Patrick Ezema
Most recent
Review: ‘Industry Machine’ by ODUMODUBLVCK
INDUSTRY MACHINE’ is ODUMODUBLVCK’s powerful statement of intent and a significant jolt to Nigeria’s Hip-Hop...
Review: ‘Protect Sarz At All Cost’ by Sarz
‘Protect Sarz At All Costs’ is a reminder of Sarz’s industry and ingenuity as a music producer as well as a consolidation of his...
Review: Nasty C’s ‘Free’
'Free' is a capsule of lessons learned by Nasty C across his career and the growth attained in the process.
Review: Fola’s ‘Carthasis’
Across ‘catharsis,’ FOLA is trying to make sense of himself through romantic exploration and suave
Review: Tiwa Savage’s ‘This One Is Personal’
Tiwa Savage has crafted a body of work that is not just personal. It offers a soundtrack for anyone navigating heartbreak and...
Review: ‘Black Star’ by Amaarae
In many ways, ‘BLACK STAR’ functions as a reflection of the perspective of a now actualised
Review: Olamide’s ‘Olamide’
‘Olamidé’ is a testament to the possibilities of both refinement and redemption for its creator deep into his second decade at the...
Review: Davido’s ‘5ive’
Make no mistake, Davido is still an Afropop juggernaut but there’s a palpable sense of listlessness that creeps into...
Review: Rigo Kamp’s ‘Rigo Kamp’ EP
For the most part, ‘Rigo Kamp’’ is moored by a sense of melancholy, but it doesn’t stop the project from providing moments of...
Review: Ruger’s “BlownBoy Ru”
Ruger affirms an undeniable truth. He has blown, and nearly five years after his first hit single, there’s no question about...
Review: Joeboy’s “Viva Lavida”
In true Joeboy fashion, ‘Viva Lavida’ exposes the full spectrum of romantic affairs, from flirtatious numbers to morose...
RAMPA LAGOS SERVES UP AN AFROHOUSE SPECTACLEÂ
Rampa in lagos was a cultural snapshot, capturing the city’s relentless ambition, contradictions, and undying love for music that moves...
Review: ‘Best of Both Worlds’ by Kel P and Wande Coal
what ‘Best Of Both Worlds’ lacks in length and perhaps sonic experimentation, it makes up for in dexterity, focus and...
Review: “I Am The Blueprint” by Qing Madi
I am the Blueprint' is Qing Madi’s declaration of a refined identity fusing youthful exuberance and the audacity to dream beyond...
Review: ‘Morayo’ by Wizkid
On ‘Morayo,’ Wizkid seems to find solace in what works, mostly drawing on familiar
Review: ‘Emotions’ by Ckay
For the longest time, CKay cut a polarising figure in the music industry. His early career was dominated by industry-wide conversations and...
Meet Internet Girl, The South African Band Breaking All The Rules
Meet Internet Girl, The South African Band Breaking All The Rules Ahead of the release of the video for “PULL UP” The NATIVE...
Review: Fireboy DML’s ‘Adedamola’
With 'Adedamola' Fireboy largely plays it safe, going back to what worked in the earlier years of his career and giving it a more expensive...
Review: ‘Lungu Boy’ by Asake
On Asake’s third album, Lungu Boy, the narrational rigor that powered his blistering rise
Review: ‘No Love in Lagos’ by Show Dem Camp, The Cavemen, Nsikak David
For these duos to finally join forces for a joint album is not only remarkable, but feels just
Review: ‘Stubborn’ by Victony
From a curious kid in Ojo, to standing on a pedestal as one of Afropop’s great