Our First Impressions of Bella Shmurda’s sophomore EP ‘High Tension 2.0’
A street poet with a voice of gold
Following a successful 2019 which culminated in the release of his breakout single “Vision 2020”, Bella Shmurda began the following year with a mission: to soundtrack the hardship on the streets as one who had lived it and grew from it. In February of that year, he released his debut EP ‘High Tension’, a 7-tracker with a nostalgic air of lived-in familiarity brought about by his gritty ghetto raps, clear metaphors, and a bundle of Yoruba folk traditions and references. It was infinitely clear that the street poet was on the cusp of a major explosion.
That time came at the tail end of 2020 when Bella Shmurda released “Cash App”, the smash hit single that featured Zlatan & Lincoln and further chronicled the realities of emanating from the streets of Lagos. While controversy trailed this particular release, it garnered over 11 million views on Youtube and rose to the top of Apple Music charts at the time of its release. The celebratory hitmaker now continues his penchant for making catchy music with a conscious message on his sophomore EP ‘High Tension 2.0’, the follow-up to his 2020 EP. Speaking to Apple Music about the release, the singer shares that “High Tension 2.0 is another dimension of Bella Shmurda. A new style, a new vibe, a new thing for my people. It’s like lightning. You can’t stop lightning from striking, and that’s the way I’m coming.”
So, what’s the project’s best song? Biggest skip? Most surprising moment? The NATIVE team have got you sorted as we deliver what we think are the standouts from ‘High Tension 2.0’. Here are our first impressions of Bella Shmurda’s sophomore EP.
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(@bella_shmurda)Best Song?
Ada: It’s really hard to pick a top song for me. My top 3 songs include “Rush” and “World” which are already in my opinion bangers and quite mainstream but my fave aside from these two will be “Lako”. It’s super catchy and you can dance to it. I see it becoming quite popular for sure. Also, keep an eye out for “Champion”, it seems like a sleeper hit that could definitely grow on many of us.
Dennis: Not to be captain obvious here, but I’m going with “Rush” as the best song here. Yeah, it was the lead single and an apparent smash hit immediately after its early year release, but on a slightly deeper level, it’s a phenomenal testament to Bella Shmurda’s musical veracity even as he’s making music for mainstream reception. If you asked me this same question about High Tension, I’d struggle because that EP represents the work of an artist figuring out his own version of what it means to be well-rounded. For 2.0, “Rush” is clear for me because it represents the Apex Bella Shmurda song till date, a distillation of his “live fast, live young” ethos into substantial lyricism and downright catchy songwriting over stunning production.
Woju: Bella Shmurda is a very detailed lyricist. A genre led by percussive elements predominantly, variations of Afropop tend towards linguistic simplicity, but Bella Shmurda’s output is vastly different, and that, to me, is where he soars. On this project, my favourite tracks are the ones with a prevalence of motivational bars, delivered in the relatable and digestible way, Bella Shmurda is accustomed to. The album close, “Champion” is a front runner of mine, with its self-affirming lyrics that appear earlier on in the project on “Rush”, a dynamic track that also emerges as a favourite of mine. Released ahead of the entire project, “Rush” is still a highlight, retaining its status as a jam and giving listeners a healthy dose of pompous self-congratulation and a humble acceptance for the fleeting reality of life. Encouraging his listeners to keep going, dishing out solid advice throughout the record, Bella Shmurda’s performance of “Out There” earns the number one spot for me. Especially knowing the actually crazy streets where Bella Shmurda is coming from, it’s particularly inspiring hearing the stories of perseverance and success through that, that Bella Shmurda shares on this song. It is such a poignant way to open a project and sets the bar almost unattainably high.
Biggest skip?
Wonu: The biggest skip for me would have to be “World”. This is not because it’s a bad song but because it’s been out for a while and I’m just tired of listening to it.
Shina: On first listen through the album, “Soldier Go” is the one song that didn’t pique my interest. Bella doesn’t sound his best like he does on every other song. Maybe it’s because he doesn’t sound as convincing and is un-relatable. Definitely hitting the skip button on this one.
Ada: Ugh this a hard one cause it really is a good project. I guess my least favourite would be “Soldier Go” and that is me just nit-picking.
Biggest surprise?
Wonu: The biggest surprise for me has to be the fact that there are no features on the project. I would have expected an Olamide or Zlatan verse assist on one of the tracks.
Rahman: What I find interesting about Bella Shmurda’s body of work is the fact that the album could be so good without features. I’m not going to lie, I expected at least 2 features but hearing and seeing no features means he has more in store for us and he is going to be deep in his bag soon.
Tami: The biggest surprise for me would be the fifth track “Lako” which is a very raunchy, dirty song about receiving head. It’s the biggest surprise for me because Bella Shmurda basically diverts from delivering conscious sounds and thought-provoking singles about his lover to requesting that he gets blown off by his lover. It’s the versatility for me, haha. Gotta love it, man.
Best verse?
Damilola: It’s not a verse, but my immediate favourite song is “World” and its’ because of the profound chorus. There were some sus parts in the second verse that I’ll wait to discuss in great detail when I’ve sat with my thoughts about it, but yeah the chorus really caught my attention. ‘If I ever lose to the world, I can never lose to myself’, feels like a mantra of sorts and the thumping bass in the background shows that he meant for it to catch one’s attention. It feels almost like he’s talking to himself but also everyone else who’s listening and two songs in, he’s maintained that deeply reflective energy he kept with the first High Tension EP.
Tami: The best verse for me came on the intro song “Out There”. Here, Bella Shmurda is talking directly to his fans and followers preparing them with the tools that they’ll need to survive the crazy war that is life. “I know it’s crazy out there.
Shina: Honestly expected Bella to start the album with the single “World”, a conscious song about the world we live in now but I understand why he opted for “Out There”. On all verses, Bella is basically speaking his truth and also sharing some tips on how to get by this crazy world because he’s lived it and understands how hard living in it is for everyone. Bella sees himself, you, and me as soldiers that have to win the battle of life and urges us to keep pushing no matter what. Definitely sign me up for any Bella Shmurda ‘how to’ masterclass.
Overall impressions
Wonu: My overall first impression: This has not exactly been one of my favorite first listens this year but all in all, it’s a good body of work with quality track arrangement. This is something I’d definitely playback once in a while.
Dennis: The one thing that kept popping into my head while listening to High Tension 2.0 is that, Bella Shmurda is a star and he knows it. It’s not vocally pronounced, but there’s a conviction on the surface and in every crevice of the project, that he’s doing exactly what he’s meant to be doing on this level. From the motivational intro song, “Out There,” you can tell he knows he’s eclipsed the overtly aspirational ethos that drove his breakout song, “Vision 2020,” and debut EP. Even when you compare last year’s hit “Sho Mo Mi” with the fourth track “Far Away,” both romance-themed songs, he’s left the posturing of the former for a more assured, plain-stated lyrical approach. 2.0 is a reflection of his deserved upgrade in status and, the best part is, you can tell he still has a few more levels to unlock. [Footnote: Watch “Lako” become his next street hit in 3, 2…]
Woju: ‘High Tension’ is a highly inspirational project, with songs such as “World” and “Champion” affirming the self. As such, one of the primary draws for me is the lyrical endowment of the project. The concise song lengths and Bella Shmurda’s unique delivery are also strong selling points for this project, but a slight drawback is the generic, almost basic sound that he peddles.
The Dance beat that opens “Lako” is arresting and immediately attracts, but as the song continues it quickly moves into generic territory. I appreciate the island vibe on “Soldier Go” as well as the horns on “World”, though the ubiquity of the particular production style Bella Shmurder is working with detracts from his unique talents as a recording artist. With that said, the ever-changing flow and melodic variations on “Far Away” makes for a delectable aspect of the sound. On “Rush” too, the trap influences, meticulously woven into the Afro-pop song that plays with an electronic led hook prove that with the right accompaniment, Bella Shmurda is more than capable of winning alternative-trained ears over.
Stream ‘High Tension 2.0’ below.
Featured image credits/BellaShmurda
ICYMI: The importance of women sharing their experiences through music
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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True Clrs Want People To Dance
True Clrs, a travelling party series launched by Adeola Kofoworade and Menab Tesfu, aims to bring the dance...
One of the more pressing topics of discussion amongst party-goers today is the curious question of why people don’t dance at gatherings anymore. While partying, theoretically, includes other activities like talking to strangers, getting drinks, and conducting business, it is primarily geared towards dancing and living in the moment.
These days, however, there seems to be more emphasis on these other activities than actual partying. People are doom scrolling on the dancefloor or are more occupied with trying to take the perfect selfie. Enter: True Clrs, a travelling party series launched by Adeola Kofoworade and Menab Tesfu that aims to bring the dance back to the parties by centering on the richness of African sound and the communities that love it.
“We found that there were a lot of parties in Dallas that had cultures that didn’t encourage dancing or interaction between customers,” Kofoworade tells The NATIVE about the inspiration for True Clrs over a Google Meet conversation in July. “Seeing how parties were being thrown in L.A., New York and other places in Europe, we thought to bring that idea here to Texas.”
Since its inception in 2023, True Clrs has hosted over 15 editions of its travelling party series across cities in the United States. In addition to a dedicated real-life following that engages with their series, they have also cultivated a robust online presence thanks to their meticulous branding and active CRLS YouTube page that features various thrilling DJ sets.
Ahead of the latest Houston edition of True Clrs, which featured ODUMODUBLVCK and Sarz headlining the Global Sounds Stage and others like Native SOUND SYSTEM’s DJ Sholz, Lowkey Ade, and Khulumars on DJ duties, we caught up with Adeola Kofoworade to discuss how they’ve managed to position True Clrs as the go-to party series in Texas, what makes them unique, and what their long-term plans are.
What inspired True Clrs?
We originally started True Clrs about two years ago because we noticed that there was a space in Dallas that we could infiltrate. We found that there were a lot of parties in Dallas that had cultures that didn’t encourage dancing or interaction between customers. That’s something pretty notable down here in the South. In clubs, there are a lot of sections and no big dance floors, so people are stuck in their sections without really interacting with other people. Seeing how parties were being thrown in L.A., New York and other places in Europe, we thought to bring that idea here to Texas. At first, we started with Afrobeats and Amapiano-centred parties, but then we started branching out to other genres as well.
How have you been able to position True Clrs as one of the go-to diaspora-focused party series in the U.S, especially in Texas?
We try to be innovative. We always try to make every event better than the last one. So if you came to one of our events the previous month, we try to switch things up and make sure you have a better experience the next time you come. We do this by booking notable DJs from around the country and even around the world. We also started booking a lot more talents. Last year, we had Lancey Foux; we had Sholz, who brought ODUMODUBLVCK; and we also had Skyla Tyla. This year, we’re looking to do more of that so we can always give our audience a notable experience.
How do you balance catering to the African diaspora with appealing to a broader audience that might be unfamiliar with the music and experience?
There are a couple of ways we try to do this. First, since we have monthly events, we try to switch between different genres and vibes. So let’s say, one month we have an Afrobeats and Amapiano party, the next month we could switch to this concept that we call the R&B rave. In the R&B rave, we basically play all types of R&B music, whether it’s old, contemporary or alternative, and we curate a rave-like setting.
We also run this concept where we have like two or three stages playing different genres. We could have one stage playing Amapiano, the other R&B and the other more global sounds. I guess it just depends on the venue we use. But we’re able to offer different experiences even at the same party.
Are there any other unique elements that set the True Clrs experience apart from other nightlife events?
One of our main appeals is recording DJ content. I know DJ content has become saturated recently, but what separates us is that a lot of our content is very genuine. It’s not made up or staged. We get real-time reactions from people. A lot of the time, people don’t even know they’re being filmed. Our content makes us notable, and it’s helped push our brand forward.
Since you began True Clrs, how have you been able to cultivate a strong online presence as well as a thriving community in real life?
With our online presence, it’s really been our content that has helped put us out there. We’ve had a couple of reels or YouTube sets go viral, and that’s definitely helped our online presence. Also, just being the kind of people we are, we take our time when it comes to branding True Clrs. We get a lot of feedback from people regarding our content, and we take it into account moving forward. For our real-life community, my partner and I had already been heavily involved in the entertainment space and the African community here before we began True Clrs. So we got a lot of support when we first started, and we’ve just kept building from there.
What’s the long-term vision for True Clrs? Are there any plans to expand into other U.S. cities or even international markets?
Definitely. Last year, we had our first international event in Addis Ababa, Ethiopia. My partner was up there for a holiday, and we decided to throw an event there. In the future, we do plan to expand to other countries, whether in Africa or Europe. With our connections with talents like Lancey Foux, Skyla Tyla, we’re also looking to see if we can put together festivals. That’s what’s on the horizon for True Colors.
What would you say to someone who’s never been to a True Clrs party? What should they expect, and why should they come?
Our goal is community curation through music. So what I would tell someone who’s never been to a True Clrs party is they should come with an open mind. They should trust our DJs because they might hear songs they’ve never heard before and still be able to have a good time. Also, while we don’t force people to interact, we encourage people to interact and dance while listening to good DJs.
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Best New Music: Tiwa Savage and Skepta Are Stuck In A Loop On “On The Low”
After over a decade helming some of the most romantic cuts in Afropop, Tiwa Savage’s dalliance with R&B is...
There are only a few artists in Afropop with the range, longevity, and lustre that Tiwa Savage has. Since she emerged on the Nigerian music scene in 2011, Ms. Savage has set an inimitable standard in terms of platforming the point of view of women at the pinnacle of Afropop, working to show that women are multi-dimensional and layered, capable of going through the motions of joy, angst, distress, and optimism just as much as the next person. By unapologetically leaning into the very minutiae of what makes her tick as a woman, she’s become a fan favourite and an undisputed legend of the genre.
Impressively, she’s done this while making great strides sonically. From the throbbing afropop of ‘Once Upon A Time’ to the swaggering house-inflected triumph of ‘R.E.D,’ and the dense polyrhythmic structure of ‘Celia,’ Tiwa Savage has continued to tincture her R&B-adjacent sound with influences from home and abroad. It is an accurate reflection of Tiwa Savage as a person: grounded by her Lagos heritage but shaped by global influences. For the last six months, she has been talking up her forthcoming fourth album, describing it as a full-throttle return to the R&B sound that was her stock in trade before she returned to Nigeria in 2011 to establish herself as an Afropop powerhouse.
In April, she released the emotive “You4Me,” clearly establishing the direction for her new album, ‘This One Is Personal.’ Produced by Mystro Sugar, “You4Me” put a fresh spin on Tamia’s ’90s classic “So Into You” with percussion work by Magicsticks adding a decidedly Afropop sheen to the song. Upping the ante, Tiwa Savage returned with “On The Low,” a delightful sung-rap bop featuring British-Nigerian rapper, Skepta. Like “You4Me” before it, “On The Low” is steeped in R&B tradition, finding Tiwa Savage pining after a love that feels like a taboo or forbidden pleasure. Produced by Rymez and Mystro, it is a surefire pointer that Tiwa Savage wasn’t joking when she said ‘This One Is Personal’ had overt R&B influences.
After over a decade helming some of the most romantic cuts in Afropop, Tiwa Savage’s dalliance with R&B is helping to propel her artistry to new heights. Just as the soundtrack for ‘Water & Garri,’ her debut as a filmmaker, pared down universal emotions like longing, desire, and anxiety into digestible bits on standouts like “I Need You,” “Lost Time,” “Love O,” her latest song chronicles the intangibles of a romance that’s quite not out in the open. “I know you want to link on the low / We have to stay discreet, you don’t know,” she sweetly intones on the song’s hook, clearly obfuscating the true status of the relationship but revealing just enough to let her listeners know that the dynamic of this relationship is not the usual.
It’s a premise that is established from the opening lines of the song when Skepta breezily starts with an offer to travel, presumably after being unavailable for a while. “Yeah, I’m off tour, we should celebrate / Dedicate some time for you, baby, it’s a date,” he says. It sets off a sequence where Tiwa Savage admits to being annoyed by the complexities of this relationship.
Still, there’s something about the thrills of these tenuous romances that keeps one tethered to them, and Tiwa Savage manages to capture the dilemma of the situation when she sings, “Boy, you make me stressed, you don’t know / Then you send me sweet texts on the low.” Her measured delivery and tonal inflections lend an air of believability to the story that would be inaccessible in lesser hands.
It helps that even as she revisits her R&B origins, the singer still maintains a strong connection to the sonic references that made her an Afropop juggernaut. There is seriously impressive percussion across “On The Low” with enough Yoruba ad-libs sprinkled across to remind any doubters that this is a Nigerian star paying homage to an elemental part of her evolution without losing touch with her roots. It sets the stage for This One Is Personal’ perfectly.
Listen to “On The Low” here.
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