A 1-Listen Review of Cheque’s Debut Album ‘Bravo’
Superboy Cheque returns with his debut album
There are few artists who are as enigmatic as Cheque in the current Afropop landscape. A true mcee with a virtuosic command of cadence and sounds, the Ondo-born artist is capable of constructing alternate worlds with his dreamy emo-leaning flow that has endeared him to his loyal fans. In his previous iteration as Kyle B, the musician was prone to endlessly brooding about his own feelings, but since signing to Phyno’s label imprint, Penthauze Music, Cheque’s music has grown leaps and bounds allowing him to merge his self-aware streak with commercial ambitions.
Last year’s ‘Razor’, led by breakout single “Zoom,” was a watershed moment for Cheque. Fully introducing his trap-meets-Afropop sound to a wider audience, the EP established him as a rising musician to take note of. In the months since then, the singer has continued to build on his ascent, collaborating with a spate of talented artists including Olamide and Fireboy DML. These pop-tinged collaborations have only served to edge Cheque closer to his defining moment, pacing out the arrival of his debut album.
Today, that album, simply titled ‘Bravo’, arrives, and it promises to be another exciting chapter in the unfolding story of Cheque.
View this post on Instagram
In Usual 1-Listen Review Fashion, All Reactions Are Written In Real-Time While The Music Plays. No Pauses, Rewinds, Fast-Forwards Or Skip.
“Rockstar”
Of course, we start with the confessional details. I don’t mind it because there’s a sincerity to Superboy Cheque’s voice that makes his lyrics compelling. I love how much his voice can convey specific feelings like betrayal and hurt. It’s only hinted at ever so slightly here, but I love it so much. There’s not so much that can be done to make this better. Solid opener.
“Dangerous”
What is it with Ayra Starr and “Dangerous” titles? The drums that started this made me think it was going to be a hyper-pop song but it’s now relaxed into a mid-tempo jam. It feels a little bit flaccid on the first listen, to be honest, the singers are saying all the right things but it’s just not hitting right now. There’s a really inventive stretch from Ayra though, it’s crazy how she has seemingly come out fully formed in such a short time. The chorus by Cheque is also serviceable; probably need to hear this one on a club run. Will revist.
“Call Me Baby”
Those piano riffs. Yes. I, too, would like to call someone baby. This is one of the pre-released songs but it flows remarkably well from the preceding single “Dangerous.” It would seem that Cheque has perfectly mastered trap music. I like how his cadence shifts so well over the lilting piano keys. He’s such a dynamic artist. I will definitely be revisiting.
“No One Else”
I can’t get over Trap Cheque. He sounds soo clean on this record. We also got some BeatsByJayy here so that’s some Hip-Hop for us. He’s singing about no one fucking with his energy and I believe him when he says he’ll cut people off if they do. Jackboy is so good too, shoutout the Empire connect. Always good to see well-executed Black diaspora link-ups.
“LOML” ft. Olamide
Olamide has always shown Cheque love so I was anticipating their eventual link up however, this just doesn’t work for me. For all his improvements, Cheque seems to perform at his weakest when he steps into Afrobeats, it’s just not as instinctive for him. But Olamide comes correct with that verse, I miss the days when an Olamide verse was capable of monopolising headlines. Solid work by Zaki Amujei, the percussive base is simple but effective. Will revisit when drunk.
“Blind”
Yeisshhhh. I love this one. So far, BeatsByJayy has decided to do a madness. Just skeletal percussion so it feels like Cheque is talking on the bones of the song but it adds to the thrill. What a song, this is definitely his pocket because he’s segueing effectively from singing to rapping without inhibition.
“Body”
Another Afropop number. It’s serviceable but Cheque lacks the conviction to make it a truly great song in my opinion. I’m enjoying how he’s stretching out his voice here though and the verse about Sasha is classic Afropop fare. The vibe is mid-tempo here but it’s not as sharp as “Odun” from last year so it’s a slight bummer but we move. Don’t think I’ll be revisiting this.
“History”
Pop smash. Streaming monster. Classic collaboration. What more can I say about this song? Both singers were clearly in their element when they made this and they just compliment each other so well. Cheque does most of the heavy lifting and that leaves Fireboy DML to just float in and out as he wishes. The bit at the end where Fireboy DML does an Afrobeats improviso and Cheque responds with a Hip-Hop one is genuinely beautiful. Great song when released and an even better one within the context of this album.
“Sweet Love”
This is that post-genre song attempt. This one is stripped of all musical tells and is just something to mouth along to regardless of where in the world you are from. I honestly don’t know what to feel about this one because it left me feeling jaded but it is objectively not a bad song. I’ll have to revisit at another time.
“Change”
We are falling into that solipsistic space again. It’s just the right amount, though. Cheque is saying he won’t change for anyone and who can fault him, he’s on top of the world right now. Good for him. Production quality up till now has been insanely good and “Change” continues that. Perhaps his delivery could have been a bit more urgent but I will have to revisit this.
“Anybody”
To be honest, the story of this album has been BeatsByJayy returning at the exact time this project needs a shot in the arm. Love the reset here and a confident Cheque is a delight to hear. He’s swimming delightfully over this sea of twinkling keys. I will play this when anybody is moving mad around me. Don’t try me because Cheque said so and it’s definitely death to the foes. Metaphorically, of course.
“Pray”
A tender moment in the end. This is so nice. Again, Cheque’s voice transmits emotions poignantly. The song starts to feel a bit overstretched but it’s nice to explore this side of his artistry. I’d have loved it if the verses were weightier though, still a solid 7/10 ballad-type song.
“Free”
Album closer. Okay, this feels significant. Once you hear that percussion slide across his vocals in the opening 30 seconds you know he has a few things to get off his chest. It feels like a defensive way to end an album, I’d like to hear the story behind this song. It’s definitely not the best Cheque track I’ve heard but the message resonates with me and when he attempts that falsetto at the end, I’m thrilled.
Final Thoughts
The contradictions that make up Cheque are very evident on his debut album but the resolutions are not as deftly handled in the project’s run time. While there are enough reasons to hit pause, particularly the jarring aural change of moving from rap songs to Afropop numbers, what can’t be disputed is that Cheque is a wavy musician who is in tune with the evolution of global Pop and Trap.
While ‘Razor’ leaned heavily into his trap-Afrobeats hybrid, ‘Bravo’ is a more expansive showing, allowing him to try out different styles while putting his distinctive identity on wax. It often pays up in a deft pocket where he is totally owning the narrative of the sound with his nimble flow. Off all of Superboy’s guests, Jackboy is perhaps the only guest that’s truly conversing with him on a vibration that he is preternaturally attuned to, and most of the enjoyable songs on the project are crafted by BeatsByJayy who continues to be a leviathan in Nigerian hip-hop.
It’s difficult to predict where Cheque goes from here, but his debut album ‘Bravo’ is certainly a decent attempt at resolving the tensions of holding so much talent within himself. The world’s changing and our tastes continue to acclimatise to the times, it may very well be that we continue to receive genre-mashing projects in this way in the years to come. In either case, Cheque certainly makes a case for staying outside the confines of hard-set boundaries and genres.
Stream ‘Bravo’ below.
Featured image credits/Instagram
Maya Amolo Is Committed To Giving You The Sweetest Time
There’s undoubtedly more to come from the talented singer as she looks to solidify herself as one of the...
“Sweetest Time,” Maya Amolo’s latest single, is a soothing, lovesick confessional that mixes intimate, heartfelt lyricism with wistful production courtesy of Ugandan musician and producer SOULCHYD aka MAUIMØON. Alongside fellow Kenyan singer Ywaya Tajiri, the self-acclaimed sweetest girl delivers a lustrous duet that sees her soft vocals, which perfectly complement Tajiri’s more robust voice, skip and flit across moody synths, intensifying the spotlight on her wholehearted delivery. “I can feel you rushing through my system / Every single day it’s my religion,” she sings passionately halfway into the record. The whole thing sounds like the aural equivalent of a warm blanket; a truly affectionate record that immerses and envelopes its listeners in its warmth. This is the brand of vulnerable, understated R&B music that has been helping Amolo gain significant attention since she debuted in the pandemic year.
Born and raised in Nairobi, Kenya, Amolo always had an affinity for music. The singer and producer, who took on piano and guitar lessons as a child, has previously credited acts like Brandy, Erykah Badu, Prince, and Kenyan musical icon Eric Wainaina as her early influences – and it’s easy to see how Amolo’s style draws from this strong lineage of musicians whose music is equally expansive, soothing and vulnerable. After years experimenting with different styles, recording covers to beats she ripped from YouTube and posting them on her Soundcloud page, Amolo released her debut project ‘Leave Me At The Pregame’ in 2020.
The EP, which quickly soared up the charts in Kenya, served as a brief but emphatic introduction to Amolo’s minimalistic take on R&B. Standouts like the emotive opener “Puddles,” “Lush Green”, and “Jokes” showcase her clever and poignant lyricism that reflects on themes of love, depression, and self-healing. Along with sparse, melancholic production and the icy sensuality of her voice, Amolo delivered a remarkable debut that made her one of the most promising figures in Nairobi’s alternative music scene. Two years after ‘Leave Me At The Pregame,’ the Kenyan rising star released her debut album, ‘Asali.’
‘Asali,’ which translates to “honey” in her native Kiswahili, showcased Amolo’s progression as both an artist and a human being, as she swapped out the sad-girl tunes that filled her debut EP for more vibrant and intricate records – thanks in part to Sir Bastien and Kenyan producer and rapper Lukorito – that explore themes of growth and the complexities and rich luster of love. The album’s lead singles, “Foundry” and the self-produced “Can’t Get Enough,” found relative success on streaming platforms, placing Amolo as one of the continent’s most exciting new R&B voices. About a year after the release of ‘Asali,’ Amolo updated the album with 8 new songs on a deluxe version that featured Kenyan stars like Bensoul, Xenia Manasseh and Zowie Kengocha.
In August 2024, a few months after she delivered a splendid Colors performance, Amolo released a new project titled ‘What a Feeling.’ The 5-track EP, which essentially serves as an ode to Amolo’s home city, Nairobi, sees her experimenting with an array of dance sub-genres without straying too far from her R&B roots. While the project still retains much of the melancholy and elegance that defined her earlier work, there’s a hypnotic and pulsating energy that courses through ‘What A Feeling,’ that highlights a shift in the singer’s sensibilities. Amolo’s honeyed vocals gently seep through subtle Dancehall, Electronic, R&B and House-inspired production and the accompanying visualizer, a mashup of camcorder footage of her and her friends in Nairobi, also adequately captures the charming and nocturnal vibe of the tape.
The project produced standout tracks like the sensual “Let It Flow,” the title track and “Take It,” which later got remixed by Ugandan singer Soundlykbb and rapper SGawD. With Amolo’s latest release, “Sweetest Girl,” the Kenyan rising star continues her intricate exploration of R&B music, merging it with varying styles to produce her own distinct and refreshing variant. There’s no telling what Amolo might do next, but with only a handful of releases to her name so far, there’s undoubtedly more to come from the talented singer as she looks to solidify herself as one of the genre’s most prominent faces across the continent.
Keep reading...
T.I Blaze Updates ‘Shakur’ EP With Deluxe Version
Following the success of “Trenches Luv,” the street-pop star is back with seven new songs on the deluxe...
Over the last few years, street-pop, a guttural version of afropop, has surged to mainstream popularity, birthing stars like Asake, Seyi Vibez, and Shallipopi. On the homefront, a generation of younger stars also put unique spins on the sound. Singer, T.I Blaze, has been a notable star in the sub-genre since his 2021 single, “Sometimes,” and a subsequent remix with icon, Olamide, launched him into a different stratosphere.
Since “Sometimes,” Blaze has established his profile as a reliable source for songs that reflect the pulse of the streets while archiving his come-up story across a debut album (‘El Major’) and three extended plays like ‘The Fresh Prince Of Lagos’ and ‘Dangerous Wavy Baby.’ His 2024 EP, ‘Shakur,’ further underscored his evolution as an artist, featuring slippery numbers about escapism, his thoughts on life in the fast lane, and brotherhood with features from rising stars like Tml Vibez and BhadBoi Oml.
In 2025, the singer has picked up where he left off last year, releasing “Trenches Luv,” a balmy February release that examines the dynamics of romance from his point of view as a young adult moulded by the hard realities of life on the street. The success of “Trenches Luv” has led to a deluxe version of ‘Shakur’ with the singer adding seven new songs to the original version of the project. Impressively, on the new version of the project, TI Blaze taps up Ayo Maff and Ghanaian star Arathejay on “My Brother” and “Mario Remix,” respectively.
Led by a galala-inflected opener, “Track 1,” ‘Shakur (Deluxe)’ is both raw and complex with the singer sounding refreshed on songs like “My Brother,” “Dodge,” and “Introduction.” In many ways, this project is an invitation for listeners to explore the many facets of T.I Blaze’s artistry as well as a portent to celebrate his roots and offer a glimpse at his evolution.
Listen to ‘Shakur (Deluxe)’ here.
Keep reading...
NATIVE PREMIERE: Rigo Kamp Runs Ahead Of The Pack With The Visuals For “Marathon”
Rigo Kamp’s Marathon video is an intimate Afro-juju revival that pays homage to Sir Shina Peters and stamps...
Last Friday, Rigo Kamp, a NATIVE uNder alum and one of the architects of an equal parts nostalgic and refreshing sound released his self-titled debut EP, delivering a propulsive fusion of Alte, R&B, Funk, and Soul-infused rhythms.
Featuring previously released singles “Morning Sun” and “Summer”, the six-track eponymous EP executively produced by Odunsi The Engine sees Rigo lean heavily into his element as a sonic alchemist, jumping from silky falsettos to gritty grooves without losing an ounce of cohesion, and ultimately stamping the Abuja-born, Lagos-based singer-songwriter as a mad scientist of sound.
Just last November, Apple Music named Rigo Kamp as its Up Next artist, an acknowledgment that underscored his potential and confirmed what the tastemakers and underground scene already knew. Weeks later, he delivered an exhilarating live set for Spotify Fresh Finds in Lagos, proving he’s just as compelling live as he is in the studio.
On “Marathon”, the refreshing opener to the Rigo Kamp EP, Rigo borrows the bounce and swagger of Afro-Juju legend, Sir Shina Peters’ golden-era, fusing nostalgia with re-imagination to birth a vintage performance that feels like a private party for two, where it’s just Rigo, and you.
Get an exclusive first look at the video for Marathon here:
Listen to the Rigo Kamp EP:
Keep reading...
