Hattrick! 

Mr. Money With The Vibes was a masterpiece, Work of Art instantly became a generational classic, and now Asake has gone 3 out of 3 with his third studio album, Lungu Boy. Ever since he turned up in the industry like an uncontrollable whirlwind, Asake has continued to evolve his sound in sonically impossible ways, proving to everyone that he knows what he is doing, and would continue to do things his way.

Lungu Boy is a spectrum. A spectrum of modern Afrobeats sounds, combined with tremendous production from P. Prime and Sarz, and global melodies to match. On his 2022 “Bandana” with Fireboy DML, he sang “Naija boy wey de go foreign.” Now, he has manifested his lyrics. Testing sounds from across the world like a buffet, he demonstrates what real Afrofusion prowess looks like in full force. 

As perfect as a symphony’s final note, Asake added to his immaculate list of intro tracks. Ololade Asake, the EP, kickstarted with ”Trabaye,” MMWTV opened with the orchestra-like “Dull,” and Work of Art had “Olorun.” This time, Asake sets motion with “Start,” a sample of Asa’s “Eye Asaba.” Allowing her pure vocals to wake the minds of his listeners, she chants in Yoruba an announcement that it is the dawn of a new day. A day that has brought “goodness” with it; goodness from the Lungu Boy in this instance. 

The second track, “MMS” was the most anticipated song on the project. Not only did it have the only Afrobeats collaboration, but a sporadic verse from Wizkid. The production is slow and groovy, setting up the whole show on a plate for the Veteran, and attracting an equally smooth delivery from Asake. On the mellow and soothing beats from the background, both Surulere boys sing about good times, bad times, and even worse times, with Wizkid opening up about the sad passing of his mum. 

On “Mood,” he ups the tempo and talks about the disparity of his feelings. The standout moment on the third track was when Asake showcased his polyglotism, as he fluently delivered a verse in Spanish. The fourth track, “My Heart,” is enigmatic, soulful, and sensual. Asake swings from cadence to cadence like lightwork.  “Worldwide” is the first track that is without a P. Prime production. Mastered by Sarz, there is a frequent switch between dominant traditional floor drums and cool, yet jolting synths all through the three-minute track. On “Worldwide,” Asake answers a rhetorical question that no one would ask at this point. Where is Mr. Money? “Worldwide, e don go/ Mr. Money Worldwide, e don go” replies Asake before he begins a Fuji-rap verse, a style he popularised on his 2023 “Blessings.”  

The pre-released “Active” is the sixth track on the album, and perhaps the album’s sharpest cut. He teams up with American singer, Travis Scott, and samples Adewale Ayuba’s vocals on Jazzman Olofin’s famous Fuji track, “Raise Da Roof.” “Active” is gyrating, fast, and fun, as the pacey beats match both the theme and delivery.

After getting a co-sign from Stormzy on “Cry No More” in April, it was only fair that both stars combined on a track. “Suru” is calm. It strongly resembles “Happiness” on which Asake was featured by Sarz; calm, free-flowing, and instrumental. 

“Skating” is a standout track on the album. He made his first public revelation of his love for Skateboards during a concert at the Scotiabank Arena earlier this year, but on this track, Asake makes it explicit. “Skating is our lifestyle/Skating is a part of me,” he sings, as he reveals the ignored skate culture in his city, Lagos. He flourishes on a fancy Amapiano beat; his forte, and maintains the bouncy genre on the pre-released “Wave” with British rapper, Central Cee, and “Mentally,” a disclosure of how he puts things in order on his end; “Mentally Mentally, I de strategize mentally.”

“Uhh Yeah” fades in. The track is weird. Not in a bad way, it is weird in a dance-maniacal way. Sarz outdid himself. He made those beats like his rent was due, fusing EDM, Fuji, and Dancehall beats, with a single rhythm of drum claves untiringly going on throughout the production. “Uhhhh Yeahh,” Asake would slur, before going on to sing in Yoruba.

The party continues on “I Swear” and “Ligali.” On the penultimate “Whine,” Asake is joined by Brazilian singer, LUDMILLA, causing an impressive fusion of scintillating Afrobeats and ragga-dancehall music. To close his masterpiece, Asake employs “Fuji Vibe,” a sound his fans were already familiar with, as he frequently used it for dance breaks during his concerts. He flows nonstop on the racing Fuji beats, and when he halts the signing, you could picture the musical ensemble takeover, while Asake delivers his ever-majestic “legwork” as the crowd cheers.    

As much as Asake loves to fascinate his fans, Lungu Boy is not for the devotes. It is for the particular horde of naysayers that claimed he would not last because he was monotonous; a one-trick pony. Asake is showing them all that he has no bounds, giving life to sounds and combinations that would traditionally exist only in the mind. If Lungu Boy isn’t enough to show Asake’s sonic supremacy, then the sky is but a foundation for this genius. Brilliant production from the sound designers, creme of the crop guest artists, and absolute vibes from the principal creator; Mr. Money is fictitious!