Lungu Boy: Asake’s Evolution Leaves A Polarised Fanbase Seeking Closure

Evolution.

Eat with the world or be eaten up by the world. That’s as simple as evolution goes. Survival is the baseline of man’s pursuits. To be seen, to be loved, to be liked, to be counted, to be felt, to survive the next minute, hour or day in a good, grand way. The multiplicity of the human nature means very individual has a core to dip into. A bottomless pot of traits, patterns and ways that can be reached for some difference. People grow, but this growth phase, especially artistically is not always easily accepted. It takes some time, but as people say, it will grow on us.

For some context. The lives and paths of;

Adekunle Gold - AG Baby - Tio Tequila - and many more things he’d wish to call himself. Music, as probably the most acceptable form of art is competitive. It’s a dog-eat-dog world. Relevance is its currency and everyone fights to be in the limelight even if it means they’ll have to change their looks, sounds, appearance, or whatever. AG has had a complete turnaround of sound and appearance to fit into what and who he thinks he is at the moment - a globally reputable artiste, and not the local one whose sound seemed limited. The core remains but some critical parts of the structure have been rejigged.

Olamide had an entire project on experimentation - trying out a new sound and sampling the mood and reaction of his support base. It was mixed but in his utter boldness, he went for the kill. He went all in, took some body shots along the line from some of his critics but got better with every involvement. He evolved.

What you have seen from Asake is evolution - gradual, painstaking, eventful, rough, lonely, noisy and quiet evolution.

He’s not seen outside as often as before, he has changed his looks, he is living his name. “Alameda”, “Medo” which is a local nickname for who bears Ahmed has been his new trajectory. He’s not afraid to be called that, alongside Asake. A march past to the past.

That sweet, sonorous sound of ‘Ololade Mi Asake’ which reined many in is also far out, probably never to be heard in realtime again. It has walked its course and its aim has been achieved. Movement! Asake is now Lungu Boy, the new globally-acclaimed Nigerian musician who is more mature, softer-sounding, richer, cleaner but lonelier. It all reflects in his new sound, his new artistic ID and new reach.

It’s sample season in Nigeria and the past is becoming the delight of the present. A new song rekindling the sound of the OGs of pastime is released almost every Friday and it is a worthy celebration of a period that’s not usually given the credit it deserves in Nigeria. Many artistes, some of whom are still relevant today, have dropped some of the most beautiful sounds in history and that they are remembered now is testament to their greatness.

Lungu Boy, a 48-minute-7-second project greeted its newness with Asa’s Eye Àdàbà, a song that is truly evergreen, ever beautiful and still as fresh as ever. A grand yet subtle entrance into a new world of musical reality and evolution. Asake went straight into business after his ‘bonjour’ and quickly reminded everyone that his sound is changing. ‘Bo se n gbo Afrobeats lo n Calypso’ was one of the early pointers to the direction of the entire project. Calypso is a kind of Caribbean music originating in the mid 19th century and with Antillean origin. Its West African roots also makes it a worthy venture for Asake as it got clearer that he’s pushing into a new realm of his arts. The entire project was a deviation from what his fans have always been used to and it has not been the easiest of transitions for many.

MMS meaning Mr. Money Sound where he featured arguably the greatest modern Afrobeats artiste, Wizkid delves deeply into gratitude. Asake maintained his Yoruba sound and despite some distasteful criticism from some quarters that he should speak or sing in less of the language, he hasn’t lost the sign of what has worked the best. The song, which Asake claims Wizkid loved after listening to it and decided to be on it pays homage to the vanity of life and the need to appreciate everyday - the road, the process, the journey and the destination. It is storytelling at its clearest, and speaks greatly into his past life. ‘Once upon a time’ was repeated twice with phrases like ‘pay my price’ also stating it is a reflection of his path.

Mr. Money Sound isn’t what many have gotten used to but Asake has dropped a hint of where he’s headed. He sings about how he just sang and failed to identify his sound but kept singing and dropping gems. ‘I no get name, I know say na sound’, ‘I wan dey precise I wan dey precise’ are proofs to the sometimes confusing state art leaves a creative. As modern artistes grow, the urgency to detach from an umbrella categorisation rises and having a special sound seems a classy thing to do. The future will determine if Mr. Money Sound is a wise leap into the future or it’s just another rickety adventure into self realisation.

Regardless, it is potentially his next project’s name - Mr. Money Sound. Wizkid gives what feels like bland lyricism despite its depth, a facelift and proves it’s truly his sound to lose. The messaging is consistently conscious and reiterates on the vanity of life with deep Yoruba sayings often used for caution and reminders about the fickle nature of life. Wizkid finds himself in that sound, speaks about his mum’s death and finding his purpose while not forgetting his blessings and the need to live, regardless.

For an ultra-conscious project, MMS is the summary of where Asake and many like him are at the moment, a mood many can’t predict coming but find themselves in. In Mood, he reveals how gloom and joy alternates in his everyday life. ‘What I’m saying is not funny, real life shii what a feeling’ Asake sings. His storytelling comes to the fore again as he explains how he manages to stay sane amid melancholy, feel human, block the noise and understand where he is.

Unfortunately, this is not what his fans want to hear, yet it’s arguable that Asake has only covered his consciousness in dancehalls and fast-paced Amapiano beats since his emergence. He has always been conscious, perhaps not at such an invigoratingly personal level as this. He spreads his mood in another language, not forgetting the ambition to conquer new frontiers while spreading his state of mind. Is an utter revelation of his mental state a great way to introduce his sound to a more global audience? That’s perhaps the grouse of his disappointed disciples.

The loverboy Asake comes to the front in My Heart where he goes praise singing this ‘Atutupoyoyo’ that’s not from ghetto. The foreign feel of classical music takes the reins and Asake dips into the level many know him to be at. It mixes local sensation with foreign feelings and the result is a good love song that combines smooth lyricism with a sometimes rough yet slow delivery.

If Worldwide showed Asake telling who cares to listen that he’s gone far ahead, Active proves it. The song which features American rapper and singer Travis Scott is unarguably the biggest on the project and is the poster song for very justifiable reasons. Scott is as big as they come and his lyrical prowess is one of the finest in the business. He brings his A-game to the song and Sarz shows why he’s probably Africa’s finest music producer with beats that’s only there for the taking. Jazzman Olofin and Adewale Ayuba’s ‘Raise da Roof’ was sampled, with Asake exploring his Fuji roots yet again, and delivering a song which combines many cultural specifics while not losing the detail. It saves an album that is not entirely satisfactory at a first listen but definitely has sounds and songs to savour.

There is no conscious drive without Stormzy. He’s incredible at storytelling and Asake continues on his collaboration with global A-list acts on Suru which is one of those sounds to savour. Here, Mr. Money preaches patience, which is the English meaning of Suru. Surulere is not only an area in  almostevery major South West Nigerian town or city, but it also means patience has good rewards as every lyrical note suggests on the song. Asake again spreads his roots with some local drum - gangan dropping hard on the beats, an information that shows he’s aiming for a wider space but is not leaving his roots, as it may seem. Yoruba is still the main language of his lyricism and the greatest difference may be in the pace of his sounds, and just how much help he sometimes needed to spread his intent.

Skating is confusing but one can take solace from the fact that art is very personal and yeah, maybe Asake is aiming at something but it’s unclear. It’s difficult to see Asake’s direction here. ‘Skating is a lifestyle’ doesn’t exactly state anything but he could be skating somewhere if some of his lyrics are taken into consideration. He curses, boasts, warns, reminds on here and then goes ’Skating is a part of me’. The song’s title doesn’t exactly justify the lyrical insouciance and conscious messaging Asake shows here. Perhaps, just maybe it’s because it takes some courage to skate. The sound, as always is dope, but it can use some clarity.

Wave is the wave that has sent Nigeria and the UK into musical delirium. It brings together two of both nations’ best acts and greatness is what was birthed. It reaches deep into the streets and brings out the roots of both artistes - street wisdom and on-the-edge lifestyles. Central Cee’s lyrical prowess comes to the fore and Asake’s self-adulation is not left behind. The project mostly sees Asake levitating in grandeur backed by a note to self that everything is only temporary but should and can be thoroughly enjoyed.

Mentally feels like a regurgitation of everything he has said in three or more songs on the project, but only delivered in a faster, even less lyrically stimulating way. ‘Timberland is my favourite shoe’ isn’t certainly an information that is new or needed but it shows Asake sometimes struggled to live up to self lyrically. However, it will do no damage to the overall ability of the song to chart as its relatable lyrics and is danceable. “Leg over leg over leg over Mohammed Salah” sounds like an attempt to fill some minutes up as the Liverpool winger is barely seen doing step-overs. Maybe everyday is truly Salah, Muslims’ big festival indeed but all Asake has stated about his undulating mood does not remotely suggest everyday is. Again, for the consciousness of this project, the lyrics can be better.

Uhh Yeah is special, sweet, and strong. It is Asake at his most confident but his lyricism is engaging and fresh. The song produced by Sarz is distinct, somewhat different from every other song on the project in its disco appeal. Mixing the five beat pattern of Afrobeats with disco touches base with grandness and that’s exactly what the song is - mercurial in its delivery. I Swear sounds like the Asake many have been used to and may be calling for everyday of the week but the evolved Asake has to be accepted for his growth. ‘L’America won fe la mi... Normal person to di somebo’ is his gratitude for growth. He goes even deeply into his spirituality and recites a verse from the Quran just to reiterate his current state of mind, but like Emiliano, Medo, Alameda rora!

Ligali and Whine which features Brazilian act Ludmilla explains Asake’s exploration further with sounds that are diverse and less serious but more lyrically profound. On Whine especially, Asake dips into calypso and fashions a path to the Caribbean. Ludmilla carries the rest of the song and gives an old school club vibe. It is definitely one that can chart across countries and cultures.

Fuji Vibe, which is added as a bonus track, on the other hand pays homage to the local foundations of what has fast become a global sound. It partly keeps Asake’s earliest fans close. Since Asake teased fans with some of the sounds during one of his concerts, many have waited for it and it is a glorious exit for this project, a great place to leave many at and a sign that Fuji and all its modifications are truly what Asake is most comfortable at. And as his exploration and evolution continues and his new path gets more refined to meet global demands, it’s important not to forget his best position. Fuji Vibe says after all, Asake is Nigerian, Yoruba, and is built for cultural sounds and music, as his training, journey and growth show.

This evolution isn’t coming easy to accept, and a passionate fanbase that was built on the joy Asake brings will rather he sticks to being their joy giver, and not a reminder of what life truly is. They don't seem to need that from him, but art is personal.