The concept of a joint project has always remained an essential landmark in the Nigerian music industry. But Wizkid and Asake’s Real offers a lacklustre listen than a cultural fixture.

Over the years, joint projects in Nigerian music have been marked by a continuous sonic chemistry between two distinct artists, with a yearning audience eager to dive into the shared artistry.

Oftentimes, it rewards us with a defining moment in history like heavyweight rappers Olamide and Phyno’s 2Kings. Other times, it highlights a transient yet pivotal season inspired by previously existing collaborations such as Pheelz and Fireboy’s Peace by Piece. For what it’s worth, joint projects have always been a needed harmony within the Nigerian music industry; from Falz and Simi’s Chemistry, to Jeriq and PsychoYP’s melodic rap album Evil Twin, to BNXN and Ruger’s hate-turn-love RnB album. Well-intentioned, orchestrated, and specially produced to merge the artists’ two worlds for an immersive experience.

Yet Wizkid and Asake’s Real, Vol. 1 — a bromance-led project — struggles to maintain every element of euphoria that a joint project offers. Of course, this will go down in Nigerian music history as a cultural placeholder where Afrobeats most successful voices unite on an extended play. With the duo massively embraced on hit records like “MMS” and “Bad Girl,” the need for an extensive project arises, with the expectations higher than ever, too.

So when the unexpected announcement of their joint project dropped on Apple Music Radio late last year, it projected a cultural landmark from two distinct generations. But with the release of lead single “Jogodo,” it begs a myriad of questions from the highly acclaimed artists.

On Real, Vol. 1, their fourth collaboration, the project delivers Wizkid’s lush vocals and braggadocious lyricism, stemming from his long-standing success with Asake’s signature Fuji-inspired artistry. While the four-track duet, carried by Magicsticks’ masterful production, remains a highlight, it raises doubts that the project might as well have been lazily rushed.

The EP opens with the Magicsticks and DJ Tunes-assisted production “Turbulence,” where Wizkid and Asake continue on their introspective musings as first heard on “MMS”. The track offers more thematically than the entire project, whilst the duo calmly glide between the percussive rhythms and deeply mellowed melodies. The mutually proclaimed ebullience permeates the rest of the tracks, but falls short of the thematic cohesion that opens the project.

Closely tailing the intro, the lead single “Jogodo” storms in. Here, Magicstick’s brilliant sonic construction outperforms the duo’s street-inspired composition.

On the bouncy Private School Amapiano record, Wizkid strikes with a catchy hook braced for a fiery hit. Marked by a signature theme of hedonism, he layers lightweight lyrics on the saxophone riffs. Asake complements with laid-back Fuji-laced melodies that push the track for a groovy experience.

The project’s highlight, “Iskolodo,” maintains the cadence in which Magicsticks reimagines a fusion of Amapiano with Spanish smatterings—a nod to Asake’s indulgence in Latin American music. The Spanish sample, layered over percussive rhythms and dreamy Amapiano undertones, sets the stage for an immersive experience. The entire record draws moments from a groove-laden performance that rocks a late-night Spanish bar. The duo makes no mistake in exalting their preference for continuous hedonism, complementing the vibrant backing track.

To bring the track to a close, they jump on the log-drum pattern and synths record “Alaye.” Coming from the previous track, this one leaves no impressive encounter upon listening. But it does maintain a groovy cadence set by the Magicstick’s less showy Amapiano production. The duo match each other’s street-inspired vibe as they dwell on proclaiming their game and bank statements.

With an EP like Real, Vol. 1, one cannot take away the combined sheer weight of cultural and commercial impact that Wizkid and Asake wield. Though faulting thematically and sonically, the joint project actualizes what the Nigerian music industry needs more than ever.

Yet it offers more of a lacklustre listen than a cultural fixture. The project’s rushed composition, held together by Magicstick’s ingenious production, rewards listeners with a less sufficient experience from the biggest voices in Afrobeats.

Essentially, if this is truly Wizkid and Asake’s Real, Vol. 1, with the promise of a continuation, then it deserves a more delicate level of composition than what they delivered. Otherwise, it’s a project that should have remained in the drive for their cheerful consumption.