In a contemporary Nigerian music scene often dominated by afrobeats and afro-fusion, one could be forgiven for doubting the place of a genre as timeless as highlife. Yet, to doubt The Cavemen. is to overlook one of the most vital and refreshing forces in the industry today.
Bursting officially onto the scene in 2020 with their critically-acclaimed debut album, ROOT, the duo immediately proved that the future of highlife is not only secure but is thriving in the most capable hands. Now, with their third solo album, Cavy in the City, following the stellar Love and Highlife, they continue their mission with even greater purpose and polish. The album, featuring standout singles like Adaugo, Dancing Shoes, Chameleon, and Gatekeepers, is a rich, immersive journey into the heart of modern highlife.
The experience begins with Welcome to the Cave II, a track that masterfully sets the album’s central theme. It serves as both a dedication to the highlife genre and a clear declaration of The Cavemen.’s artistic mission the mark they intend to leave on the musical landscape. This intro beautifully acknowledges the legendary musicians who kept the highlife flame burning through the decades, while also serving as a direct continuation from the very first Welcome to the Cave on their debut, ROOT, creating a profound sense of cyclical history and artistic evolution.
From this foundational start, the album unfolds into a tapestry of diverse sounds and themes. Keep On Moving emerges as an undeniable motivational anthem, its infectious rhythm and uplifting melody designed to spur listeners forward. The message is crystallized in the persistent hook: “keep on moving on the road is bumpy.”
This feeling is elevated to an entirely new level by the legendary Angelique Kidjo, whose guest feature lends the track a powerful, pan-African authenticity and grace. In contrast, Adaugo is a tender, heartfelt love ballad. It captures the vulnerability and novelty of newfound love, with the brothers confessing, “All the things that I feel for you / It’s not strange but oh so new,” a line that perfectly encapsulates the wonder of deep connection.
The Cavemen. are not afraid to explore deeper spiritual and social waters. Signs and Wonders immerses the listener in a mood of spiritual reflection, with lyrics rooted in the biblical principle of loving one another and anticipating miraculous outcomes.
This thematic depth continues powerfully on Gatekeepers, where the duo joins forces with UK-Gambian superstar Pa Salieu for a gripping collaboration. The track is a sharp, thoughtful critique on the toxic nature of gatekeeping, addressing how it stifles collective growth and damages relationships. With its poignant lyrics and signature highlife-afro fusion, it stands as one of the album’s most compelling moments.
The album also showcases The Cavemen.’s versatility and strength. General is imbued with a militant, commanding energy, its assertive chorus, “I be that general / You better go work it out,” delivering a potent dose of African hip-hop swagger. Meanwhile, Agada is a defiant response to hypocrisy and gossip, a sharp retort to those who watch their moves but fundamentally misunderstand their journey.
Interwoven with these social commentaries are tracks of faith and pure joy. Paddling beautifully infuses a gospel sensibility into the highlife foundation, as the duo acknowledges God’s guidance while metaphorically paddling their canoe toward destiny.
Chameleon delves into the pain of romantic deception and the painful realization of a partner’s true colors. Conversely, Dancing Shoes is an irresistible, jubilant call to the dancefloor, a tune for giving thanks and celebrating life. On the more intimate side, Hold Me reveals a vulnerable love language, yearning for the comfort of physical touch and closeness.
The album is punctuated by two profoundly personal moments. Mama Speaks is a poignant interlude where we hear the voice of The Cavemen.’s mother, offering wisdom on human nature and the supreme power of God. This familial grounding leads perfectly into the closing track, Omwunwa Celestine, a patient and hopeful anthem about overcoming trials and persevering until one reaches their desired destination.
In essence, Cavy in the City is a masterwork deeply rooted in paying homage to the unique sound of highlife, while confidently carving out its own space within the genre. It is less an album to simply hear and more of an immersive experience to feel, with every lyric, tone, and rhythm meticulously crafted to transport the listener.
The impeccable production from Benjamin James, Duktor Sett, and Kingsley Okorie is the silent star of the show, providing a rich, cohesive soundscape that allows the album’s heart and soul to shine brightly. One of its standout qualities is the seamless, almost cinematic transition between tracks, creating a perfectly cohesive listening journey with a core message of keeping the highlife spirit not just alive, but vibrantly relevant.
While this mission is the album’s heartbeat, The Cavemen. impressively weave in poignant social commentary on Gatekeepers, touch on profound faith in Paddling, offer unwavering motivation in Keep On Moving, and leave listeners with a lasting, maternal blessing in Mama Speaks. It is a rich, complete, and utterly captivating work that solidifies The Cavemen. not just as musicians, but as the true custodians and visionary architects of a beloved genre.
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