Mr. Eazi's 'The Evil Genius' Review
been a leading figure in the world of Afrobeats for years, and he’s always had an expansive definition of that ever-rising music’s sonic and cultural possibilities. The Nigerian-born artist, who now mainly lives in Accra, Ghana, has collaborated with Beyoncé and Diplo, and among his most popular songs is a 2019 cut with J Balvin and Bad Bunny.
“I think it is unfair to even put everything Afropop,” he recently told Rolling Stone. “Korean pop is pop music from Korea. We’re not calling it ‘Asia pop.’ ” which is technically his full-length debut after a run of buoyant, sumptuous hits including “Leg Over” and “Dance for Me,” and mixtape-style releases.is expansively international. He wrote and recorded different parts of the LP in Benin, Ghana, Nigeria, Rwanda, the U.S., and the U.K.
Eazi even commissioned 16 works of art by African artists to accompany each of the album’s tracks. The Pan-African scope gives the album a sense of grand ambition that fits a major artist making his most coherent statement after several high-profile years in the game.
Eazi establishes his soulman bona fides on the elegant, subdued “Legalize,” and on “Òròkórò,” he shares the mic with iconic Beninese singer Angélique Kidjo, who makes a downright regal appearance. He declares himself “sentimental” and “monumental” on the amiably braggy single “Chop Time, No Friend,” co-produced by Andre Vibez, who was part of the team behind the Rema/Selena Gomez smash “Calm Down.
The album’s centerpiece is the swaying banger “We Dey,” titled after a pidgin phrase meaning “we are here.” Co-written by Whoisakin, an R&B artist from Lagos, it was recorded in L.A. and inspired in part by protests against police brutality in Nigeria. As the beat ascends, Eazi sings the title phrase with prayerful gravitas. In one elegant, danceable gesture, we hear personal pride, local struggle, and global ambitions.
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