Category: Blog

The self-styled Mayor of Lagos, Mayorkun, makes a confident return with his third studio album, Still The Mayor. A 12-track project that completes a sonic trilogy following his 2018 debut The Mayor of Lagos and 2021’s Back in Office. This latest body of work sees Mayorkun reaffirm his dominance in Afropop, blending vibrant party anthems with mellow R&B cuts, alongside a robust cast of collaborators including Fireboy DML, Rotimi, Dremo, The Flowolf, Michii, King Promise, and Olivetheboy.   The album kicks off with “Keep on Rocking”, introduced by Semzi’s signature tag. It’s a high-energy opener that sets the tone with carefree vibes and infectious Afropop rhythms, as Mayorkun invites listeners on a joyride through his musical world also interpolating Sean Kingston’s ‘Beautiful Girl’ & Dr Yinka Ayefele in the process.   Track two, “Innocent”, features Fireboy DML and serves as a previously released lead single. The duo glide effortlessly over a minimalist, mid-tempo production, using soft melodies and flirtatious lyrics to try and win over a muse. A smooth, laid-back offering that complements both artists’ strengths.   “3:45”, featuring Rotimi, continues in the mid-tempo lane, a smooth record interpolating Kid Laroi’s ‘Stay’ but introduces a distracting log drum beat that slightly undercuts the song’s potential. While Rotimi’s vocals inject soul and polish into the track, the production struggles to maintain cohesion, making it one of the more polarizing moments on the album. Mayorkun reunites with Fireboy DML on “Diamonds”, a sensual R&B track that emerges as a highlight. The chemistry between the two artists is undeniable, with sultry vocals and witty wordplay painting an intimate picture. The beat is delicately layered, allowing both singers to shine without excess.   On “Konko Below”, the album shifts gears into a more dance-oriented tempo. Drawing from traditional percussion and vibrant strings, Mayorkun crafts a song built for movement. However, the over-repetition of the chorus phrase “Konko Below” may wear thin for some listeners, detracting from the song’s overall replay value.   The mid-album interlude “Industry Girl”, featuring Dremo, The Flowolf, and Michii, pivots into hip-hop storytelling. Focused on nightlife escapades and a particular love interest, the track showcases Mayorkun’s range and offers a glimpse into the collaborative spirit behind the project. While not groundbreaking, it holds its own with decent performances from all featured artists.   “Blessings on Blessings”, featuring Davido, reignites the album’s celebratory tone. Fueled by fast-paced percussion and subtle log drums, the track is a jubilant ode to success, luxury, and longevity. It’s an enjoyable and energetic link-up that taps into the duo’s proven chemistry. The social commentary emerges on “Reason 2 Japa”, where Mayorkun addresses Nigeria’s dire economic conditions and the urge to seek greener pastures. It’s a timely track, underpinned by familiar log drums and high energy, offering both groove and substance.   “Hold Body”, assisted by King Promise, is another love-leaning Afropop gem. While the recurring use of log drums starts to feel predictable at this point in the album, King Promise’s convincing delivery adds depth, helping the track rise above the potential monotony. “Woman” slows things down, with Mayorkun wearing his heart on his sleeve. This mellow tune, marked by sparse instrumentation, sees him serenading a lover with earnest simplicity. It’s a soft landing after the upbeat sequences.   On “Would You”, featuring Olivetheboy, we’re treated to another R&B ballad, rich in emotion and smooth vocal interplay. It’s a gentle, heartfelt offering that highlights Mayorkun’s lyrical finesse and Olivetheboy’s vocal charm. The album concludes with “Jiggy”, a triumphant closer where Mayorkun reasserts his identity as “Still The Mayor.” It’s a bold, celebratory track that bookends the 31-minute project on a fittingly high note.         Still The Mayor is a testament to Mayorkun’s versatility and consistency. While some tracks suffer from repetitive production choices, particularly the overuse of log drums. The album is still an enjoyable journey through love, success, and self-expression. The features are well-curated, with standouts like Diamonds, Would You, and Blessings on Blessings offering memorable moments. Though not a groundbreaking reinvention, the project solidifies Mayorkun’s place at the forefront of Afropop.   Lyricism: 1.7 Production/Sound Engineering: 1.2 Tracklisting/Sequencing: 1.3 Vocals, Delivery & Execution: 1.5 Listening Experience: 1.6 Overall Rating: 7.3/10   Abdulmuqsit Idowu is a music critic and writer with a focus on the African entertainment industry. With a passion for music and culture, he offers insightful and honest commentary on the ever-evolving landscape of African entertainment. Follow him on X and Instagram: @justabdulmuqsit.    

When tracing the evolution of African hip-hop, particularly within the Nigerian context, Falz is a name that rings loud and clear. With over 14 years in the game since his debut mixtape Shakara, FalzTheBahdGuy has earned his place as one of the continent’s most dynamic and socially conscious rappers. His latest album, The Feast is yet another testament to his artistic growth and commitment to blending entertainment with enlightenment.   The album kicks off with the lead single, “Round of Applause”, a track that sets the tone. where Falz reflects on his personal journey, weaving tales of romance with biting social commentary. One line stands out, “Still I dey wonder, if police go let me rest” a stark reminder of ongoing issues like police profiling. Yet, he masterfully toggles between political and personal, never losing rhythm.   “Old Soja” featuring Majeed slows things down with a mid-tempo groove rooted in highlife rhythms, embellished by electric guitar riffs that lend the track an edgy character. Majeed’s soulful delivery lays the foundation for Falz to step in and deliver a classic lyrical performance, part street poet, part storyteller.   The tempo spikes on “Anything Goes” featuring Odumodublvck, where the two rappers dissect the consequences of poor leadership over a 90s-inspired boom-bap beat courtesy of Chillz. Odumodublvck’s braggadocious style energizes the track, making it one of the more intense moments on the project.   One of the standout creative risks comes in “No Less,” where Falz samples Sikiru Ayinde Barrister’s Fuji Garbage, fusing fast-paced Yoruba percussion with piano chords and witty bars. It’s a moment that underscores Falz’s versatility, seamlessly marrying indigenous soundscapes with contemporary rap elements.   The album then shifts into a more sensual mood with “Famomi” featuring Dotti the Deity. The track rides on smooth strings and subtle drum kicks, with both artists exchanging heartfelt verses. Falz’s second verse, in particular, is a masterclass in romantic storytelling.   “Slow Down” featuring Qing Madi tries to explore the softer side of Falz through a fusion of R&B, Afrobeat, and jazz. While the lush harmonies and charismatic delivery offer promise, the track feels slightly undercooked and leaves room for deeper collaboration.   “Jump” is Falz in his pure form, an upbeat, witty hip-hop number reminiscent of his viral hit Bop Daddy. Its catchy hook and ethereal background vocals ensure it sticks, proving that he hasn’t lost touch with his humorous, chart-friendly core.   The album takes a beautiful spiritual turn on “Wonderfully Made” featuring Oiza & Meyi. The twin sisters deliver an ethereal chorus that elevates Falz’s verses celebrating the beauty and wonder of the female form. It’s a refreshing, affirming listen that expands the album’s emotional range.     With “Dance With You,” Falz taps into the vibrant pulse of Amapiano, layering log drums and trumpet flourishes into a lush Afrobeats groove. It’s a party-ready track that still retains his lyrical sharpness. A definite highlight is “Wayo” featuring D-Smoke, where Falz samples Fela Kuti’s Chop and Quench. The result is a politically charged banger where both rappers take aim at corruption and societal decay with vigor and confidence. D-Smoke complements Falz’s energy with a passionate verse, making this one of the album’s most potent collaborations.   Then comes “Eat”, a cheeky interlude that ties the album’s theme together. Falz uses culinary metaphors to urge listeners to “chop sense,” cleverly using food as a metaphor for knowledge.   The album closes on a profound note with “Story Time”, arguably the strongest and most personal track. In this five-minute lyrical memoir, Falz narrates his journey from aspiring footballer to reluctant law student, eventually discovering his true calling in music. It’s honest, heartfelt, and a fitting curtain call for an artist who’s never been afraid to bare it all.   The Feast is a rich, flavorful body of work that pushes the boundaries of African rap by incorporating highlife, Fuji, jazz, and Amapiano, creating a true sonic melting pot. The featured artists contribute thoughtfully, never overshadowing but always enhancing Falz’s vision. While the track sequencing could have been tighter, leading to occasional dips in narrative cohesion. It doesn’t detract significantly from the listening experience. What Falz delivers is more than an album, it’s a cultural plate of sounds, stories, and soul.   A buffet of genres, emotions, and commentary, The Feast is aptly named. And with it, Falz proves once again that he doesn’t just rap, he feeds minds.   Lyricism: 1.7 Production/Sound Engineering: 1.6 Tracklisting/Sequencing: 1.5 Vocals, Delivery & Execution: 1.8 Listening Experience: 1.   Overall Rating: 8.2/10   About the Author Abdulmuqsit Idowu is a music critic and writer with a focus on the African entertainment industry. With a passion for music and culture, he offers insightful and honest commentary on the ever-evolving landscape of African entertainment. Follow him on X and Instagram: @justabdulmuqsit.