Emotions By CKay: Unconvincing Sophomore Offers Nothing Remotely Close To New

When it comes to crafting highly emotionally charged Afropop records, CKay stands head and shoulders above his competition. His music—at least since Boyfriend EP—carries a wistful undertone and an intimate ambience that can connect the listener with the music and allow them to feel the emotion—pain, sadness, hurt, or heartbreak—that CKay wants them to feel. He tends to discuss themes relating to sadness, pain, pleasure, and toxic love with celebratory records like Hallelujah few and far between. He captures his raw feelings over laid-back minimalistic production and captures his listeners with the experiences he shares by conveying his vulnerability through reflective songwriting. 

His debut album Sad Romance was the culmination of his creative vision and a fully realised expression hinted at on the acclaimed CKay the First and trailed on the brilliant Boyfriend EP. The album was a decent album where he thoroughly explored the ‘Emo-Afrobeats’ sound, blending Emo elements with Afrobeats progressions and patterns and crafting songs that enjoyed international attention. Whilst the album can not be branded a success back home in Nigeria, the album consolidated his status as an international superstar.

In his sophomore album Emotions, released on October 18, 2024, two years after his debut, he leans even further into his established sound. He not only leans further into it; he stays in it and does not offer anything noticeably new. The album’s familiarity and monotony make for an unconvincing listening experience as CKay fails to deliver a memorable sophomore effort that does justice to his perceived musical genius. 

The album begins on a sour note with Afropop-Amapiano fusion That Feeling, where CKay bluntly informs a woman who’s fallen for him that he isn’t the “loving” type. He speaks directly to her, warning her of his nature as a ‘self-proclaimed bad boy’ and imminent disappointment if he decides to commit. It’s a textbook CKay record and features all of the elements peculiar to a Ckay song. It’s a nice song, but it’s not one to get you up on your feet or super excited for what is to come. 

Egwu Eji is CKay’s attempt to recreate the magic of Kcee’s career-extending smash hit Ojapiano. It pales in comparison to Kcee’s record but still manages to capture a vibrant fusion of Afrobeats and Amapiano. While CKay brings his signature vibe, Egwu Eji lacks the infectious energy and cultural depth that made Ojapiano resonate so strongly with fans. CKay’s track feels polished but somewhat restrained, missing that raw, electrifying quality that made Ojapiano stand out as an anthem. Ultimately, while Egwu Eji offers an enjoyable listen, it falls short of the bold, celebratory impact Kcee achieved. 

The bad boy gimmick dies a quick death on track three, where he sings, “Are you my ride or die?” He asks his love interest on Ride or Die before demanding her presence In his bed. There seems to be a sad case of identity crisis, as CKay doesn’t seem to know who he is or what he wants to be.  This lack of cohesion makes it difficult to understand what he wants to achieve on this album, as each track feels like a different thematic experiment. Coupled with the fact that the run-up to this point has been painfully monotonous, the album struggles to capture attention or deliver a memorable impact.

Olamide’s verse breathes so much-needed air into the project as the duo delivers one of the standouts of this album. Over flamenco-infused guitars that dominate the sonic atmosphere, the duo complement each other nicely as their lyrics paint a woman’s curves as both irresistible and dangerous as if every peek is a risk they are willing to take. The chorus is CKay’s confession, a mixture of desire and warning. It’s a way better record than the TY Dolla Sign-assisted Dorime which follows a similar sonic trope. Neither CKay nor TY delivers compelling performances that do justice to the smooth and hypnotic production that blends Afropop with a hint of R&B as melodic guitar riffs weave through the song and create a sensual and romantic vibe.

On It’s True, Nora Fatehi can only do so much, as her relaxing vocals add a bit of spice to an otherwise forgettable record. 

The Cavemen assisted Addicted is the best song on this album. It’s a standout in an album where there are not many. The beat is a fusion of Afrobeats and highlife. It opens with gentle guitar strums and intimate percussion. The Cavemen’s influence is clear with the traditional highlife elements— basslines, smooth drum patterns, and those signature high-pitched guitar riffs that give the record a timeless feel. 

It brings to an end a decent run of songs. Mysterious Love was rightfully ignored by the audience when it was released as a single. It is the most forgettable song on an album that has a handful of those. ‘Vanity’ does not provoke much excitement and not even Badoo’s punctuating verse can rescue the record.

He likens himself to Dwayne ‘The Rock’ Johnson’s new WWE gimmick The Final Boss on the album’s closing song, bringing to an end a torrid thirty-five minutes that deliver nothing new or incredibly remarkable. This is disappointing when you consider CKay’s talent and potential to push creative boundaries. 

Emotions album by CKay falls short of his previous works and lacks any form of sonic innovation and diversity. Instead of showcasing growth or exploring fresh themes, it feels like a rehash of familiar sounds, leaving any listener craving some more diversity and creativity.