Stonebwoy, the stellar Afro-Dancehall artist hailing from Ghana, kickstarted his UK tour of the ‘Anloga Junction’ album on the 21^st of November at the O2 Academy Islington – and it was a show that was not to be missed. Considering this was my first Ghanaian music concert, I was more than expectant and I can say I wasn’t disappointed.

Whilst everyone was waiting for the ultimate moment in which Stonebwoy would grace the stage, the pre-party vibes were through the roof. Considering the UK had faced three national lockdowns between March 2020 and March 2021, it’s no surprise that people were ready to shake a leg. Coupled with supporting acts such as DJ Neptune and GHB2B, who reloaded the bangers of old and new from Ghana and across the African continent, the scene was set for Stonebwoy to grace the stage and bless his fans with his extensive catalogue of hits.

It was almost like a homecoming for Stonebwoy as he slowly emerged into the centre of the stage whilst soulfully performing the smash hit “Tomorrow”, a song that talks about today’s struggles whilst hoping for a better tomorrow. He did remind the crowd that life is really a journey as he performed “Journey”, my personal favourite song off the ‘Anloga Junction’ album.

The deep and reflective vibes ended there as Stonebwoy entered a groove and became more upbeat. This meant that songs such as the evergreen “Higher”, “Baafira” and “Pull Up” were performed with immense energy to the extent that you could feel the ground shaking beneath you!

It wasn’t long until Stonebwoy was joined by his special guests. First was Ghana’s own Article Wan who performed his breakthrough hit “Solo”, which actually means “different” in the Ga language. Nigeria’s very own DJ Cuppy followed up as Stonebwoy and herself performed their 2020 single “Karma”.

Alicai Harley brought a sprinkle of Jamaican flavour to the show as she and Stonebwoy performed “Understand”, a mix of bashment and afrobeats music. Nana Rogues, a British-Ghanaian artist and producer ensured the crowd not to stress as they performed their single “Don’t Stress”. Rising star Wauve also made an appearance as he represented Ethiopia through “Pamela”, a song heavy on strings and punchy kicks.

Stonebwoy continued to wow the crowd as performed more hit songs and put his dance moves on display. He also became more intimate with his fans as he jumped off the stage and shook the hands of many. It was a historical moment as this was his first headline tour in the UK in an almost 10-year professional career and it was fully sold out too. He has given hope to Ghanaian artists to expand their reach across borders and hopefully he’ll be back again bigger and better!

When lockdown was officially imposed on the 23^rd of March 2020, many of us were basically forced to create our own livelihoods. This may have involved learning a new skill through an online course or picking up hobbies you may have never considered in your ‘normal’ day-to-day life. However, this may have become repetitive and even draining as you may feel the need to constantly upskill. One thing that kept most of us check was music – whether you were revisiting old albums or discovering new genres, it was one of the things that united (and still does) people through new platforms such as virtual concerts. Hopefully as the 19^th of July creeps up, lockdown will be a thing of the past, but how has music played a role in our lives?

If you have some spare change (or even some savings) lying around, why not spend it on some musical masterpieces? Expenditure on music increased by 8.2% in 2020 according to the British Phonographic Industry (BPI) – over 155 million albums were either bought or streamed. Major streaming platforms including Spotify, Apple Music and Amazon Music, raked in a total of 139 billion streams. This was an increase of 22% from 2019. One genre that had a remarkable year was UK Rap and Hip-Hop. Accounting for 22% of single track consumption and 12% of album consumption, this is the highest it has been since 1999 when the BPI first started calculating figures of each genre. Notable artists in this genre include Headie One and Nines (both with number 1 albums) and KSI, who’s debut album (‘Dissimulation’) had two top 10 singles (‘Houdini’ and ‘Down Like That’).

AJ Tracey, J Hus and Jax Jones were a part of 200 artists that amassed 100 million streams. But how do we quantify a stream? Nile Rogers, co-founder of the band ‘Chic’, believes that the monetary value of streams is a secret. “We don’t even know what a stream is worth and there’s no way you could even find out what a stream is worth, and that’s not a good relationship”. He also believes that artists and writers are also not paid equally from the shares they accumulate on these platforms. Although mediums of music such vinyl records and cassettes would be considered outdated audio formats in today’s digital world, sales reached 4.8 million in 2020, a 500,000 increase from 2019. Cassettes also doubled in sales with 156,642 sold. This is the highest it has been since 2003. CDs took a plunge in sales though, with only 16 million being sold – just a tenth of what was sold in 2004 when CD sales were at their peak at 163.4 million.

With a lot more time on our hands during lockdown, many people may have decided to explore different sounds. Those with a musical background or have a great interest in the art may have decided to delve into songs with complex structures such as those of Abba’s and look at patterns in their key and tempo changes. Similarly, those interested in rap and hip-hop may take a deeper look into the rhyme schemes of legends such as The Notorious B.I.G., Jay-Z and Nas. When it comes to the music creation process, fans may be interested in Kanye West’s change in sound from joyful and happy (for example, “Graduation”) to more sombre and eerie ( “My Dark Twisted Fantasy”).

A study was conducted by the University of Burgos in Spain to see whether music, as a consumer good, had any emotional or psychological benefits during the lockdown. A sample of 1,377 people (with almost 70% of the people involved being women and over 50% of participants being in the 41-60 age range) was used. The questionnaire had two aspects to it: sociodemographic content (age, gender, level of education) and a dimension of analysis which included 11 questions based on characteristics of music consumption, use and conception during lockdown, form of consumption (alone or with others) and how frequently music was used in daily life (temporal frequency). They found statistical differences between age and music consumption, suggesting a relationship between the two. Moreover, they also found out that a third of adults aged 51 or over listened to music nearly everyday, more than any of the age ranges. Approximately 60% of those aged 18-40 said they listened to music as a source of emotional regulation less compared to the rest of the participants. 74% of the participants indicated that they used for music as a source of regulating negative emotions such as stress or anxiety. The study concluded that music was frequently consumed to help manage depressing emotions in lockdown, but as they were not able to identify the musical tastes of the participants, they did not know the genres that were effective in managing these emotions.

In the UK, the BPI were able to identify that almost 30% of respondents in their survey in November 2020 had played more music in lockdown in comparison to pre COVID-19. Just about half of the respondents in the 16-24 age range reported that their listening of music increased during lockdown, and it was higher than what it was before lockdown. When asked why listening had increased, 50% of the participants said it raised their spirits whilst 42% said it made them more relaxed. Almost everyone said listening to music offered an escape from their problems. It also seemed to promote effective studying as a third of respondents said so. Music also helped to improve the motivation of people to carry out daily activities according to 80% of the participants.

We hope to see musicians perform live shows again, but how have venues that host them coped during lockdown? Since closing their doors because of lockdown enforcement, many believe that they will need financial support going forward from the pandemic. It was even forecasted that 83% of venues were due to close forever. Thankfully, the generosity of the British public pulled through and they were able to donate to initiatives such as the ‘#SaveOurVenues’ campaign by the Music Venues Trust, which has raised £4 million till date, and the Cultural Recovery Fund. This has ensured that less than 1% of venues have been closed.

Despite these valiant efforts, there are still a handful of venues that are risk of closing if they do not reach full capacity should live shows return. One of these venues is ‘The Lexington’, which needs almost a one fifth of a million pounds (£180,000) to continue functioning. The general manager of the space doesn’t seem optimistic about the future either. Stacey Thomas told NME that the landlords had not been sympathetic of their situation and was worried about paying rent for the space. One of the ways that could help The Lexington continue to operate is the purchase of a late licence and book bands, but bigger venues are taking on these bands making it difficult for them to book shows.

Despite what was a turbulent and stressful year for many, 2020 didn’t seem to project its negativity on Ghanaian artists. Rather, it produced vibrant atmospheres, such as the Asaase Sound Clash between the two dancehall greats of our time, Shatta Wale and Stonebwoy. It introduced competition through back and forth diss tracks between some of our ladies in the scene, notably Sista Afia, Freeda Rhymez and Eno Barony. It also birthed a new movement: Ghanaian drill, locally known as ‘Asakaa’ which has been received well nationally and internationally. Where it mattered most however was the studio, and here some memorable projects were cooked up. Let’s go through some of the top Ghanaian projects of 2020 and add these to your library as you see fit.

Kuami Eugene – Son of Africa (Album)

Kuami Eugene’s nomination for the VGMA ‘Artist of The Year’ raised eyebrows for fans and some industry heads alike, with some saying the award was meant for Sarkodie. However, his sophomore album, two years after his debut album ‘Rockstar’, proves Kuami Eugene a worthy winner of the award. Boasting a variety of intercontinental features from the likes Eddy Kenzo (Uganda), Falz (Nigeria) and Zlatan (Nigeria), Eugene also calls home on stars such as Sarkodie and Shatta Wale, legends Samini and Prince Bright and gospel great Obaapa Christy. Kuami Eugene eloquently blends the genres of highlife, afropop, dancehall and gospel to give party vibes in the form of ‘Open Gate’ and ‘Show Body’ (featuring Falz). He balances the enjoyment with thought-provoking tracks in ‘Beifour’ (featuring Sarkodie and DJ Mensah) and ‘Amen’, and praises God with ‘Wa Ye Wie’ (featuring Obaapa Christy) and ‘Ewurade’. A well-balanced project, you’re bound to appreciate this album.

Afriyie Wutah – Ayalolo (EP)

If someone asked you what the capital of Ghana, Accra sounds like, this is the perfect EP to describe it. Afriyie Wutah, once a part of the dynamic duo ‘Wutah’ who churned out hits such as ‘Kotosa’, ‘Adonko’ and ‘Goosey-gander’ in the 2000s, released his first EP as a solo artist towards the latter end of 2020. There’s no other way to describe this EP than amazing. Afriyie Wutah is introspective on ‘Hard Times’ as he reflects on the catastrophic events of 2020 , ponders on love on ‘The One’ (featuring Dela), and brings encouragement on a reggae instrumental entitled ‘Rise Up’. The city sounds come from ‘LaLa’ and ‘Afrojam’ particularly. On ‘LaLa’, Afriyie Wutah incorporates traditional highlife sounds with increased elements of jazz, giving the song an extra vintage feel. ‘Afrojam’ also bears similarities to ‘LaLa’, but it has more of the modern afrofusion sound to it and the bass guitar is dominant here. The songs on this EP are perfect to use in the Ghanaian tourism industry as they are stories in themselves.

Killbeatz, Ofori Amponsah & King Promise – Love and Happiness (EP)

This EP poses a triple threat. With Killbeatz, you’re going to get his creativity through signature production that has made many hits in the last decade. On King Promise’s side, you’re going to his mix of highlife and R&B feels that cements him as one of Ghana’s finest crooners of modern times. And finally, the veteran Ofori Amponsah blesses the EP with his presence. Combining all their traits together, we get the ‘Love and Happiness’ EP. Dedicated and inspired by his firstborn daughter, the four track EP explores these feelings and each track tells a different story. ‘Odo Nti’ begins the EP, and the smooth yet contrasting vocal ranges of King Promise and Ofori Amponsah favour the song. Sarkodie joins the trio on ‘Sweetie Jorley’. The combination of King Promise’s Ga lyrics along with Sarkodie and Ofori Amponsah’s Twi rap and chorus makes this a beautiful rendition of original highlife. ‘Pretty Little Girl’ is slow in rhythm and you can tell it’s a song that comes from within due to its soulful feel. The EP ends with a sample of one of Ofori Amponsah’s classics, ‘Damaabi’ in ‘No More’. Joey B and Darkovibes, who also had an impressive 2020, link up with the trio here and do their thing on the track. An exquisite mix of contemporary afrobeat music and highlife music, it is essential for you to listen to this project.

Fameye – Greater Than (Album)

The ‘Notin I Get’ hit maker is going from strength to strength in his musical career. Fameye’s vocals can be described as ‘light and airy’ and this allows him to channel his emotions, ensuring that his lyrics come from the heart and his listeners can relate to him. This unique characteristic of Fameye has been in massive demand as many artists have been featuring him on their tracks. Whilst featuring on other tracks, he’s been able to make his own hits including ‘Speed Up’, ‘Long Life’ (featuring Kwesi Arthur) and ‘Okomfour Kwadee’. His hard work resulted in him winning the VGMA ‘New Artist of the Year’ award. Following this, Fameye released his debut album ‘Greater Than’ and it doesn’t disappoint. ‘Asem’ kicks off the album with rap great M.anifest, who delivers cool yet punchy verses and Fameye adds his distinctive melodies. ‘Fly Away’ is a dreamy song, suggesting Fameye is in his own world as he sings. Fameye taps into hits of past times as he samples Daddy Lumba’s ‘Bubra’ in ‘Choices’ which features Pappy Kojo, and Mzbel’s ‘Awoso Me’ in ‘Agoro’, which comes across as a playful and fun song. ‘My Lova’ and ‘247’ (featuring Kidi) are assurance songs to their other halves. He doesn’t forget his hustlers still trying to find their way as this is a huge foundation in his lyrical content. ‘Streets’ concludes the album and is a motivator for those trying to make their dreams come true. Fameye’s sound is second to none and he is definitely one to watch in years to come.

Stonebwoy – Anloga Junction (Album)   

This man needs no introduction. Whilst his third studio album, ‘Epistles of Mama’, had a greater Caribbean focus and tracks dominant in the genres of reggae and dancehall, ‘Anloga Junction’ enables Stonebwoy to channel in on his Ewe roots and deliver his signature Afro-dancehall sound. An example of this is ‘Le Gba Gbe’, the introduction to the album. This translates to “I’m alive”. Here, Stonebwoy deliberates on the topic of mental imprisonment, but the message isn’t one of gloom but rather of hope. Stonebwoy advises his listeners not to dwell on the negative present and be content with whatever you have, because they’ll reach their promised land. This album bursts with features from all over the globe. One standout feature on the album is Keri Hilson (USA) on ‘Nominate’ as this was her first appearance on any song in just over 10 years. The two perform a duet on a mellow alt-R&B instrumental as they search for love. Similarly, Stonebwoy teams up with Alicai Harley (UK) on ‘Understand’ as the two depict a couple trying to get to know each other. The maestro, Kojo Antwi joins Stonebwoy to let their lovers know they make them melt like ‘Nkuto’,  the Twi name for shea butter. Jahmiel (Jamaica) arrives on ‘Motion’, with a message that entails slow progress is better than none at all. Stonebwoy brings upbeat dance tracks in the form of ‘African Party’, ‘Critical’ (featuring Zlatan) and ‘Black Madonna’, which features Tanzania’s Diamond Platinumz. He closes the album with a thanksgiving to God in ‘Strength & Hope’ on a distinctive reggae beat. Arguably the best artist of 2020, you must check out Stonebwoy’s talent on ‘Anloga Junction’ if you haven’t already.

2020 forced the creative juices out of many, with a lot of musicians producing sounds which you may never have expected to hear particularly from them. At the same time, there are projects that have been overlooked – either due to lack of promotion and marketing, general buzz around the artist or simply not knowing much (or anything at all) about the artist. Here’s 5 projects in brief that I feel that haven’t been recognition they truly deserve.

YOUNG T AND BUGSEY – PLEAD THE 5TH

Young T & Bugsey are undoubtedly the ‘flyboys’ of the UK scene. They have the persona, look and lyrics to fit the description of a ‘flyboy’ and it’s reflected in their mixtape. Entering the scene in 2016 with ‘Glistening’ and “No Mickey Mouse Ting” , the two have a knack for making catchy hooks. They’ve been making bangers in the form ‘Gangland’, ‘4×4’ and ‘Ay Caramba’, but it’s only in 2020 they’ve decided to drop their first project.‘Plead the 5^th’; a double-entendre referring to the Nottingham area code and the Fifth Amendment, blends the sounds and flows of UK Afroswing, a sound established in recent years in ‘Don’t Rush’ (featuring Headie One) and ‘Stand Up Man’. It incorporates the braggadocio energy of rap ‘Top Boy’ (featuring Morrisson) and ‘Plead the 5^th’ with street tributes (‘Dreadlocks’) and keep the girls in mind with ‘Throw Me A Text’ and ‘More Than Me’. The duo display their versatility and to me it’s no surprise they have one of the biggest records of the year with ‘Don’t Rush’ and Headie One’s ‘Princess Cuts’, in which the two featured on the track.  A sound for everyone, you must check it out if you haven’t already.

AMBUSH – ASK MY BROTHER

It’s pure street greaze from Ambush from start to finish in this mixtape. Breaking through in 2018 with arguably one of the biggest street anthems in recent years with ‘Jumpy’, Ambush has managed to deliver big tunes despite some run-ins with the law. April 2020 saw the release of ‘Ask My Brother’, his second mixtape. ‘Amb (InTrill)’ opens the mixtape and is truly one of the best intro’s to a mixtape produced in a while. Despite the explosive gunshot sounds and punchy kicks which resound through the song, the theme of the song is discretely woven in the song. ‘Amb (InTrill)’ ponders upon the loss of his cousin, Nuno Cardoso, in police custody. It amplifies Ambush’s pain in losing him and it is still hurtful in the black community that we are treated unfairly by such authorities. Like ‘Jumpy’, Ambush makes more street bangers with tracks such as ‘Winners’ with C Biz and H Moneda and ‘Tommy Shelby’, both packed with aggressive verses that will get you pumped. Ambush also calls a UK rap veteran in the form of Giggs twice on the same tape with ‘Silly Events’ and ‘Mass On Sunday’, delivering slick verses. D Double E and R.A. are drafted in on ‘Started’, a unique track as it is a drill-infused rap instrumental with fast flows from all rappers. On a lighter note, Ambush comes on an emotional/heartfelt angle with ‘Side B*tch’, telling his listeners his view on love and a storytime with ‘Eastenders’, which depicts troubles you can get in with girls. To summarize like how Ambush opened on the intro, the tape is about his life and environment. This tape is very diverse and because of that, you’ll not be disappointed.

YOUNGS TEFLON – COD 3

Every now and again, you log into social media and see some sort of debate and discussion about who’s got the hardest bars or who’s a real lyricist in the UK. Majority of the time they miss out Youngs Teflon and it’s bad. Youngs Teflon finishes off the ‘Call Of Duty’ trilogy and it is nothing short of what you have heard in the previous mixtapes. From head to toe, the project is filled with wordplay, punchlines and sincerity. Youngs Teflon can quickly switch the cadence of his tracks at any given moment as exemplified in ‘Intro’. His flow and delivery is that of narrating a story about his life, but three-quarters of the way in the song he switches it up and dispenses a highspeed flow which you could envisage yourself zooming down the motorway. There are fun tracks in the form of ‘El Classico’ with a catchy hook, and this can also be said for ‘Alpo’. Featuring K-Trap, ‘Alpo’ refers to the infamous drug-dealer Rich Porter (who is also the man in which the film ‘Paid in Full’ is based upon). Honourable features appear in the project with a drill linkup with RV in ‘Bally Bop’, a reminisce of past times accompanied by a guitar and flute dominated instrumental with Tiny Boost, and a solemn yet thought-provoking lyrical linkup with Dave. There’s no surprise why Youngs Teflon is one of UK’s rap legends and this tape will show you why.

SCRIBZ RILEY – WISH ME LUCK

This is probably the most diverse project of this list sonically. Scribz Riley, a two-time Grammy-award winning songwriter and producer (who has written for the likes of Cardi B, J Hus and Khalid), only established himself as an artist in 2020 to add to his credentials of being a multi-talented creative. Breaking through with ‘East Side’, an ode to his hometown, Scribz Riley followed up with ‘Impress Me’ (featuring Headie One), a conventional rap beat with stringed melody that may resemble one of a drill beat accompanied with Headie One’s versatility in bars. ‘Mandy’ soon followed; a mellow guitar led instrumental with saxophone infusions gives a ‘summer at the beach’ vibe to uplift potentially depressive lyrics that describe struggles in a relationship. The project boasts talented musicians that are both established and upcoming. Kaash Paige features on the first track of the project (‘On My Sleeve’), a track that has “flex on my ex” feel but recalls a pastime where he wasn’t as protective and how he wore his heart on his sleeve. R&B crooner and rapper 6lack appears on ‘Dim My Light’. The trackdescribes his progression in working on his craft but as he is doing so, he seems to be getting more enemies than friends and they want to take his shine. This exposure of ulterior motives amongst those you are close or associated with is not new news to anyone who’s moving forward in whatever. ‘Introduce Yourself’ is a fun track featuring upcoming talents KWN and JADA. Given his experience in working with world-renowned artists, I believe Scribz Riley knows how to make the UK R&B sound cross borders and moreover his sound reaches many other ears. The project speaks for itself, so check it out if you haven’t listened to it.

K TRAP – STREET SIDE EFFECTS

There are names you must mention when it comes to the emergence and rise of drill music in the UK. K Trap is one of the key players in a genre which is giving many young people a voice in sharing a similar story. 2016’s ‘David Blaine’ gave K-Trap massive recognition before breaking out in 2017 with ‘Paper Plans’ and his debut mixtape ‘The Last Whip’. Since then, K-Trap has been consistent with his releases and has collaborated with other big names in the scene such as DBE, Yxng Bane, 67 and Headie One to name a few. A big part of K-Trap’s image and brand during his come up was his mask. When he removed it in 2019 in the ‘Big Mood’ music video, it showed a different side to K-Trap – a more relaxed yet fun persona and most importantly, an elevation in his sound. In an interview with Trench, K-Trap said he doesn’t like drill beats anymore because when he hears them “he can only spit a certain way”. On ‘Street Side Effects’, it’s blatant why K-Trap wants to be diverse with his sound. His debut album explores different avenues: losing his cousin Bis of the Harlem Spartans collective in the intro (‘Street Side Effects’), the trap with Blade Brown (‘Probably’), drill with Abra Cadabra (‘New Opp Block’) and maturity with Wretch 32 (‘Lessons’). K-Trap admits old habits are still rooted in him (“What’s it like to be trapper with a silent T”) but is determined to fulfil his potential as a musician. Much comparison is drawn to close collaborator Headie One in terms of their delivery: clear-cut with an almost blunt touch to it. However, K-Trap is more introspective, and this is evident throughout the project. A well-rounded project, it’s a must listen if you haven’t already.

I still remember that BlackBox freestyle back in 2016 like yesterday. The first instrumental, what we now know as ‘Robbery’, had almost everyone around me thinking that Abra Cadabra was a yardman from Jamaica. This gained massive traction and gained attention from Krept & Konan, in which a remix was made and changed the trajectory of Abra Cadabra’s music career. The second part of the freestyle resonated with me the most as he used various flows and touched on various topics, from his hometown (Tottenham), his personal life and relationships with friends. From 2016 to 2017, he was continuously putting out music and done many features, with my favourite being the one his collaboration with Sneakbo entitled ‘My Hood’.

Although Abra Cadabra was releasing tunes in 2018 and 2019, they were seldom dropped. His first project,  the ‘Feature Boy’ EP, had some good tracks (in my opinion) but did not attract the masses as greatly as he did with ‘Robbery’. This made many think that Abra was fading as quickly as he came. He shut those thoughts down with a strong Daily Duppy freestyle towards the end of 2018. However it seemed people forgot about this going into 2019 making that year also generally quiet for him.Going into 2020, it seemed Abra had something strategically planned as he released an EP (Love Or Lust), collaborated with associates OFB and released a series of hard-hitting singles including ‘Baby’, ‘Cadabra Freestyle’, ‘On Deck’, all which by now you should know as they’ve been making serious waves. It’s all led up to this point: the ‘Product Of My Environment’ mixtape.

‘Product Of My Environment’ opens up with ‘Trenches’. Abra Cadabra talks about coming from the bottom whilst living the street life in Tottenham. Despite all the madness he’s witnessed, he’s convinced he and his friends will see better days (“I tell my bruddas don’t worry / I got a strong feeling we gon’ make it). The call at the end of the song tells us what to expect throughout the mixtape as his friend says “he’s singing, he’s rapping, he’s drilling”.

Anytime Kush (OFB) and Abra Cadabra link up, you know the track is going to be hard. From ‘War’, ‘The Roads’ and their Valentine’s Day tracks, they always deliver. Kush features on ‘How We Living’ and the pair go back to back on the instrumental, which seems to take on oriental inspiration from Eastern Asia. Abra admits that sometimes he doesn’t know why he lives the way he does, but sometimes he can find himself in a vulnerable position as he sings “to be safe, I got to pick my gun up”. The succeeding song, ‘Usual’, also tells the harsh realities of growing up where he’s from like in ‘Trenches’ (“Stabbings and shootings that’s just the usual”). At the same time, he sends out a message to the younger ones who are at a crossroads in life about the truth of the road life (“Don’t look for trouble, keep your mind right, don’t get brought up in a cubicle”). You’d think your friends will be there for you whenever you need them, but the streets don’t discriminate and owes nothing to no-one (“Bro this game ain’t got rules your best friend will watch you drop”). A light reminder to make the best decision for you.

‘On Deck’ is easily one of the best tracks to come out of the UK in 2020. Abra unlocks a different kind of energy as he aggressively flows over a fierce drill instrumental, but he does this tactically as he left his listeners with a unique chorus to remember ( “I got bare girl round, jiggy jiggy on deck/ In North London, jiggy jiggy on deck/ In East London, jiggy jiggy on deck/ But I don’t ever slip, got my blicky on kweff). Abra Cadabra told Apple Music that he used the same formula for ‘Spin This Coupe’ and it’s definitely worked as this is my new favourite. The adlibs go off on this track and he delivers high-octane verses. “They couldn’t even tell you what they used to do, cos what they used to do, is what they do now”. Abra cools off a little in “Show Me” as he harmonises more yet makes the same impact. These songs can be grouped as his ‘big 3’ of 2020.

Abra Cadabra doesn’t only feature members of the OFB collective here but also calls on musicians he has previously featured as well as new ones. Krept & Konan are called in on “Seen It All” where Abra Cadabra leads on the chorus. Krept reflects on life before music and touches on the government’s ignorance in providing a suitable way out for those from lower socio-economic backgrounds (“Lately, suffering, sketchy government/ Why the fuck do you think man are trapping when they give man a ration?). Konan does this too and he doesn’t want to come across as a hypocrite when advising young people on what to do with their lives (“How can I tell these kids put the knife down when akh came with a Rambo?”). They don’t regret what they’ve done as it’s all part of their story and what they’ve achieved today.

Dappy, once a member of the celebrated group ‘N-Dubz’, features on ‘Selective Bad Boys’ and the pair go back to back on an instrumental filled with eerie basslines and thumping kicks. ‘You’, featuring Dirtbike LB and Young Adz, has the slow and softer feel of an R&B tune yet the beat of a hip-hop track, allowing Abra to exhibit his versatility. This makes it one for the ladies as Abra Cadabra confesses the way he feels is because of a special someone (“Wouldn’t feel like this if it wasn’t for you”).

‘Begging Flexxing Stressing’ samples ‘The Four Seasons’ track “Beggin’” (1974), which was remade by the Norwegian group ‘Madcon’ in 2007. Abra Cadabra reminisces on times where he was at low points in his life and how he had to have his own back and not really depend on anyone else (Little n*gga, I ain’t begging, begging you/ I ain’t stressing, stressing you/ And I’m flexing, flexing on you/  You gon’ wish you never did me wrong). ‘Keep Going’ is encouragement for those who find themselves stagnant in what they’re doing and cannot seem to progress, but eventually you’ll make it (Oh, keep going, keep going/ Let’s pray the cash money keeps flowing).

‘My People’ and ‘Everywhere I Go’ are the final tracks on the mixtape. ‘My People’  is more of a tribute to the people he’s lost along the way. It’s also an introspective track as he thinks about the personal goals he wants to achieve before he passes on (I hope I’ve made a milli’ by then / Then give my Mum so much money that she can’t spend anymore). ‘Everywhere I Go’ allows Abra to release his pain at the fact that he has to stay more vigilant than others at the chance he finds himself in trouble (You don’t know how it feels, I got guns all around me to ensure my peace). He realises that these are bad habits ( “I’ve been in these streets so long that these bad habits still with me”) and is determined to see the bigger picture outside the hood.

‘Product of My Environment’ has a solid consistency from start to finish. A mix of anthems, heartfelt storytelling and feel-good tracks, it is a steppingstone for Abra Cadabra to achieve his full potential. Additionally, Abra Cadabra doesn’t glamourize the life he has been through – he says it plainly as it is and allows his listeners to make up their own opinion on the life of street kid.

November was nothing short of drama, at the same time there was some good music in the form of singles, albums, EP’s and mixtapes. Let me take you through some of my favourites of the month from the UK (in no particular order).

Abra Cadabra

• My favourite songs: Spin This Coupe, Show Me
• Project: Pre-released singles off the ‘Product Of My Environment’ mixtape (to be released).   

Abra Cadabra is definitely back after taking some time off and definitely hasn’t missed this year. His previous releases of ‘Baby’, ‘Cadabra Freestyle’ and ‘On Deck’ (which is definitely one of my favourite songs to come out this year) has fuelled the momentum of his third project which may also be one of the best to come out from the UK too. These tracks have a polished yet eerie sound which brings out his ability to make his voice commanding on a track. I’m certain he’s going to display his versatility on his upcoming project with dancehall and afro-inspired melodies.

Scribz Riley

• My favourite songs: Impress Me (feat. Headie One), Mandy & Introduce Myself (KWN & JADA)
• Project: Wish Me Luck

I had seen Scribz Riley’s name over some music pages on the internet but never actually heard his music before. The ‘Riley’ part to his name started to make me feel like I may have come across him before and I was right as I found out he is the brother of Talay Riley, who famously featured on Chip’s (formerly Chipmunk) song ‘Look For Me’ amongst many of his own songs. Scribz Riley’s project revolves around the sounds of R&B, hip-hop and rap whilst drawing song writing inspiration from gospel music too. He has blended these various sounds effortlessly and it’s no wonder he’s a two-time Grammy award winner as a producer and songwriter. ‘Impress Me’ (feat. Headie One), ‘Mandy’ and ‘Introduce Myself’ (feat. KWN & JADA)’ are my takes off the album, all with different sounds and themes.

Odeal

My favourite songs: Something, Answer Me, Composure 2

Project: OVMBR: Roses

Odeal has been releasing songs as early as 2016 (and probably even before then) and is an example of timing and patience when it comes to perfecting your craft. Earlier in the year, he featured on Abra Cadabra’s EP (Love Or Lust) on the track ‘On&On’ and more recently Nines’s album (Crabs In A Bucket) on the track ‘Ringaling’. Prior to releasing OVMBR: Roses, his solo debut project, he released a summer banger entitled ‘More Life’. Odeal’s project boasts many genres including afrobeats, garage, rap, dance and the slow heartfelt R&B tunes he has made in previous years which he has become much associated with. Odeal is definitely bringing something to the UK scene and is definitely a future star in the making.

K-Trap

My favourite songs: The whole album

Project: Street Side Effects (Album)

K-Trap is an artist that I was previously following subconsciously: I would listen to his music anytime he released, but never followed his journey closely. After watching his interview with Amarudon TV and getting an insight into the way he thinks about life, money and relationships with others I started paying more attention to him. Although my initial favourites on the album were ‘New Opp Block’ (feat. Abra Cadabra), ‘Probably’ (feat. Blade Brown) and ‘Pour It Up (feat. M1llionz)’, the consistency throughout the album is a lot for me to pick a couple favourites. Each song comes with different flows and themes distinctive to the tracks before, making this album one of my favourites to come out this year.

Pa Salieu

My favourite singles: My Family (feat. Backroad Gee), Block Boy, Informa (feat. M1llionz), Betty

Project: Send Them To Coventry

When ‘Frontline’ came out at end of last year, he naturally drew comparisons to J Hus due to the similarity in their vocals. J Hus didn’t feel no way about that and rather encouraged Pa Salieu on social media. Since then, you could hear the difference in their music styles: J Hus generally making more upbeat and feelgood tracks, whilst Pa Salieu generally makes music with gritty storylines. However, they both delve deep into their African (Gambian) roots when it comes to their beats. This is a very good debut mixtape (which has an album feel) and the replay value here is massive as Pa Salieu has a track for all kinds of music listeners.

Mnelia

Favourite songs: On&On, Ro’s Lullaby & Shoot

Project: After 6 (EP)

I heard ‘Say Yeah’ quite a few times in some videos online and around social media but never found out who sang it until I came across this EP in my ‘Listen Now’ on Apple Music and I wasn’t disappointed. Mnelia’s 4 track EP has a serene yet emotional feel to it making it a good choice for a late-night drive (if you’re in that mood lool). Mnelia has previously featured on projects of the likes of 23 and has also released a project to prior to the After 6 EP. She’s definitely on her way to carving her own lane in the UK R&B so if you’re an R&B lover check it out!

Loski

My favourite songs: Basil Brush, Captain Hook, Naija Man, On Me, Life’s So Deep

Project: Music, Trial & Trauma: A Drill Story (Album)

This album is one of the clearly constructed albums of the year. It begins firstly with the drill tracks we’ve known Loski to do since Harlem Spartan days, including features of Harlem Spartan members such as MizOrMac (‘On Me’) and Blanco (‘Anglo Saxon’). The second part of the album has a bubblier and more polished feel with songs that have a radio or commercial appeal such as ‘Avengers’ (feat. Fredo &Popcaan) and ‘Naija Man’ (featuring. Davido). Finally, the third part of the album possesses a soul-searching and introspective finish, with a story-telling rap that you can envision a video in the style of Rapman on ‘Life So Deep’, which features Emeli Sandé. This album shows Loski’s growth over the last couple of years and you can tell the amount of effort gone into producing it, and he’s keen to prevent any setbacks from happening like in the past to hinder his continual progress.

NSG

Song: Kate Winslet (featuring Unknown T)

Project: Single

NSG have had a good year with their debut mixtape ‘Roots’ (their previous project being a debut EP entitled ‘Grown Up’, which blends their African heritage in the genres of afrobeat, highlife and afrofusion with western sounds such as UK rap (e.g in ‘Nonsense’ which features Chip) and even some elements of Jazz (e.g. in ‘Lupita’). The video for ‘Kate Winslet’ was shot and filmed in Ghana, features Unknown T who displays his versatility showing that he can do other genres and not just drill. This was a creative linkup and maybe sooner or later NSG might try their take on drill? Who knows but this is one of the hardest tracks of November.

Youngs Teflon – Call Of Duty 3

My favourite songs: Alpo (feat. K-Trap), Coldharbour, Lil’ Baby, Misery and Rule of Two (with Dave).

Project: Call of Duty 3 (Mixtape)

If you’re not careful, the wordplay of Youngs Teflon may go over your head whether it’s a simple or sophisticated line. He’s certainly one of those rappers that make you think after a song as he is able to fuse many themes into one song. Youngs Teflon makes a trilogy of the Call of Duty series and invites rappers such as K-Trap, RV, Tiny Boost and Dave onto the mixtape. Youngs Teflon has been consistent with dropping music over the years (with some tapes I myself even need to go back on) and I hope we get some music videos for some of the tracks on the tape. This may be a street favourite in time.

One Acen

Song: Parlé (feat Dré Six)

Project: Single

One Acen comes with a flyboy energy on this track which features Dré Six, a member of the 6ixxers. Despite One Acen only releasing three tracks this year (‘Nigeria’, a tribute to his homeland and ‘Fugazi’, an acoustic guitar backed track that talks about how fake girls and guys can be), they have all been quality tracks even if numbers don’t show it.  The visuals of ‘Parlé’ (meaning speak in French) transition between the block and Central London, reflecting the difference between home and where the ‘high-life’ is. Maybe next year we can expect a body of work from One Acen.

Rimzee

Song: Xabsi (feat. M24)

Project: Pre-released single off the Upper Clapton 2 mixtape

Real rap is in full effect this year again – Nines and Potter Payper all making a chart- topping album and mixtape respectively. And Rimzee is also part of them, who had a powerful start to 2020 with his ‘Voice of the Streets’ freestyle and has kept his momentum throughout the year. On ‘Xabsi’, joined by M24, Rimzee shows his ability to narrate his pain on a track is unmatched as he allows you to form your own imagery of the life that he has come from and even gives lessons, which are worth taking something from as he served almost 7 years in jail. I’ll be anticipating ‘Upper Clapton 2’ when it releases.

Eskaeé

Song: Agenda

Project: Single

South London’s Eskaeé has been rapping as early as secondary school days experimenting with various sounds. However, he took time off to perfect his craft and sound and it seems like he is here to stay. ‘Nice Things’ was released earlier this year and it describes his taste for the finer things in life which come with a high work rate. On ‘Agenda’, he isn’t looking to change the minds of girls who think “men are trash” but he’d rather let them step into his world and show them what he’s about. Eskaeé delivers a catchy hook with a skippy flow on a beat enriched with vocal samples that makes his track standout. Keep your eyes peeled for him in the months to come.

With this current economy and it being my birthday on the day of release of ‘A Better Time’, I definitely need 30 billion in my account. Anyway, 2 of Nigeria’s 3 biggest artists have all released albums in 2020 and Davido has added his name to that list. Although ‘A Better Time’ was meant to be released in July, Davido revealed on The Juice that he wasn’t in the ‘right state of mind’ and took a social media break, therefore deciding to delay the release of the album. One of the contributing factors was the ongoing COVID-19 pandemic, so it’s also a reminder to take care of yourself most importantly.

The follow up to ‘A Good Time’ released in 2019, the album kicks off with ‘FEM’. The song is simply telling those who are constantly talking negatively about him to be quiet and mind their own business. “Cause if you say too much, I fit to run up on you”. This song took a different meaning during the #EndSARS protests, which we hope to see change in Nigeria as a result of the protests. Davido takes a gentle approach in ‘Jowo’ (please) as he pleads with a lady to stay by him. The switch up in track 3, ‘Something Fishy’, comes in at the right time just as I thought the album was going to be slow sound wise. A high-tempo dance track, you’re bound to be shaking your legs.

The international collaborations start with Nicki Minaj with ‘Holy Ground’. This collaboration is far from disappointing. Rather, it’s impressive as the pair manage to maintain a balance in their parts of the song . Davido likens the lady to Timbuktu, a city in Mali known for the Djinguereber Mosque founded by Mansa Musa, a ruler of the Mali Empire (“If she was a city she’d be Timbuktu” / “My holy ground me wey me I run to”). Nicki Minaj also comes with a relaxed delivery on the beat.

Davido experiments with South-African House music specifically on ‘Heaven’ and ‘I Got a Friend’( featuring Mayorkun and Sho Madjozi) and general house and Nigerian pop/afrobeats on ‘Very Special’. ‘Very Special’ is more of a happy-go-lucky and catchy track. ‘Heaven’ has the catchiness of ‘Very Special’, but the intensity of ‘I Got a Friend’. Mayorkun, who Davido discovered in 2016 and has gone on to do big things under Davido’s Label (DMW),  also makes an appearance on ‘The Best’, where he pays tribute to Davido ( ‘I learnt from the best, Davido’). Davido even bigs himself up on the track ( ‘I learn from the best o, myself o Davido). Fans of Wizkid and Burna Boy will contest that, but statistically Davido is not lying there.

From a one-listen, I am not a fan of ‘Shopping Spree’. I think the influences were a bit too much with each artist trying to do what they do best. This track should have rather been a duet with either Chris Brown or Young Thug but not both of them. ‘So Crazy’ with Lil Baby was a little better but I think this track could have been released as a single and not part of the album. Lil Baby’s experiment with the track is appreciated, but it’s like they swapped roles as Davido was rapping faster than the beat.

‘Tanana’ with Tiwa Savage is a good track. Davido and Tiwa Savage bounce off each other well as the instrumental is simple but they are able to carry the song together so it doesn’t seem as one had a greater part to play than another. In ‘Mebe’, Davido calls on Ghana’s Mugeez, a member of the legendary duo R2Bees. Davido has a go at the Twi language (“Okukuseku, onipa ho yɛ hu”). This is a popular phrase in Ghana which basically means you should be weary of who you trust. Mugeez brings the Ghana aura with a dancehall and afrobeats blend which blesses the song.

‘La La’ is a light tune with a strong bassline. Featuring CKay, this is a afropop/afrohouse song which is easy to vibe to. Nas and Hit-Boy change the scene with drums resembling the 90’s hip-hop sound, bringing a distinctive track to the album with ‘Birthday Cake’. There are no mad punchlines or storytelling as a Nas fan may expect but his verse is well suited for the song which makes the track a hit. Finally, ‘On My Way’ featuring Sauti Sol brings a calm close to the album. The Swahili language sounds soothing on the hook. I found out the line “the sweetest taboo” comes from the British group Sade, with their hit song “The Sweetest Taboo” in 1985. The resounding keys of the piano accompanied by percussion makes this song a personal favourite.

‘A Better Time’ is a step up from ‘A Good Time’ without a doubt. ‘ A Good Time’ had too much going in the album and it was quite difficult to find theme or themes of the album. Davido, for me, is more of a ‘singles man’ where brings out hit after hits in good time one after the other that makes great playlists and songs for parties. When it comes to bodies of work however, the consistency throughout doesn’t always stick as some songs could be left out of the album (e.g. “Shopping Spree” and “Go Crazy”) due to collaborations. However, one thing I like about Davido is that he is very experimental in his sound, so for me, he has done well overall in this album.

PS: #EndSARS

“I give it 100, nuh stop at 90”

-Wizkid feat. Damian “Jr. Gong” Marley – Blessed

It’s crazy to think that Wizkid’s been in the music industry for almost, if not, ten years professionally now. I remember when I was in year 8 and “Pakurumo” was a popular track among my boys to the extent where we were doing our own remixes to the song (can you imagine loool). 9 years later from ‘Superstar’, his debut album released under Banky W’s record label (Empire Mates Entertainment) in 2011, Wizkid has released his fourth studio album entitled ‘Made In Lagos’. Between then and now though, Wizkid has released 2 albums and an EP: Ayo (2014), Sounds from the Other Side (2017) and Soundman Vol.1 (2019). It was ‘Ojuelegba’ on the ‘Ayo’ album, that catapulted Wizkid’s status from a continental to international superstar after Drake and Skepta made a remix of the song. * add

Initially meant to drop on 15^th October 2020, the album release was delayed by 15 days due to the #EndSARS protests in which he took part in London. Nonetheless, Wizkid delivers a project which completely contrasts his former projects. Whilst previous projects had many upbeat party and dance type songs, this project brings a grown and mature Wizkid, with primarily low to mid-tempo songs centering around the topics of everything intimacy, life and love. This caught me off guard as I expected songs along the lines of ‘Jaiye Jaiye’ and ‘Pakurumo’, but in an interview with The Beat London, Wizkid says “he just wanted to make real music, nothing for the clubs”. This makes sense as in the interview he said he “hates clubbing”.

Wizkid begins the album with ‘Reckless’. ‘Reckless’ gives the feel of an opener to live band show inspired by afrobeat or any afro related genre. This is greatly due to the song’s main instrument being centred around woodwind instruments such as the saxophone. The lines of the bridge standout here ( “Some try, but they never scared nobody, yeah”/ “Badman like me, never fear nobody”). Burna Boy links up with Wizkid on a fuse of afrobeat and dancehall to make the girls feel good on ‘Ginger’. The first listen was slightly underwhelming as again I thought the track would at a much higher tempo as well as the switch up in Burna’s outro being all so sudden, but with more listens the way they bounce off each other is effortless. This is the first time Wizkid and Burna had linked up on a song in five years, which is crazy if you ask me.

Skepta represents the UK on ‘Longtime’. This is the third time the two have come together on a track. This is my favourite track on the album. With a similar flow to ‘Bad Energy’ being brought by Skepta to ‘Longtime’ along with the instrumental, the two tracks sound alike but not the same. Skepta’s relaxed flow on the verse sounds like a conversation between him and a girl he’s trying to get to know (“Smile on my face when she text back” / “Said she don’t wanna play games, I respect that”). Wizkid also smoothly boasts about the way he makes his lady feel too (“Yeah, she say badman, you make me feel so fine” / “Fine, fine”). I also liked the way Wizkid interchanged between Yoruba and English in his verses, giving the track a more African feel to a typical rap track.

Damian Marley, son of the legend Bob Marley features on ‘Blessed’. This track is easily the deepest on the album as they explore what they have been through in life, what it could have been, and how they are thankful for all they have in this time in their life. Although a typical reggae instrumental isn’t used here the rhythm is definitely felt. ‘“I give it 100, nuh stop at 90” is a standout line for me because it’s a reminder to give it your all in anything you do. Wizkid also offers life advice in the song (“So, make you live your life o jeje, no regret am”). In anything you do, people are bound to say something, so live a life which will make you happy. The reggae feels are continued on ‘Smile’ with an R&B touch. Featuring H.E.R., this song was released ahead of the album. The message is continued from ‘Blessed’ because with thankfulness and gratitude comes a smile. Wizkid is grateful for his sons and would do anything for them. (“Run inside a building up in flames just to be with my love/ (yea up in flames just to be with my love” as they also make appearances in the video, and he also dedicates the video to them. H.E.R. is also in awe of her relationship with her lover in the song as she expresses her adoration towards them.

A soothing guitar opens ‘Piece of Me’ and here is where the ‘lovemaking vibes’ start. Along with Ella Mai, the pair’s vocal tones are perfect to accommodate the beat. Ella Mai invites her lover to get piece of her as she sings “come and get it, come and get it baby”. This is undeniably one of the more sensual songs on the album which explore intimacy, a key theme on the project. ‘Gyrate’, also a song similar to the lines of ‘Piece of Me’ envisions a girl dancing in a suggestive manner. Let your mind make of that what it will.

‘Sweet One’ is another favourite and personally I feel it is underrated. A combination of a subtle saxophone, background guitar and percussion in the form of drums make the song a masterpiece from Wizkid. Wizkid conveys the way he feels, the way he feels about one girl and hopes she doesn’t leave. “Tasi wa, mo ni let nobody tasi wa o” which from Yoruba translates to “Don’t let anybody touch us” is a plea from Wizkid to not let anything or anyone come between the good thing they have going. ‘True Love’ allows the vocal talent of Tay Ivar and Projexx’s Jamaican influence to be heard very well.

‘Essence’ allows rising star Temsto display her soulful voice on a mellow instrumental. Whilst her voice is very distinctive and amazing, there feels like a mismatch of energy as Wizkid brings his naturally relaxed persona to Tems’ more passionate energy. Nevertheless, it is not a bad track. The track switch to ‘Roma’ immediately becomes more upbeat as Terri is given a chance to shine and he takes it, making this track a distinctive one on the album.

‘No Stress’ samples Amerie’s ‘1 thing’. The chorus is catchy and easy to sing along, but it might have been better if that was another project or released as a single on its own. The visuals to the song do not disappoint though. There would not have been a better song to close the album than ‘Grace’. With a complimenting afro-fusion instrumental,the track opens by Wizkid rapping, and effortlessly transitions to singing. “Dem no fi run my race/steady I dey in my lane” he says in pidgin, is resounding line that reminds people that everyone’s journey is different, and you must stay true to your own path.

This album shows Wizkid’s continuous growth over the years he has been making music. Whilst he has diverted from party anthems of his younger times (and to be honest I wish he put one or two on here), this album is a great fit for the stage he describes himself in life in his interviews. It is a more contemporary Wizkid sound and I feel this album will be referenced in years to come.

“One wrong turn or move, all the hardwork can be undone… I wish I had someone told me to pay attention to the decisions that you’re making because they’re important, more important than you think they are”.

– Headie One, 16BARS interview

There’s something in the air in Tottenham that makes great MCs (Skepta, Chip, Wretch 32 to a name a few). This time around, it is Headie One who has cemented his name to that list. Originally under the moniker ‘Headz’, he released his first mixtape in 2014 (‘Headz or Tails’) and was releasing music with the OFB collective. This came to a halt when he received a 30-month sentence in the same year he released his debut mixtape. Determined to make up for the lost time, ‘Headz’ rebranded to ‘Headie One’ when he started to release more solo singles and created a buzz around himself before releasing ‘Golden Boot’ in late 2017 which made the scene pay attention to him.

Three years and some seven mixtapes later, Headie One’s established himself as the number one drill artist in the country (Drake said “in the world”) and his debut album, ‘Edna’, will show you why if you have not realised by now. Dedicated to his mother, ‘Edna’ explores Headie’s past, praises the present success of his crossover from the roads and looks to the future, whilst seeking guidance from his mother. This is a grown piece from Headie One whilst bringing us what we love from him (the adlibs, punchlines and for me, the football references).

‘Teach Me’ opens the album to Headie’s latest piece. Here, he asks his mum to teach him forgiveness. It’s a heartfelt one because whilst he calls out those who abandoned him and may feel resentful to those that have done him wrong, he looks to turn the other cheek and be mature. The succeeding track, ‘Psalm 35’ sees in an increase in tempo with a resounding acoustic guitar and powerful bass. He remembers the wicked way his stepmother used to treat him (“My step ma was a bitch, she used to make mе beg her to feed me”). All former trauma made him turn to God, particularly when he was incarcerated. Reading Psalm 35 helps him to sleep, especially when he isn’t at peace mentally (“I’m livin’ proof that prayer is needed / My mind is a war zone, nah, bro, I can never tell those secrets”).

It’s not all despair as the beginning of the album may suggest. Headie One pairs up with M Huncho for the second time on a Headie One project (the first time being ‘Secure the Bag’ on ‘The One’ mixtape). On ‘Bumpy Ride’  Headie brings a skippy flow to a beat driven by a punchy bass, whilst M Huncho brings a contrast with vocals complementing the instrumental.

M Huncho is not the only UK feature on the album as the album hosts many other UK stars including AJ Tracey and Stormzy on ‘Ain’t It Different’ (released prior to the album), which describes the transition before and after music. It samples Red Hot Chilli Peppers ‘Pretty Little Ditty’ & ‘Crazy Town’s ‘Butterfly’. ‘21 Gun Salute’ with Young Adz of D-Block Europe (DBE) sees Headie One reference Harry Potter and Matilda (They think I do ooh-ooh, call me Professor Dumbledore / Why they so miserable? (One) They come like Miss Trunchbull (Turn, turn).

Headie One isn’t talking about the GCSE when he says ‘Triple Science’ (I actually did this GCSE with my mates). Rather, it’s a metaphor for the science of the trap and the ‘chemical reactions’ that can happen there. (“Bicarbonate, rest, that’s chemistry/ Countin’ up bread, that’s physics /You ever seen a fiend OD, biology”. ‘Breathing’ begins with a phone call with a friend who’s got a life sentence. (“Look into my eyes and you can see my soul leavin’ / Nigga, I ain’t livin’, I’m just fuckin’ breathin”). This shows the sad and harsh reality of the street life when things don’t go right – for some, the roads are their only means to an end.

‘Edna’ also invites international stars in the form of Future and Drake on ‘Hear No Evil’ and the ‘Only You’ freestyle, which was also released before the album. This was the first time I personally heard Future on a UK drill instrumental and I think he did a decent job. ‘Only You’ combines Drake’s fast flow, which may to some sound as if he’s rapping faster than the beat, with Headie One’s laidback flow. This collaboration is another expression of Drake’s interest in the UK scene and particularly UK Drill, with his previous drill releases ‘War’ and ‘Demons’.

The UK collaborations continue. ‘F U Pay Me’ features Ivorian Doll who’s also been enjoying success as an upcoming artist, with co-signs from Iggy Azalea and Asian Doll. The message is clear here: they’re all about the money and don’t play games. My favourite collaboration and in fact, favourite song on the album, is ‘Princess Cuts’, which features the starboys of the year Young T & Bugsey. They return the favour for Headie One as he featured on their blockbuster hit ‘Don’t Rush’. ‘Princess Cuts’ gives Spanish salsa vibes with the guitar strums and groovy bassline and Young T croons the chorus (“Got twenty on my wrist I’m going crazy / Canary princess cuts for my baby”). All their verses are what makes this song a million-dollar track. Haile, arguably one of the best singers in the scene, channels his Caribbean roots to give a dancehall/bashment vibe on ‘Everything Nice’, whichsamples ‘On The Hotline’ by Pretty Ricky .

The album closes as it started with more self-reflection and introspective views from Headie One. ‘You/Me’ (featuring Mahalia)has a slow soul feel, where Headie One wonders and questions if the girl he’s with is going to stick by him when times get rough. ‘Therapy’ explores the things Headie took comfort in when battling difficult situations. ‘Cold’, which features USA’s Kaash Paige, allows Headie to look at his journey from where he’s come from and where he’s about to go. ‘I used to love the trap, like it would love me back (One) / I couldn’t wait for the days to say, I’m done with that.” This is one of the songs you get an ‘honest’ feel of Headie as he describes hardships, but he embraces them with the positives, and he is proud of it as he should be. Other stand out songs include ‘The Light’, a remake of Kanye West’s ‘All Of The Lights’,  where he cites Dwight Yorke and Willian. “I’m doin’ 120 on the M, I’m about to reach York with da white”.

This is a mature Headie One and the growth is evident. His artistry and versatility is displayed in each of the songs and not one track sounds the same as the other. A great album and one to remember for years to come.