Review: Asake’s ‘Mr Money With The Vibe’
A scorching summation of the singer's hot streak so far
“I just blow, but omo I know my set,” Asake sings on “Peace Be Unto You (PBUY)”, the Magicsticks-produced promotional single which dotted social media timelines a few weeks before the release of his debut album. It is a statement that is devoid of an ego trip and leans on the artist’s tenacity and perseverance since his debut on the scene. Two years before this release, Asake’s name was already being mentioned in Nigerian music conversations, following the respectable success of several single releases, starting with the mildly viral “Lady” and popular street-pop hit, “Mr Money”.
The latter song, an Amapiano-tinged banger, gave him a taste of success at the height of the coronavirus pandemic. The single took over the streets of Lagos and introduced Asake as a worthy talent, garnering the attention of listeners and industry heavyweights alike, before eventually leading the rising star to feature Afropop superstars such as Zlatan and Peruzzi for the song’s remix. Although “Mr Money” didn’t fly higher than Asake might have expected, it ushered in the belief to keep pushing, to keep his eyes set on bigger successes. For an ascendant star whose journey dates back to Obafemi Awolowo University (OAU), Asake’s music spins with a star quality polished by dreams and lived experiences.
It’s clear that those formative years between the release of “Mr Money” and his scene-stealing single “Omo Ope” with YBNL head honcho Olamide, had him aching to display sonic tricks, both old and new. When Asake dropped his debut EP ‘Ololade Asake’ earlier in the year, no one foreshadowed the tsunami of hit records and culture-shifting dynamism he was bringing into the Nigerian music scene. The four-song project introduced Asake’s intriguing mix of Yoruba Gospel, Fuji influences and a sound template of folk-indented Nigerian pop and Amapiano primarily honed by Nigerian music producer Magicsticks.
The project was also backed by YBNL, whose CEO Olamide bestowed his seal of approval on Asake, on “Trabaye”, when he said, “It’s time for you to go show the world what you’re really all about/Go get them dawg, YBNL got you for life, my brother.” Olamide’s blessings, which have worked wonders for other YBNL-affiliated acts like Fireboy DML, Adekunle Gold and Lil Kesh, have followed Asake as he’s blazed through the Nigerian pop landscape with insanely popular songs like “Sungba” and its Burna Boy-assisted remix, Spinall’s “PALAZZO”, “Peace Be Unto You (PBUY)” and “Terminator”.
Every year, Nigerian pop welcomes several ascendants to the mainstream and among those ushered into the fold, there are several who go on to spin a special breakout year that quickly sets them apart from their peers. We’ve witnessed this with 2Face Idibia in ‘04, Asa back in ‘07, Wizkid in 2010 and 2011 and Mr Eazi in 2016. Already, Asake’s current run has been likened to this talented crop of artists as he’s emerged as an artist operating with veteran tendencies and radio-ready gems.
Having an already special breakout year, on the back of an EP and a slew of hit songs that have owned the upper echelon of the TurnTable Charts, it would’ve still been remarkable if Asake decided to ride the year out and deliver one or two more surefire hits, but as that lyric from “PBUY” at the top of this review hints, there’s no time to waste on the singer’s timeline. With an overwhelming sense of self-belief, the singer recently released his debut album ‘Mr. Money With The Vibe’, a summation of the hot streak he’s been on throughout the year. The aptly titled project lends its cultural cache from Asake’s growing discography. For those who’ve been following his career keenly, he borrows its title from “Mr Money” and “Sungba”, with its catchy refrain of “Mr Money with the vibe right now,” as well as his moniker, Ololade, which means a person of wealth has arrived.
While ‘Ololade Asake’ bore only the YBNL badge, ‘Mr. Money With The Vibe’ is a child of both the label and its international partner EMPIRE. The deal, it seems, is an acknowledgement of the higher stakes at play in Asake’s career. He is no longer an artist newly escaped from the underground hustle, but a star in need of further burnishing to illuminate his glow. On “Dull”, the opening track of ‘Mr. Money With The Vibe’, Asake promises himself, his fans and everyone involved in his career not to relax his efforts. “I swear I no go dull/Aje, I no go dull/I swear I no go dull/Wetin mama go chop?” he sings. The short track functions as a prayer; Asake, whose stage name is his mother’s real name and is steeped in oriki (Yoruba praise poetry), reveres the spiritual, paying obeisance to the forces that serve as a guiding light on his path in life.
Already keeping his promise not to “dull,” the track list for ‘Mr Money’ is tightly helmed. The singles move from pre-released tonesetters to integral album pacing highlights, leaving no space for fillers. Final pre-album drop “Terminator,” lead single “Peace Be Unto You (PBUY)” and the March-released “Sungba (Remix)” with Burna Boy are part of the life wire of ‘Mr. Money With The Vibe.’ They keep the album going, reminding listeners of the lushness of Asake’s mixture of influences from both traditional sources in Nigerian music and modish dance music forms from South African music. Asake and Magicsticks do not remove from the laid down instrumentation of those three songs; instead, they borrow from and update those sounds as they please, experimenting while meeting success at every turn.
There is a Fela-esque feel on “Organise”. Asake utilises the call-and-response as he states his refusal to be held down by the rules of life, and in some way, the rules of music. He exudes infectious confidence captured with a street-smart lyricism that runs in tandem with the bass, trumpets and choral backup. “Gbagbe oshi (Ey, ey)/Awa nikan ni kososhi (Ey, ey)/I no go let anyone control me/Anything wеy I wan do, I go do,” he sings. His energy should never be tamed but let loose to be free and limitless.
Some of us are wise, every other person over wise. pic.twitter.com/3zmzTyP2Zm
— Olamidé (@Olamide) September 7, 2022
Asake turns inspirational on the House music-influenced “Dupe”, giving off Gospel vibes. “What is difficult for you is also difficult for somebody/No dey use emotion better face your grind and make money,” he sings. Magicsticks supplies bright saxophone notes that accompany the drums and the result is an upbeat track that will fit in dance sessions at churches. That theme seeps into the slower-paced “Nzaza” as Asake recounts surmounting challenges while keeping his focus fixed on his dreams. “Only strong fit to fit survive/See am for my dream as I wear my crown/Get down on my knees and I pray to Jah ah,” he sings. The theme recalls his effort on label mate Fireboy DML’s “Bandana,” where he sings, “Dem never see me coming (Jo jo jo jo jo)/Oh coming (L’Eko)/Mo gbe wan ni ‘is coming’ (E yeah, e yeah yeah o)/Naija boy wey dey go foreign (Dey go foreign),” admitting that prayers and hard work have been his motto.
All through ‘Mr. Money With The Vibe,’ the songs blend seamlessly into one another. After the end of one song, the next track doesn’t waste any time in picking up the pace. It all seems like a feel-good party of prayers and good music. It is also a credit to Asake and Magicstick’s time-tested connection; they understand each other’s musical sensibilities, staying in a familiar lane while still not afraid to explore uncharted territories. Theirs is a connection not unusual in the Nigerian music scene, with Cobhams-Asa, ID Cabasa-9ice, Wande Coal-Don Jazzy, Burna Boy-Leriq and Falz-Sess heralding the times.
With “Muse” Asake uncovers his lover boy tendencies as he entertains a love interest. It is one of the slow-paced songs on ‘Mr. Money With The Vibe’ used to give listeners a breather while also informing them of Asake’s versatility. “Ototo” follows in that trend; Asake employs a patois delivery in the first verse before returning to his recognisable combination of Yoruba and Pidgin English. He also pulls out his Hip-Hop card on “Reasons”, which features American rapper Russ. The track has aspirational leanings as Asake and Russ encourage listeners to believe in themselves and not give up when disappointments come. Russ, in particular, gives a good account of himself, dealing with a narrative that is picturesque in its telling.
In interviews, Asake has spoken about being an introvert when he is indoors and only showing high-octane energy when he is on stage. In his music videos helmed by Nigerian video director TG Omori, starting with “Sungba,” Asake’s charisma is palpable. His slender figure fills the screen with an unflinching liveliness. With his coloured dreads, grills and edgy fashion sense, he and Omori have created a persona that is at once different and familiar. That strong energy lives on tracks across the album; one of them is “Joha,” a heady mix of Fuji, Afrobeats and Amapiano, where Asake expresses his desire to enjoy the good things of life and ignore the stress. On the dance-ready “Sunmomi,” his vibe is irresistible as the violin chords underpin the Amapiano goodness flowing in the beat.
Like every genre of music imported into Nigeria, conversations have started around the fate of Amapiano in the hands of Nigerian artists. South Africa has been gracious to open the genre up to other countries, with Nigeria being one of its top enthusiasts. Month after month, Nigerian artists, Asake being one of them, have utilised Amapiano to score hit records. What makes Asake’s use of Amapiano, and South African music in general, refreshing on ‘Mr. Money With The Vibe’ is that he and Magicsticks marry the genre with core Nigerian influences; they take the genre and flip its modifications, adding new changes to give it new life.
When the story of Asake’s ‘Mr. Money With The Vibe’ is told in the coming years, the album will stand as a placeholder for the artist’s further evolutions. It will be tagged as a soundtrack for an era when a newcomer seized an opportunity and never let go. Asake has admitted in interviews that there are more tricks under his sleeve; ‘Mr. Money With The Vibe’ bears witness to the beginnings of a growing star who, blending his musical and cultural influences, has opened up a way for him and his music to soar and soar.
ICYMI: HOW “YAN YAN” FRAMES ASAKE’S GROWTH WITHIN THE PAST YEAR
Shekhinah Returns With Surprise Album, ‘Less Trouble’
The South African R&B star is at her most assertive on her first album in four years.
South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption.
The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight.
If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns.
Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,” and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’
Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album.
Listen to ‘Less Trouble’ here.
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The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’
‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...
Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music.
In the lead-up to her new album, ‘Black Star,’ she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.” Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’ As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens.
WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM?
Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.
Bamise: I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that.
Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different.
WHAT SONGS STOOD OUT ON THE FIRST LISTEN?
Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!
Daniel Akins: I need to hear “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2” with PinkPantheress is the collaboration I knew I needed, and I’m glad they finally linked up. It’s a clear standout on the project; their ethereal style complements each other.
Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!
HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?
Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.” The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.
Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.
Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen.
WHAT SONG IS THE BIGGEST SKIP?
Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album.
Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.
Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me.
WHAT SONG HAS THE BIGGEST HIT POTENTIAL?
Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically, TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”
Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.
Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.
OVERALL FIRST IMPRESSIONS
Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa.
Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae. Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will.
Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.
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Tems Partners With Hennessy For Leading Vibe Initiative
Launching in Lagos, Nigeria, this event pioneered by Tems marks the beginning of a continent-wide movement to...
In July, Tems announced the Leading Vibe Initiative (LVI) to support women in music and the creative space on their journey to make a mark in their fields and create space for other women in those industries. Born from Tems’ journey as a self-taught artist with a focus on driving change, the initiative offers training, mentorship, industry access, and community for women in music in Africa.
After a rigorous selection process for its inaugural cohort, Hennessy will join the two-time Grammy Award-winning star to celebrate the launch of the Leading Vibe (LVI) Initiative in Lagos, Nigeria. Held from August 8 to 9, 2025, the two-day event is the beginning of a bold new chapter in Hennessy’s long-standing commitment to music and culture in Africa.
“I’m excited to partner with Hennessy in bringing this initiative to life, supporting talented young women in music as they find their voices, embrace their power, and shape the future of the industry across Africa and beyond,” Tems said about the partnership.
The Leading Vibe Initiative aims to champion the next generation of female artists, producers, songwriters, and music professionals, increasing representation within all areas of music across the continent and beyond.
With Hennessy as lead partner, this ambitious program kicks off with an immersive event in Lagos featuring curated workshops, networking moments, and panel discussions led by top-tier talent from across the global and African music industries.
“Her vision, talent, and purpose align deeply with Hennessy’s legacy of championing those who push boundaries and redefine the world around them. We’re honored to support the Leading Vibe Initiative and to continue empowering African communities and cultures,” said Vincent Montalescot, Hennessy Global Chief Marketing Officer.
Hennessy’s partnership with Tems builds on the brand’s decades-long history of supporting music and artistic expression globally and on the continent. From Hip-Hop to Afrobeats, Hennessy continues to stand beside the artists and communities that shape culture.
In Africa, the Maison has deepened its commitment through meaningful initiatives like In the Paint and now, with the Leading Vibe Initiative, is taking a focused step toward amplifying women’s voices in music. With the Lagos launch as a powerful first step, the Leading Vibe Initiative will expand across Africa and globally, creating a cross-continental network of empowered women ready to shape the future of African music.
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