More Love Less Ego: Another Experimental Afrobeat Fleeting Genre
Wizkid’s latest album, More Love Less Ego is testimony to his universality as an artist yet, adhering to his personae. Wizkid is transmuting African mainstream music, further into the horizon of new sounds akin to jazz, soul, alternative, contemporary, dancehall, rap, grim, amapiano, blues and the endless genre that may exist and are yet to be discovered.
The harmony More Love, Less Ego brings to the table is somewhat timeless and borderless. In this dire time of pressure and tension around the world, Wizkid ushers an equilibrium. Tracks such as `Bad To Me’, `Balance’, `Pressure’ and ‘2 Sugar’ featuring Ayra Starr will take on the dancefloor. His musical style of rhythmic patterns, syllabic connotation, harmonising humming, ae ditching and repetitive catchy phrases still hits hard and reverberates.
Skillibeng and Shensea brings it on ‘Slip N Slide. `Now` funks up the album as Skepta and Wizkid does on a regular, this time Naira Marley was brought on board for a catchy chorus. P Priime made a solid delivery on Pressure, arguably the best track off the album. The synergy between Wizkid and P Priime is twisty and creative harmonising.
With Wizkid’s newfound looseness in creating music, his style is still retained but delivers accordingly in a somewhat new terrain. ‘Plenty loving’ is quite reminiscent of his tracks like ‘Soco’, this is easier to digest.
It is innovative bringing Don Toliver on highlife music, his sonorous crocked voice scurried back and forth like creating a tunnel throughout his rendition. Frames (Who’s Gonna Loose) put us on astromode, messing with the charm and flexibility of our psycho existence. He may not put us in love but definitely, (almost) in a trance.
While one may point out that Wizkid may be changing and isn’t bumping as he should or like before. It is worth noting that he is only adaptive to another dimension, still delivering as Wizkid should. Dimensions and terrains many can’t inhibit even for (good) music’s sake, unravelling critique’s obscurity.
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