When it’s all said and done, Ejoya music will have left an indelible mark on the Nigerian music industry. The Lagos-based company started in 2018 with a mission of giving upcoming artists a better fighting chance in a cutthroat industry through its distribution and marketing services. Four years later and the brand has stayed through to its purpose. The list of artists they have distributed for includes BNXN, Psycho YP, Dunnie, and even Onyeka Onwenu, to mention a few of over 150 individuals on their list.
In 2020, just around COVID-19 found its way onto our shores, Ejoya music took the next step in its bid to push more young talents into the limelight. A 12-track body of work titled “Ejoya Class of ’20” was released. It included artists like BNXN, Remy Baggins, MOJO, and YKB and birthed the popular “Mind Games.” Ejoya went one better the second time of asking with “Ejoya Class of ’21.” Mainstream acts like Oxlade, Psycho YP, WANI, and MOJO joined forces with Kemena, Laime, Loti, and more to create 11 stellar songs. And on December 9, we were treated to the third entry in the series, “Ejoya Class of ’22.”
Looking at the artist lineup, it seems the plan was to give more exciting talents room to shine. Unlike older editions, this year’s iteration had only two certified stars in LADIPOE and Terri though Whoisakin, Tim Lyre, and Oladapo have recorded industry hits prior to their appearance on this tape. PDSTRN, the most recent Hennessy VS class winner, is another name the audience might be familiar with. But the rest of the cast may be relatively unknown to people who only focus on mainstream music. However, they are not to be scoffed at; these are bonafide future custodians of Afrobeats.
As one listens to “Ejoya Class of ’22” from tracks 1 through 13, what’s immediately striking is the smoothness – almost purity – of transitions. It’s obvious the A&R team prioritized cohesion, and they employed the use of seamless transitions to achieve this effect. Take, for example, the way “E No Fit Be Me” flows into “Waitin’ For Ya.” Or how Tim Lyre concludes “These Days” before ushering us into “More,” the following track. The occasional commentary from Wonu Osikoya and Daniel Alaneme also helps to cushion the more sudden shifts from one song to the next, keeping the cohesion more or less intact.
Although the album is maintained at mid-tempo pacing, the sounds on offer are eclectic. The persisting sound is Afrobeats; other genres and subgenres are built onto that sonic foundation. The album intro “NGOMSO” delivers the customary Amapiano vibes via NYRP’s masterful production. Those who resonate with Highlife and Folk sounds get a healthy dose on “Rio” and “Brise Moi.” “Cigarettes and Emotions” is the representative of EDM. Although elements of rap are blended into the pop sounds of “E No Fit Be Me” and “More,” the album’s closer “U Different” is Hip-hop’s truest flagbearer. “Losing Me” contains generous servings of elements of House music.
Ejoya’s newest tape is blessed with so many great performances that it feels a bit wrong to single out some. However, a word must be said for Xenia Manasseh’s show-stopping vocal and lyrical performance on “Waitin’ For You.” Whoisakin on “Picture Perfect” is another example of a standout performance. He delivers with the ease that comes with ease and being in your comfort zone. Annalie Prime comes through big time, not once, but twice – “Brise Moi” and “These Days. And Tim Lyre? Well, he is whoever he thinks he is, and that’s all that needs to be said. AKtheKING also brought his A game on the album’s outro with his engaging delivery and flows, bringing the album to a triumphant end. But it is also of utmost importance to note that there’s no single below-par verse or hook on this project, and that’s word to all the contributors.
Before delivering the final verdict, it is essential to put in perspective the difficulty of the task Ejoya continually takes upon itself in creating these series. Compilation albums take a lot of work to make. It is especially more challenging when the artists involved don’t exactly have a track record of working together like label mates would, for example. So it’s a very tough ask of the A&R team to find beats that match the project’s theme, handpick the artists with the ability to deliver the desired quality, and then pair them up, so they complement and elevate each other. Ejoya managed to do all of that fantastically well. The two preceding tapes have sure provided enough practice, and it’s great to see them hit what feels like the jackpot on take three.
All in all, “Ejoya Class of ’22” is a brilliant project, and we owe Ejoya a debt of gratitude for opening our eyes to possibilities. We have been treated to a clinic on the meaning of cohesion and why it is so important in an album. And perhaps, most importantly, we have been served a timely reminder that the future of Afrobeat is in very safe hands.
Verdict: 8.5/10
