Review: Wizkid’s Superstar
The life of a 20-year-old in the thick of his visible and excitable upward mobility
When Banky W returned to Nigeria from the United States of America in 2009, he went about his music operation like a mob boss. With smoky videos, dark shades, trench coats, and an almost-impenetrable veneer, Banky seemed determined to reform the soundscape of Lagos with his silky R&B-influenced cuts and larger than life personality. To complete his vision of dominance, Banky W set about building one of the most formidable faculty in the music business at the time: in came Niyola, Shaydee, Skales, and, fatefully, Wizkid. It was time to conquer the zeitgeist. Thankfully, at that exact moment, Nigerian music was undergoing a silent evolution; the heads of Mo’Hits were travelling across the world, pushing for afropop’s global recognition; P’Square, still formidable, were already showing signs of the rancour that would ultimately lead to their split; and 2Face was stuck in creative purgatory as the chill reaction to The Unstoppable proved. All these opened a vacuum at the top for a musician who could merge pop relatability with a magnetic presence for the new generation of listeners who were looking out for someone to reflect their desires, tastes and lived experiences on wax.
Two days into 2010, Wizkid made his mark with “Holla At Your Boy,” a sunny, joyous pick-up hit that became an ubiquitous presence on radio and TV. Sporting his then-signature plaid shirts and jeans in the video for the single, Wizkid’s boyish charms eased the song about teenage romance into the mind of boys and girls across the country, instantly making him a cult hero. Being young was an added advantage for Ayodeji Balogun, as almost every Nigerian music superstar that arrived before Wizkid came on the scene fully-formed or at least with visible signs of the years spent trying to get to that pinnacle. Wizkid coming into the industry that early, made his connection with the crop of young listeners more genuine, laying the foundation for that fandom which we have seen mutate into a stan base over a decade later.
With each month that passed in 2010, Wizkid acquired copious cultural relevance and acclaim for his warm melodies and easy smile, and with the social media revolution penetrating Nigeria at precisely that time, his come-up was truly felt on a national scale. What truly endeared Wizkid to the Nigerian audience was his insouciant streak, in his hands, disparate threads of musical history – R&B, rap, reggae, and Fuji – were woven into a tapestry of sounds that seemed uniquely tailored for that specific moment in national history. The crystallization of Wizkid’s late teenage carefreeness was captured on his debut album, Superstar.
Coming more than one year after “Holla At Your Boy”, Superstar arrived with Wizkid established as a veritable superstar. The project explored the juxtaposition of his new position as an entree into the pantheon of Nigerian pop icons and life in the pre-Wizkid years. Clearly revelling in the attention and opulence that his success brought, Wizkid started the album in defiant fashion. “Say My Name” was a recognition of his position at the center of the new order and a promise to stretch his reach to the end of the world. Even lines about his prolificity are delivered mellifluously: “I keep pushing on, I no retire o/Till the day I die I’m on fire.”
While “Say My Name” was inspired by plans for the future, the song that followed it, “No Lele,” was a wispy look at the past and the experiences that shaped him. Born into a polygamous family and raised in and around the zanga, Wizkid’s worldview seemed to have been shaped by the disappointment and rejection that’s common in such situations all over the world. Memories of that disappointment spilled into “No Lele”, where he sings about making it against the odds and delivering the now-iconic line, “my music travel no visa.” Recognition where he was once rejected also provides fuel for his cathartic singing on “No Lele” as he quipped about being called the one in his ghetto. The same impulses that birthed “No Lele” produced “Oluwa Lo Ni”, where Wizkid hopped from thankfulness for making it in the ghetto to taking aim at hanger-ons taking the plaudits for his success.
Still, for all the personal gratification that success in his ghetto brought, Wizkid was being primed for mainstream success in the part of Nigeria that was not populated by ghettos. Part of the reasons his crossover appeal was successful was the sense of suaveness that Wizkid’s association with Banky W conferred on him. Art primarily reflects society, and Superstar, in some places, followed the formulaic narrative that the moneyed-up raps of M.I’s MI2: The Movie and Naeto C’s Super C Season set as the de-facto sound of pop that year. “Gidi Girl” was a classic R&B/hip-hop fusion even if Wizkid delivered both narrative and pathos on the song, mirroring the collapse of both genres into one another in the years to come. It’s a serviceable track that has become a cult classic in certain circles in the years since the album’s release but at that time it was the sort of “clean” songs that many parents would let their young wards listen to.
In many ways, girls are the central theme of Superstar. Wizkid croons about his attraction to them, pleads his case, and muses about their effect on them. Wizkid’s silver-toned voice and the playfulness just beneath his vocals makes the songs exciting enough to blast on cool afternoons. On “Love My Baby,” he makes the most grandiose promises, promising to treat his lover right. Many Nigerian songs before Wizkid’s songs were premised on women and affection also but, as with most of his earliest works, Wizkid’s interpretations of young love brought those songs into the modern era, accessorising songs about love with pointedly carnal lyrics and code speak that delighted the growing millennial generation he was speaking to.
For all of Banky W’s careful curation of Wizkid’s persona and his musical content, the singer was still a product of a Yoruba family raised in Surulere in the late ‘90s to early 2000s. This certainly meant a certain proximity to the music of Fuji modernizers like King Wasiu Ayinde Marshall, KS1 Malaika, and Saheed Osupa, and you can hear the influences in the music. “Pakurumo” found him melding the jubilant, polyrhythmic base of Fuji music with the cadence of modern pop music; it’s a masterpiece of rowdiness and chaos as Wizkid hops from the hedonistic to the political over the cheery instrumental, ending with the name-calling that makes Fuji a fizzing genre.
Long before he descended to a figure of scorn and bewilderment, Samklef was one of Nigerian music’s most inventive producers and despite just getting six production credits on Superstar, his essence is felt over the album even on songs where he is not credited. The most urgent songs on Superstar that add variety to Wizkid’s arsenal are a product of his forward-thinking dalliance with Samklef. “Slow Whine” is a clear-eyed pronunciation of what a typical Wizkid record would sound like as he grew into his stardom, turbo-charged with a delightful Banky W verse. Strategically placed near the center of the project, “Tease Me/Bad Guy” another Samklef placement, showed the sort of bombastic pop that would make Wizkid an ubiquitous presence on the chart in the two years that followed Superstar when he sauntered from song to song dishing out landmark-shifting verses to peers and elders.
It also helps to think of Superstar as Wizkid’s full-fledged E.M.E album; almost a quarter of the songs have a reference of sorts to the label that powered Wizkid’s rise to prominence, some songs are a swearing of his fealty while others are just glib, passing shoutouts. It works magnificently on “What You Wanna Do,” Wizkid lets us into the mechanics of a night out on the town and they involve him, Banky W, and Skales being in the building together and having as much fun as possible while songs from the label are on full blast. “E.M.E Boyz”, however, an alternate cut of “E.M.E” does not possess the same je ne sai quoi – the flows are rigid and there’s no nexus between Wizkid and his guests even if Masterkraft’s beat rises to the occasion.
The sequencing on Superstar is at best frenzied, moving rapidly between themes and ideas before building on them sufficiently but, in the middle of 2011, it worked partly because of Wizkid’s pull and the sheer anticipation for the album. Thematically, the only part of the album that stays consistent is its final quarter, capturing Wizkid at his most rhythmically adventurous as he crafted songs of loyalty and hedonism, hopping from a hard-hitting collaboration with Wande Coal (“For Me”) to the centerpiece of the project, “Wad Up.” If there was ever a quintessential grace-to-grace song on the album, it was this song that found Wizkid and D’Prince in inspired form; still melodious, Wizkid’s voice acquires a gloomy hue to reflect the seriousness of his misgiving about being underrated while D’Prince’s verse cut to the heart of his own personal tensions. Superstardom can be a very lonesome road and near its end, the album became about the people who make that road for Wizkid as he makes a series of dedication to his friends on “Shout Out,” bigging up pivotal figures like Banky W, Wande Coal, then-manager Osagie Osarenz, Ayo Banks, and Rotimi Rudeboy.
Superstar isn’t a concept album, but it does a good job of capturing the life of a 20-year-old in the thick of his visible and excitable upward mobility. Across 17 songs, Wizkid stretches his voice, singing about his grind, seeing the world, talking to his famous crushes, and winning the respect of all those who doubted him. He is clearly delighting in it but recounting it with clear-eyed sobriety. 10 years after, there is no album like Superstar. Wizkid was not necessarily interested in breaking down the thought process for his romantic affectations as he did so eloquently on last year’s Made In Lagos, in a fatalistic sense, it was an album moved by lust and a sneering sense of achievement that arrived at the perfect moment in the perfect city.
Almost every year since Superstar came, artists have come who appear to be projections of Wizkid, trying to conjure the nostalgia of songs like “Scatter The Floor” and “Don’t Dull – a fool’s errand. A lot of those songs are locked in a time capsule that is no longer accessible, perhaps even to the creator of the songs himself, but we are still saying Wizkid’s name ten years later, just like the first song on the album predicted.
@walenchi Is A Lagos-Based Writer Interested In The Intersection Of Popular Culture, Music, And Youth Lifestyle.
MADE IN LAGOS, SET FOR GLORY
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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