Listening now to ‘Mushin 2 Mohits,’ Wande Coal’s landmark 2009 release and only album with Mo’ Hits Records, it’s clear to see how this classic debut became arguably the most influential Afropop album of all time. At the time of release, this sleek, urbane, heavily synthesised masterpiece shared little ground with its contemporaries. The album merged stadium-sized hits (“Bumper To Bumper,” “Who Born The Maga”), sweeping ballads (“Ololufe”) with raw and uncompromising sonic experimentation – thanks to production mogul Don Jazzy – in a way that was uncommon prior to its release. Wande Coal’s lyricism, rhythmic knowledge and seamless fusion of local and foreign influences were also revolutionary at the time, expanding the parameters of Pop music in Nigeria and creating a unique style that serves as a blueprint for many to this day. 

Almost 16 years later, Wande Coal has yet to hit the heights of his classic debut. It’s well documented at this point: a hostile split from the now-defunct Mo’Hits Records meant that his lukewarm sophomore ‘Wanted’ wouldn’t arrive until 2015, seven years after the release of ‘Mushin 2 Mo’Hits.’ And while the long-awaited follow-up album featured moments of brilliance on a few zippy records like “Ashimapyein” and “Monster,” it was bogged down by a bloated tracklist that lacked the focus and innovation of its predecessor. Subsequent releases, however sporadic and polarizing, have also lacked the spark that famously earned him the Black Diamond moniker many years ago. While the veteran singer still retains his mastery of melodies and a one-of-a-kind voice, his mercurial nature over the past decade or so has forced a resignation that he might not be able to rediscover the magic of his epochal debut. 

His latest project ‘Best Of Both Worlds,’ a low-stakes late-career collaborative EP with GRAMMY Award-winning producer Kel-P, is arguably his sturdiest release in years. Unlike ‘Realms,’ which was anchored by “Again,” his biggest single in recent times and his third studio album ‘Legend Or No Legend’ which featured heavy hitters like Wizkid, T-Pain and Olamide, ‘Best Of Both Worlds’ arrives with little promotion and no additional guests. It’s just Kel-P and Wande Coal finally capitalizing on a long-simmering artistic connection that began years ago.  

Even with a lean tracklist and a short runtime, it’s clear that ‘Best Of Both Worlds’ is the product of a shared musical synergy that only comes from a place of deep and constant creative practice. “Wande Coal and I met in 2019 and made one song. Then we didn’t see each other for a while, and when we saw each other again, we just began to record music together again. We caught a vibe, and never knew we’d be making a body of work or an album – we were just making music,” Kel-P said in a recent interview, explaining how the project came together. 

Through the EP’s 5 tracks, Kel-P provides refined, groovy beats – replete with lush piano chords, his signature percussive elements and clean guitar riffs – creating an atmosphere that accentuates the veteran singer’s pristine harmonies and vocals. ​​On the title track, Wande Coal switches through multiple melodious flows over buoyant percussion and a funky guitar loop that begs for some dance moves. “18 years in the game I no tire tire / Na why the young boys them dey copy my entire” he sings cockily, reminding everyone of his luminary status. 

On “Old Soldier,” the upbeat lead single released in late 2024, Wande Coal flexes his vocal dexterity while reinforcing his tenacity as he repeatedly sings the popular Yoruba adage “Old soldier no go die unless to ba di arugbo” on the single’s sonorous hook. “Ejo,” the EP’s lush and seductive centerpiece fuses Afropop and R&B to great effect. Kel-P’s production here is sparse, leaving ample room for Wande Coal’s sultry flow and lyricism to shine. On the breezy closer “Die For You,” Wande Coal’s falsetto and sticky sweet nothings effortlessly float over Kel-P’s drums as he performs with a clear-eyed brilliance that brings to mind some of the singer’s finest ballads. 

With a tracklist of just 5 songs, it’s difficult to make a case for ‘Best Of Both Worlds’ being Wande Coal’s best work post ‘Mushin 2 Mo’Hits.’ However, what ‘Best Of Both Worlds’ lacks in length and perhaps sonic experimentation, it makes up for in dexterity, focus and cohesion, qualities that have been lacking in some of the veteran’s last few projects.