First, we must apologise for the delay in bringing this to you, but as you know, UIMSA Press is committed to providing you the best possible product and sometimes, good things simply take time. Without any further ado however, we present to you the last of a trilogy of listicles following our earlier recordings and film reviews. Ladies and gentlemen, our 20 favourite projects of 2024. The rules remain similar, extended plays or long plays (albums) released between January 1st and December 31st of 2024 by an artiste of Nigerian origin. All protocols duly observed, Gerald, Peter, John and Simeon remain your hosts, we’d get right into it.
In a pivotal year for Nigerian music, choosing from several excellent bodies of work was an arduous task, and some excellent projects weren’t included in the 20-strong list.
With Open Arms – Ogranya
YUSFUL MUSIC (RELOADED) – YKB
Mōnki Bznzz presents: iBoro and The iBiBio pod – PayBac Iboro, Mōnki Bznzz
Conglomerate – Fimiguerrero, Len, Lancey Foux
NOTHING CHANGED – Anti World Gangstars
Now there is one more matter to settle before we start. Previously reviewed Lungu Boy wasn’t included in our coverage this time around precisely because it’d already been covered in length by Peter Adeyemo for UIMSA Press. But it also is a crime to merely regard it as an honourable mention as it is in with a shout for album of the year. For that reason, we offer this disclaimer ahead of time to our readers who are fans of possibly the most exciting act in recent years. And we encourage you to check out the one-listen review for Lungu Boy here. Thank you for your cooperation.
The Great Commission – Dunsin Oyekan
Gospel music in Nigeria dates back to the 16th century, when the Portuguese Catholic missionaries landed on the shores of the ancient Benin kingdom. With their arrival came the introduction of liturgical music. The people, however, didn’t take very well to this type of music. Much of what we now know today as Nigerian gospel music really began to develop in the 19th century because of the coming of the Church Missionary Society (CMS); through them, choral music was introduced. Not long after, a Nigerian version was born out of the need to cater to the style and rhythm that was unique to the rich culture of its indigenous listeners; this was pioneered by Reverend Josiah J. Ransome (Fela Ransome-Kuti’s grandfather), who, as the church organist of St. Peter Church, Abeokuta fused choral music with Yoruba language and instrumentation.
Fast-forward to April 12th, 2024, when Dunsin Oyekan released a 14-track project, which he himself described as “a bold declaration that Jesus, our Lord, is coming.” On this project, Dunsin, unlike many current Nigerian gospel artistes, opts to stick with the traditional Pentecostal church instrumentation. These live music renditions give the album a much more “Sunday service” feel. The album featured guest features from other artists, such as Nathaniel Bassey, Theophilus Sunday, Lawrence Oyor, Sheldon Bangera, Naomi Raine, Matt Laverne, and Joseph Espinoza. Right from the first track, Worthy of My Praise where he features Lawrence Oyor, you hear “wake up, wake up, wake up!!!” It is essentially a Thanksgiving track, stirring up a deep sense of gratitude and love for God and everything He has done. For me, the song peaked when Lawrence Oyor came on and started his characteristic evocative chants. Another song that hits is Emperor of the Universe, featuring Theophilus Sunday. The song is a blend of high praise and worship. A highlight was when Theophilus Sunday burst into tongues. The last song on the album, Future, is worthy of note in that it is a song about how nations of the earth will sing of God’s glory; the chorus is done in about 7 languages.
The album is such a great one because it is all-encompassing; be it praise, worship, or prayer songs, it caters to everyone’s needs. After its release, the album peaked at #3 on the NG Apple Top 10 Chart, tying Mercy Chinwo’s Overwhelming Victory as the highest-charting gospel album. It would be a sin to finish this piece without acknowledging the brilliance of Dunsin Oyekan’s drummer, Mr. Chika Mba. his godhands were at the fore of the instrumentations throughout the album.
Olokungbemi Gerald
Stubborn – Victony
One word to describe this project: Audacity. It’s really audacious to pull off something slightly unconventional in the music industry scene now – especially for your debut studio-length album – and do it so well. We know Victony already, the guy that sang Holy Father, Ohema, etc. but Stubborn is another proper announcement from this Afrobeats star. After the Holy Father wave, Saturn EP, Outlaw EP, Soweto’s success and the experiment that Ohema was, he decided to give us his debut album. Staying stubborn and shiny through it all defines the album’s intro, Oshaprapra with Shorae Moore. It depicts the artist’s resilience which makes it a perfect opener. Shout out to Shorae for laying down the melodies. History takes it back to the past, with the reminiscence on his childhood/adolescence and the memories attached. KTIZO’s production on it is so top-notch, especially the blend of percussion. Also, the nooticers would have figured the interpolation of 2 Baba’s No Shaking in the chorus. Ludo featuring Shallipopi is definitely one collaboration for the books, as far as 2024 is concerned. P2J equally takes some acclaim on this high-energy Afro-pop record. Victony had a reassurance-themed first verse while Shalli infused camaraderie, bag chase, and lustful innuendos in his 14-line verse. Shalli’s entrance was stupid good, big ups to production.
Electric strings ushering Victony’s crisp voice on Anita is probably one reason it’s a personal fav. The blend of flirtation and humour in the verses comes second to that. I came to like Everything more when the album came out, KTIZO and Blaise did incredible stuff with the Post Malone and Swae Lee’s Sunflower sample. The slow-tempo Risk is another personal favourite, particularly the infusion of the background instrumentals that gave a traditional feel. Working with SAINt JHN on Tiny Apartment is a dream come true for the Outlaw. In it, the narrative spun around emotional tension and reconciliation with a love interest. Collaboration with Teezo on Slow Down was also intentional after Victony heard How Do You Sleep At Night? The record exudes painstaking production, with the artists not losing touch with their elements. Stubborn with Asake hit upon first listen, so easy. Asake complemented Victony’s energy on his verse so beautifully. It’s a song about the 23-year-old boy from Orsu, Imo, reflecting on life and gratitude. Kolo (Kolomental II) is almost like the 2022 single, Kolomental, but with a different purpose. Ba$tard, Don’t Be Silly details the artist’s no-nonsense approach to life and hustle. The blend of guitar plucks, shakers, and drums is top production from 255. Pier 46 is another beautiful collaboration between Victony and KTIZO. Titled after the name Hoodini (one-half of KTIZO) gave the beat, you could tell how experimental the session was. Sunday School and Street Affair is a wicked combination to close the album. The former is a groovy heartbreak-themed song and the latter, a street-OT-like prayer – that speaks to me – and a call for constant vigilance. Stubborn, the album, is a realised version of Victony with a sheer amount of boldness and experimental urge.
Peter Adeyemo
Sundays at Zuri’s – Odeal
In 2021, Odeal told the British publication, NME, that he wanted to be the UK’s first Alte renaissance man. By December of last year, in another interview with the publication, the conversation had shifted, and instead, a question arose on whether he still was Alte’s renaissance man. The ‘why’ of said conversation isn’t so hard to understand, as on his two 2024 projects, Sundays At Zuri’s released in July, and Lustropolis released in November, he exhibited a brand of Afro R&B that has brought him truly global fame.
For want of a better term, Sundays At Zuri’s is definitive. The four-track EP is a vivid descriptor of 2020s romance from the view of a multicultural loverboy (Odeal – born Hillary Dennis Udanoh – is London-based, German-born, and of Nigerian heritage) who doesn’t shy away from love’s grimier aspects, making sure to reflect his roots along the way. It opens with Sondela, a gqom-sounding Afro RnB track. Sondela is Zulu for ‘come close’ and when, on the chorus, he tells his interest, Miss Awela, to wena, Zulu for ‘you’, it’s a specific shout to the finest on the dancefloor. The percussions – cymbals and a banging bongo/konga – are less prominent on the follow-up track. Soh-Soh, o-so-dominant as it was on social media (The last time rolling drums on the intro of a song caused this much damage was on Davido’s Fall back in 2017), tells of the dirtiest of Decembers; a typification of the chase between Lagos baddies and loverboy like Odeal that’s eventually settled by a game of ‘Spend-the-cash”. Aside from the amazing production, Soh-Soh shines for its songwriting, like on the 2nd verse where Odeal sings, “Full of ideas, tongue-twisted when you tease/Stop and stare, room shakes when you reach down”, a subtle sonnet and alliteration-fest.
On the other half of the EP, there’s ONOME. I can’t express just how excited it made me to hear an Urhobo name as the object of a pop star’s desire (Step aside Folake, Amaka, and Odo). Or how that excitement became amusement as I realised ONOME is about another woman taking away his woman – a ‘Naija babe with the Southa combi’. Over Ozedikus’ shakers and bass, Odeal pleads to have her back, even employing lamba on the outro like one of Ozedikus’ major partners-in-crime, Rema. It’s to no avail. On the final track, Free Me, the gqom drums return and are combined with gan-gan to a soothing effect. And what an outstanding falsetto from this compadre of Cupid! It’s sung from a place of resentment, the perfect accompaniment for the tale of a cheating partner. “Sleep deprived and off-balance/Fell out of love, and now my heart’s kisses and love fall bare/Your bitterness, the reason I left, thorns in my flesh”. May we not fall in love with the wild ones, folks.
Eriomala John
LEATHER PARK (VOL. 1) – Leather Park, Odunsi (The Engine)
I grew apart from Odunsi this year. After all the disappointment with the shelved Laser Youth Forever album, perhaps I just grew tired of the antics. Yes, I am very fickle. Yes, I have abandoned Playboi Carti as well, I’m too old for you to be using my heart to play tinko tinko. Odunsi’s case is special though, as much as I hate to admit it, perhaps I had given up on him as an artiste. Odunsi is too good to be alté. Which kin dirty alté? This guy should be headlining the new wave taking over the mainstream. He could just as easily have been the one in Tems’ position. But four years since his last album, he was still suffice to say, ‘messing around’ creatively. Experimenting. The releases during this period were exhilarating no doubt, Fuji 5000, Half A Tab, N2P, OTE!. But amidst all this, I grew concerned. This is all amazing but at what point do we settle? At what point do you fulfil those promises of pop breakthroughs? And I grew tired of waiting for The Engine to find himself.
I heard about Leather Park through the grapevine. Random tweets, friends mentioning it in passing. Perhaps it was that I simply dismissed it as more experimentation, or that I wasn’t listening to much music at the time while finding my footing in Clinical School. But it would be a lengthy six months after its June 21st release that I would listen to the album for the first time. And in this, it feels like O found balance. The last four years appear to finally have coalesced into something more definitive. Laden with features, the self-titled culmination of Odunsi’s new creative project, Leather Park, VOL. 1 aims to control the culture in a way this artiste previously hasn’t. It’s as if to say, ‘Okay now, I’m tired of just Influencing my own little corner of the subculture, it’s time to take over the world as is my right.’ And he enlists a horde of musical talent on that quest, 22 artistes to be precise.
With acts as varied as Jeriq and Othélie gracing this project, it’s a miracle that LEATHER PARK VOL. 1 manages to maintain a definitive sound at all. But The Engine, ever the enigmatic conductor makes it all work. And the result is a melting pot of sounds and subcultures—all forming an effervescent brew. He comes across as a sweet outcast on this, harking back to his 2018 breakthrough LP, rare., while building on it with haunting chords and themes of hedonism and victory. He’s come a way from his youthful self on rare., seemingly abandoning ideals of true love for a faster, even more rebellious life. The features are placed to devastating effect—Bella Shmurda on CRAZY SEXY PERFECT GIRLS is a dagger, extending his tendrils into the alté scene, hot prospect, Minz leaves no stones unturned on Crown Bounce. Each song is a wine-tasting, a delicate experience as an assortment of flavours dissolve on your tongue, leaving you with that same heady buzz as after a well-aged bottle. RESURRECT is the perfect close to the project, Odunsi (The Engine) like Jesus Christ confirming his awakening from the dead that is those anchorless years where he struggled to define his sound. Leather Park is a breath of fresh air in an alté scene which in many ways has been dying. And importantly, it elevates Odunsi beyond that label. He’s found himself. We are in the best Odunsi era, he’s outdone rare. And I tremble at the thought of what the future holds.
Okojie Osakwe Simeon
Homeless – Llona
Art is probably the most sought-after form of escapism known to man, aside from substance abuse of course. On his debut album, Homeless, Llona escaped, and he escaped with all of us. Borrowing from Kendrick, Llona wants you to be saved, but he’s not your savior. The 12-track masterpiece is an audio biopic granting unfettered access to the intimate experiences and forces that shaped the man he is today. The project’s overarching themes center around mental health, healing, and the struggles of young Nigerians.
The intro, Still Scared, sets the tone, as he expresses his vulnerability, fears, and uncertainties. “I’d be lying if I said I’m not scared…”, Llona sings over gentle piano chords and beautiful choral harmonies. The song seamlessly segues into the next track, Commander, while a short spoken word poem is spoken. Llona teamed up with the ethereal Wizard Chan on Commander to deliver an amazing record about doggedness and resilience. Can’t Breathe is infused with swing and dancehall flows where he raps braggadociously, “quick to remind you in case you forget/ you gon’ pay me my money and pay me respect.” “Say na only music, I no get plan B,” Llona sings on Another Day, emphasizing that music is his only way to a better life. It’s no wonder that this track has the most plays. HBP remix ft. Bella Shmurda was the breakout moment for Llona. “see, man don start to dey old o…” This line triggers something in me and that of almost every other 20-something-year-old living in this country today. Bella’s sonic affinity fits perfectly on this track.
The sexy saxophone riff that introduced Stranger directly catapults your mind to a RnB song from the early ‘80s. In this track, Llona is in his lover boy bag. The same voice that did the spoken word poetry in the first track is heard again, perfectly segueing in Gangster Love Letter. It’s raining feelings here, so Llona brings out his umbrella singing “under my umbrella/hurt you never/love forever/touch you never…” in a sad tale of how he can’t properly love his love interest because of his reality as a gangster. Cold War ft. Fave is another fan favorite. Fave delivers a fresh perspective in her verse with her beautiful voice. Comforter and Billion Paper could be argued to be the filler tracks in the LP. Both are great songs but the others just overshadow them. On Rollercoaster, Llona goes through a rollercoaster of emotions, all different variations of sadness. He sings “reminiscing on the days/I was drowning in my pains…”
The outro, Forgive Me, is my favorite song on the album. He sings from a slightly different perspective in this track. His triumph has come full circle now and he just wants to help his family, he sings “I’m not perfect and I don’t wanna be/ I just wan carry my family…” He touches heavily on forgiveness too, the militant crooner asks for forgiveness from people he might have hurt along the way. He sings, “before we heal forgiveness is a must…” “if I hurt you forgive me/make you help me see reason…” On a 12-track project that involved 9 different producers, Homeless is as tightly sonically cohesive as it is topically.
Olokungbemi Gerald
adedamola – Fireboy DML
After the bold, optimistic, love-themed LTG; laid-back, mysterious Apollo; superstar-personified, lustful, Playboy; Fireboy DML decided to take us on an immersive, introspective, and nostalgic journey on his 4th studio album. The introspective and appreciative mood started right from the opener, iṣẹolúwa. Just like the intros from the previous albums, you could sense a certain level of clear-headedness with the message, ‘Life has been good to me, I do not take this with levity’. The backdrop of talking drums, saxophones, and piano chords draws eyes and ears to Nxrth and Bassiqally’s production. Drawing inspiration from Haruna Ishola’s Ise Oluwa Ko Seni Toye, this is a book of art with a compelling introduction. The tempo got a bit higher on call me, transitioning from gratitude to devotion to his lover. The production duo from the first track accompanied the melodies with resounding log drums. On ecstasy with Seun Kuti, the romantic mood got a bit more sensual, and it’s characteristic of DML to have a record like this on every album. The blend of Seun’s saxophone performance and drums towards the end >>>>. hell and back is DML being a disappointed ex-lover, determined not to return to the toxic relationship but still nursing open wounds. It feels like a sequel to Jealous off his debut album. Chemistry is the first word that pops into my head whenever letting go with Lojay plays. The writing and musicality from both artists are very profound, urging you to sing sling passionately. The guitar strings follow the flow as they trade verses. Three tracks after ecstasy, we witness another saxophonic performance from Lagbaja on back n forth. It’s a stand-out track, courtesy of Fireboy’s vocal performance, the immaculate production, fine blend of musical instruments and judging from how meticulous Lagbaja is, it’s no surprise that we have Nxrth, Bassiqally, ID Cabasa, and Eskeez join him on production.
Ready is the actual interlude that was not titled as such. Asides from being the track that divides the album into two halves, it coincides as an intro into the second half which is on a different plane. It was only a matter of time before we would get the ‘tribute to Wande Coal’ track that wande’s bop is, especially with how much of a musical influence the OG has on DML’s sound. Semzi’s production qualifies it as a party anthem and Fireboy’s delivery mirrors peak Wande in the 2010s. The energy transitioned into change your life which is another love tale to a love interest, with his intention to make her feel loved. Semzi’s bouncy beat production makes it another bop. obaa sima still not getting its flowers till today bites me hard. I particularly love its writing and melodious delivery. I can also tell that it resonated more in the album when the direction became clear. need me feels like the part II of call me but with a more Amapiano-like production. In what would be considered unusual, Fireboy records yawa as a channel to air his mind in the wake of criticism. According to an interview with Apple Music, the YBNL-signee deemed it fit to be on the album because it tells its own story. Everyday seemed to have gotten deserved attention when it initially got released as a single. I think its writing was so simple and easy-to-learn, complementing the danceable beat. Getting Bloody Civilian on the music video also made it memorable. The album closes with jon’s interlude where Jon Batiste was basically having fun with the melodies on ready. It is a ‘take a deep breath and relax’ tune before the album starts again. Overall, Fireboy delivered to tastes on adedamola; the romance persona wasn’t wanting, only that it had far less lustfulness in it.
Peter Adeyemo
Ikigai / 生き甲斐, Vol. 1 – Olamide
Indeed, ‘Baddo na Baba!’ At the age of 35, not many Nigerian artists can claim a place in the industry, talk more of being top ten. When you consider other factors like; the fact that he has done this as a rapper, the length of time for which he has remained at the top, and his influence on the industry in terms of sound, unearthing talents, and even shows – Olamide Live in Concert (OLIC) is a precursor for yearly personal December shows – it becomes even harder to put into perspective. Don’t sweat it. Olamide is just that guy.
It’s why he could surprise-drop an EP like Ikigai, and outperform projects that had bigger promotion prior. The music slapped! 22 minutes and 8 seconds of a rapper in his – arguably – third prime. Ikigai soundtracked Detty December and all the five months preceding.
On tracks like Metaverse, Makaveli, and Knockout (feat. SABRI), Olamide shows that the bars are ever present, although mostly cheesy. Lines like “Gun yan mi kere bi Bandle o ma sha ta/shatter” to “Everything choke, stunna lifestyle/Kcee limpopo, Jaiye five-star” to “Batman, rob in/Bring Odogwu out like single, and drop hit”, and the beautiful “Dirty December, we blow away like Harmattan”, a surprising triple-entendre, show Baddo’s affection for wit. There’s also an abundance of luxury on this tape. Unlike on 2015’s 2 Kings joint album with Phyno, where Olamide’s luxury raps mostly paid homage to 90s Jay Z, the luxury and parallels with idols, Jay Z and Biggies, in terms of wealth on this tape are well founded. It’s why he can rap as he does on Hello Habibi, in particular, promising to buy ‘Lana Marks, 400k’.
Ikigai stands out for other reasons. It’s a celebration of YBNL heritage, for one. On Uptown Disco, Fireboy DML (signed 2018) and Asake (signed 2022), deliver standout performances. Fireboy’s verse is a pop-culture affair (Chuck Norris, OBO/Chioma, Timmy Turner, Robin Van Persie), while Asake’s gives onomatopoeic lamba life as he sings his Vigi-vaga-vun and Zigi-zaga-zoo. Additionally, the Semzi and Eskeez-produced tracks are arranged in classic 2022 Mr Money With the Vibe Asake format; all log drums and crowd vocals plus a call-and-response section. The outro, Synchro System, features former in-house producers-turned-pop stars, Pheelz and Young Jonn, and a great in his own right, Lil Kesh. Recording of the year material, I must tell you. Just listen to Young Jonn’s 15-second wonder-verse if you have any doubts.
It also highlights Olamide’s adaptability production-wise. Five of the seven tracks were produced by Semzi, much like eight tracks on 2023’s Unruly were produced by Eskeez (Fun fact: Eskeez was trained by ID Cabasa, whom Olamide was under earlier in his career). There was also Hello Habibi with Los Angeles-based RIAA-certified Multi-Platinum producer, Ramii. Finally, with a song like Morowore, Olamide showed his ability to craft religious-facing music; a lost art in today’s landscape. I won’t be surprised if one new gen church does a rendition sometime soon.
Eriomala John
HEIS – Rema
‘No more big three, there’s now a big four.’ And even that is a bit off the mark. In the past two years, the Prince of Afrobeats has stood head-and-shoulders above his peers and indeed his elders, and it’s about time we discussed upgrading that designation from Prince to King. Despite Rema’s failure to go the Kendrick route in his assessment of this so-called big three, HEIS proved a phenomenal album. Thematically and stylistically, this just might be the best project I’ve experienced from an African act in my lifetime. Oh, everyone does the good boy gone bad pivot. Fireboy DML, Justin Bieber, Miley fucking Cyrus. It’s a coming-of-age ritual, after breaking through in their youth with a squeaky-clean image, it becomes particularly inhibiting to persist with this persona into adulthood. Your fans change, and you must too. And while your fanbase matures in College, shedding their V-cards and their innocence, one’s music must do the same. That growth is important, lest you risk getting left in their childhoods. But predictably, that transition isn’t always so seamless. This attempt to break with the past and unmoor oneself creatively has made and marred many an artiste. But Rema didn’t skip a beat.
Bats, Benin, The Occult, Night. BENIN BOYS and HEHEHE, the leading singles, made it clear from the get-go that the coming album absolutely would not be business as usual. In haunting, deliberate visuals, set in Benin City and New York respectively, Rema set the tone for what was to come, drawing fans into this arcane world, and inviting immediate backlash. Illuminati allegations maketh the man, perhaps you haven’t truly broken through as a popstar if you haven’t been linked to this mythical, all-powerful institution said to control the entertainment industry worldwide. And thus, the 24-year-old would join the leagues of Lady Gaga, Beyoncé and Jay-Z, alleged by rabid netizens to have sold his soul for world domination. If he did sell it, however, it certainly was value for money, with Grammy nominations and international acclaim following soon after.
Replete with petulant boasts overlaying inspired (predominantly) P.Priime production, HEIS attempts to encapture and build on the rebellion of Rave & Roses’ Addicted, that London collaboration proving a harbinger of things to come. London would indeed return for tracks 7 through 9, his signature drums producing a head-banging three-track run: OZEBA, WAR MACHINE and EGUNGUN. The dark synths, sonorous strings and fast-paced drums across this project combine to produce a body of work that is tailored for live performances, moshpits and raves, defining properly for the first time that Afrorave tag Rema bandied about so readily earlier in his career. This album would come to be the embodiment of that subgenre in the years to come, even more so than the 2022 title, Rave & Roses. Because like so many have erred in the past, there’s much more to defining a ‘new’ genre than simply coining a name. And whereas Rema’s debut still leaned mostly into Afro-fusion and trudged the paths paved by those before him, HEIS truly positions him as The RaveLord, setting him on a solitary course to the throne room.
Okojie Osakwe Simeon
By Any Minz – Minz
Minz showcases his unique sonic identity as an artiste who cannot be boxed. He seamlessly blends genres like Afrobeats, RnB, alté, and pop in his debut album By Any Minz, the title itself symbolises Minz’s determination to make a mark in the industry by any means necessary. He has been an underground sensation for about a decade now, this project is his attempt to establish himself as a mainstream artiste in Afrofusion. The album features Davido, Tekno, Blaqbonez, Projexx, Zinoleesky, Bnxn, Yo Trane, Moliy and a couple of producers.
The project opens with Revelation, a song that talks about his journey so far and his thankfulness to God for answering his prayers. Shadow follows, this track has a glorious Afro pop bounce, the sound touches on his naysayers cursing them out in his native Yorùbá “dem hate on us wón ni kú rẹ”. Wo Wọ, his 2023 breakout track that put him on the mainstream radar is another song about gratitude and thanksgiving over soulful chords produced by French producer BGRZ. While Davido dropped a really solid great verse on Wap, Minz should have opted for an artist who wielded the pen game to detail sexual innuendos in a way that would make listeners blush. On guitar-driver Diallo produced by German production trio 255, Minz pour adulations on African women. Tekno compliments the song perfectly, crooning “take my money, take my life.” Ja is cut from the same sonic cloth as Diallo, as Minz emphasizes his readiness to drown in the waistline of his lover. Minz delves into amapiano on Do, taking Blaqbonez with him, they usher us to the dancefloor with the almost chaotic log drums and drum rolls. Moliy’s angelic vocals can be heard on Drama singing “don’t need no drama/don’t need no yawa…” With the song, Minz is essentially saying he prefers staying in his lane and he doesn’t want any yawa.
The latter half of the album is punctuated by heartbreak anthem Lon3ly, driven by melancholic saxophone and chords produced by BGRZ. F.U. is another raw, explicit, and passionate track, Minz sings “…backshotsinna the room/give you like I owe you…” It features Projexx and Yo Trane. Projexx makes the dancehall beat his, Yo Trane doesn’t slack off, with his vocals blending perfectly. Low is a mid-tempo song that sees Minz introduce us to what he calls the “new sound of Lagos”. Minz glides on Sokoto on an Amapiano-EDM fusion beat. He features Zinoleesky, who delivered a solid verse. On Disembark Minz takes shots at his naysayers again, delivering his lines on a sweet bounce produced by Zen Universe, Ramoni and 10Ten. Mo De Ma is one of the brightest spots of the album, Minz’s dexterity is on display once again with witty songwriting. Wo Woremix ft. Bnxn & Blaqbonez served as the outro to the album.
Olokungbemi Gerald
Bad Boy Etiquette 102: Continuous Assessment – Ajebo Hustlers
The capital of Rivers has for a long time been known for churning out stars in the entertainment industry, from Timaya to Duncan Mighty to Burna Boy to Omah Lay and even rising stars like 1dabanton, Dan dizzy and the singer-rapper duo, Ajebo Hustlers. Since their breakout, singer Isaiah Precious known as Piego and rapper George Dandeson known as Knowledge have crafted a niche, bridging the barrier between consciousness and hedonism in their highlife-esque melodies. Kpos Lifestyle, Vol. 1 expressed the blend of youthful impulses and blunt reflections. Bad Boy Etiquette 101 showed better strength in the balance of fun and real life. Their most recent work, Bad Boy Etiquette 102: Continuous Assessment displays much more maturity with heartfelt odes, incisive rap lines, and lyrical depth.
On Dreams II, a continuation of the intro on BBE 101, the duo invited Blaqbonez and Zlatan to grace the mid-tempo bop brought alive by Piego’s melodies. The sombreness can be felt in the lyrics as they paint the struggles and aspirations of a young Nigerian. What a verse Blaq and Knowledge delivered! Stoners got an anthem in Last Week ft Jeriq. T.U.C’s use of guitar strings and drum rolls served as a backdrop for the duo’s verses. The song is basically about the temptations, struggles, and withdrawal symptoms of an addict. You Go Know is a proverbial record on street smartness and social currency. The shakers and synth progressions combined with the bass drum and snare alternation is proper work from Marlie Chunes. Wicked is telling the story of a wicked and sexy babe who leaves the duo perplexed. Type A produced this and boy, it’s an enjoyable one. ODUMODUBLVCK joined them on Celine Dion, creating a record laced with emotional intensity as violin strings opened the track. OD’s verse on the mid-tempo drums gave us a side that’s less violent in delivery. The love interest being referred to must have been wet from showers of praise.
Raebel, a Nigerian Afro-dancehall artiste, opened Undecided with her sonorous vocals gliding on groovy rhythm. She floated effortlessly and actually bodied the duo. The three each had their scores to settle with their lovers, with Raebel notably seeking closure. Kisses II, a personal fav and continuation of the same-titled song from BBE 101, reaffirmed the talent of Mavin-signee, Magixx. It’s also like a part 2 of the previous track where the duo is calling it quits with a lover. Magixx’s verse reinforces the narrative with the line “I tell her ‘what’s your star sign?’ She say ‘Na Cancer’ If I be don know, I for japa.” The background guitar plucks beautifies Ayzed’s production. No Wam explores the same theme from previous tracks, with nonchalance as the main resort. UCEE’s production is best enjoyed when the ears are plugged and the volume at an ungodly high. Ajebo Hustlers maintained the Nigerian-Ghanaian collab culture with feature guests King Promise and Sarkodie on Sweet & Sour and Burn My Cable II. The album might have tracks revamping a theme of heartbreak and love but it doesn’t lack in entertainment and emotional dynamics.
Peter Adeyemo
No Love in Lagos – Show Dem Camp, The Cavemen, Nsikak David
(I would like to apologise in advance, as a good deal of this review won’t be about the album itself. Thank you) Granted, comparison is the thief of joy, and unnecessary in art, however, there are times when you must compare. For example, when I say there are few artists, both dead and alive, who have documented Lagos living in their music as much as Show Dem Camp, it’s not out of a need to force a contrast. That’s just a statement of fact.
Per my experience, two major events stick out linking SDC and Lagos. Both are from 2020. The first was my first listen of Packaging off Clone Wars Vol. IV “These Buhari Times” or more specifically, Tec’s standout verse on the song. He rapped about guys who pretended to be rich in Lagos and his chance encounter with a lady who was forming and pronounced Iyana-Ipaja as ‘E-ya-neh E-par-ja’. The second was on the 18th of October, somewhere along the Long Bridge on the Lagos Ibadan Expressway, bumping my head heavily as Tec, again, rapped “They say that patience is a virtue and that Lagos moves in circles/Where the money is, the motive is, all that other s**t will hurt you, my guy”, the intro on Move Mountains off Clone Wars Vol. III: The Recession. The vivid storytelling on both tracks painted a familiar picture of Lagos, the Lagos Chimamanda Adichie wrote about in Still Becoming “Lagos will not court you. It is a city that is what it is”.
Thankfully, there can never be enough exposition. And so, it was with a heart of gratitude, that I received No Love in Lagos on August 9th of last year (After waiting three years since Tec teased the joint project with The Cavemen in a July 2021 I Said What I Said episode). The ten-song project is a colourful canvas of love and Lagos living, touching on the infamous flavour of romance native to Nigeria’s commerce centre. It is such an immersing project that I could talk about the outro alone, Sudden Day, a sub-five minute beauty of a recording, and still have done well; Ghost sounding like Afrika Bambata, Tec’s cutting-edge verse, and the Cavemen’s ethereal chants, over Spax’s famed horns, and Nsikak’s bass. By the way, if anyone needed further proof that Spax is the greatest, this is just one more tape to listen to.
No Love in Lagos is beautiful from start to finish. It’s Palmwine Music meeting Highlife (sometimes Fuji like on Buga with Tim Lyre and Funk on OMFTR with Obongjayar) in perfect symphony. On Johni, Benjamin of the Cavemen sings “Elele anya n’azuo eh, Nwannem”, admonishing us to shine our eyes while Ghost rants about Lagosians using alcoholism as an escape “Here we heal wounds by drinking all night/saying even Lord Christ took thirty plus stripes”. Reflections on brotherhood (Fall) follow a song about being chased out of an establishment for flimsy reasons (Why), as elsewhere on the project, you ask for blessings for you and your woman (Blessings feat, Moelogo). And is it even an SDC project if we don’t meet someone new? In this case, it’s singer Ruti, who dwells on the cost of really knowing and showing resilience post-heartbreak, on Train.
Eriomala John
Karma – Maison2500
In the past year, the 28-year-old teased retirement from music at various points, all but confirming it in an X post in July, an end to a career in the British and Nigerian underground dating back to March 2017 release, Wrist (Dasani). But this post would in the coming days be deleted without much explanation, and the album rollout for the coming release, Karma, would continue as planned, typical for an artiste as mysterious as they come. But you could understand their frustrations, no one wants to remain an underground artiste forever, and with a Nigerian alté scene that peaked in 2019, we’ve had releases from a variety of musicians thin out in the absence of that mainstream breakthrough. In April correspondence, Maison would refer to Karma as ‘the start of something new’ and ‘something I’m comfortable dying with’, persisting with the uncertainty about their future. Then in May, the B4 Karma Knocks EP would come. Outtakes culled from the upcoming project, complete with the introspective Been through Hell would provide a representation of their mental state going into Karma. But the track with no vocals would stand out most to me. Luca Malaspina produced Repent sets the tone for the sonic adventure to come, seemingly extraterrestrial chords and muffled drums utilised for this rich tapestry that would transition seamlessly into a braggadocious Mazzi Jump. If these weren’t good enough to make the cut for Karma, just what was coming at the close of the year?
‘For the girls obsessed with dreams. For the boys obsessed with nightmares. Based on a true story.’ Maison2500 is a horror aficionado, that was made clear in a 2024 Culture Custodian interview where they reference The Exorcist as the first film they ever saw. The 1973 title is a cornerstone of the supernatural horror genre, becoming the first horror film to be nominated for the Academy Award for Best Picture, and influencing pop culture for decades to come. And those themes of subterfuge and violent possession would filter through to Maison2500’s Karma, showcasing to the world their interests in film and high art.
Venturing into newer, refined territory, Maison2500 would ultimately provide a refreshing take on their existing work, persisting with the dark synths and the general rage framework while incorporating haunting melodies and film dialogue. On RUN, NANCY, Mase takes a most refreshing stab at EDM, showcasing a versatile side that hasn’t always been so apparent. And on the very next track, TIME & TIME, they reach into their emo bag, churning out an exciting fast-paced rock track. Odunsi (The Engine) collaboration, CRASH’N OUT would fittingly complete a generational three-track run, the long-time associates going back and forth over rich snares and an emotive chord base. MIDNIGHT R4V3 would bring a hyperpop twist while TOUSAN rerouted the project to its rage roots at its close. All this would combine for Maison’s most experimental project yet, serving to shield them even more from a mainstream they clearly appear to have given up on. One would wonder what’s next for this enigmatic artiste as they continue to perhaps find a niche outside of music given their burgeoning film interests. But one thing’s for sure, time in the underground is finite, and in the absence of the mainstream recognition that acts such as Len, Lancey Foux and YT have enjoyed in recent years, and given their recent demeanour, Maison may just settle in a role outside of music, fashion and film sure to attract someone of their panache. Or who knows, maybe fishing. But one thing’s for sure—this is a true artiste who exists outside of music as a business model, with her increasingly commercial caprices, and they are a creative at their core, with that proving to be the one motive defining any future paths. And whatever the medium they choose in the coming years, be it film, fashion or music still, I will be following.
Okojie Osakwe Simeon
Candor – Monaky
This 11-track debut album is deeply introspective as it details Monaky’s evolution as an artist and a storyteller. The songs show raw emotion and unflinching honesty. Each song tells a story, from heartbreak to love to triumph. Monaky has one of the most unique voices in the country, a jarring baritone that drags you along. He has found deep musical pockets, mirroring some of the vocal texture of Afrobeats god Fela Anikulapo Kuti. Some compare it to Burna Boy’s vocal dexterity. The project contains features from Llona, Morello, Dressy Carter, and Rhedi.
Right off the bat, Chandelier mourns his lost love interest. The beat segues into a masterful production by Dummex on Cerebral, where Monaky features Dessy Carter. I’m split on whether Beholder is my favorite track on the album, but it is such a beautiful tune about resilience and eventually triumph. He sings, “If e simple, e no dey empower.” Insoluble featuring Rhedi reminds his listeners that he is not a people pleaser. Hi Grade is a high-energy jam that wittingly tells a tale about a certain Obianuju he shared a Netflix and Chill session with. Sabi Boi quickly transitions into Passport, a track about the evergreen sativa. He sings, “e get wetin pass ecstasy/ I dey fly, I no use kpali/ so serene, so spiritually.” Phil Collins’s Another Day In Paradise is beautifully interpolated on Boo-Merang. Monaky sings “why we come be strangers when we can have paradise/ it’s another day for you and me.” OG Sterling did an exceptional job on the production of this. Favourite Gurl is a proper love song backed by soft strings. The Morello feature, Habakkuk, is a track that tells his listeners that time reveals all.
On the outro, Gone Rogue, Monaky features Llona. He could not have selected a better feature to compliment the track about pure grit in rising to the top. In a project that involved five producers: Solid The Creator, Shuga Saund, Dummex, OG Sterling, and Princeton Beatz, Monaky’s sonic prowess was fully realized. We expect more from him in the coming years.
Olokungbemi Gerald
Loveless – Lojay and Jae5
Loveless is a joint body of work, a 12-minute journey of toxic love relations and romance presented by the Nigerian singer-songwriter, Lekan ‘Lojay’ Osifeso and UK-Ghanaian producer, Jonathan Kweku Awote-Mensah, popularly known as Jae5. The idea of joint EPs and LPs is very intriguing; it communicates a level of relationship between industry guns who believe they can wow listeners with multiple cohesive tracks. On it, Lojay had a good-bad time spiralling in and out of hedonistic desires while Jae5 engaged with a mid/slow-tempo range and occasional exploration of the amapiano sound. Dishonest ft Tyler ICU and Sha Sha echoes this aforementioned theme as it portrays a young man fighting pleasurable pain. ‘Living like my morning texts don’t read the same, and the tears pouring down like ocean waves’ brims shortfalls, irredeemable ones for the most part. Sha Sha’s verse gave the feminine vibe to the two-way concept and Jae5’s genre-blending production didn’t go unnoticed. The toxicity spills on to the next track, Watermami, with more indulgence relatively to the first. He acknowledges being held spellbound in a relationship that’s considered a mess in this universe and another. The vocals and strings at the beginning although the writing isn’t so exceptional. He extols her like it’s all rosy and that, in itself, is toxic.
On Sweet Love, which is a better – in theme, execution and delivery – sound, the 28-year-old appears to be content with having his love interest in the arms of another man as long as he can have her to himself, when he wants. Jae5’s production on this is also clearly better. On some days, Lojay imagines love in its sensuality and sultriness; on other days, it’s the commitment and trust he is all out for. On the last track, I Wish, Libianca appears as a guest feature. There’s a semblance of a healthy relationship here; one that clarity and regret fuelled. Gingered by Jae5’s melancholic production, Lojay writes hoping she sings along. Libianca comes in at Lojay’s most vulnerable state as the duo take turns in echoing the most profound line in the chorus, ‘I wish I poured all my love on you’. Loveless paints a picture of the dating pool in Nigeria today. Everyone protects their heart, holding back affection until there’s a glimpse of energy from the other party. There could be ill-luck, there could be fumbling, but toxicity remains a mysterious abstract. Lojay delivers just as good as expected, and Jae5 opens the portal for an explorable style of production in the ‘Afrobeats to the world’ movement.
Peter Adeyemo
Loseyi Professor – Seyi Vibez
Seyi Vibez and Dibs were the artist-producer duo of 2023. Seyi Vibez and Dibs were the artist-producer duo of 2024 (Yes, 2024). If everything goes as prayed for, Seyi Vibez and Dibs will be the artist-producer duo of 2025, the church will “Amen!” their assent and all will be as it should be, no questions asked.
It saddens me that not enough people listened to Loseyi Professor. Many were stuck on December 2023’s NAHAMciaga EP. According to Turntable Charts, the EP was only behind Asake’s Lungu Boy in 2024. While that is a win, regardless, with both projects eligible for most awards in that time frame, there’s a claim for Loseyi Professor as the superior tape. The seven-track EP shows Seyi at his most vulnerable, hidden between verses about his newfound ostentatious lifestyle, and gratitude to the creator. It also houses social commentary, fit for the overwhelmingly young audience that has grown to love him.
On Lagos, Seyi narrates a tale of extra-judicial killing; Abobi who impregnates Soldier’s wife is murdered on Soldier’s return, and it takes a three-day absence before anyone even notices. He also speaks on Lagos’ excesses, poverty co-existing with obscene wealth (“Multibillionaire na my neighbour, but I no dey ask for favours”) while praying to God to continue moving forward, as Dibs’ signature reverb soundscape envelopes the listener. On Doha, he balances the experience of access to a harem of ladies (South African, Cape Verdean, London, American, Caribbean) with hidden angst (“I get stopover for Doha/Fly around the world with my traumas”). Those moments of vulnerability are deftly placed, easily overlooked peeks into his life.
Then there’s Casablanca, one of the standouts on a tape of standouts. A three-note motif loops throughout the track, bouncing off kicks and a heavy bass. It also features standout background vocals from whom I assume to be Esther. However, the most striking aspect of the song is when he sings about his experience with internet fraud on the 2nd verse, “Na me show all of my friends yahoo, but them first me see maga”. This is not the fake street life some of your faves sing about.
On Santorini, Seyi professes not to be an anobi, a prophet, but asks for Holy Water, vocals running over an Apala beat. On the bridge, his vulnerability shines, as he asks his love interest, “Do you really ever know how I dey feel on my own?”, before talking about Birkins and a trip to Greece. This loneliness is also evident on Abu Dhabi where he sings “Some of them want to jazz me/But their jazz no fit jazz me”, tucked in between verses about his women, and an absurd yet alluring repeated chant of “Michael Jackson” on the chorus.
Manchester is the penultimate track. It’s almost easy to miss but on the pre-chorus you can hear him sing about losing his mum, never being able to take her to Mecca, how he has now built multi-story buildings “Ọmọ kọle double-decker, ọmọ kọle triple-decker”, and is in high demand at shows in Manchester and Germany (Fun Fact: His concert in Manchester was just a month after, on August 25th). It’s weighty, yet sang in equal breath as his fuji-inspired Balenciaga calls. Ultimately, he prays it all makes sense in the end. As if to lighten up the mood, Loseyi Professor closes with Albert Einstein, a cheeky number about many trying, but failing, to copy him. It also features well-executed rhymes (“Play Konami, figo-figo, sho mọ shiro”). Ultimately, if it’s down to skill, Loseyi will never be defeated.
Eriomala John
ROOM 203 – Syntax, The Creator
What happened in ROOM 203? It’s time to get a bit more local with the selection, and up next, we are spotlighting the only University of Ibadan creation on this list—ROOM 203 by Syntax, The Creator. And, oh dear, what an EP this is. For a project only promoted organically within the student community in Ibadan, over 35,000 streams on Spotify alone less than two months since its release is a success by all means, but I must admit, it took me a while to catch on. In fact, I would not listen to ROOM 203 in full until after Syntax’s performance at the Mavin Campus Pop-Up on the 3rd of December, 2024—perhaps owing to a busy student schedule and an innate scepticism towards a relative unknown. But after experiencing CTRL and Adenike that night, I could hold back no longer.
The EP is as much a celebration of the UI creative scene as a product of Syntax himself, and this was evidenced in the rollout, UI’s infamous alternative kids seemingly all involved in performing on the EP or promoting it. One man was able to bring the community together like this—Omotoso Wisdom Adeoluwanimi, a music producer and Sociology Senior at the University of Ibadan. And in defining this conglomerate of creatives, we must first understand the meaning of ROOM 203. It’s one of many rooms in one of many of UI’s private hostels— in this case, Talents Apartment. But this is about a lot more than some swanky dormitory or a physical space at all. ROOM 203 defines the experiences from that location and what it would’ve represented in the creative journey of Syntax, The Creator. It’s where he met several creatives and people who inspired his songs, and it’s where the EP was recorded. Presented like this, ROOM 203 become very specific to the UI student experience, a feature quite unlike many other forgettable bodies of work pushed within this university. It’s less about Santorini and outlandish ideals, choosing to tackle angst and fleeting youthful feelings instead, this honesty and vulnerability likely contributing to its success. In conversation with Adesina David, Syntax expressed disappointment with his previous output and a will to create music for himself rather than for other people in ROOM 203, bucking the commercial afrobeats formula for more introspective heartfelt work.
Weaving a cohesive story across five tracks is not the easiest task. But Syntax and his rotating cast of performers manage it without breaking a sweat. Heavier themes of heartbreak and separation are prominent throughout the EP, README transitioning to Adenike in a continuous stream of betrayal, only differing in the name of the love interest. But more than the pictures painted, the songwriting proves exceptional for fledgling artistes without any major label backing. CTRL is markedly upbeat compared to the preceding tracks, fast-paced drums soundtracking Udo’s refined vocals. The circumstances surrounding this song are quite surprising, given that in the earlier-referenced interview with Adesina David, Syntax reported that several artistes declined the opportunity to hop on that song because of the pace of the instrumentals, deeming it difficult to ride this ‘bull’. Only Udo Nebo accepted the challenge. Given that she’s more inclined to slower acoustic folk instrumentals, it came as a shock to me to hear her on such a fast-paced Afrobeats track. But boy, did she deliver. Showing a maturity beyond her years, she sets the tone for this act of rebellion, wresting control from her lover, no longer willing to be played. Complete with nonsensical Afrobeats-coded vocalisations (forgive me if I’m wrong), it mirrors Rema’s initial venture into Afropop with Dumebi. The production across the album is pristine, with Syntax overseeing it all. A host of instruments as varied as the trombone and the talking drum were in use throughout, several instrumentalists recruited to bring the polished soundtrack to life. ROOM 203 is indeed more of a story than a mere EP, sticking strictly to the defined themes. So, if a girl from the Faculty of Arts has broken your heart in recent times, this definitely is the one for you.
Okojie Osakwe Simeon
RnB – Ruger, Bnxn
Joint projects between top mainstream artists are not very common, but what is even more uncommon is announcing a joint project to signal the squashing of a heated online rivalry that dates back to August 2022. Ruger and Bnxn, two of the faces of the new school in the industry, teamed up for a 7-track EP, RnB, a title that might initially suggest Rhythm and Blues but actually stands for Ruger and Bnxn. The release of the EP is monumental in terms of what it stands for precedent-wise. The Afropop singers, combined with brilliant producers, found ways to alchemize their talents, and the results were excellent.
Bae Bae is a confessional RnB intro produced by Blaisebeatz. The drums are ushered in by some outlandish flutes, this is the perfect medium for Ruger’s swashbuckling persona to shine through, singing declarations of love, sprinkled with some Ruger-esque raunchiness. Bnxn takes charge of the chorus, and does it perfectly. Poe is the next track and thematically, it is similar to the first. The production, however, is more upbeat with snare and log drums setting the tone. Bnxn sweetly interpolates a nursery rhyme in the chorus and delivers a solid verse. On this track, Ruger reminds us why he’s arguably the best at delivery amongst the new school. Sonically, Calculate Love is similar to Bae Bae. This time, Kukbeatz is on the wheels and Ruger goes first singing “…shey you fit to calculate love?” Bnxn really comes alive on this track, finding all the pockets of the beat and filling them perfectly. Ilashe is produced by Sarz, so naturally you’d expect greatness. The duo explore the theme of transactional relationships with Ruger singing “swear that you don’t know what we’re doing here/àbí no be free boat wey you use reach here.” Bnxn shines on this too.
On Romeo Must Die (RMD), Kukbeatz blends the bounce of dancehall with one of pop. This gives the duo the best vehicle to go girth for girth. Listening to the konto-laced beats Kukbeatz cooked on Party Monster, one can’t help but notice the similarities in the instrumentation to Sade Adu’s Sweetest Taboo. Ruger shows he’s more versatile and malleable than Bnxn on this track. His verse made the atmosphere of the song zestful in a feel-good, in the mood to party kind of way. Not Done is slower, more emotive and toxic. Right up Ruger’s alley, but Bnxn rose up to the challenge on this outro. Ruger sings, “we’re not done until I say I’m done with you…” On Bnxn’s verse, he sings “…does he do it better? (the answer is no)/and then every time I see you/you always bring me something that is wetter…” Blaisebeatz anchors them to a tropical Caribbean production.
Olokungbemi Gerald
Born In the Wild – Tems
Tems’ rise to stardom is one in the prayers of many. Since 2018’s Mr Rebel, there have been different turning points for the 29-year-old Afrobeats and R&B superstar. Her trajectory from her debut single to her debut EP, For Broken Ears, to the megahit collaborations with Wizkid on Essence, Drake on Fountains, Future and Drake on Wait For You, etc. describes an exponential but overwhelming ride. Six years down the line of fame, she delivers her debut LP, Born In The Wild. On this 18-track album, the Lagos-born singer-songwriter opens a window into the journal of her career trajectory, detailing the highs and sighs. On its titular intro, over guitar plucks and soft piano notes, the superstar sings about identity and realisation in a chaotic world. The self-realisation morphed into declaration towards the end, affirming that the world is hers and the time is now. Interlude came early on track 2, Special Baby (Interlude), where Temilade’s Mum recounts a story on the backlash from people second-guessing her daughter’s artistry and the delayed release of her debut LP. The piano notes in the background gave the solemn feel most interludes are known for. Burning is Tems’ state of mind when popularity started setting in. GuiltyBeatz joins Tems on the production in crafting a nostalgic ambience as she narrates how everything was happening so quickly and she could barely catch up. Wickedest is probably one of the few tracks that sparked the earliest conversations when the album dropped, courtesy of the sampling of the 2000s club-banger, 1er Gaou, by Magic System (an Ivorian band). On a more up-beat tempo, Tems asserts and silences. Lead single Love Me Jeje ignites nostalgia in the ears of many millennials because of the interpolation of Seyi Sodimu’s 1999 same-titled record. She complements the groovy bass with her call for an unconditional and gentle love.
Tems’ exploration of love extends on Get It Right ft. Asake. On Sarz’s signature dancy beat, Tems dedicates love to a person of interest and Asake delivers from the other end, promising to fulfil wild desires. Her sonic range expands on Ready, where soulful melodies bounces on GuiltyBeatz’ production, quite reminiscent of Sade Adu, a 65-year-old Nigerian-British singer. Unlike on Love Me Jeje, the vibe in Gangsta is quite intense as she yearns for a lover as fearless as she appears on the cover art. The interpolation of Diana King’s L-L-Lie fits perfectly well too. Unlike the yearnings on previous tracks, Tems burned bridges on Unfortunate, realising that someone is not worth your time and feeling fortunate that you figured early enough. Backup vocals on Guilty’s slow-tempo production creates an ethereal experience. Boy O Boy is Tems lamenting over the pain of a messy relationship; you could feel the spite in the writing. In an interview, she admitted wanting to explore a concept of strangulating a vixen for the video shoot. On a break-up-themed record like Forever, Tems was less about the breakup and more about why the guy is circling back, especially when she has moved on. At this point, each track feels like chapters dedicated to cohesive love and breakup stories. With J Cole’s assistance on Free Fall, she admits the guilt of not feeling the thrill of love as was experienced when she was new to it. The North Carolina rapper poses as the unhappy ex-lover while poking holes into Tems’ argumentative verses with rap bars.
Voices In My Head (Interlude) is the second interlude featuring the voices of her managers, Muyiwa Awoniyi and Wale Davies (Tec), one half of the Show Dem Camp duo. LONDON, on Turn Me Up, put Tems on a braggadocio mood. She gyrates effortlessly on the dancehall beat as she navigates the album’s central themes. Me & U borders more on self-discovery and ethereal connection which was portrayed in the music video. T-Unit is a toast to her resilience through the years; You In My Face, an ode to her vulnerability, and Hold On, a reflection of her journey which is quite spot on as the curtain closer. Born In The Wild bears luxury production, versatility, and beautiful interpolations of nostalgic records.
Peter Adeyemo
The Year I Turned 21 – Ayra Starr
In July, I wrote this as my conclusion to a one-listen review of Ayra’s sophomore project, “I understand why The Year I Turned 21 is Album of The Year for many. It’s relatable on many levels – keys into the Gen Z experience – that artists ignore for lack of nuisance. This, it does, by offering various aspects of the experience, with love as a focal point. Ayra’s voice is also a standout here. She takes a back seat on some songs, opting for soft altos and belts out on others, a breath of fresh air in an industry that’s gotten so comfortable with skill issues. ( As I type this, I long to listen to 21 again) As far as writing goes, there appears to be a balance between poetic, sentimental, long-winding lines and Afrobeats staple, lamba. I would need more than a few more listens to be sure. The tracklisting is questionable at some points but not to the extent of being jarring. Production on this is quite the treat, and I look forward to my re-listens for that aspect. If there’s one thing I’m sure of, it’s that Ayra’s position as a leader of the pack is unquestionable with The Year I Turned 21. 19 & Dangerous was a statement. This is a whole-ass declaration”.
After listening a God-knows-what number of times, I can say without any doubt that it is still a good shout for Album of the Year. That’s all, thank you.
Read the one-listen review here.
Eriomala John
Morayo – Wizkid
Praise be to the biggest bird. Over the past few years, discussion around Ayodeji Balogun, one of Lagos’ biggest exports since her virile black men during the Trans-Atlantic slave trade has evolved (or devolved, depending on what angle you choose to look at it) to outright worship. The 34-year-old has come to represent for many the grass-to-grace story that has enamoured Nigerians since the days of M.K.O. Abiola, reaching from humble beginnings in the heart of Ojuelegba to worldwide recognition. It’s nothing short of a fairytale, and tales such as this define our national consciousness, our ability to hold on to hope against all odds, for better or worse. But as Wizkid became more global, his sound was transformed, and the boisterous hard-hitting melodies many a Danfo driver would have fallen in love with gave way to sensual afrobeats-infused Rhythm and Blues more at home in lounges and expatriate bars than in the heart of Lagos traffic. Thus became the dichotomy that is modern Wizkid. He had changed, and he was bound to—if he didn’t, he wouldn’t at all be in the conversation today, as evolution is the lifeblood of a creative. All of the ‘big three’ took different routes with their sound after initially breaking out, Burna Boy notably leaning more into Caribbean-inspired fusion and later hip-hop on his last three albums. Perhaps Davido has evolved the least, and for that reason, 2017’s ‘If’ remains his biggest success—but that is a story for another day (make agenda no kill us one day). But the point is, no artiste can afford to stay the same forever, it’d spell disaster. And while fans may be ruffled by one breaking from a template they fell in love with, keeping things fresh draws in new audiences while keeping existing supporters excited.
But the problem with Wizkid is that people loved old Wiz too much. Nigeria’s own StarBoy, the sort of prodigy we may never see again. And it’d have broken many hearts to see him deviate from the essence that made him who he was at the time, so much so that amidst increased success in his 30s, the people saw him as alienating himself from his core fanbase for the sake of foreign audiences. Had Wizkid finally lost Nigeria? Despite sporting the Made in Lagos moniker, his fourth title sold far more outside these shores than within it, a similar picture as his following album, More Love, Less Ego. This made conversation going into Morayo more loaded, what path was he going to take? Give in to the natural course of things and move further from afrobeats as he himself stressed in multiple angry social media posts? Or return to the genre that has defined his entire career? The former seemed more likely with Wizkid keen to stress to any listening ear that he should not be regarded as an afrobeats artiste. It was an erratic side of the maverick we weren’t used to seeing, and his continued feud with Davido did not make things any simpler. One would be forgiven for thinking the former StarBoy had finally lost the plot, buckling under the pressures of fame after the death of his mother in August of 2023. The ugly scenes would have been painful to see for his millions of fans, their idol wounded and hurt, lashing out at the world it seemed. But Morayo would somehow make everything right. Along with the release of Brent Faiyaz collaboration, Piece of My Heart, the album would be announced on 18th October 2024, confirming its dedication to the maverick’s late mother, Princess Juliana Morayo Balogun.
Second lead single, Kese (Dance) would be described by critics as an attempt by the afrobeats giant to wrest back control of the dancefloor and this approach could define most of the album in truth. Following a touching tribute to his mother on track one, Wiz would quickly launch into a celebration of life, the album proving surprisingly upbeat given it’s premise. P.Priime-produced Bad Girl which earned a spot in our Top 20 Recordings of 2024 piece would prove a personal highlight, Wizkid and Asake trading blows over an absolute party-starter of a beat, and the dance would continue on Break Me Down and the lascivious Bend. A more mellow and romantic Wiz would however return later on in the project, assisted by exciting R&B acts such as Anais Cardot, Tiakola, Jazmine Sullivan and Brent Faiyaz, and they’d create magic, it’s hard to define it any other way—the vulnerable, heartfelt experience defining Ayo once again as the personification of Afro-RnB. Lose and Pray at it’s closing would be deeply touching tributes to the woman who inspired this album, evidently Wiz’s most personal project to date. Morayo would prove incredible artistry, a fitting tribute to a woman who defined the afrobeats legend in incomprehensible ways. And it’s an all too Nigerian approach to grief and loss. Many may have expected something sadder, more of a gospel influence perhaps, but what is a burial if not a celebration of life and time spent. Here, these aren’t dour all-black events—they’re bright and vivid, full of appreciation for heroes past, extra-determined to send them off to the beyond with pomp and cheer, enough to be talked about for years after. Morayo is a Nigerian burial, bright ankara, unforgiving sun, and spicy jollof. May the souls of the faithfully departed, through the mercy of God, rest in perfect peace. Amen.
Okojie Osakwe Simeon
