For the last six years or so, Show Dem Camp and The Cavemen have both drawn from the same creative well. The former, rap veterans Tec and Ghost, initially built an underground following in the early 2010s with the release of ‘Clone Wars Vol 1,’ the first installment in an extended line of stellar rap mixtapes and albums that houses the sort of witty lyricism, sharp wordplay and relevant social and economic observations that rap heads and career no-sellout vets live and breathe for. 2013’s “Feel Alright” was, however, the duo’s first real dalliance with the mainstream; the Juls-produced highlife-inspired record teased a burgeoning sound that would become fully realized four years later on ‘PalmWine Music Vol 1.’

While the veterans were fleshing out a rap and highlife hybrid that has come to define their illustrious career, The Cavemen – sibling duo Kingsley Okorie and Benjamin James – were similarly tinkering with familiar genres, producing a fresh and unique variant that fused elements of jazz and soul music but still managed to retain its traditional essence. Before the release of their official debut single in early 2019, the duo cut their teeth next to alte royalty Lady Donli, performing at various live events and eventually producing 11 of the 15 songs on Donli’s colorful debut ‘Enjoy Your Life.’ Following their stint with the singer, the duo went on to release a string of singles that culminated in ‘Roots,’, their highly refreshing debut that seethed with the acute nostalgia of highlife but also staked a claim for the new future. 

So when it was officially announced a few weeks ago that Show Dem Camp and The Cavemen were releasing a joint album, it seemed like a match made in heaven. The respective duos are, however, not just a great fit because of their overlapping stylistic similarities but also because highlife, for the longest, has served as the bedrock sound for common gathering, an ethos that’s clearly evident in the careers of both acts. And that is exactly what ‘No Love In Lagos’ is: a confluence of talents that explore the intersection between neo-highlife and hip-hop as well as the complexities of love and living in the country’s largest city. 

The project opens with the “Intro” track that features a brief but intimate spoken word performance that’s awash in a cascade of warm instrumentation; but it’s the eponymous lead single that truly sets the tone for the project. The title track pulls together the respective duo’s strengths: Tec and Ghost bookend a sonorous and sticky hook – courtesy of Benjamin’s elastic falsetto and Kingsley’s more measured tenor – with ruminations about Lagos’ frigid and unforgiving dating scene over slow, rhythmic drums. The track is also peppered with melodious guitar riffs courtesy of the prolific David Nsikak, who appears alongside The Cavemen and Show Dem Camp throughout the entirety of the album. 

Spax, another frequent collaborator, and one of the major architects of the Palmwine sound that has become Show Dem Camp’s calling card, is also here for the entire ride and his presence is instantly felt on “Johni,” another pre-released single that benefits largely from the producer’s booming drums. “Fall” is instantly groovy and is buoyed by the kind of breezy, sing-along hook that made some of The Cavemen’s earlier cuts so endearing, while “Why” sees Show Dem Camp once again pondering about their city’s cutthroat nature. “If I start to craze, they’ll say I’ve lost my mind / I’ve seen this film before, some people cross the line,” Tec raps with the insight of a man who has seen a lot. He ultimately resigns himself to protecting his peace instead of playing the same old games.

There’s a reasonable paranoia that permeates most of ‘No Love In Lagos.’ It’s a running theme that stands in stark contrast to the warm and fuzzy instrumentation that drives the album. This is not a novel creative choice though, especially for Show Dem Camp. The duo have turned to their city for inspiration on numerous occasions, painting vivid vignettes of Lagos’ sordid inner workings over silky production that’s equal parts lulling and groovy. This is, however, the slight downfall of ‘No Love In Lagos’: it mostly offers tracks that sound familiar, perhaps a little too familiar. Regardless, the album remains a good time, at least for the most part.

Genre-bending singer Tim Lyre is entrusted with hook duties on “Buga” and he delivers splendidly, expertly riding beautiful guitar licks and syncopated drums that are sure to get you off your feet. Nsikak also delivers a standout solo performance towards the end of the record, continually reminding listeners of both his presence and stellar skills. “Blessings” finds Tec and Ghost taking stock of their early days: “Used to close my eyes and imagine packed stadiums / Become the national grid and shut down Lagos / Dreams of blowing mixed with fears of being famous,” the latter raps in his usual baritone. It is, however, longtime collaborator Moelogo that steals the show here. The British-Nigerian singer delivers arguably the most moving chorus on the entire album, rendering sweet-sounding prayer requests in his native Yoruba language. It’s catchy, uplifting and incredibly soothing all at once.

“Sudden Day,” the final track on the album, is a masterclass in arrangement: sharp tugs of the guitar are followed by skittering percussions and jazzy horns that all combine perfectly to serve as a delicious backdrop for Tec and Ghost’s introspective back-and-forth along with Benjamin’s soft vocals. Spax and Nsikak also make their presence felt here, with the former acting as director, overseeing the entire affair, while the gifted guitarist once again shows off his unmatched skills. 

Since the beginning of their respective careers, Show Dem Camp and The Cavemen have both shown an ardent devotion to sounds that lie outside of the current mainstream canon. This decision has pushed the individual duos to turn to a near-forgotten era for inspiration while carving out a loyal following that have bought into the dulcet gospel of modern day highlife and its variants. So for these duos to finally join forces for a joint album – alongside trusted hands Nsikak and Spax – is not only remarkable, but it feels just right – like a prophecy fulfilled, a dream come true. And even though ‘No Love Lagos’ tends to sound fairly familiar, the album manages to capture some of the magic of both groups’ best works, leaving fans with a fresh batch of songs that ultimately extends the enduring legacy of Show Dem Camp  and continues The Cavemen’s rejuvenation of one of West Africa’s richest genres.