The depth of Nigeria’s talent pool means there is no shortage of highly skilled musicians who can deliver exceptionally on a wide sonic spectrum. Artists like Burna Boy, Peruzzi, Rema, and 2Baba come to mind when conversations revolve around Nigeria’s most versatile talents. However, throughout his decade-long career, Falz has proven that he should be regarded in that elite category of artists.
Falz has displayed his talent and versatility across different sounds. Whether he is rapping, duetting, making Amapiano, or delivering a spoken word-esque performance, Falz has the talent and range to excel across different soundscapes.
The Wazup Guy made his name with his entertaining brand of hip-hop driven by picturesque storytelling and colourful social commentary packed with witty bars. His 2019 effort, Moral Instruction, is widely accepted as one of the best Nigerian hip-hop albums of the last two decades.
However, Falz’s 2022 album Bahd, marked a slow and steady switch from the socially conscious storyteller that he had established himself as. On Bahd, Falz attempted a bold reinvention, shifting away from the didactic tone of his earlier offerings to embrace a more sensual, emotionally open, and genre-fluid persona. The album explored themes of love, vulnerability, desire, and ego while blending hip-hop, Afropop, Amapiano, Afrobeat, and palm wine music, reflecting his desire to showcase versatility, aiming for broader commercial appeal through artistic range.
While he was likely aiming to shed old skin and embrace a new identity, a multifaceted, emotionally complex, and musically adventurous personality. The execution, especially in sequencing and sonic cohesion, left much to be desired and made Bahd feel like a scattered attempt at reinvention.
Ultimately, Bahd has proven to be a transitional project. An experimental reset where Falz tested new creative directions was only let down by its execution and chaotic sequencing, preventing the album from fully realising its potential.
On Before the Feast EP, he successfully redeemed himself through a more focused, energetic, and sonically appealing body of work. The album thrived on his versatility as a strength, combining Afropop, Afrobeat, hip-hop, and indigenous elements in a highly entertaining way. It was a sumptuous appetiser that set the bad guy on his way to his tenth body of work.
The album, aptly titled The Feast, opens with the pace-setting Round of Applause, a tune released in the build-up to the album. The single is a quick reminder of Falz’s ability to keep his listeners engaged smoothly using his signature playful lines as an effective tool. It’s also a reminder that Falz deserves a round of applause for his successful musical career defined by his impactful albums, hit singles, and showmanship as an entertainer.
He recruits the fluid vocals of Majeeed on the politically charged Old Soja as the duo delivers a message of defiance in the face of opposition from Nigeria’s political establishment, with Majeeed singing No Retreat, No Surrender over the Duktor Sett-produced Afrobeat record defined by rhythmic grooves, horns and infectious guitar riffs. Falz delivers an engaging verse firing shots at anyone who’s deserving of one, particularly Nigeria’s disgraceful police outfit.
The Nigerian establishment responds to the defiance on the hard-hitting heavyweight collaboration Anything Goes. “Dem don dey kill us/ Dem think dem don defeat us o,” Falz broods on the hook as he paints a picture probably inspired by the event of the 2020 EndSars protests. Odumodublvck delivers one of his best guest verses, adopting a mellow tone while delivering an electric rap verse that embodies his spiritually grounded, street-smart and defiant personality.
Similar themes are repeated on Wayo, featuring American rapper D Smoke. The record samples Fela Kuti’s 1971 track, Jeun K’oku (Chop ‘n’ Quench). The duo spit fire across the record as Falz targets Nigeria’s fake prophets and greedy politicians for their role in Nigeria’s failure to succeed as a nation. Tapping into the defiant spirit of Fela and the revolutionary energy of the EndSars protests, the duo deliver a powerful record that’s easily one of the best on the album. Fela would be proud.
Across his career, Falz has consistently delivered smash hit records, including Soldier, Soft Work, Hypocrite, and Bop Daddy, to mention a few. He designed some of the records on the album to reflect his hit-making abilities. One of such records is the colourful No Less, where he combines drum patterns from Barrister’s 2004 track, Reality, and a guitar solo from the late Ayinde Barrister’s 1988 classic, Fuji Garbage Medley. The result is an exciting, rhythmic and bouncy party anthem with the immense power of igniting owambe in venues across Nigeria’s South West region. Jump is a typical Falz record that features some of his best rapping on this album. He employs a simple flow laced with humorous lines and witty bars. Reverse, however, is the case on the log drum-driven Amapiano record Eat, laced with haunting chords where he urges his listener to eat. While the record ties into the overall theme of the album, the record is easily the weakest song on the album.
Love Birds are not left out on the feast as Falz duets with Dotti The Deity on the mellow and compelling R&B record Famomi. He leans into his lover boy persona and crafts a befitting love letter to his significant other, supported by the captivating vocals of The Deity. On Slow Down, he flexes his wealth in a bid to take his love interest on a date, employing clever lines like “Me? I’m no beginner. Big baller? I’m a skiller. Can I get your number? Talk about it over dinner.” Qing Madi shows off and shouts out on the record, almost straining her vocals in a bid to display her vocal dexterity.
He is a preacher of body positivity on the impactful record Wonderfully Made. Assisted by Oiza & Meyi, he urges his listener to accept the fact that they are wonderfully made, regardless of what other people think. In a world where most people are insecure about their looks, reaffirming records like these are more than welcome.
He brings the album to a close on Story Time, where he once again displays his excellent storytelling ability. On the introspective outro that documents his journey from its genesis. Over a minimalistic mid-tempo instrumental, he tells the story of his formative years as well as key moments from his upbringing, studying law like his father, and eventually pivoting to music. It’s a revealing chronicle that fills in the blanks of his personal history and adds a final, introspective note to the album’s diverse palette before ending with a blunt reminder that he is far from done.
It’s a befitting closer to a highly entertaining album. The album showcases the best of Falz. Across a wide sonic spectrum, Falz embodies different sides of his artistry and ties it all into a cohesive and enjoyable listening experience. With a runtime of 31 minutes, Falz presents a dining table that’s expertly curated and filled with flavourful sounds and satisfying portions of introspection, satire, celebration, and social commentary. It’s a reaffirmation of Falz’s creative brilliance, his range as an artist, and his enduring relevance in Nigeria’s vibrant music landscape.
