Perhaps, the best quality of Shakespopi is that, like Shallipopi, it doesn’t take itself too seriously, thus possessing an incredible replay value and impressive shelf life when set on mute.
By Emmanuel Okoro
Last year, the Nigerian music industry produced two breakout stars; Odumodublvck, known for his edgy, and sometimes, questionable lyricism matched only by his larger-than-life persona, and Crown Uzama, recognised popularly as Shallipopi, who recently kicked off his 2024 musical campaign with a sophomore project, Shakespopi, released on his 24th birthday. These artistes were direct incursions on the music scene, sparking a huge following from audiences who found them riveting and enjoyable.
Shallipopi, whose music is inspired by his upbringing in Benin City introduced audiences to a unique blend of Afrobeats — talking through Amapiano-laden production while interjecting with “say say” or “nor go dey” — caught on quickly and catapulted him to the summit of his career, scoring chart-topping records for his efforts.
Shortly after the release of his 2023 hit records, “Elon Musk” and “Sharpiru”, the singer and hypeman was arraigned by Nigeria’s Economic and Financial Crimes Commission (EFCC) for alleged internet-related fraud. The news only added to his notoriety, and when he released “Ex-Covict”, it was evident that he was one of the artistes to watch out for. Soon after, he released “Elon Musk Remix” featuring Street-Hop act, Zlatan, and self-proclaimed Afro-Life singer, Fireboy DML.
Shakespopi, his latest album, sees the singer doubling down on the themes explored on his debut EP, Planet Pluto, and album, Presido La Pluto, both released last year. At the time of those releases, there were several conversations about the seeming decline of Street-Hop music or Afrobeats in general, perhaps promoted by Burna Boy’s statement that the genre “lacks substance”. And while those projects enjoyed a decent following, there was always the question of its almost bare lyricism coupled with catchy production. For most of Q1 2024, these conversations lingered as singles, EPs, and albums failed to hit expected standards. Shakespopi arrives as a contentious addition to the Nigerian music scene, reigniting debates not just about mainstream music’s direction but also Shallipopi’s own artistic evolution.
The singer doesn’t fail to showcase his roots, as the album’s opener, “ASAP”, samples Sir Waziri Oshomah, an Edo State luminary. The track blends Ogene-charged drumrolls with bass and lead guitar riffs, creating an infectious rhythm. However, Shallipopi adopts his signature, carefree swagger as he drops several proverbs on the track like “Network slow nor mean say Wi-Fi disconnect”. These clever lines have earned him the playful moniker of the ‘modern-day William Shakespeare’, a title he cheekily incorporates into his stage name to create the album title, Shakespopi.
On the Producer X-charged “High Tension”, one can detect the faint scent of the Italian folk song “Bella Ciao”, famously featured in the Netflix series, La Casa De Papel. It becomes apparent when Shallipopi offers his own twist on the chorus in a half-excited, half-drowsy manner. The song explores his humble origins, tracing back to Benin City, with lines like “Came from a place where we know say money nor dey, so you gats work all day”. However, there’s a noticeable lack of emotion in his delivery, as though his beginnings were more of an inconvenience than a formative experience. It would appear that his penchant for educating audiences wasn’t in short supply as he says, “Ninety-nine plus one, that’s gonna give you hundred,” on “100” a track that sees him flexing his street smartness and the unwavering loyalty of his inner circle. However, there’s a pedestrian approach to his delivery, akin to a youth learning to articulate thoughts for the first time.
The listening experience on Shakespopi is particularly laborious, as tracks like “Dey” feature exceptional mid-tempo instrumentation but are marred by rudimentary songwriting. Shallipopi once again provides a glimpse into his pre-fame life, juxtaposing it with the affluence and success he now enjoys, characterised by flashy cars, pool parties, and indulgences. While his delivery on the second verse is questionable, the overall air of carefreeness and background vocals inject a sense of liveliness that makes the track seemingly bearable.
“Billion”, the project’s midpoint, serves as a welcome break from the overarching monotony of the preceding tracks. Introduced by gentle shakers, synths, and padded drum kicks, the singer collaborates with Zerrydl, Tega Boi Dc, and Jeneral to present a poignant ballad about their journey to success and the lavish lifestyle it affords them. Reflecting on their tumultuous upbringings and the transformation their lives have undergone, “Billion” is one of the standout moments from the album.
Clearly, in his second active year in the music industry, Pluto Presido as his fans fondly call him, emerged as one of the most sought-after sensations, embarking on tours within and outside Nigeria. He reflects on this newfound fame and lifestyle on “Find Me”, highlighting his current status and the elite circles he now frequents due to his influence and affluence. Producer X contributes a mid-tempo composition that proves to be an instant earworm, at least until Shallipopi begins to sing. “New Cat” is a play on Davido’s remarks about the rising wave of young, talented musicians leading Afrobeats into global markets. Shallipopi confidently stakes his claim among his contemporaries with lines like “I dey on board nor mean say I nor go last for long”. It’s a bold assertion, especially for an act in his sophomore year. Yet, considering his meteoric rise in such a short time, his boast may indeed be justified.
On the Larrylanes-produced “Start Am”, one can’t help but imagine Asake laying down his vocals on the Afro-Piano-driven track. However, that’s wishful thinking, as all we get is Shallipopi attempting to channel his inner Asake, but unfortunately missing the mark. His off-key singing proves to be jarring, and I couldn’t help but feel relieved when the song ended. Once again, on the closing track, “Trees”, the singer attempts to wax lyrical but delivers a shabby output. Amidst advising a love interest not to play games and expressing his focus on stacking money, Shallipopi’s delivery falls short of expectations.
But it will be particularly worrisome to place any iota of expectation on the artiste, as he maintains a nonchalant carefreeness on his artistry since “Elon Musk”, and treats his music as a means to an end. But when you’re one of the country’s rising stars, one is naturally predisposed to expect a bit of sonic evolution, even if it doesn’t escape the ‘sophomore slump’.
Perhaps, the best quality of Shakespopi is that, like Shallipopi, it doesn’t take itself too seriously, thus possessing an incredible replay value and impressive shelf life when set on mute. There’s an apparent A&R deficiency that is laboriously evident across the project, leaving the project with an anyhowness to forge on. So, I won’t be the least surprised if some of the songs from this project remain on local charts for extended weeks. In all, Shakespopi pointedly leaves me with more questions than answers, and one question that has been lingering on my mind after listening to this project is: why?
Lyricism – 0.4
Tracklisting – 0.5
Sound Engineering – 1.5
Vocalisation – 0.4
Listening Experience – 0.5
Rating – 3.3/10
Emmanuel ‘Waziri’ Okoro is a content writer and journo with an insatiable knack for music and pop culture. When he’s not writing, you will find him arguing why Arsenal FC is the best football club in the multiverse. Connect with him on X, Instagram, and Threads: @BughiLorde