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By Mbuba Chiagozie Tochukwu
On December 23, 2024
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Ghanaian-born American record producer ArrowSpice makes a grand transition from the production desk to the booth as he officially announces the release of his debut song “Commando” as an artiste. Listen Here.

“Commando” sees the producer cum artiste, experiment on a self-produced alternative African record which started as an intentional piecing of different instruments and psychedelic sounds.

He wows with his well-known production adroitness, and matches it with an even more impressive vocal performance for a debut song.

Created with the notion of pioneering a change in soundscape and heavily influenced by alternative African melodies, “Commando,” is the end-product of ArrowSpice’s long-standing production experience and an almost botched up attempt that turned out to be a vibe.

Casually playing around with words and melodies birthed a record so euphonious that it towers above the song’s strong lyrics. Inspired by an innate desire to assert dominance over a significant other, ArrowSpices uses the song’s title to drum home the message of control and protection for a loved one.

On “Commando,” his free-flowing thoughts come to the foreground, with the entire record mainly freestyled as he attempts to liberate listeners from bottling their true desires and feelings.

This debut record provides an early look into what to expect from ArrowSpice as an artiste.

He’s daring and champions the spirit of freedom both in his production and lyrics, in a bold attempt to take over the music arena.

“Commando” is currently available worldwide on all digital streaming platforms.

ABOUT ARROWSPICE

ArrowSpice is a Ghanaian-born American producer who has built a remarkable career shaped by a fusion of determinism and free will. Growing up surrounded by music, with his mother as a church chorister and his early role as a drum boy in his school band, ArrowSpice naturally gravitated toward sound production and engineering. In nearly a decade, he has created diverse, genre-spanning music that reflects the spirit of the times while maintaining a unique identity.

His journey began with King Joey's Low Tides EP in 2016, where he produced five tracks, including "My People" with Phrzzy. In 2017, he collaborated with Kiddblack to produce the acclaimed track "Flexin’." ArrowSpice also contributed to SizzTheTruth’s debut project, The Whole Truth, and King Joey's Cloud Rap EP. His work includes the Afrobeat-inspired EP Diamonds in Dirt with Kayanah, showcasing his consistent Ghana-Naija connection and innovative sound. The release of his first song, “Commando,” as an artiste proves his versatility and experience in the music industry over the years.

By Mbuba Chiagozie Tochukwu
On December 21, 2024
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Behind The Booth With Black Culture

(Dec. 2024 Edition)

Interview conducted by: Mbuba Chiagozie Tochukwu (@agozieee_)

Design: Mbuba Chiagozie Tochukwu (@agozieee_)

Photo credit: Black Culture

Q. Your name, Black Culture, feels powerful and deeply rooted. What inspired you to choose it, and how does it reflect your artistry?

A. Initially, “Black culture” belonged to an old friend of mine who died in a motorbike accident. Taking on the name is me carrying on a legacy that finds the perfect balance between western music and African culture.

Q. Can you tell us about the early days of your journey? What drew you to music production, and what were the biggest challenges you faced starting out?

A. I started playing the piano classically from a young age. I wouldn't exactly say I was forced, but coerced by my parents. Eventually I developed a strong love for music. I decided to go into making beats and people around me were amazed by the stuff I made, it was shocking.

I decided to take it a step further and here we are.

My biggest challenge was trying to find my feet in the music industry and developing a sound that best describes Black Culture.

Q. You’ve co-produced songs like 5am In Ojo with Pheelz. Can you walk us through the creative process behind that track? How did you and Pheelz balance your styles?

A. This collaboration was crazy. It was new for me cause i had not exactly done stuff like that before. It was challenging and I loved every step of the way. Pheelz and I are very musical people with good ears so balancing our styles can never be a problem.

Q. Your joint project with Yimeeka, INÒ, is packed with unique sounds. How did this collaboration come about, and what was your goal for the project?

A. Lanre Masha is the sole pioneer of this link up. From the first day we met and the first session we had yimeeka and I knew we had something special and there is only more to come!

The goal for this project was to show the world the beauty of our African culture, how our music transcends beyond afrobeats into the world of afro house.

Q. What’s your go-to setup in the studio? Any equipment or tools you can’t live without?

A. I think the only tool I cannot live without is my mind.

Q. Who are your biggest musical influences, and how have they shaped your sound?

A. My biggest musical influence is Black coffee, i watch him everyday and learn from him, he showed me how less could be perceived as more.

I also got influenced by the likes of Quincy Jones , Dr. Dre, Avicii, Marshmallow etc. growing up.

Q. Behind every track is a story. Which of your works holds the most personal significance, and why?

A. I think the work that holds the most personal significance right now is Ota. Solely because of the story the track conveys, It's very personal to me.

Maybe one day we would revisit that.

Q. Your music seems to connect deeply with listeners. What message or emotion do you aim to convey through your work?

A. I see myself as not just a producer but an artiste. An artist whose paint brush in this case is music. From the percussion to the subtle melodies to the hard hitting baselines , I aim to paint a picture in the minds of people,make them feel whichever emotion i felt while the track was made.

Q. What’s a typical day like for you in the studio? Any rituals or habits that help you get into the zone?

A. I really do not have any rituals or any habits, I'm a next level introvert so being in my space alone is enough!

Q. Collaboration is key in music. Who are some artists or producers you dream of working with in the future?

A. Where would I actually start from?

Black coffee definitely, &friends, Nitefreak, The weekend, Kleinmusik, Kygo, Martin garrix etc.

Always dreamt of working with Quincy Jones , may his soul rest in peace.

Q. We’re curious: what’s the most surprising or funny thing that’s happened while working on a project?

A. Welllllll my Laptop crashed and I lost every single thing I had worked on for a year plus.

It's funny now but it wasn't at the time LMAO

Q. The music industry is increasingly global. How do you see Nigerian music and your unique sound resonating internationally?

A. It's amazing how the afrobeats industry is finally getting the recognition it deserves.

There’s so much we can be and so much more we can do and I'm excited to see it.

Black culture has always been a global sound trust me you’d see.

Q. What’s next for Black Culture? Any upcoming projects or surprises you can share with your fans?

A. I’m not meant to talk about this yet but i have a project (Roots & Rhythm) dropping Q1 2025,

I’m not going to describe it but it is so fireeeee even I am shocked by it. More details would be dropped.

By Jaro
On December 15, 2024
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DJ Big N, a Nigerian DJ and producer, has played a pivotal role in shaping the modern Afrobeat and nightclub scene. As a member of Mavin Records, he holds a unique position within the African music industry, bridging the worlds of club culture and music production while contributing to the global spread of Afrobeat. This report takes a closer look at his personal and professional life, his relationship with industry heavyweights like Don Jazzy, his influence in Afrobeats, his achievements as a member of the Recording Academy, and his victory at the Red Bull Spin It Loud Nigeria competition.

DJ Big N’s relationship with Don Jazzy, the founder of Mavin Records, appears to be one of mutual respect and professional camaraderie. Don Jazzy, known for his mentorship and leadership within the Nigerian music scene, has played a significant role in DJ Big N’s rise within the music industry. Their collaboration at Mavin Records has not only elevated DJ Big N’s profile but also enabled him to contribute meaningfully to the label's musical direction.

Within Mavin, DJ Big N is regarded as a cornerstone in shaping the label’s musical identity, particularly in the realm of live performance and DJ sets. His ability to blend Afrobeat with other global sounds in his DJ mixes has helped to solidify Mavin Records’ place in the international music scene, showcasing Nigerian music to global audiences through diverse platforms and performances. DJ Big N’s experience and proficiency in navigating both the club and recording studio environments have made him an invaluable member of the team.

DJ Big N is widely recognized for his influence in the nightclub and dancehall scenes, particularly within the Afrobeat genre. As a nightclub DJ, he has managed to seamlessly weave traditional Afrobeat rhythms with more contemporary sounds, making his sets electrifying and widely celebrated. This unique style has earned him a loyal following among clubgoers and music fans across Nigeria and beyond.

His sets, which often feature a mix of local hits and international influences, have contributed significantly to the rise of Afrobeat globally. In a landscape where DJs are essential in shaping the direction of music trends, DJ Big N’s ability to adapt to and influence these trends while staying true to his Afrobeat roots has made him a force within the genre.

In 2024, DJ Big N became a member of the Recording Academy, an acknowledgment of his influence and contribution to the music industry. As a part of this prestigious body, DJ Big N now joins a group of elite professionals recognized for their artistic and technical achievements. His inclusion is significant, as it reflects his role in the global music scene and his commitment to raising the profile of African music, especially Afrobeat, on the international stage.

Being a member of the Recording Academy also provides DJ Big N with a platform to contribute more actively to the development and recognition of African music within international award circuits, such as the Grammys. This recognition solidifies his position as not just a DJ and producer, but also as an advocate for the growth of Afrobeats worldwide.

Another key milestone in DJ Big N’s career is his victory at the Red Bull Spin It Loud Nigeria competition. Red Bull’s Spin It Loud is an annual event that celebrates the art of DJing and mixing, attracting some of the best DJs across Africa. DJ Big N's win at this competition underscores his skill and expertise behind the decks, further solidifying his status in the Afrobeat scene.

The competition itself provides a platform for DJs to showcase their talent in front of both a live audience and industry professionals. For DJ Big N, winning this title not only affirmed his skills as a DJ but also brought him additional visibility within the industry. His ability to incorporate Afrobeat sounds while experimenting with other genres was a key element in his success at the event, demonstrating his versatility and creativity as an artist.

DJ Big N's contributions to both Mavin Records and the broader Afrobeats movement are undeniable. His close relationship with Don Jazzy and role within the record label has made him an integral figure in the rise of Nigerian music. Additionally, his achievements, such as being a member of the Recording Academy and winning Red Bull’s Spin It Loud competition, highlight his broad influence across multiple facets of the music industry. Through his dynamic career, DJ Big N continues to be a key player in the global growth of Afrobeats, particularly within the vibrant nightclub scene, and his continued success speaks to his talent and dedication to music.

By Olumuyiwa Aderemi
On December 03, 2024
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Through his work, it's obvious that Asake represents the current and average Nigerian - patriotic to his roots, dares to defy, relentless in his pursuit of his greatness and does not back down from a challenge. As an artiste, he is methodical, dedicated, dynamic and concise. One might even call him a professor who has carried out extensive research on how best to introduce himself and his sound, reviewed relevant literature which helps him understand what his peers and predecessors have done well and where they have failed and turn all his hypotheses to precedents. He boldly declares this when he states that he found a sound among all the sounds on the MMS, the second track off his 2024 album, Lungu Boy. But how did he get here? How has he set himself apart from others swept up in the Afrobeats vortex commonplace among other Nigerian artistes? More importantly, what are the academics of Asake?

It goes without saying that the first thing anyone would know or notice about Asake is his stage name, Asake. Born Ahmed Ololade, his stage name is native to Nigerian women who hail from the South Western part of the country and the culturally adept would find it confusing as to why a man would choose to be called by a woman's name, especially when ancient traditions and culture are interrelated in Nigeria and dictate who we are. He, on the other hand, does not see it this way and instead finds joy in being called Asake, not just because it’s his mum's name but also to surprise his early listeners who expected a beautiful lady or nice girl when the name is called. This is similar to what Eric Marlon Bishop, popularly known as Jamie Foxx, did. For Asake, the name stuck because he loved being referred to as his mum’s son wherever he presents himself. And it's probably because, like his mum, he loves to dance. Dancing has also been a major influence on Asake’s formative years.

According to him, making music was to create a vibe that made you want to dance as evidenced by his 2018 track, Ayeeza, which was majorly fast, groovy and not a bad jam for anyone could catch a vibe to. Contemporary Nigerian music was not too popular. The likes of fuji legends, K1 De Ultimate, Pasuma and Ayinde Barrister amongst others, served as the go-to bop, especially in South Western Nigeria. Few years later, their songs are the bedrock and inspiration for many artistes in Nigeria's current music industry, Asake being one of them, hence why most of his songs are predominantly sung in fuji. Armed with these, Asake was recognized in a short amount of time while undertaking his bachelor degree in Theatre and Performing Arts at the Obafemi Awolowo University (OAU) for his musical prowess and his catalog of dance moves that had street appeal. These nuances, in one way or the other, would go on to form an intrinsic and cardinal aspect of what Asake does with music.

The name, Asake, translates to mean “one who has been selected or picked to be pampered or cherished” in Yoruba language. However, his journey to superstardom cannot be described as one in which he was pampered or cherished. Many of his current fans know that Asake came into the limelight with his 2020 hit song, Mr Money - more than a decade after he started chose music as a professional career path. If you click the Search icon on Spotify and search for Asake’s discography, you find that most of his songs are the ones that were released in 2020 and afterwards, the popular tracks. This neglects other hits like Kanipe and Ayeeza, both of which were released in 2019 and 2018 respectively, or Shodamo in 2017. These songs do not encompass the complete foundation of his musical arsenal since he became worldwide, but simply tell the story of someone who, to his audience, “got there in two years, but I’ve been working for years”, Asake says. Before his current status in the music industry, his songs were barely paid attention to.

The Native writer, Emmanuel Esomnofu, states “that Asake is influenced by fuji and juju music, incorporating some of its classical practices into his sound”. Some opine that his sound is a fascinating meld of his native Yoruba tongue, amapiano (a staple South African sound), afrobeats’ typical up-tempo rhythms to create a style closer to fuji. Others have noted that his sound comes from a feeling of dominance, “a fusion of Afrobeats, rap, fuji and elemental music strings” or even a mix of ad-libs, log drums or violin. More importantly, Asake knows that he is yet to reach the peak of his talent and will not stop until he does. As an instance, in 2019, Asake released African Something, a two-minute euphemism which speaks on the characteristics of the posterior of an African woman. Body, released in 2020, sounds like an appeal to a lover wherein he describes how he’d like to get intimate with the said person, how he’d caress her and how important she is to him, in both body and soul.

One of his 2021 tracks, Don’t Hype Me finds Asake applauding the kebe of a person who’s caught his attention, asking her Elo lo fe oh / Sh’owo Yankee l’ofe (How much do you want / Do you want foreign money). These songs all testify to Asake’s ability to create a perfect blend of pidgin English and Yoruba. They also show that he has a strong mastery of the beats, sounds or vocals he knows he needs to make his talent as an artiste work. However, as good as they sound, they are superficial in taste, lacking in originality, deficient in depth and diminish the capabilities of his intellectual property. They represent the inventions of an artiste whose interest lies in producing club bangers and celebrate a sense of international acknowledgement driven by one goal - lots of partying with too many women on hand. However, these songs were merely a prelude to a revival birthed via his 2022 EP, Ololade Asake.

The EP comes on the heels of his signing to the YBNL family and introduces Asake in a re-defined sound under his record label. It starts off with Trabaye which introduces the artiste as someone who wants to enjoy his life and feel high, not necessarily on drugs. This point is regardless of whether or not Won so pe won ni mo l’ako osi gan (They said that I’m needlessly a prideful person). He knows how much hard work he has put into getting himself and his music to the stage where everyone is eager to hear from “Mr Money”. On Sungba, the song carries a beat that easily stands out as a club and office banger, versatile in its tone and flirtatious in its rhythm. There’s no denying the fact that the track’s upbeat, amapiano vibe had heads dancing to its beat when it was released. Baba God, off the EP, sees Asake reverting to the constant spiritual force in his life where he says ‘Cause I gat Jehovah gan ni. WIth this resolve, Asake asserts his confidence and acknowledges that Baba God is enough - Ibi tima de, moma de, ko kan ye (Where I’m going to reach, I’ll get there. It's nobody’s business). The last track off the EP is Omo Ope featuring one of music industry’s don and veteran, Olamide, who heads the record label Asake is signed to, YBNL. The song’s hook is very catchy. The track is described as “a masterclass in song arrangement, combining a light two-chord piano riff and a full-bodied percussion groove as its foundational elements, a perfect backdrop for Asake to flaunt his singing”. With world class production of the EP credited to renowned producers, Niphkeys and Magicsticks, as well as adroit choice of Pidgin English and Yoruba words for lyrics, Asake had begun to carve a monument of himself as a musical maestro, “igbadun” connoisseur and superstar.

Already having one of Nigeria’s record setting breakout year, Asake decided to keep the energy flowing with his first album, Mr Money With The Vibe (MMWTV), released in the same year after his EP. The album showed that Asake has a distinct ability, the fundamentals required to chart Nigeria’s music charts, and, with proper tuning and evolution, position himself as the criteria an artiste seeking to hone his craft to the best it must be. With his supply of Pidgin English and Yoruba innuendos, Fuji beats and mixes, Asake delivered on his story on what he had gone through as a young and upcoming artiste, with his own twist and words. Most of the tracks on the album reflected a plethora of different feelings and lessons.

With the success of his debut album, Asake kept the spotlight on his talents and proved that it is possible for lightning to strike twice with the release of his sophomore album, Work Of Art. This album serves as a glimpse into what Asake has gained since his tango with fame in 2022. Seeped in similar concepts that underpinned MMWTV, this album would see Asake recreating his 2022 banquet with a twist, defying the odds and re-introducing himself in a manner similar to when a member of the Uchiha Clan awakens their Sharingan. He exudes more confidence with this album. Where MMWTV was humble, Work Of Art shows off his pride in what he has accomplished less than two years since being a signed artiste - proud of his winnings and indulgent in his achievement - but now without care to know that Emi ko, Olorun ma ni/ Ta lo gbon t’Olorun (Its not me, its God/ Who is wiser than God), Asake sings on Olorun, the album’s opener. He believes that his trust in his Creator gave him this grace and he won’t squander it by being too humble. This indulgent behaviour empowers him to declare himself El Chapo and Capo Di Tutti, names given to a powerful crime boss, which, given the album’s success, were well earned.

In 2024, Asake proved that the similarity and familiarity of experiences and genres which influenced the productions of MMWTV and Work Of Art were a sojourn in his dexterity and flexibility as an artiste and hitmaker. His third studio album, Lungu Boy, is the proof of change in narrative. The album portrays Asake going in a new direction with his music. Asake, as noted by 49thStreet, depicted himself as “the life of the party, the emo guy, the conscious individual, and the lover boy”. Lungu Boy is a project which “is an experimental cocktail of foreign melodies mixed to sip Asake into the bloodstream of a wider international market”, TheCableLifestyle opines. This point couldn’t be truer with Asake digging down deeper “on his signature palette of Afrobeats, amapiano, hip-hop, and neo-fújì, a style that blends elements of Indigenous Yoruba music (choral harmonies, polyrhythmic drumming, Islamic references) with Afrobeats rhythms and street storytelling” to produce something that transcends African borders. Why praise your dexterity if you don’t aim to penetrate new markets. On this album, he courageously tested the boundaries of his creativity and whether or not he could deliver. In one way, it paid off. He opened himself to more collabs than he did with his previous albums, showing that his own style of music can crisscross with those of international acclaim. However, there’s a little connection with the themes and ideas he’d won his audience over with via his previous albums and questions, lack of interconnectedness between each track and the fact that the wordings and lyrics are one-paced and similar. This, however, does not take away from Asake the fact that he’s an artiste and willingly experiments with his sound.

Since his emergence in the industry, Asake’s performance has been nothing short of exceptional. In less than three years, he has turned the tide in his favor and cemented his position. He embodies a strong intersection of culture and creativity. As a contemporary artiste in the Nigerian landscape, most are conformed to follow the trend of releasing tracks imbued with Afrobeats and leave little room to expand their modus operandi. Asake does not subscribe to this and chooses to go down a different path, of which he has the awards and achievements to back it up. It’s obvious that he is not ready to stop evolving. This is his motto, this is the dream for which he has remained steadfast and consistent. With this, it can be said that Asake lays down a blueprint for other artistes to follow.

By Mbuba Chiagozie Tochukwu
On November 26, 2024
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Versatile Ghanaian Rapper and Producer, Amos K is set to release his third project and the second instalment of the extended play (EP) “Tell Them We Are Coming” on December 4, 2024. Pre-Save Here.

“Tell Them We Are Coming 2,” is a five-track project with features from six artistes, with production credits to the rapper himself and some other three talented producers.

Amos K took to his Instagram page to officially announce the release of the project next month.

He unveiled the partly-animated cover art and tracklist of the project with the caption: “Tell Them, We Are Coming 2, The Journey Continues. Out 4th Dec, Pre-Save in Bio.”

This sequel project follows the success of his debut project “Young Black Boy EP,” which charted on the Top Rap Albums in the world on Apple Music, and the first instalment of “Tell Them, We Are Coming.”

Amos K has since garnered over one million streams on all digital streaming platforms, hitting the million mark on Audiomack alone recently.

With songs such as a re-make of the highly rated “Bad Boy” track now featuring Yung Demi, Nana OT, and Dess, as well as the much-anticipated hip-hop record “Nothing On Me,” produced by Kel Beats and 85 Savage with first-time collaborator, Nii Black, that number is expected to skyrocket after the official release next month.

The already released “STALLION” featuring S.I.N. District duo Boi Mack and Spoonz, produced by Bxndit is the middle track, and two solo songs “Zombie,” and “13 Year Old Me,” are the opening and closing songs on the EP respectively. Kel Beats also co-produced the ultimate song with Amos K.

Emunah fine-tuned the entire project, except track 3, which was mastered by Dab Beatz.

“Tell Them We Are Coming 2” will be available for streaming worldwide on December 4, 2024.

Pre-Save Here

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By Mbuba Chiagozie Tochukwu
On November 25, 2024
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Released on November 22, 2024, Morayo is a deeply personal project dedicated to Wizkid’s late mother, reflecting his growth as an artist and individual. It blends Afrobeat with global influences, featuring 16 tracks and collaborations with artists like Asake, Brent Faiyaz, Jazmine Sullivan, and Tiakola. The album is hailed for its introspective themes and innovative production.

Track-by-Track Breakdown

1. Troubled Mind

The album opens with the voice of the legendary K1 De Ultimate, praising Wizkid and saying the whole Nigerian entertainment industry sends their greetings. Troubled mind is a reflective, downtempo track that delves into grief and healing. He addresses mental health and resilience with lyrics "Say, the blood for my eye and the pain for my mind, mo le ṣàlàyé". Wizkid’s minimalist delivery emphasizes emotional depth, setting the tone for a heartfelt album.

2. Karamo

Pakuromo 2.0? A celebration of joy and African pride, "Karamo" showcases intricate Afrobeat percussion with an infectious chorus that evokes dancing. It reflects the Afrobeat culture, where dancing is not just entertainment but an expression of happiness and connection

3. Kese (Dance)

Dance, Gbedu! We all agree that Wizkid is a party freak. Local or International, Ibrahim just wants to "Sha manya" and "Spray the money plenty". A vibrant party anthem, blending Afrobeat and highlife influences, perfect for celebrations. Kese (Dance) is already a fan-favorite on streaming platforms.

4. Bad Girl (ft. Asake)

This duo first gave us MMS and the country turned upside down. Now they're back with a club banger. Wizkid and Asake deliver a blend of Afrobeat and Fuji, creating a raw yet melodic vibe that connects traditional Nigerian sounds with global music. Let's leave Wizkid for a sec. We really want to know the girl that makes Asake have headache and need a massage. We've also been trying to find the meaning of "Two for front, somersault". This song is for all bad girls all over the world. "If you do my own I got you" (winks eye)

5. Time

Wizkid takes us on a love trip from here. This soulful piece explores themes of love and sex backed by smooth guitar riffs and calming rhythms. Wizkid blends romantic imagery with informal expressions. The song revolves around deep affection, intimacy, and emotional vulnerability. Wizkid expresses his love and devotion, emphasizing how this connection keeps his spirit alive. The tone is passionate, sensual, and uplifting.

6. Piece of My Heart (ft. Brent Faiyaz)

If there was a duo we never thought we needed, it's Big Wiz and Sonder Son. A standout R&B collaboration, this track combines Wizkid’s melodic Afrobeat flow with Brent Faiyaz’s sultry vocals for a cross-continental hit. Piece of My Heart showcases the artists' musical chemistry and their ability to create a captivating and emotional listening experience. The love trip continues.

7. Break Me Down

A raw and vulnerable track that explores love’s challenges, backed by mellow production that accentuates Wizkid’s emotional delivery. Wizkid explores the tension between desire and emotional openness, asking how the other person can "break him down" while revealing his devotion. The song combines seductive energy with introspective reflection.

8. Bend

This song doesn't need any explanation. Club-ready, this shina-inspired track, features pulsating beats and a carefree vibe, making it perfect for dance floors globally. According to Wizkid at his only-female album release party in London, he says " I made this song specially for your nyash. So when you hear this song just shake your nyash, shake your nyash".

P.S: shina informally means sex, sexual pleasure

9. A Million Blessings

First off, P2J is genius. The transition from Bend to this song was extremely exquisite. A spiritually uplifting track that fuses gratitude with celebration, radiating positivity and hope. In the chorus, Wizkid calls on God ("Ọlọrun") for more blessings, repeating his gratitude and acknowledging the favor in his life. In the second verse, the reference to "nine lives" suggests his ability to overcome obstacles, while the "bad vibe" in the form of opposition is something he's learned to rise above. The line "big bag for the stress" alludes to both the wealth he’s accumulated and the hardships he’s faced. The track is an anthem of success, self-confidence, and perseverance, with Wizkid embracing both the rewards of his hard work and the challenges he's overcome.

10. Après Minuit (ft. Tiakola)

Tiakola almost snatched this song from Wizkid but e too sure for Baba Bolu. The title translates to "After Midnight," and the song exudes a sensual, late-night energy, combining elements of Afrobeat and French rap with smooth, atmospheric vibes. The French-Nigerian crossover delivers urban vibes with a sleek production, highlighting Tiakola's harmonies alongside Wizkid’s verses. "Après Minuit" is one of the standout tracks for its cross-cultural fusion, much like Made in Lagos introduced various international sounds.

11. Bad For You (ft. Jazmine Sullivan)

An Afrobeat-neosoul fusion, where Jazmine’s rich vocals and Wizkid’s laid-back delivery explore love’s complexities with grace. In "Bad For You", the chorus by Jazmine Sullivan conveys a sense of longing and irresistible attraction, even though both parties acknowledge that their relationship is not good for them. The lyrics "I know that you're bad for me, I'll be bad for you too" express a mutual recognition of the toxic dynamic, but the physical and emotional pull between them is too strong to resist. This track is a standout on Morayo, praised for its smooth fusion of Afrobeat and R&B, and for the vocal chemistry between Wizkid and Jazmine Sullivan.

12. Soji

Soji seems to have the makings of another infectious hit, blending intimate moments with the energy of Afrobeats. The repetition of catchy phrases in the chorus and the affectionate lyrics elevate the song, making it relatable to fans who appreciate Wizkid's smooth, engaging style. Soji presents a playful and intimate exploration of love and admiration. In the song, Wizkid expresses his deep affection for a woman who embodies the perfect balance of fun and sophistication.

13. Don’t Care

We all know Wizkid to be carefree. Mr Ayodeji Balogun no dey send anybody. "Don't Care" by Wizkid expresses a carefree attitude towards external judgment and negativity, embracing confidence and gratitude for life’s blessings. Wizkid begins by acknowledging that no matter how dark things get, his inner light can't be extinguished. Despite the transient nature of people and trends ("Many come and go"), Wizkid asserts his dedication to living life "on low," implying that he remains grounded and unaffected by the temporary noise around him. The repetition of "I don't care" in the chorus reinforces his unwavering mindset.

14. Slow (ft. Anaïs Cardot)

If you've been looking for the voice of the lady on Asake's "My Heart", we're here to introduce you to Anais Cardot, the French-Gabonese singer-songwriter, blending influences from both her French and African heritage. Slow" by Wizkid featuring Anaïs Cardot features smooth, romantic lyrics that emphasize taking time in a relationship, rejecting rush or pressure, and enjoying each other at a comfortable pace. Anaïs' chorus expresses the need for genuine love without playing games, suggesting that if the connection isn't sincere, it’s better to let go. Her lines "No ride or die, better love me or leave me" suggest she’s uninterested in superficial relationships. Both artists bring their unique style, with Anaïs adding her soulful touch and Wizkid maintaining his signature smooth flow.

15. Lose

As one of the more emotional tracks on the album, "Lose" offers a deep reflection on love and loss, making it a poignant addition to the project, which is a tribute to his late mother. The line "Run my race, yeah, I gotta run my race" highlights the theme of resilience, while "Elédùmarè, reduce my stress" calls on a higher power to ease his burdens. An emotional ballad exploring vulnerability, this track stands out for its deeply personal lyrics and stripped-down production.

16. Pray

This life ehn, "omo na long thing". The song, like much of Morayo, seems to be influenced by Wizkid's desire to reflect on his journey and connect emotionally with his audience. Wizkid acknowledges the hardships of his journey, including the persistence of "sapa" (poverty), but maintains a strong belief in divine intervention, praying to God to protect him and keep his success on course. In the pre-chorus and verses, Wizkid reflects on his rise from humble beginnings—moving from Shitta (a part of Lagos) to the more affluent Christ Avenue, symbolizing his rise in status. He recalls the early days of his career in 2011, noting that his success was always destined, and his mantra of "no opportunity will pass by" shows his relentless determination. The closing track is a spiritual reflection on life, blending Afrobeat and gospel elements for a powerful conclusion.

Wizkid’s Morayo is a masterful blend of introspection, innovation, and Afrobeat excellence, reflecting his evolution as an artist while maintaining his cultural roots. This album solidifies Wizkid’s place as a pioneer of Afrobeat while pushing his artistry to new depths. A solid 10/10. Reception has been positive, with critics highlighting its global appeal and refined artistry. Wizkid himself declared Morayo his best work, aiming to expand Afrobeats' reach even further.

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