The story behind “Welcome to Babi” matters almost as much as the music itself. This past January, Warner Music Africa Francophone brought together over 20 artists, producers, and songwriters at Villa Tahiba in Abidjan for a week-long creative residency.
The participants from Côte d’Ivoire, Nigeria, and South Africa not only recorded together but lived, learned, and created side by side. The result is a project that could only have emerged from that unique mix of people, place, and purpose.
“Welcome to Babi” delivers six tracks that sound like the future of African music arriving just ahead of schedule. It’s not a flawless record; there are moments where a song feels like it could have gone further, transitions that could be smoother, and ideas that don’t fully land.
But its strength lies in its authenticity rather than perfection. This is what happens when you bring gifted artists into a shared space and trust the creative process. It’s sometimes messy, but also magical.
The EP opens with its most commercially successful track, “I Gotchu.” It’s immediately clear why: the song is infectious without being disposable, catchy yet never simplistic. Spy Shitta’s effortless delivery captures what makes great pop music work.
He doesn’t overdo it; he just lets the groove breathe. As an opener, “I Gotchu” sets the tone for the entire EP, establishing its thesis without overshadowing what follows. Where “I Gotchu” hooks you instantly,“Monaco” takes its time.
Paulo Chakal and LIMO’s chemistry drives the track, which rewards repeated listens. On the first play, you catch the vibe; by the third, you’re hearing the finer details—the subtle percussion, the movement of the bassline, and the way the vocals blend seamlessly into the mix.
The project’s centerpiece, “C’est Gate,” is the clear focal point, and it’s easy to understand why Warner Music Africa positioned it that way. The production effortlessly blends the bounce of Ivorian Coupé-Décalé, the melodic charm of Nigerian Afrobeats, and the rhythmic intricacy of South African Amapiano. It should feel like too much, but it doesn’t. The transitions are fluid and the influences perfectly balanced.
The second half of “Welcome to Babi” keeps the momentum going while branching into new sonic territory. Without spoiling every surprise, these tracks continue the EP’s exploration of pan-African fusion while giving each artist space to shine.
This kind of collaboration is bold. It would have been far easier to create a safe, radio-friendly project where every artist stays in their comfort zone. Instead, “Welcome to Babi” pushes boundaries for both its creators and its listeners.
For anyone following the evolution of African music, this EP is essential listening. It’s not perfect, but that’s not the point. The point is possibility—the idea that the next great movement in African music won’t come from a single artist or country, but from a generation realizing they’re stronger together.
Villa Tahiba was a moment. “Welcome to Babi” proves it mattered, and if this project is any indication, Africa needs more moments just like it.
Listen to “Welcome to Babi” Here
