In just three years, Asake has established himself as one of Afrobeats’ most dynamic artists, leaving a trail of hit songs that have propelled him to stardom. His meteoric rise from obscurity to being Nigeria’s biggest hitmaker in 2022 was nothing short of extraordinary. Asake wasn’t just another artist; he became a phenomenon, selling out major venues like the O2 Academy Brixton in mere minutes and performing to a packed O2 Arena a year later.
However, with the release of his fourth project in three years, ‘Lungu Boy,’ Asake faces the challenge of living up to the enormous expectations he’s set for himself. Following the success of ‘Omo Ope,’ ‘Mr. Money With The Vibe,’ and ‘Work Of Art,’ his latest offering aims to cement his global superstar status. Yet, the album reveals the struggles of an artist trying to navigate the fine line between evolving his sound and staying true to his roots.
‘Lungu Boy,’ which translates to “Ghetto Boy,” ironically distances itself from the gritty, Fuji-inflected sounds that defined Asake’s early work. The album ventures into more experimental territory, mixing foreign melodies in a bid to appeal to a broader international audience. Unfortunately, this experiment doesn’t always pay off, and the result is a project that often falls short of its ambitious goals.
The album opens with ‘Start,’ a track that begins with a sample of Asa’s 2007 hit ‘Eye Adaba.’ Asake enters the song only after 30 seconds, and while the track boasts a “big intro,” it ends almost as abruptly as it begins. The opening is a departure from the spiritually charged intros of his previous albums, setting the tone for an album that frequently struggles with consistency.
‘MMS,’ featuring Wizkid, is one of the album’s few standout moments. The track is a melancholic reflection on life’s fleeting nature, with Wizkid delivering an unusually vulnerable performance. This track, along with ‘Mood,’ which flirts with Spanish lyrics, represents Asake in his comfort zone—slow, percussion-heavy instrumentals that allow his unique delivery to shine.
However, the album begins to lose steam with tracks like ‘My Heart,’ where Asake’s voice falters, and the once sharp cadence dulls. ‘Worldwide’ is meant to announce Asake’s global ambitions, but the execution is lacking, with incoherent lyrics and off-beat moments detracting from the overall impact.
Even heavyweight collaborations on tracks like ‘Active,’ featuring Travis Scott, and ‘Suru,’ with Stormzy, fail to elevate the project. Instead of rising to the occasion, Asake seems overwhelmed, his performance overshadowed by the grandeur of the production.
Asake’s lyrical weaknesses, often masked by his captivating rhythm and vibe, are laid bare on tracks like ‘Skating,’ ‘I Swear,’ and ‘Mentally.’ These songs feel more like fillers, dragging the album down rather than adding to its allure.
The album does, however, pick up towards the end with ‘Uhh Yeah,’ a potential hit thanks to Sarz’s fusion of electronic and Afrohouse elements. Here, Asake finally taps into the Fuji influences that made him a standout artist in the first place. The album closes on a high note with ‘Fuji Vibes,’ a five-minute track that melds street sounds with traditional drum patterns, delivering one of the album’s most anticipated and satisfying moments.
‘Lungu Boy’ is a reflection of Asake’s attempt to evolve his sound as he embarks on a global career. While the album has its moments of brilliance, it also highlights the challenges that come with trying to break out of the mold that initially brought success. Ultimately, ‘Lungu Boy’ is unlikely to have the same far-reaching impact as Asake’s previous works, but it remains a testament to an artist willing to take risks, even if the results are mixed.
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