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“Taigwa Goma” Review: 4Mr Frank White Displays a Seamless Harmony in His Afro-Swing Rap

“Taigwa Goma” Review: 4Mr Frank White Displays a Seamless Harmony in His Afro-Swing Rap

Taigwa Goma by 4Mr Frank White

Taigwa Goma is an album whose sheer number of peaks might be overwhelming. However, through the strength of its collaborations and 4Mr Frank White’s steady hand, each song is revealed as a strand contributing to a stunning, cohesive whole.

By Frank Njugi

Afrobeats, with its soundscape and lyrics that celebrate African identity and culture, has become a vital component of African cultural expression. Over the past decade or so, the genre has emerged as groundbreaking, not only defining its era but also laying the foundation for the development of numerous other musical styles.

Among the genres that have emerged from Afrobeats is Afro-Swing, a derivative developed in the UK during the mid-2010s. This style combines the African-inspired rhythms of Afrobeats with influences from Trap, British Hip Hop, R&B, and Grime. Afro-Swing has since grown into a worldwide phenomenon, influencing music scenes across continents. 

In East Africa, Afro-Swing has come to life through the efforts of one artiste, 4Mr Frank White, a Kenyan rapper credited as the pioneer of the Swahili/Sheng iteration of the genre. After releasing his successful song, “Alicia Keys,” in 2023, 4Mr Frank White subsequently dropped critically acclaimed larger works—the albums The Real One (2023) and Mziza Kwa Dimanga (2024), solidifying his reputation as one of the most promising and consistent rappers emerging from Kenya.

In 2025, 4Mr Frank White continues his high level of creative output and steady stream of releases. Recently, he dropped another album titled Taigwa Goma. An 18-track project, the album is an attempt at storytelling, featuring collaborations with some of Kenya’s notable artistes.

Taigwa Goma’s first song, the titular “Taigwa Goma”, translates to “The Beat Will Drop”. It serves as a prelude to an overarching theme, with each note being introspective and a soundscape that stands out for its distorted 808s and rich sampling.

Its follow-up, “Last Time”, launches into a stunning lineup of high-caliber collaborations, with White featuring British-Kenyan Hip-Hop artiste, Dreekz. The two rap about the turbulence they’ve endured, serving as a preamble to the majesty to come, over a sample of the song “Celebrate” by the Dutch electronic music duo, Vicetone.

Taigwa Goma by 4Mr Frank White
Taigwa Goma

4Mr Frank White seems to effortlessly sync with every partner he collaborates with on Taigwa Goma. In “Mikono Juu”, he features Breedar LW, with whom he trades verses in a back-and-forth, each line striking in perfect response to the other, over a beat with an eclectic, danceable energy produced by Metro.

The lowkey balladry of featured Iyanah Kiragu in “My Boo” blends seamlessly with the chill sing-raps of 4Mr Frank White in a song interpolated from Usher and Alicia Keys’ popular song of the same title. 

“Back Pain” features Ndovu Kuu, with both artistes skillfully juxtaposing ambitious, high-octane lyrics about elevating the music game with introspective moments that delve into personal reflections. The single is filled with one-liner catchphrases, which quickly become earworms.

V-BE, the Kenyan duo of artistes, Mshairi Spikes and Tuku Kantu, are featured on the single “More Time,” which has a slow, flowing tempo and lyrics that feel like you’re eavesdropping on an inner monologue on Taigwa Goma

Lil Maina joins on the single “Tempt”, where, over a beat sampled from the 2007 song, “Temptations” by P Square, the two exhibit confidence and self-assurance, blending an acknowledgment of their own skill and success with a subtle critique of arrogance. 

Taigwa Goma by 4Mr Frank White
4Mr Frank White

“Rema,” featuring Dice King, and “Tuko na Show,” featuring Nigga Shawn, are both odes. The former, with drill-like basslines that are shiny yet still funky, is a tribute to the Nigerian Afrobeats act, Rema, whose success now inspires 4Mr Frank White to conquer the genre as well. 

The latter is a tribute to the stretch of Nairobi that White and his featured artiste come from, as they reflect on the vibrant fun that happens there, set to a mid-tempo beat that still carries the feel-good energy of a good party song.

“Ones N Two’s” is a collaboration with label mate Big Man. With a cinematic funk, White and Big Man are candid about their aspirations, expressing their dreams of success and growth. 

“Sometimes”, featuring Tasha Fears, is a lighthearted track on Taigwa Goma where White gets deeply vulnerable, flowing with raw emotion over a smooth R&B-inspired beat that perfectly complements the introspective tone of the lyrics. 

The last collaboration on Taigwa Goma, “Cruising,” with Ni Lifah, maintains the same mellow flow, with White envisioning a future of triumph as he cruises through the journey of success alongside those around him.

The tracks on Taigwa Goma in which 4Mr Frank White goes solo mostly feature him folding lyrics into colorful metaphors while preserving vibrancy and humor. “Diligent Flow 11”, with its piano-driven, chord-inspired sound, emphasises that the true pillars of support on the journey to success are those who have been by your side from the start, while confidently affirming that White’s rise is inevitable due to his raw talent and determination.

“Ndani ya 9 to 5”, with its shimmering melody and hard-hitting tempo, highlights music as a legitimate profession, where only those who commit fully and grind relentlessly will see their efforts pay off in the end. 

“Glory,” with its anthemic soulful melody, is a gospel song in which White paints a vivid picture of being lifted on wings of grace. “Try”, with its subtle flickering minimalist piano-inspired beat, is about grinding like a blacksmith at the forge, shaping his craft with relentless effort, knowing that every hammer strike will eventually turn art into gold.

Taigwa Goma
Taigwa Goma tracklist

The penultimate single, “Type”, with a mid-tempo drill beat that pulses with a sharp, relentless rhythm, also supported by piano chords, sees White getting romantic for once. He breaks down his tough exterior and sings to a girl about being his ‘type.’

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The outro song, “Manifest”, with its laid-back yet blaring tempo, provides a steady conclusion to Taigwa Goma. White echoes the idea of planting ambition through manifestation and blossoming into success, as he harvests the fruits of his labor, earning from the art he once only dreamed of.

The main takeaway from Taigwa Goma might be that it raises the question of how a project from an emerging act—one with many tracks and featured artistes—risks having moments that either feel lacking or, conversely, too many high points in quick succession, potentially overshadowing the subtler gems within.

With a runtime of 45 minutes and 43 seconds, Taigwa Goma is an album whose sheer number of peaks might be overwhelming. However, through the strength of its collaborations and 4Mr Frank White’s steady hand, each song is revealed as a strand contributing to a stunning, cohesive whole.

Lyricism – 1.6

Tracklisting – 1.4

Sound Engineering –1.6

Vocalisation – 1.2

Listening Experience – 1.3

Rating – 7.1/10 

Frank Njugi is a Kenyan Writer, Culture journalist and Critic who has written on the East African and African culture scene for platforms such as Debunk Media, Republic Journal, Sinema Focus, Culture Africa, Drummr Africa, The Elephant, Wakilisha Africa, The Moveee, Africa in Dialogue, Afrocritik and others. He tweets as @franknjugi.

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