With his 2023 release Work of Art, Nigerian vocalist Asake set a high-water mark in the evolving Afro beats wave. His soothingly melodic top lines, coupled with the deep and dynamic Afro-house style of Amapiano, created an album that resonated deeply across the music scene. While his latest follow-up, Lungu Boy, doesn’t consistently hit the same peaks, it showcases a broader versatility, taking listeners on a journey across the Black diaspora that has captivated audiences to the point of arena-filling success and Grammy nominations.
The announcement of his third studio album, Lungu Boy, a 15 track album, caused massive waves of excitement worldwide. The word ‘lungu’ connotes alliance with one’s hood and is itself quite a famous Lagos street word. Though the features—Wizkid, Travis Scott, Central Cee, LUDMILLA, and Stormzy — are predominantly international artists, they indicate Asake’s ambition to expand his global influence in the music scene.
The Voice and the Guests
Asake’s earnest voice serves as the emotional core of the album, rising and falling like columns of heat from the music. His vocal prowess is further highlighted by a series of collaborations with A-list artists. The album’s opening third is notably calm, with Wizkid adding to the soothing vibes on the track “MMS.”
It’s noteworthy that the first voice heard on “Lungu Boy” isn’t Asake’s, but that of soul singer Asa.
Asa, a respected figure among multiple generations of Nigerian artists, has influenced many, including Blaqbonez and Taves, who have paid tribute to her in their unique ways. Asake samples her iconic track “Eye Adaba” on the album’s opener, “Start.”
This artistic decision is not an isolated one. Since his breakout, Asake has made a conscious effort to bridge different eras and sensibilities within Nigerian music.
Stormzy’s appearance on “Suru” brings a sense of spiritual Thanksgiving, adding depth to the album’s early moments.
A Journey Across the Black Diaspora
When Asake sampled the legendary Mauritanian artist Michel Legris’ “Mo Capitaine” on the intro of “Yoga,” it was clear that he was delving deeper into Black spirituals—a fitting choice given the somber themes that have characterized his music since his debut album.
As the album progresses, it shifts gears, becoming more energetic and vibrant. It’s a joy to hear Travis Scott and Central Cee seamlessly blend their styles with Afrocentric rhythms, showcasing the global appeal of Asake’s music and the unique expression of Black culture in the U.K. market.
However, the true standout is “Whine” a Caribbean dancehall track featuring Afro-Brazilian artist LUDMILLA. The song is a carnival-worthy celebration, with lyrics flowing effortlessly between English, Yoruba, and Portuguese, embodying the fusion of cultures that defines the album.
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Asake’s latest album embarks on a sonic voyage, traversing the rich cultural landscapes of the Black diaspora. His music, already known for its captivating blend of Afrobeat and amapiano, reaches new heights as he incorporates diverse influences from across the globe. This expansion in sound demonstrates Asake’s ambition to connect with a broader audience, while also celebrating the interconnectedness of African-descended cultures worldwide.
Amapiano Takes a Backseat as Asake Explores New Sounds
In the past, Asake has faced criticism for heavily incorporating amapiano into his albums. Even when the results were distinct, as with Work of Art, some Nigerian listeners quickly labeled any production with log drums as amapiano. However, as producer Sarz explained in a tweet, this isn’t accurate, as log drums are increasingly used in various sonic contexts.
In his latest project, Asake shifts away from amapiano, experimenting more boldly with different genres. Sarz, who co-produces “Active” alongside Mike Dean, masterfully blends elements of house, hip-hop, and funk, creating one of the most dynamic and experimental beats on the album.
Indeed, the project is rich with intriguing beats. “My Heart” features a Spanish guitar that dominates the first half of the track, transitioning into a bass-heavy drum pattern in the second half. “Mentally” is deceptively simple, with an underlying mystique created by the subtle use of keys. The disco-house beat on “Uhh Yeahh” is particularly thrilling, drawing out a vibrant performance from Asake and somehow evokes a vibe that reminds me of Beyoncé’s Renaissance.
The album closes perfectly with “Fuji Vibe,” a progressive take on the genre it’s named after and an exciting track that fans might recognize from a freestyle Asake made before his rise to fame. The production credits include: P.Priime, Sarz, Magicsticks, and SAK PASE, the latter of whom produced the dancehall-infused “Whine,” featuring Brazilian artist LUDMILLA.
Asake’s latest album may not reach the consistent heights of Work of Art, but it offers a richly layered and versatile listening experience. The only issue with Lungu Boy is that it weaves together all the elements across the black diaspora, where Asake not only broadens his musical palette but also deepens his connection to the global audience. It also entails all the elements of an Asake classic (top-class production, the persona takes on, everything down to the features). The only thing lacking is the enthusiastic, witty, and assured delivery Asake is usually associated with (especially in his previous projects).
This album is a testament to his ability to transcend borders and celebrate the diversity of the African diaspora through music. Not a bad album at all, it’s just not great.
Listen to the project here:
