No Love in Lagos is a deeply reflective body of work that captures the complex realities of life in Lagos while celebrating the successes of Show Dem Camp and The Cavemen.
By Hope Ibiale
Social media buzzed with excitement when the rap duo, Show Dem Camp, the Highlife group, The Cavemen, and guitarist, Nsikak David announced the release of their joint project, No Love In Lagos. The 10-track project, which was released in early August was one of the most anticipated releases of the month due to the reputation both groups have built over the years.
The rap duo, consisting of Wale Davies, popularly known as Tec, and Olumide Ayeni, also known as Ghost, began their career when they met in an underground rap battle in the UK. The artists were on opposing sides of the battlefield, both bearing the same stage name, “Golden Child”. They decided to join forces, leading to the formation of Show Dem Camp. With album series like Palmwine Music and Clone Wars, Show Dem Camp have consistently shown their ability to create both feel-good music for casual listeners and conscious records that address socio-political topics for Hip-Hop purists.
On the other hand, the Cavemen, the sibling duo of Kingsley and Benjamin Okorie, first gained attention with their 2019 debut record, “Osondu,” which led to the release of their 2020 debut album, Roots. Before the release of the debut song, they had received praise for their production chops on Lady Donli’s critically acclaimed debut album, Enjoy Your Life, released in 2019.
Since their emergence in the music industry, they have become known for their ability to revive and reinvent traditional Nigerian music, earning them worldwide recognition and a dedicated fan base. In this project, Show Dem Camp and The Cavemen’s longtime collaborator, music producer and guitarist, Nsikak David, plays a prominent role as a key contributor.
Nsikak, who has worked with artistes like Tems, Tekno, Rema, J Hus, Adekunle Gold, and many others, is one of Nigeria’s top instrumentalists and has contributed his excellence to several albums released in recent years. Therefore, when the joint album was announced, the fans’ excitement was understandable, as the project’s creators had already established a reputation for delivering exquisite music and stunning performances.
In No Love In Lagos, the ensemble recruits Nigerian and Nigerian-British artistes: Tim Lyre, Moelogo, and Obongjayar, Ghanaian artiste, Horus Al Sagnia, and British singer-songwriter, Ruti. Through the album, the artists express the emotions of Lagosians who still carry the scars of one-sided affections, complicated situations, and life struggles. For the artistes, it is a way of expressing their environment through art; for the listeners, it offers a reflection of their own experiences in the stories told throughout the project.
The 10-track project opens with “Intro”, a record that gently eases listeners into the backdrop of the entire album. Against a backdrop of soft instrumentation and a sombre vocal performance from Horus Al Sagnia, a spoken word artist emerges, earnestly pleading to be loved. With this first song, listeners begin to glimpse the overarching theme of the project: exploring the lack of genuine affection and deep connections in the city of Lagos.
The album segues into the eponymous record where they sing about the toxic dating scene in Lagos state. The song’s rhythmic drums and infectious guitar riffs, courtesy of Nsikak David, complement each artiste’s delivery. Like other tracks on the album, “No Love in Lagos” is an exquisite blend of Show Dem Camp’s impressive wordplay and Benjamin’s and Kingsley’s vocal dexterity.
In the pre-released track “Johni”, they explore a struggle familiar to many Lagosians: the fight against various forces working against them. From high fuel prices to depression, avoiding dubious schemes, striving to climb the social ladder, and returning home in one piece, the city presents numerous battles. The artists advise listeners to always be on guard against these challenges.
When Ghost raps, “Excuse me, is that too deep? Forgot you came here to faji and cruise peeps for the balling check the IG news feed,” he alludes to Lagosians’ tendency to seek escape in fun activities and showcase a perfect life on Instagram. In the track, The Cavemen’s individual falsetto and tenor voices merge as they repeatedly sing, “Elela anya n’azuo eh Nwannem, elela anya n’azu.”
While the singers caution listeners against constantly escaping from their realities in the previous track, they adopt a different perspective in the Highlife record, “Why”. Here, they sing about navigating life’s struggles while also relishing its best moments. Drawing from their experiences as popular personalities, they acknowledge that as celebrities, their actions are frequently judged by random fans. Despite the scrutiny, they choose to prioritise their own peace and joy.
They continue to draw inspiration from their personal stories in the next record, “Fall”. Here, groovy guitar strings and saxophones lead listeners into The Cavemen’s sonorous chorus, “This is my story, this is my song”, a popular phrase from the hymn “Blessed Assurance”. The chorus opens the way into Show Dem Camp’s verses that see them reminiscing on their musical journey. Through “Fall”, they share their testimonies with everyone that listens.
“Buga” is an ear-warming track where the artistes boast about their financial capabilities. In this song, Tim Lyre, undoubtedly one of the standout guest features on the album, takes on the role of the praise singer. He sings, “Ololaye mo ba rode,” and effortlessly glides over the Spax-helmed production, while Nsikak David delivers a memorable solo performance at the end of the track.
On the record, the Cavemen’s harmonies and chants are prominent, as Ghost and Tec verses pay homage to a Nigerian’s hustling spirit and lively personality.
In “OMFTR,” which stands for ‘one more for the road’, they continue to showcase their prowess, much like in the previous track. This time, Obongjayar joins them for a brief verse, displaying his distinct vocals and demonstrating why his music captivates so many enthusiasts. Against a backdrop of guitar strings, drums, and shakers, The Cavemen delivers a catchy hook: “They tell me say I no reach, I come give them hide and seek/ They tell me say I no reach so I come give them point and kill. They tell you say you no reach, believe in yourself and see.”
The solemn guitar strings that open “Blessings” set the tone for the track, a moving record dedicated to praying to God and expressing gratitude. In this song, Moelogo delivers an emotional verse that adds significant depth and resonance, enhancing the track’s overall impact with listeners.
While they express gratitude for their achievements, they also fear losing it all. As a result, they plead with God for longevity and an ever-flowing pen. Moelogo is not the only one to deliver an emotional verse; The Cavemen also provide a heartfelt performance.
No Love in Lagos sonically progresses into “Train”, where the artists express the pain of constantly creating. In this track, Ruti, the featured artist, steals the show with her unique ethereal vocals and introspective delivery. She sings, “What is the cost of really knowing? Creating in a space that’s no longer safe, constantly giving always owing/train, train, I’m a moving train,” capturing the essence of a creative’s life.
In this song, raps about reaping the rewards of the hard work he and Ghost have invested in establishing their presence in the music industry and building a thriving community.
In the final track of No Love in Lagos, “Sudden Day,” Spax and Nsikak David take the lead. Spax meticulously arranges the record to perfection, while Nsikak showcases his talents as a skilled guitarist. Ghost and Tec deliver a dynamic back-and-forth performance, with The Cavemen continuously chanting “One sudden day”. A few seconds before the track ends, Spax and Nsikak continue to indulge in their craft as the guitar, horns, and percussion gently ease listeners out of the album.
Overall, No Love in Lagos is a deeply reflective body of work that captures the complex realities of life in Lagos while celebrating the successes of Show Dem Camp and The Cavemen. Through a blend of storytelling, rich instrumentation, stellar production, and diverse vocal performances, the artists vividly express the struggles and fleeting joys of navigating love, life, and survival in the city.
From the opening spoken word plea to the final harmonious outro, each track serves as both a mirror and a soothing balm, providing listeners with an album that invites reflection on their experiences and reassures them that they are not alone in their struggles.
The album is a magnificent combination of Hip-Hop and Highlife. It succeeds in capturing the essence of both music groups and the guitarist. Thanks to the production by Nigerian producer, Spax, the album doesn’t come off as disjointed, even though all the instruments were performed live by The Cavemen and Nsikak David before Spax arranged and produced all the records. Instead, each creative on the album gets a chance to flaunt their brilliance.
To some fans of both music groups, the album might sound familiar, as their previous projects have also explored Hip-Hop and Highlife. However, the beauty of this project lies in the intersection where both groups merge their creativity. Whether it’s Ghost and Tec dropping bars about navigating their careers or Benjamin and Kingsley delivering memorable hooks, the project enhances their reputation as key figures in both Hip-Hop and Highlife.
Lyricism – 1.4
Tracklisting – 1.6
Sound Engineering – 1.8
Vocalisation – 1.4
Listening Experience – 1.7
Rating – 7.9/10
Hope Ibiale is a writer and journalist. She has a keen interest in music, film, and literature. You can connect with Hope on X @hopeibiale and via email: hopeibiale@afrocritik.com.