After conquering all frontiers, what stories will Burna Boy tell on ‘Love, Damini’?
The makings of a triumphant, victory lap album are in front of us
Last week, while performing in front of a frenzied crowd and darting around in underwear, Burna Boy eagerly announced to over 20 thousand fans at the majestic Madison Square Garden, and an additional 25 thousand fans streaming the show live, that his sixth studio album will be released on the 2nd of July. That date is personal, as it will be his 31st birthday. The title is also personally symbolic titled ‘Love, Damini.’
In the weeks leading up to this momentous announcement, Burna Boy had subtly been hinting at an album release—he shared a spate of intriguing snippets, an ice-cold picture with one of the UK’s finest Ed Sheeran, and a slew of shrew cryptic tweets that all carried the signature ‘Love, Damini.‘ To the average eye unfamiliar to the workings and history of Nigerian pop culture, those two words may seem unremarkable, banal maybe. But to those in touch with the pulse of the culture, those who have witnessed Damini Ogulu’s steep and gruelling rise over the past two decades, the apt title ushers in the singer’s next phase following his gargantuan win at the 2021 Grammys.
As the title suggests, ‘Love Damini’ seems to be a departure from Burna Boy’s earlier work. The singer shared on his social media that the album would be a personal body of work. ‘It’s about the ups and downs, the growth, the L’s and W’s. I’m excited to share this journey and roll out with you all,’ he said candidly on Twitter. Burna’s gambit as a writer and performer is the supreme ability to traverse a roller coaster of personal emotions and themes in his music, from sombre angst to effusive mirth to occasional political agitation to self-actualisation.
From his debut album, ‘Leaving an Impact for Eternity’, down to his fifth and most recent LP, ‘Twice As Tall’, the bulk of the album titles in the Burna Boy catalogue were engendered from situations where he’s had to come out swinging, either to prove something or get himself from a back-to-the-wall situation. As made evident in these titles—from ‘Redemption’ to ‘Twice As Tall’—he doesn’t attempt to flatten these precarious situations. Instead, he uses them as material to spawn majestic sonic totems.
However, for the first time since his illustrious breakout in the summer of 2012, he’s poised to depart from that template. Burna Boy is no longer the scrawny kid desperate to emblazon his footprint on the Afropop landscape; he’s not the forlorn singer trying to prove a point to his ex-label and he’s barely the misunderstood artiste locked in a battle with detractors who think he’s drunk with his hubris. He has elevated from being the burgeoning powerhouse trying to assert his legacy on the African continent and he’s eclipsed being the hoodwinked giant on a mission to level up and bag a Grammy.
Damini Ogulu has proved his critics wrong, sold millions of records, earned countless certifications, sold out tons of arenas across the globe, earned his Grammy, and for the first time in his illustrious career, he is at the forefront of a battle and there’s not a single antagonist on the other side. With no narratives to right or hurdles to surmount, it’s worth speculating the motivations and purpose of the impending Burna Boy album?
In the stint between his last project—the peak pandemic-released, Grammy-winning ‘Twice As Tall’— and now, Burna Boy populated 2021 with four singles. There’s the unabashedly triumphant “Kilometre,” the sunny “Question” with Don Jazzy, the glossy trap cut “Want It All,” featuring Chicago rap star Polo G, and the carefree, Wizkid-assisted “B. D’OR.” One thing they all share is the absence of a weighty reflectiveness, or the agenda setting-tone of singles like “Anybody” and “Wonderful.”
On “Kilometre,” over an ebullient and partly menacing beat, he gloats and goes full self-aggrandising which is far from atypical of a Burna Boy song, but the taunts in his lyrics and the playfulness of his cadence make for a straight-up club banger, and less of a grand proclamation. For “Question,” he follows a similar format, matching quips like, “Anything you wish me, that be your portion. Bad mind no dey work o, man no be God o,” with a breezy sense of accomplishment.
There’s a change of pace on “Want It All,” swapping out maximalist Nigerian Pop bent for spare, gleaming instrumentation with choral flecks. Burna Boy sounds a little more ambitious with his agenda, but the focus on amassing material wants doesn’t exude urgency. Closing out 2021 on a similarly ostentatious note, he’s joined by friend and colleague Wizkid for “B. D’OR,” a sleek party tune replete with boastful writing and a joyful disposition.
From the pattern of his post-‘Twice As Tall’ drops, is Burna Boy on course to deliver his first purely Pop album? No politically charged music, no grand message of Pan-Africanism, no poignant rebuttals aimed at his detectors? Just love, happiness, boasts, and—in Nigerian parlance—vibes and inshallah? This prognosis makes a lot of sense. What’s left to do than enjoy the spoils of triumphing and levelling up for three consecutive years?
It’s worth noting that we would’ve gotten to this arch of Burna’s career a few years earlier. In the Aftermath of ‘African Giant’, Burna Boy dropped “Money Play” and “Odogwu,” two celebratory records that, according to industry chatter, were precursors to a summery album. Being overlooked at the Grammys changed that direction and, coupled with the Covid-19 pandemic, inspired an introspective turn. That scenic route to this point feels a lot more earned, and the afro-fusion artist is clearly relishing every moment of his apotheosis.
That Burna Boy feels fulfilled is more of a fact than it is a projection on him. A tweet he shared a couple of weeks ago, amidst one of his infamous digital rants, reads:
“At this point I just want to LIVE and DIE on STAGE with my Band The OUTSIDERS. I’ve achieved All the dreams I ever personally had. Money gives me No satisfaction, Nothing really does, except being On STAGE with my God sent band.”
The most significant part of that tweet might be the first three words: At this point. Burna’s last three albums have been moment-based. ‘Outside’ was created around an industry pressing him to the margins; ‘African Giant’ was partly spurred by the Coachella font saga; and ‘Twice As Tall’ was a resounding and resilient bounce back from the crushing Grammy loss. Burna Boy has formed a habit of creating in the moment, and this new album won’t be any different. For an artist selling out arenas the world over, that the theme of triumph will be central isn’t a wild speculation. At that, to expect a vacuous album would be the wild speculation.
At his historic, sellout shot in New York’s gilded, 20,000-capacity Madison Square Garden, Burna Boy seemingly previewed a song off ‘Love, Damini’, and that’s the closest we can get in speculating and mulling over what this new album would sound like. The track is bookended by a striking brazenly Nigerian chant delivered by a cadre of male voices, “E don cast, las las, na everybody go chop breakfast”—that’s the marking of a resonating Afropop record. In under four minutes he traipses an extensive gamut of topics: from his car crash this year, to his days in his hometown of Port Harcourt. He’s still reflective and intentional but he’s mostly grateful and vulnerable.
Inferring from the singles released in 2021, the song previewed in MSG, his arena-hopping lifestyle, and his dynamic powers of writing from the vantage point of invincibility and vulnerability, Burna Boy is poised to deliver an album replete with both vibrant party anthems and songs with personal, affecting stories. Most of all, having conquered almost all frontiers, the African Giant can only sit on a high hill, stare down, and bask in the glory of his majestic exploits.
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3 YEARS ‘OUTSIDE’: APPRECIATING BURNA BOY’S PEERLESS CREATIVE RUN SINCE HIS REBIRTH
Afropop is the love child of its many influences
In a reversal of events at the turn of the 2000s, Afropop is profoundly reshaping the texture of music...
Over the last two and a half years, some of Afropop’s biggest stars have denounced the genre to advance their personal agendas. In a wide-ranging interview from 2023 with Apple Music’s Zane Lowe just ahead of the release of his last album, ‘I Told Them…,’ Burna Boy derided Afrobeats for a perceived lack of contextual subject matter. “Afrobeats, as people call it, it’s mostly about nothing, literally nothing,” he said. “There’s no substance to it. Nobody’s talking about anything. It’s just a great time, it’s an amazing time. But at the end of the day, life is not an amazing time.”
Just a few months later, Nigerian music superstar, Wizkid, also disavowed the genre, claiming that he was not an Afrobeats act and that his then-forthcoming album, ‘Morayo,’ would not be an Afrobeats album as he considered the genre – and the classification it infers – too limiting for the type of music he made. Predictably, fans were incensed by both artists’ stances and the casual dismissal of the genre that their statements invited. What was almost lost in the whirlwind of that discourse is that for all the attempts to capture the totality of African music under the loaded ‘Afrobeats’ label, African music has never been just one thing; and, in that spirit, Afrobeats itself has always been all-welcoming of a multiplicity of influences and styles.
From its earliest iteration, Afropop has always been a potpourri of sounds that took influences from various parts of the Black diaspora and distilled them with an African sensibility. The work of early Afrobeats pioneers like Junior and Pretty is a direct descendant of the burgeoning Hip-Hop blueprint of the ‘80s; while the early 2000s popularity of Ajegunle-based rabble-rousers like Daddy Showkey, Danfo Drivers, and African China occurred tangentially to the rising profile of Reggae on a global scale. The mid-2000s to early 2010s saw the arrival of several dulcet-toned singers like Banky W and Tiwa Savage rooted in the R&B and Soul traditions, introducing a slicker dimension to Nigerian popular music. As always, homegrown stars adapted these foreign styles for their own market while continuing to work on a distinctive style that centered genuine indigenous expression and ingenuity.
Over the years, the fruit of those experiments has ripened to produce a scene that’s bustling with life and talent. As the genre has attained global attention, many sub-genres have come to the fore, showcasing the depth of African music on a global scale. If Wizkid’s sonorous melodies and unbeatable charisma made him the sun of Afrobeats in the 2010s, Olamide’s militaristic bars and Pop anthems rooted in their street sensibilities mark him out as the genre’s moon. It was on Oamide’s back that a nascent indigenous rap circuit rested. Taking the mantle of DaGrin, the Bariga-raised rapper who helped institutionalize rapping in Nigerian languages with cult classics like “Eni Duro” and “Voice Of The Street.” Along with the effort of other stars like Reminisce, Phyno, Lil Kesh, and CDQ, the indigenous rap movement gained steam and, recognizing the Nigerian market’s zest for melodies, soon morphed into Street-Pop, a distinct hybridization of local genres like Fuji, Apala, and Highlife.
Inspired by the work of their forebearers, a new crop of artists have taken Street-Pop to new heights. Zlatan and Naira Marley served as a transitory generation; together with Rexxie, they patented a more melodic take on Street-Pop while infusing a devil-may-care disposition that launched them to the top of Nigerian music. It is fitting that Olamide was the one to hand the baton to Asake, the biggest Street-Pop star of the moment. Similar to the YBNL head’s legendary album run, Asake has released three albums and one extended play in three years, each coming out to a world paying more and more attention to his work. Impressively, Asake has also established himself as a global touring star, regularly playing sold out arena concerts across the world with a music style that is rooted in Yoruba oral tradition.
Asake is not spreading the Street-Pop gospel alone, though. Ikorodu star, Seyi Vibez, has also grabbed mainstream attention for his gritty take on the genre. Initially a divisive figure, his 2023 song, “Different Pattern,” saw him reach a new level of cultural relevance in 2024 and his new extended play, ‘Children Of Africa,’ arrived in February 2025, marking a new era in his career. The yearning for a reclamation of cultural heritage that has created a Street-Pop golden era has not evaded other parts of Nigeria. Shallipopi’s drawling, sprawled-out sound mimics the playful pulse of South-South pidgin while Jeriq, hailing from Nigeria’s South-East, has emerged as one of Nigeria’s most acclaimed rappers. Outside Nigeria, there’s a yearning in Ghana to preserve the purity and history of its Highlife genre, an elemental component of Afrobeats. British-Ghanaian producer, Juls’, ‘PALMWINE DIARIES’ and ‘High Life Sessions,’ both pulsate with the beguiling riffs of the storied genre while the work of Nigerian brother-duo, The Cavemen, is reintroducing Eastern Nigerian highlife to a new generation of listeners.
A youth-led zest for exploration outside the framework of Afropop has also produced a sub-culture that rejects the tenets of mainstream conservatism. Beginning as a band of friends and collaborators who prioritized freewheeling experimentation, Alte music has emerged as one of the most important sonic evolutions of the last two decades. First championed by OG pioneers like DRB Lasgidi, LOS, and Show Dem Camp, the Alte community drew in left-field thinkers and madcap auteurs setting the stage for a new generation of stars to emerge from the depths of SoundCloud circa 2016. In the hands of stars like Odunsi (The Engine), Cruel Santino, and Lady Donli, the Alte experiment reached an unprecedented level of critical and commercial success.
Odunsi’s ‘rare.,’ throbbing with influences from ‘70s Disco and Funk, sits in the canon of great Nigerian debuts and Lady Donli’s ‘Enjoy Your Life’ artfully melded Folk music with Afrobeat and Soul across its 15 tracks. Taken along with the work of producers like GMK and Genio Bambino, these acts built a community that successfully created the blueprint for a sound that reflected the tensions and joys of younger Nigerians who saw life in a specific fashion. It even took flight beyond the borders of Nigeria with a young Amaarae cutting her teeth working alongside some of the most prominent names in the Alte community. The inventiveness and clarity of vision that the community prioritises is evident across both of the Ghanaian-American artist’s albums, ‘The Angel You Don’t Know’ and ‘Fountain Baby.’
In a reversal of events at the turn of the 2000s when Afropop was heavily influenced by outside sounds and genres, music from the continent is profoundly reshaping the texture of music outside its borders. Much like how the Windrush Generation and other immigrants from the West Indies helped to introduce Britain to Reggae, Dancehall and Soca, generations of African immigrants are making music that signals their African heritage, with Afropop as a base influence. The rise in popularity of African sounds has helped UK artists mesh the lingo and sonics from the continent into their work, creating a new genre referred to as Afroswing. Taking influences from Afrobeat, Dancehall, and Grime, Afroswing is distinctive for its use of lyrics from Africa with British rapper, J Hus, credited as one of its pioneers. Songs like J Hus’ “Did You See,” Ramz’s “Barking,” and Not3s’s “Aladdin” signal to the sound of the homeland and speak to Afrobeats’ incredible stride to global popularity as a base reference point for global Black music.
Nearly a decade out from “One Dance,” the Drake, Wizkid, and Kyla collab that pushed Afropop into a different stratosphere, the genre is in safe hands with several stars emerging across different sub-genres that speak to our past, present and future. It is perhaps more than the pioneers imagined when they were making music all those years ago, but all the roads have led here to Afropop being a global sensation that offers various forms of expression to a watching world. There are no limitations on what can be done within the genre, that sense of open-endedness and possibility was always our strength, and it’s why Afropop will stand the test of time.
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The Cathartic Melodies Of Mereba
Ahead of the release of ‘The Breeze Grew A Fire,’ we sat down with Mereba to discuss putting together her...
Mereba exudes a palpable warmth. When she speaks, as she did with me via Zoom one evening in late January, she’s gentle and perceptive, speaking in soft, meandering passages that paint an intimate portrait of the LA-based singer’s mind. Similarly, her stirring discography, which dates back to 2013, evokes a keen sense of serene intimacy. “I’m inspired by those little moments in life where you’re like “Ah that’s really beautiful,”” she tells me halfway into our conversation, making sense of the ethereal quality that her music possesses. “It could be an interaction between two people, it could be something in nature, it could be a memory I have. Those are the moments that drive me to go get my guitar and write a song.”
The 34-year-old singer, songwriter, producer and instrumentalist has been writing songs for as long as she can remember. Growing up between Alabama, North Carolina and Pennsylvania, as well as an unintended one-year stint in her father’s native Ethiopia, ensured that Mereba picked up a wealth of influences that would go on to inform her richly diverse and understated sound. After years living across multiple cities, she finally settled in Atlanta where she became a staple in the city’s indie music circuit. “There, I met my peers who I made music with and are still my peers to this day. People like J.I.D, 6LACK and my crew. We all were just coming up during a really rich time of music there so that was a big part of my journey,” she reminisces fondly.
In the years that Mereba lived in Atlanta, she released 2013’s ‘Room For Living’ and ‘Kotton House Vol 1,’ two extended plays that neatly outline the foundations of the balmy and eclectic style that she would perfect years later, leaving ample room for her soothing vocals and evocative songwriting to shine. She also joined Spillage Village, a musical collective that comprises others like Earth Gang and JID, contributing to various releases like ‘Bears Like This Too Much’ and the critically acclaimed ‘Spilligion.’ Following her time in Atlanta, Mereba moved again, this time to Los Angeles, where she signed her first major record deal and released her debut album ‘The Jungle Is The Only Way Out.’
Since the release of ‘The Jungle Is The Only Way Out’ in 2019, Mereba has continued to hone her unique sound, continually experimenting and ironing out the rich textures of her temperate style on subsequent releases like 2021’s ‘AZEB.’ Ahead of the release of ‘The Breeze Grew A Fire,’ her first project in four years, we sat down with the LA-based singer to discuss the story behind her well-received debut, her various influences as well as the process of putting together her highly-anticipated new album.
This is your first album in about five years. How are you feeling?
I feel really excited. I’m definitely excited to give my music back to the world again. I’m also ready for connection, performing the songs, and sharing these new stories.
You’ve been making music for a long time now, but do you still feel any nerves before a major release like this?
I don’t know if it’s nerves. I think I feel anxious about the fact that the music is being released and people are going to hear it. But I guess I’m anxious in a good way for them to hear the music, to get to experience what I’ve been toiling away at and what I’ve been excited about for a while. It’s more like a good anxiety.
I think the first time I came across your music was in 2019. I heard “Heatwave” with 6LACK off of your debut album ‘The Jungle Is The Only Way Out.’ I believe that album was sort of a breakthrough moment for you. Can you tell me a bit about how it came together?
That album coming together was quite a journey. I started ‘The Jungle Is The Only Way Out’ years before it came out. I had left Atlanta and moved to L.A at this point. I didn’t know so many people when I just moved and so I was kind of starting over in certain ways. I was writing a lot of songs that felt really powerful to me but they were sonically different from what I used to make before. I was also learning how to produce, I was in Ableton learning how to make beats and just produce my music. Because I didn’t know so many people, I couldn’t outsource some of these things so I was just experimenting on my sound on my own.
Over the years, the community that I was a part of in Atlanta, everyone started finding their way in music but we still stayed closely in touch even though I had moved to L.A. I featured on a song with J.I.D and that kind of got me back into making music properly again because at that point, I was working random jobs, my car got taken and I had to start taking the bus to work. I was living a completely different life. It was my friends that put me back in the zone. They would invite me to sessions and just remind me that I wanted to do this music thing. Then I started putting together songs I had made over the years like “Sandstorm” and “Heatwave” with 6LACK which we made way before the album came out and even my solo songs like “Black Truck.” Most of the songs on that album had come from that period where I was struggling but knowing I was meant for music somehow.
How many years did it take to put your first album together?
I’ll say about four to five years. They say you write your first album for your whole life. “Highway 10” is the first song I made on that album. I made that song in 2014 and the album came out in 2019. In the years before the album came out I was signed to a bad record deal and I couldn’t get out, I couldn’t release music. All I could do was just create and that ended up forcing me to just hone in on my sound.
After your debut, you released an EP titled ‘AZEB’ two years later. Listening to that project, it felt lighter than your debut which was a lot darker and more melancholic. Do you remember what headspace you were in when you made this EP?
I was definitely feeling a lot lighter when I was making ‘AZEB.’ I felt like I had shed a lot of the weight that I carried during all those years of uncertainty. I was in a much more hopeful place when I was making one-half of the project. The other half was made during the early days of the pandemic so it was like a mix. Songs like “Rider,” “Beretta,” and “My Moon,” those songs represent beautiful, light type feelings to me while some of the other songs like “News Come,” and “Another Kin” are more intense lyrically and sonically.
Let’s talk about ‘The Breeze Grew A Fire.’ How did you land on that as the title for your second album?
The making of that title was different from how I titled my other projects. It didn’t come to me right away and I decided to not force it, I believed it was going to come eventually. So the making of this album has always felt very gentle. In contrast to what I had been through for so many years, I felt like I was in a much softer space creating this album and this feeling of a breeze just kept coming to me. It was also kind of like springtime going into the summer and the idea of a breeze became so prominent that I was going to title the album breeze. But as I continued on the journey of finishing it, it felt like the album was saying something a bit more. I realized that the album wasn’t just about all these gentle feelings and relationships I’m singing about like friendship, family, and my son but these things also inspire me to live with purpose, conviction and to have a spark in me. Things that make people “strong” are inspired by these little moments and experiences that we have and less by the force of trying to make a fire forcefully.
You co-produced “Phone Me” and “Counterfeit,” the lead singles for this project and you’ve also produced a lot of your older stuff as well. I’m curious to know how taking the reins on the production side affects your music-making process in general.
I got really into producing during that period when I felt lost in life. I got into Ableton, playing the guitar on my computer, sampling my voice and just experimenting. So songs that I produced from ‘The Jungle Is The Only Way Out’ like “Sandstorm” and “Kinfolk,” were me experimenting a lot with learning how to produce. With this new album, the first two singles were heavily produced by my co-producer Sam Hoffman. When he sends me things that I like, I’ll add things to them and it could be the opposite as well where I produce a song and I’ll have him or another friend add something to it. That process is personal because I could completely be in my world and get the feelings that I want to convey out through production as well as writing the song out lyrically. When I unlocked that part of myself, it felt like my whole life that’s what I’ve been wanting to do. To be able to make the music arrangements and compositions come to life.
A lot of the time I would start with a simple beat or drum loop and I’ll build chords over it with my guitar. I experiment with writing when it’s bare and then fill in the production as I write the song. They’re a very interwoven process.
I’ve read that you’re heavily influenced by legendary acts like Stevie Wonder and Lauryn Hill. Are there other acts that inspire you when it comes to the production side of music specifically?
That’s a great question. In certain ways, I’ll say it’s the same people that I look up to because most of them produce. Interestingly enough, what I love most about these musicians is that they are very involved in the sonics of the music they’re making. So the people that you mentioned, like Stevie Wonder who mentored me and encouraged me to continue on the path of producing my music versus being a singer who works with a producer. I feel like it’s important to the language of an artist to at least know how to contribute in some way to the sonics of their music.
I’ll say Quincy Jones is the blueprint for me just because of the span of work that he did. He’s the concept of producer I’d like to work towards in my life.
Do you have a favourite memory from creating ‘The Breeze Grew A Fire’?
There are a few. There was a time when I made this song on the album called “Hawk.” The song is dedicated to a really dear friend of mine who passed away unexpectedly in 2021. It was not easy to write and when I first wrote the song, it was sad, slow and reflective of the whole situation. I listened to it after I made it and I started thinking about my friend and the things that he liked. He was a very expressive and hilarious person who loved dancing and dance music. At that moment a light bulb went up and I felt like the song needed to be more of a dance song because I wanted to make something that he would love and not something he would think is corny. It was a really beautiful moment musically and personally.
If there’s one thing you would like your fans or listeners to take away from ‘A Breeze Grew A Fire,’ what would it be?
I hope it brings a sense of comfort and warmth. I also hope it tells a clear story of what matters to me. I just really hope it makes people feel better, that’s really it. I think it’s one of those albums where it’s a personal album for me and I think it’s meant for personal moments too. I hope it lives in people’s lives in comforting ways.
Listen to ‘A Breeze Grew A Fire’ here
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Is the “Mr Money” era over?
Asake broke the internet when he unveiled his new tattoos earlier this year, and he’s doubling down while...
Asake broke the internet when he unveiled his new tattoos earlier this year, and he’s doubling down while ushering in the GIRAN Republic era. On “Military”, Asake ditches the log drums & Amapiano-inspired beats that paved the way to his rapid ascent to stardom. Rapping over stripped back production dominated by a live drum loop, he picks up where he left off sonically on ‘LUNGU BOY’, drawing inspiration from his Hip-Hop influences, as he delivers a defiant, heartfelt battle-cry to his fans and doubters alike.
For the last few months, rumours have swirled around Asake on the gossip blogs, on everything from who he’s dating to his record label situation to his physical appearance, with fans, critics and disgruntled ex team members all throwing in their two cents. Since his emergence in the limelight, Asake has been a man of few words – we should know, we did his first ever magazine interview back in 2022. But on this track, he addresses the chatter head on, opening the song dismissively rapping “ Awon lo lenu won koma so lo/ Tio ba affect bank me, ko ma soro” loosely translated to “let them keep talking, if it doesn’t affect my bank account, there’s nothing to say”. He goes on to flex his financial muscle above everyone in his “set”, despite being “low-key”, while affirming he could drop an album tomorrow with no tracklist, and it would still slap.
He takes a break from the braggadocio between verses to directly shout out his mentor Olamide, the man who gave him his big break. While it does appear their business relationship may have run its course, the mercurial artist is making it clear he remembers how he got here. The Asake & YBNL run will be studied for years to come. In the midst of the continued rise in global consumption of Nigerian music, Asake hilariously raps “Oyinbo koro lenu mi”, a reminder that he will not be diluting his sound for the benefit of our friends in the West.
Quietly dropping the track exclusively on YouTube & Audiomack a couple of days after the 2025 GRAMMY ceremony, in which he was nominated for the second year running, this response may have gone over the heads of those who lurk in the comment sections of the gossip blogs. But it is the most Asake response we could have expected, isn’t it? On his own terms, in his own native tongue, he pulls no punches as he ushers in a new era of independence.
This morning, Asake released another record, the Magicsticks-produced “WHY LOVE”,which notably comes under his new imprint Giran Republic. Reverting to a more familiar sonic cocktail of pulsating log-drums and choral vocals, he sings melodiously,“You know I’m a Soulja boy, but in your case, I’ll calm down.” The duality of man.
The rumours will keep swirling and people will keep talking, as they tend to do when you reach the heights the Lungu Boy has soared to. And for all the aesthetic change and talk of a new era, it appears Asake is going to continue to do what he has done more consistently than nearly every artist in Nigeria since his mainstream emergence in 2022: drown out the noise with new music.
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