In conversation with $pacely, Ghanaian rap’s young OG
maintaining his stride as a solo artist
When $pacely declares himself a young OG on the introductory title track of his latest project, ‘Keanu’, it’s with a deadpan candour, more as a statement of self than an aggrandising claim. It makes sense that he has this sort of chip on his shoulder; the Ghanaian rap artist has done his fair share in expanding the idea of what rap music made in Ghana sounds like. During its mid-2010s tear, $pacely was an integral part of La Meme Gang, the collective significantly responsible for translating Trap’s exuberant expressiveness and boisterous bounce into a local and regional cult following.
Following La Meme’s hiatus, which has been coloured by controversy, its comprising artists have turned to solo endeavours, and $pacely has been moving in stride to that regard. Around this time in 2019, he dropped Fine$$e or be Fine$$ed, a remarkable debut project where he commingled his preference for trap with his own take on Afropop and R&B. “I’ve always just tried to stay true to myself at all times, especially as a solo artist,” he tells me one Thursday afternoon in September over a WhatsApp call, drawing a connection between the musical diversity he’s shown as a standalone act and the range of music that inspires him.
For his latest project, though, there’s an emphasis on rap, a back-to-basics exercise of sorts with an of-the-moment musical approach and complementary framing device. Named for one of $pacely’s alter egos, ‘Keanu’ is a nebulous concept project with a definitive mood, one where the rapper roots his lyricism in the invincibility of its title character. Rooted in trap and drill, the tape is undergirded by the constant presence of low-end knocks and percussive rattles, but it’s the melodic loops and piano samples—which sound like they’ve been pulled from scores of slasher flicks—that gives Keanu its palpable cinematic flair.
“The project is for you to feel how the main character feels, just going through the tracks for a full experience, from the beat selection to just the things I’m saying,” he explains. Often operating in that excitable but controlled space between sturdy flows and melodic phrasing, $pacely sounds youthful and invigorated as ever on Keanu. He’s already plotting his way to what he calls a proper album, but that doesn’t undermine the thrill of his latest drop.
Our conversation with $pacely follows below and has been lightly edited for clarity.
NATIVE: How did you get into the space of making Keanu?
$pacely: I think “Paradise” was the song that kick-started this project. I dropped that song last year and then I followed with “Roll Call,” that was like my first drill song and people went crazy for it. I was like since I have a mixture of Afropop stuff on the album I’m working on, I decided to just create a project around this reception. I mean, some people are calling it an album when it’s really not.
NATIVE: You’re not comfortable calling it an album?
Nah. I kinda made it as something to give the people while I work on the album because the sound on that is quite different and I’m taking my time with it.
NATIVE: Fair enough, since the project is named after one of your alter egos.
Yeah. I’m a fan of anime and just dope cinematic stuff. So this project is like taking you into one of my worlds, basically Keanu’s world. That’s just the motivation. My music takes account of everything I do, what I’m inspired by, and this project just shows that. I grew up in Switzerland and Anime was big part of it, we’d go to school and everyone would gather around to discuss what they were watching. That was a big part of growing up, so it consciously and subconsciously plays a role in my music.
NATIVE: Yeah, I can imagine. It even makes this project’s musical choices make even more sense to me.
Yeah, exactly. It’s in the mood, just the entire experience. The project is for you to feel how the main character feels, just going through the tracks for a full experience, from the beat selection to just the things I’m saying.
NATIVE: There’s that laser focus on trap and drill, as opposed to your debut tape that had a more diverse sonic approach.
I mean, yeah, but I’ve always just tried to stay true to myself at all times, especially as a solo artist. What you do is what inspires you, and that finds its way into the music, you feel me. I listen to a lot of music in general, well beyond just rap, so that will be in my music. I’m heavy on R&B, Afropop, and even some Jazz, I just like to keep myself inspired and that comes with being open to a lot of music. That means I don’t limit myself to one style of music, and besides, people might get tired of it.
NATIVE: For Fine$$e or be Fine$$ed, how were you able to get into that space of working with varying sounds?
I feel like it’s the production, ‘cause I was with a couple of producers that were making so many different things at the time and I just gravitated to all of that. For example, that was the time Odunsi was in Accra, and he had the experimental Afro vibes and we got to work together with that. And that’s what I’m saying with the album I’m working on, it’s a different sound, it’s not what you’ll probably not expect.
NATIVE: That line on the intro where you declared yourself a young OG struck me on first listen. How long have you felt that way?
For a minute. I feel like I’m a part of the genesis of this sound, we played a big role in introducing this type of style into Ghanaian music, and we inspired a lot of people by staying true to the sound. In Ghana, generally, the narrative is that you won’t get anything if you don’t do Afro, but there’s actually no one Ghanaian styles and there’s so much talent out here. Us coming, bringing in that type of wave, a lot of people saw that and followed. For me, being a young OG means continually working on my sound and also help in putting on creatives who believe in what they do.
NATIVE: You’ve been independent for the most part, which isn’t a cakewalk. What’s that experience been like, so far?
It’s been amazing because moving like that in Ghana isn’t the easiest thing to do. Doing promos, putting on your own shows, and other stuff is quite challenging but we’re doing it and learning along the way. I have my own record label, Labadi Music, also doing some stuff with distribution, and generally just doing as much as I can to maximise the reach of the music. It’s been quite the journey, I won’t lie to you.
NATIVE: Collaborations have been important to you, even as a solo artist. How do you source them out?
Most of the time it’s natural. I try to make it as organic as possible, get with the right people on the right songs and just make sure the timing is right. Like, I met BOJ through Kuvie, and it was just an easy fit because I met him through family. That extended to meeting Teezee—I think I was recording when they pulled up and we just worked together naturally from there. Sometimes, though, I also reach out to artists I wanna with. I reached out to the Kumericans, we went to Kumasi it was just good vibes and we were able to work together. They’re on their own journey and it’s good to see them doing their thing.
Listen to ‘Keanu’ here.
@dennisadepeter is a staff writer at the NATIVE.
SOUNDS FROM THIS SIDE: ASAKAA DRILL
Luwa.Mp4 Releases Riotous Debut Album, ‘punKstA*’
Across the album’s 12 tracks, Luwa.Mp4 continues his fiery exploration and fusion of genres like Punk Rock,...
Rising singer and rapper Luwa.Mp4 has released his debut album titled ‘punKstA*.’ The underground star who has been on a release spree all year long, announced the imminent arrival of his debut only a couple of days ago with a cryptic trailer video and an Instagram caption that simply read ‘PUNKSTA* MONDAY.’
Before the arrival of ‘punKstA*,’ the rising fusion star had been showcasing his diligence and talent with a consistent output that has seen him put out over a dozen songs since the start of the year. A string of singles led to a 6-pack titled ‘lore skooL,’ while a deluxe version that housed 5 new songs came just a month later.
His debut album’s lead single, “pUNK FANTASY,” arrived in late July, setting the stage for what could prove to be a pivotal moment in the underground star’s burgeoning career.
Across the album’s 12 tracks, the eclectic singer continues his fiery exploration and fusion of genres like Punk Rock, Afropop, Hyperpop, and Rap into something uniquely different. Tracks like “Pure Water,” which was previously teased on Cruel Santino’s Subaru Live Stream, the abrasive, Tecno-influenced “pROMISED NEVERLAND,” and the more laidback “pEEp MY RIDE” put on display the sort of varied, autotune-soaked approach that has set him apart and helped carve a growing niche.
While Luwa decided to go solo on his debut, credited as the only recording artist, the album was brought to life by a cast of talented producers like frequent collaborator TOPSY, Emyboi, JTRN, 3CB, FVKK.ANDI and Jeremy Cartier.
Listen to ‘punKstA*,’ here.
Keep reading...
Shekhinah Returns With Surprise Album, ‘Less Trouble’
The South African R&B star is at her most assertive on her first album in four years.
South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption.
The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight.
If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns.
Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,” and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’
Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album.
Listen to ‘Less Trouble’ here.
Keep reading...
The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’
‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...
Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music.
In the lead-up to her new album, ‘Black Star,’ she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.” Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’ As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens.
WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM?
Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.
Bamise: I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that.
Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different.
WHAT SONGS STOOD OUT ON THE FIRST LISTEN?
Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!
Daniel Akins: I need to hear “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2” with PinkPantheress is the collaboration I knew I needed, and I’m glad they finally linked up. It’s a clear standout on the project; their ethereal style complements each other.
Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!
HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?
Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.” The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.
Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.
Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen.
WHAT SONG IS THE BIGGEST SKIP?
Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album.
Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.
Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me.
WHAT SONG HAS THE BIGGEST HIT POTENTIAL?
Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically, TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”
Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.
Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.
OVERALL FIRST IMPRESSIONS
Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa.
Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae. Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will.
Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.
Keep reading...
