A 1-Listen Review: Ladipoe’s new EP, ‘Providence’
A well-earned victory lap for the leader of the revival
Nothing about the rise of Ladipoe into a dominant rap star was rushed. Over a decade ago, the Nigerian rap artist born Ladipo Eso emerged as a frontrunner in potential rap messiah debates. It’s understandable, his introduction via Show Dem Camp’s “Victoria Island of Broken Dreams” is still one of the most entrancing rap verses committed to wax by a Nigerian lyricist.
What followed was a far more elongated route filled with more great feature verses, sporadic solo drops, including his long-awaited 2018 debut album, and, in the present, a handful of huge singles helping to fully realise those potentials. The path Ladipoe walked not only tested the patience of day one fans but also tested the wits and resilience of the man himself.
Even when things were not going great, he seemingly took them in stride, using that time as a crucible to intentionally forge the sort of revered, dynamic rap artist he currently is: One that can effortlessly bar it up on one song, and remain engaging while curating charming smash hits. Without a doubt, Ladipoe is in a groove and it’s what makes the possibilities of his newly released EP, ‘Providence’, enticing. It’s his first proper project in over three years and, for a rap artist working on a much higher artistic plane these days, my expectations are up and stuck.
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In Usual 1-Listen Review Fashion, All Reactions Are In Real-Time While The Music Plays. No Pauses, Rewinds, Fast-Forwards, Or Skip.
“LOTR II”
This is an exquisite opening, very jazzy. I know some bars are about to be slung! Let’s go! Okay, the scheme on that second line has my senses all heightened. “The secret to longevity is, always you write the narrative.” Lifelines! Fuck, I’m not listening on Tidal. I need to know who produced this, such a premier the ‘90s bounce. That’s a double entendre, go figure. Sometimes, Ladipoe raps like he’s delivering the most interesting Ted Talk ever. “The signature is just an autograph that says pay me first.” Boy! Fam! So. Many. Quotables. I don’t like that trap line, but this entire song is way too good for me to be nit-picking. This is how you start an album, man. This should be an album!
“Afro Jigga” (feat. Rema)
Ozedikus tag, my man never misses. BTW, the OG version of “Moslado” is a classic, could care less for what they did to the song for its video. This is an Afro-Dancehall knock, heads will bob. Rema! Feels like it’s been a long while we heard from him—even though I still saw him the other with the rest of the NATIVE team. Man, I remember when we were making distinctions between Afropop Rema and Trap Rema. Good times. Ladipoe’s delivery is Teflon, he’s skating with ease on this one. Can’t hear any line to make my ears stand, but this is just a feel-good song. I 1000% believe women are throwing themselves at Rema, I’ve seen the difference in his physical frame from “Dumebi” to “Soundgasm” up close. London worked on this as well? Yeah, this is a cheat code record. Poe has mastered how to construct pop-rap songs, this is just another flex to prove that. Will revisit.
“Law of Attraction”
Again, this should be an album! Oh Dear God, I know where this man is going with this bedroom voice cadence. He even mentioned Meghan and Jhene! This is unfair. How can you be a killer lyricist and a rap artist making songs for women? This man has the infinity stones, FFS. Who’s the woman harmonising? (Editor’s Note: She’s UK-based singer Dolapo.) The only way I can describe this beat is seductive Afropop, something you catch a private whine to. “I think I know what girls like,” you don’t say, Fam. This song is going to go, maybe not super-mainstream but women are going to absolutely love it, which is pretty much the same. I remember when people found out that Ladipoe is married, the jokes were funny. The lady singing here is going absolutely crazy, the sensuousness is leaking from her voice effortlessly. This is a keeper.
“Running” ft. Fireboy DML
Eish. Thinking about what this song is about, this is a slightly jarring, thematic transition. Anyways, this is a solid record. Let me confess: This is the second Fireboy feature I like, I’ll keep the first one to myself. Poe is one of the most coherent rappers you’ll ever here, this first verse is him threading multiple things into a contemplative and confident whole. This hook is simple but it resonates, and Fireboy’s self-aggrandising part on this second verse is really good. I don’t know about loverboy Fireboy, but when he shows a persona, he’s riveting. See: “Peru.” From a scientific point, this is a well-constructed pop-rap record. Man, we’re all running on vibes. Well, December is here sha. Keeper, this one.
“Love Essential” (feat. Amaarae)
Ladipoe and Amaarae was bound to happen, and it’s on a song titled “Love Essential.” Rappers saying mushy stuff before a song starts is not my thing, but Poe gets this pass. I have a really raunchy quip on how Amaarae sounds right now, but I’m keeping it to myself—or I might just tweet it. Everything here is tingling, the keys, Amaa’s voice, the choral tracking, the cloudy atmosphere, everything. This shouldn’t be a heart-break song. Okay, this sounds way more remorseful, and I’m not mad at it. This verse is engrossing AF! “Showed me love essential, you’re my only lifeline.” This song is officially the reason I want to get heart-broken soon, I’d like to relate deeply. Maybe that’s taking it too far, will definitely revisit.
“Providence”
Who’s talking? I deeply relate to this annoyance. London and 44DB tag? Oh God! “More life when your circle is pure” is a valid, but social media has ruined yarns like this for me. I like this knock, slightly off-kilter but familiar enough to keep you zoned in on Poe’s buttery flow. I heard that line about a Don Jazzy and Dr Dre beat, don’t know why I’m not too enamoured by the possibility of that if it ever happens. Wait, this is a song from the “Revival Sunday” series. I mean, it’s been slightly reworked but it’s recognisable when you deep it. Wait, wasn’t that song also titled “Providence”? (Editor’s note: Yes, it was) Right, I get the reason for this title even more now. An angelic beat just switched, and this man is rapping with the dead-eyed vim of game 6 Klay Thompson. I can hear the Drake comparisons from listeners already, and it’s not like he’s denied the Canadian superstar’s influence. “It’s why I pray to God even if I’ve never seen him/faith never needs a reason.” I’m going to google providence right now. This is a monster closer. Love it.
Final Thoughts
Ladipoe’s 10,000 hours are complete. If there’s anything ‘Providence’ proves, it’s that Ladipoe has reached a level of mastery through constant effort and consistent experimentation. In 20-plus minutes, there’s no moment he doesn’t sound in complete control of his instincts as a rapper and intuition as a music-maker.
This EP isn’t necessarily meant to be career-defining, neither is it a low-stakes inflection point. It’s somewhere in the middle of those poles, a confident exhibition of where Ladipoe has gotten to in his career, and a competent declaration of his boundless creativity as a rap artist. It’s a set of rap songs ranging from good to really good, with each song optimised for their themes and musical approach. Poe’s ear for beats has only gotten better with time, and his inclination toward a varied soundscape is tied together by his ever-absorbing flow and quip-laden lyricism.
I did google the meaning of Providence, and one of its definitions—“timely preparation for future eventualities”—frames this EP perfectly. Ladipoe has been preparing for the successes he’s currently enjoying, and Providence is his well-earned victory lap. The thing about victory laps, though, is that the marathon continues. Ladipo Eso still has more impact to make on Nigerian rap and pop music, where he goes next will be a function of what he wants to achieve next. For now, the celebrations are deserved, so let’s join Ladipoe to bask in the gratifying glow of ‘Providence’.
Listen to ‘Providence’ here.
ICYMI: READ OUR 1-LISTEN REVIEW OF BUJU’S ‘SORRY I’M LATE’
Maya Amolo Is Committed To Giving You The Sweetest Time
There’s undoubtedly more to come from the talented singer as she looks to solidify herself as one of the...
“Sweetest Time,” Maya Amolo’s latest single, is a soothing, lovesick confessional that mixes intimate, heartfelt lyricism with wistful production courtesy of Ugandan musician and producer SOULCHYD aka MAUIMØON. Alongside fellow Kenyan singer Ywaya Tajiri, the self-acclaimed sweetest girl delivers a lustrous duet that sees her soft vocals, which perfectly complement Tajiri’s more robust voice, skip and flit across moody synths, intensifying the spotlight on her wholehearted delivery. “I can feel you rushing through my system / Every single day it’s my religion,” she sings passionately halfway into the record. The whole thing sounds like the aural equivalent of a warm blanket; a truly affectionate record that immerses and envelopes its listeners in its warmth. This is the brand of vulnerable, understated R&B music that has been helping Amolo gain significant attention since she debuted in the pandemic year.
Born and raised in Nairobi, Kenya, Amolo always had an affinity for music. The singer and producer, who took on piano and guitar lessons as a child, has previously credited acts like Brandy, Erykah Badu, Prince, and Kenyan musical icon Eric Wainaina as her early influences – and it’s easy to see how Amolo’s style draws from this strong lineage of musicians whose music is equally expansive, soothing and vulnerable. After years experimenting with different styles, recording covers to beats she ripped from YouTube and posting them on her Soundcloud page, Amolo released her debut project ‘Leave Me At The Pregame’ in 2020.
The EP, which quickly soared up the charts in Kenya, served as a brief but emphatic introduction to Amolo’s minimalistic take on R&B. Standouts like the emotive opener “Puddles,” “Lush Green”, and “Jokes” showcase her clever and poignant lyricism that reflects on themes of love, depression, and self-healing. Along with sparse, melancholic production and the icy sensuality of her voice, Amolo delivered a remarkable debut that made her one of the most promising figures in Nairobi’s alternative music scene. Two years after ‘Leave Me At The Pregame,’ the Kenyan rising star released her debut album, ‘Asali.’
‘Asali,’ which translates to “honey” in her native Kiswahili, showcased Amolo’s progression as both an artist and a human being, as she swapped out the sad-girl tunes that filled her debut EP for more vibrant and intricate records – thanks in part to Sir Bastien and Kenyan producer and rapper Lukorito – that explore themes of growth and the complexities and rich luster of love. The album’s lead singles, “Foundry” and the self-produced “Can’t Get Enough,” found relative success on streaming platforms, placing Amolo as one of the continent’s most exciting new R&B voices. About a year after the release of ‘Asali,’ Amolo updated the album with 8 new songs on a deluxe version that featured Kenyan stars like Bensoul, Xenia Manasseh and Zowie Kengocha.
In August 2024, a few months after she delivered a splendid Colors performance, Amolo released a new project titled ‘What a Feeling.’ The 5-track EP, which essentially serves as an ode to Amolo’s home city, Nairobi, sees her experimenting with an array of dance sub-genres without straying too far from her R&B roots. While the project still retains much of the melancholy and elegance that defined her earlier work, there’s a hypnotic and pulsating energy that courses through ‘What A Feeling,’ that highlights a shift in the singer’s sensibilities. Amolo’s honeyed vocals gently seep through subtle Dancehall, Electronic, R&B and House-inspired production and the accompanying visualizer, a mashup of camcorder footage of her and her friends in Nairobi, also adequately captures the charming and nocturnal vibe of the tape.
The project produced standout tracks like the sensual “Let It Flow,” the title track and “Take It,” which later got remixed by Ugandan singer Soundlykbb and rapper SGawD. With Amolo’s latest release, “Sweetest Girl,” the Kenyan rising star continues her intricate exploration of R&B music, merging it with varying styles to produce her own distinct and refreshing variant. There’s no telling what Amolo might do next, but with only a handful of releases to her name so far, there’s undoubtedly more to come from the talented singer as she looks to solidify herself as one of the genre’s most prominent faces across the continent.
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Over the last few years, street-pop, a guttural version of afropop, has surged to mainstream popularity, birthing stars like Asake, Seyi Vibez, and Shallipopi. On the homefront, a generation of younger stars also put unique spins on the sound. Singer, T.I Blaze, has been a notable star in the sub-genre since his 2021 single, “Sometimes,” and a subsequent remix with icon, Olamide, launched him into a different stratosphere.
Since “Sometimes,” Blaze has established his profile as a reliable source for songs that reflect the pulse of the streets while archiving his come-up story across a debut album (‘El Major’) and three extended plays like ‘The Fresh Prince Of Lagos’ and ‘Dangerous Wavy Baby.’ His 2024 EP, ‘Shakur,’ further underscored his evolution as an artist, featuring slippery numbers about escapism, his thoughts on life in the fast lane, and brotherhood with features from rising stars like Tml Vibez and BhadBoi Oml.
In 2025, the singer has picked up where he left off last year, releasing “Trenches Luv,” a balmy February release that examines the dynamics of romance from his point of view as a young adult moulded by the hard realities of life on the street. The success of “Trenches Luv” has led to a deluxe version of ‘Shakur’ with the singer adding seven new songs to the original version of the project. Impressively, on the new version of the project, TI Blaze taps up Ayo Maff and Ghanaian star Arathejay on “My Brother” and “Mario Remix,” respectively.
Led by a galala-inflected opener, “Track 1,” ‘Shakur (Deluxe)’ is both raw and complex with the singer sounding refreshed on songs like “My Brother,” “Dodge,” and “Introduction.” In many ways, this project is an invitation for listeners to explore the many facets of T.I Blaze’s artistry as well as a portent to celebrate his roots and offer a glimpse at his evolution.
Listen to ‘Shakur (Deluxe)’ here.
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Rigo Kamp’s Marathon video is an intimate Afro-juju revival that pays homage to Sir Shina Peters and stamps...
Last Friday, Rigo Kamp, a NATIVE uNder alum and one of the architects of an equal parts nostalgic and refreshing sound released his self-titled debut EP, delivering a propulsive fusion of Alte, R&B, Funk, and Soul-infused rhythms.
Featuring previously released singles “Morning Sun” and “Summer”, the six-track eponymous EP executively produced by Odunsi The Engine sees Rigo lean heavily into his element as a sonic alchemist, jumping from silky falsettos to gritty grooves without losing an ounce of cohesion, and ultimately stamping the Abuja-born, Lagos-based singer-songwriter as a mad scientist of sound.
Just last November, Apple Music named Rigo Kamp as its Up Next artist, an acknowledgment that underscored his potential and confirmed what the tastemakers and underground scene already knew. Weeks later, he delivered an exhilarating live set for Spotify Fresh Finds in Lagos, proving he’s just as compelling live as he is in the studio.
On “Marathon”, the refreshing opener to the Rigo Kamp EP, Rigo borrows the bounce and swagger of Afro-Juju legend, Sir Shina Peters’ golden-era, fusing nostalgia with re-imagination to birth a vintage performance that feels like a private party for two, where it’s just Rigo, and you.
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