With Asake’s latest and third full-length body of work ‘Lungu Boy’, listeners get the best of both worlds- both worlds in this context being his well-known ingenious vocal stylings of fuji cadences which have made him a unique figure in the Nigerian music industry and the other world being a more sonically exploring Asake who is not afraid to explore alien sonic pockets.
Asake is a global superstar now, and there is no denying it. The superstar makes his international inclinations obvious with his third outing. The features give it away. Enlisting hip-hop talents like Travis Scott, Central Cee, and Stormzy is as intentional as the project’s title.
Asake coined his third album, ‘Lungu Boy’- Lungu, a colloquial term for Ghetto said to originate from the South Western part of Nigeria. Some writers have argued that Asake’s use of the word Lungu is misplaced due to his rare venturings into sounds that would be considered inherently local, and, therefore thematically dishonest, however, this writer counter-slides this dogmatic rhetoric.
Lungu as used by Asake is more of a disclaimer. The singer, while achieving international acclaim, says through the title that he hasn’t changed. There is still an awareness of self and origin albeit edited.
In Lungu Boy, Asake is unwavering in his use of Yoruba language. His global reach doesn’t allow for total compromise. If there is one thing Asake won’t compromise, it’s using the Yoruba Language. Asake proudly showcases this originality via his relentless use of the Yoruba Language.
In the record opener, ‘Start’, Asake samples the nostalgic ‘Eye Adaba’ by Nigerian folk singer Asa. The melodious sample matches Asake’s creative intent. Here, he is awakening listeners to a new dawn, ‘Oju mo ti mo’
Let it be known that this writer conjured this article a week after the album’s release. In the course of the release week, Asake had already broken the all-time one-week stream record on Spotify, accruing over 18 million streams in just a week of release, beating the record once held by Nigerian legend Davido.
These stats debunk claims made by naysayers who foresaw a commercial flop lurking. If anything is glaring, the world is listening, and Asake’s decision to feature stars like Travis Scott (USA), Central Cee (UK), and Stormzy ( UK) paid off- this is a back-end local stream data conclusion by the way.
MMS, featuring the enigmatic and iconic Nigerian Superstar Wizkid is an introspective follow-up that has been well-received by enthusiastic fans of both stars. The song is a befitting follow-up as it touches on in-depth subjects such as the transient, and vain nature of life. A vast reminder that fame, and fortune albeit a coveted desire are nothing but a passing in the sand.
Songs like ‘Mood’, and ‘My Heart’ are beautiful album fillers. They do not stand out in themselves but are necessary additions. Stand-out songs, according to this writer are ‘Uhh Yeah’ ( for its brilliant fusion of Fuji and Edm), ‘Suru’ feat Stormzy, ‘Worldwide’, ‘Active’ (feat Travis Scott), ‘Ligali’, and ‘Whine'( featuring Brazillian rapper Ludmilla)
Ultimately, the fifteen-track album is reckoned as a successful trifecta. Anyone who says otherwise is presuming abruptly.
