gotten to the end of the whole album before they realize it.

Not too old to experiment

Olamide has also shown a great ability to vary his sound. For someone who has been in the industry as long as he has, it would be easy to write his songs off as being only one thing or one sound. However, Olamide is taking his sound to interesting places and collaborating with excellent artists that allow his style to shine. From adopting the Ashake-esque chorus chant during his songs to even taking his traditional Yoruba rap style to a drill beat. All the songs are not perfect, some shine better than others but each song has something interesting for listeners to enjoy. Olamide garnishes each song with a harmonious blend of instruments from all over the sound spectrum to deliver a project full of interesting beats, lovely strings and exquisite production.

A bouquet of relevant themes

Olamide is not one to send only one message on a project and he is hardly ever one-dimensional. This album is no exception. He explores the themes of stoicism and love songs like ‘Life Goes On’ where he has to confront his changing feelings for his love interest. He is also fun and laid back on lighter songs like ‘Trumpet’ with Ckay.

The writing on the album is also better than the average because Olamide, having a great pen himself has paired that talent with amazing writers like Ckay, Fireboy DML and Rema. 

Ultimately, this album truly reveals its depth upon subsequent listens, particularly the third or fourth time around. Initially, Jinja might not strike a chord with listeners, but it has gracefully ascended to become a standout track within the album. It's a reminder to embrace the sonic journey and bask in the richness of quality music.

Overall Rating- 6.8/10

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Bob Marley's musical legacy beams from the 1960s and continues to reverberate through time with the recent release of his posthumous album Africa Unite. This album serves as a testament to Marley's profound influence on reggae music. It also shows the amazing ability of good music to transcend trends and time.

Bob Marley started his music career in 1963 with Peter Tosh And Bunny Wailer, eventually forming the group Bob Marley & The Wailers. They shot to global stardom with their hit song, One Love, and ever since have become a significant icon not only in reggae music but also in music worldwide.

Carefully sequenced greatness

With Africa Unite, Marley's signature blend of infectious rhythms and amazing vocals is as potent as ever.  However, like a twist of lemon in a cocktail, this album brings us something fresh and zesty. The album captures the spirit of his earlier work while seamlessly injecting new-age voices from the continent and their unique music styles.

The album tracklist takes listeners on a journey through the complexities of life, love, and the struggle for freedom with Marley’s signature style. These well loved songs are remixed with fresh takes from artists like Rema, Teni, Tiwa Savage, Patoranking, and Oxlade.

The album launches with So Much Trouble In The World, a song with a catchy hook that highlights the state of discord that Marley's world had in the past. A quality which the world today still has. Then the album’s tone changes to a politically charged tone on Them Belly Full (But We Hungry) a delightful bop that tells listeners "Forget your sorrows, forget your sickness" but within the song, the singers highlight the ills in the society around them while sooting the ears with a sick base and a fantastic chorus.

Though each track carries a strong theme, they don't clash; instead, they flow into each other in a sort of greatest hits' smoothie. So the album waxes strong with themes of politics and subjugation but also coos softly with themes of love and unity in the motherland.

Thematic guide to Africa Unite

Thematically, the album has strong political notes, condemning poor governance and highlighting the plight of black people. In typical Bob Marley fashion, there are also heavy themes of love and highlights of Marley’s pan-African beliefs in songs like One Love and Turn Your Lights Down Low. The diverse range of voices and styles enhances the album's theme of universality, embodying the idea that music is a universal language that transcends borders, a body of work, and a true unison of African voices. At the heart of Africa Unite, Marley's unique ability to infuse his music with an irresistible groove while filling listeners with a strong sense of hope shines through.

Notable tracks on Africa Unite by Bob Marley & The Wailers

This album was full of exciting features like a remake who straight up feasted on his bits in Them Belly Full (But We Hungry). Roma's chameleon ability to blend into whatever genre he's dabbling in is second to none as he holds his own well with Bob and Skip Marley.

Teni and Oxlade were fantastic on Three Little Birds showing off the sonic relationship between reggae and afrobeats. The song was fun and carefree, good enough to help you briefly believe that every little thing will be alright.

Tiwa Savage shows off in Waiting In Vain and we really see her at her emotional best both lyrically and vocally as she sings about love and longing.

Some of the featured artist's styles did not harmonize as seamlessly with Marley’s sound as others did. However, as a whole, the album remains deeply enjoyable. Listening to it will transport listeners to a simpler nostalgic time while offering them something fresh and interesting to enjoy in the present.

Overall Rating- 7.5/10

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Hart Idawarifagha Ishmael, known by the stage name Idahams, rose to fame with the release of Man On Fire in 2020. The follow-up remixes were the spark he needed to become one of the next superstars in Nigeria.

ALSO READ: Idahams Releases New Album ‘Truth, Love & Confessions’ | Listen

The Grafton record-signed artiste recently returned with a brand new album which he tagged Truth, Love & Confessions. A thirteen-track album that trickles with romance, sex, honesty, and more.

The album starts on an appreciative mode as Idahams takes it to church on Gratitude. Over mid-tempo, choir-assisted backup vocals, the artiste was full of praises to God. His verse is also interspersed with some personal tales such as his wrong decisions and and the death of his mother, which makes for an emotionally driven track that would be relatable to most listeners. By virtue of this, Idahams smartly captures the listeners’ attention with this first track which could have been the album closer. Not done with his thankful theme, Idahams continues with Che Che, and this time around, the choir vocals are subtle yet still pierce the ears.  

Port Harcourt's finest export, Ajebo Hustlers comes through on Bad Girl. And just like the title suggests, the theme of the song revolves around a nice time out with a girl. As expected, Ajebo Hustlers' lyrics are encoded, nevertheless, the message is clear; two macho guys meet their match in a female love interest. Additionally, the music video to Bad Girl serves as an apt illustration to the storyline.

Eventually, this macho guy meets a more formidable match on Hate That I Love You. This time around, despite being hurt, emotions remain at an all time high as he doesn't seem prepared to leave anytime. Still when Idaham says; “She Dey with another man on bed, I know I no leave, my love too strong,” you are bound to doubt the truthfulness of what he says.

Track five, Odeshi starts with children singing, underneath this is a bright flute instrumentalisation. A nod to self-acclaim, on this song, Idahams is self-confident as he vows never to bow down to anyone while hinging his belief  on the Almighty. The song ends with prayers from a kid, however the lyrics are entirely too bland to make headway of. 

On the next track, sunny saxophone meets upbeat production on Lovina.  Idahams here, is declarative with his words, and extensively uses adjectives to sway the girl– Lovina, to his side.  The featured singer Zach Zoya, complements Idahams with a mellow, ear-pleasing verse.  Just like the opener, the production on this particular track brings the best out of Idahams.

Idahams has always been an advocate for change. In 2018,  he released Heal The Land, a plea to the government over the country's insecurity and poor state of affairs. Four years later, the situation seems to be static as he cries over almost the same things on Kpofire. The theme is still the same and it revolves around what's obtainable in oil-rich states in Nigeria. He then ends the song with an appeal to the government to stop the environmental pollution in Port Harcourt.

On Go Again, Idahams admits his admiration for his sugar mummy. This track is just as naughty as Bad Girl yet with slight tweaks. I also believe this is where the ‘confessions’ part of the album title comes in. The following track, Oyeh, is built on a lovelorn relationship and brings out Idahams mischievous side which is rather hilarious too.

Somebody's Daughter centres on weddings and might just be the new addition to the wedding playlists around. Idahams leverages on a brilliant hook to draft this tune. Lyrically, it's a cheesy song and reeks of a lack of inventiveness, not even the featured artiste, Muthaka, could save the track.

Pressure begins with two different calls. One was between Idahams and his supposed sister, the other between him and his landlord. Both conversations revolve around financial commitments. By the time Idahams comes on, the essence of the opener becomes clear; life would always come with its pressure, the ability to withstand it should be developed, Idahams, Metha4our, and Tugga Skii seem to say.

On the shakers which start off Rapid Love, Idahams gushes about a girl's beauty while affirming his unalloyed commitment. Where I'm From ends the album and just like the opener, it's an emotional voyage through Idahams state of mind. It's also a continuation of the opener with a message against police brutality. Some of the lines coyly pay tribute to Steroman (E dey pain me) and Blackfacenaija (It's hard life for Naija), who are two of Nigeria's socially conscious artistes.

Truth, Love & Confessions is a triumphant return by Idahams. On this album, he had a track for everyone although at certain points, the exploration of the topics may have been confusing for the listeners. This is due to the fact that Idahams was trying to do too much on this album; he spread himself too thin. Yet throughout, three themes remain dominant on the album; love, gratitude, and societal issues. All in all, it makes for an all-rounded album.

Emmanuel Daraloye is Africa’s Most Prolific Music Critic. He has over 450 album reviews in his archive.

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The album highlights Duncan’s vocal and arrangement skills as both a performer and mixing engineer. His ability to also write music that cut across a varying array of topics makes this a very distinct effort. This is also a body of work with no other vocal features, every single voice including background and supporting vocals are all his. Duncan also engineered every song himself for stereo and enlisted the renowned mastering expertise of Abbey Road Studios veteran Engineers, Andy Walter (U2, The Beatles, Cold Play), Simon Gibson (The Beatles, Harry Potter, The Hobbit) and Alex Gordon (Florence + The Machine, Slowthai, Yussef Dayes). Duncan Daniels took the sonic experience of the project to even greater extent by working with California based mixing engineer (behind the viral YouTube Mixing tutorial videos) Alex “Pro Mix” Solano, to up-mix the project to spatial audio for the Dolby Atmos immersive listening experience.

Duncan Daniels’ S.O.L.O is timeless feel-good music with limitless optimism that can be enjoyed anytime and anywhere. The project offers great sonics and sets a vibe from start to finish. It is a complete body of work, with limitless potential.

1. “Solo”

Duncan Daniels addresses critics and bolsters the idea of doing it alone, going “Solo,” a word that also echoes the album title and is repeated constantly on the hook, prefaced by the chant in Yoruba “Wo okpto Wo oletomi” which translates to “They are not on my level, no one better.” Almost like a war cry before battle, as he opens you to this body of work. We also get to listen to Duncan’s versatility, taking on a rap verse for the first time with so much ownership and skilled word play.

2 “Obalende”

Duncan Daniels delves back in time to his brief travels from Port Harcourt to Lagos in the mid-2000s, always having to pass through the ultra-busy Obalende area on the Lagos mainland before getting into Lagos Island. Tapping deep into this nostalgia the 1998 song “So into You” by Tamia comes to mind with similar progressions and melody structure, hence a catchy summer sounding fun and vibey love song emerges as the first single on the album.

3. “Mmadu”

In the Igbo language, “Mmadu” translates to “Person” or “human being.” An activist at heart, Duncan uses his music to shed light on key issues affecting people living in the city of Port Harcourt and its surrounding Niger Delta areas in Nigeria. Unfortunately, years of unsafe oil manufacturing practices and burning of poisonous substances into the atmosphere in the region has abetted dangerous air quality and a rise in respiratory illness amongst other calamities. Duncan has been raising awareness on this issue and is engaged in finding solutions to these problems facing the Niger Delta.

4. “Diaspora night”

Duncan draws you into a typical African diaspora club night-out in New York City, sometime in 2014, a scene with which he was familiar. The second single on the project with its intentionally re-recording of ERA’s popular “Dorime” from the very heavily remixed song “Ameno,” allows for a playful yet addictive reaction. Diaspora Night is a measured club song that gets you hyped as you sip a glass of Cîroc, Martell, or Hennessy.

5. “Waste Time”

We have all experienced the initial start of dating or “Talking,” where not that much talking takes place. Texting has replaced phone conversations as the preferred route of communication in today’s social experience. However, not picking up calls can be seen as a sign of “no interest.” Duncan explores this scenario on “Waste time,” where frustration is the resulting feeling.

6. “Catching Feelings”

Afro-beats meets RnB meets Dancehall in this sexy vibrant and soundgasmic tune. Duncan Daniels brings the vibe, courting the listener, inviting them to his sound. The lyrics are masked and cryptic which is one of the distinctions with Duncan’s song-written abilities. 

7. “Iwo nikan”

Drawing inspiration from recently becoming a father and knowing the world she will grow up into, Duncan penned down this beautiful song to remind her that she is unique and beautiful the way she is and does not have to be pressured by the social factors that plague young girls in today’s world. In our current social media climate, the pressure of having the perfect look, skin, or clothes, have driven young teens to depression and suicide in severe cases. We should teach our children to be comfortable in their skin and love themselves, which is the greatest love of all, to quote the late Whitney Houston. 

8. “The Rhythm”

Feel good Amapiano vibes! Everybody loves them, right? Duncan Daniels finds a way to stylistically infuse his originality to the south African piano sound. Another characteristic of this body of work is the symmetry between every track and how they blend collectively. The sound is catchy yet smooth, you listen and cannot escape the Rhythm, keeping your feet tapping and your head bobbing. 

9. “Tears on my eyes”

As the album nears its conclusion, Duncan Daniels explores the deep emotional turmoil that comes with heartbreak. A sweet yet sad afrobeat song, Duncan adds a hyperrealism element in the writing style that immerses the listener into the emotional turmoil of a breakup.

10. “Climbing Higher” 

The perfect closer for this album. Giving God thanks for the journey so far and greater heights in the future. Duncan ends this project with faith laced lyrics and an acknowledgment of the grace upon his journey, signaling elevation. Climbing Higher is a feel-good optimistic song driving the project to its conclusion. 

Stream or download Songs of Limitless Optimism - S.O.L.O

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