On new EP, Spy Shitta Excels At Afro-Pop Fundamentals

The new generation of artists that championed the change of the sonic vanguard of Nigerian mainstream are incredibly talented artists with unique voices and distinct qualities that distinguish them. They all have differing artillery in their arsenal that highlights their brand of music.

Fireboy DML is intentional with heartfelt lyricism on R&B-tinged pop soundscapes. Rema has a divergent way of manipulating his vocals that draws comparisons with Bollywood sonics. Omah Lay’s witty lyrics are infused with sexual anathemas and explicit hedonistic conquests.

Every artist seems to be doing something different in some way that sets them apart. It’s hardly ever just stereotypical Afro-pop lamba that dominated the previous decade, asides the OG’s that would occasionally push boundaries with new sounds and genres. Spy Shitta is a new generation act, but he doesn’t stem from the same roots that produced the divergent artists of late. Matter of fact, he seems to be content at doing the basics and its notable to point out that he does it quite well.

All 7 songs on the EP never stray away from the realms of vibey Afro-Pop music—and themes of love, partying and gratitude. To a casual listener that’s gotten accustomed to every new act embarking on musical adventures in exploring new grounds, it might come off as a bit safe or derivative, but it sounds great nonetheless and despite it being simple feel good music, it never sounds hollow.

The EP opener, Thankful, like the title implies is a song of gratitude. On it, Spy Shitta recounts his struggles and obstacles encountered in his journey of making music. When he finally gives thanks on the chorus, it makes the sentiment more resonant, because he’s narrated the ordeal he has been through. The beat of the song has a subtle Afro-swing progression, stacked with reverbs of distant riffs.

On Carolina, the beat is minimalistic with a notable absence of kicks. The Xylophone chords with their plunked rhythms, act as part instrumentation and part-beats, with mild classical guitar strings permeating through the song’s rhythm. Once again, on the song, Spy Shitta isn’t deviating from the common topics of love and gratitude—as he iterates that his Carolina is his safe place and he’s intent on going above and beyond in convincing her she’s the one. His delivery utilizes the pockets on the beat well and prevents the record from sounding monotonous.

Migraine features stronger, Afrobeats percussion where the guitar strings are more acoustic. The song is another conventional Afro-pop record, but it’s the little things Spy Shitta does—like the deft use of adlibs in the second verse of the song—that elevates the ceiling of these songs and make them more enjoyable than majority of records made in this vein and even gives them a little stand out quality. The story here is more geared in the direction of mindless flattery, unlike on Carolina where it was more tilted in the direction of winning his love interest’s heart.

“Whine me lika this, lika that. Shaki your body, koma gbon gbon” from Whine are probably the lyrics on the EP, that best encapsulates the mainstream nature of the project. It’s not taking itself too seriously, neither is it too shallow that it has lyrical moments that are quotable or cringeworthy. Although at this point, the project is flirting too much with the constrains of being monotonous, as it’s only the BPM of Whine, that distinguishes it from the previous two tracks. They have almost the same topics, arrangement in beats and delivery.

The rhythmic guitar on Kele induces the pathos of a rich, live band performance and provides the song a little reprieve and unique sonic element. The topic strays a bit from shallow, intoxicating love and mainly highlights Shitta’s sexual pull and its inadvertent consequence of a stubborn woman hell bent on her quest to “finish him.” The kicks on the drums are more pronounced than ever and it services the feel of a live performance.

We finally depart from pop territory on Cry, and into an R&B one. The song has the potential to be the best song on the EP, because the vocals here are more pristine than ever, however it’s like Spy Shitta forgets it’s not a pop beat, and doesn’t change his pop delivery. Asides from soulful melodies, great R&B records have honest, confessional lyrics going for them that show a level of vulnerability and emotional depth. Cry lacks that and it just continues on the same surface level sentiment of lavishing a woman with care and love. It’s not inherently a bad record, but it’s not a great one either.

Kolobi ft. Olamide, the pre-released single—is another pop record with R&B leanings that suffers from the same problems of Spy Shitta’s writing lacking depth, but here it is saved by a stellar Olamide verse that waxes poetic about how profound love is and its power of invoking nostalgia that never existed. The rapper’s flows are multi layered and keeps switching until the end—in consonance with the thumping baseline of the song.

The EP is perfect, background groovy music to soundtrack parties, work out sessions, hang-outs and etc. It does enough to be enjoyable, sonically distinct, whilst not sounding monotonous or labored. However, it isn’t escapism music or one that transcends or breaches the heights of its genre. Its peak probably wouldn’t merit a mind blowing feeling or a stunned reaction from the listener either. It is simply Afro-Pop in its most mainstream-pleasant format and that’s okay.

It shouldn’t be judged for what it’s not.

Verdict:

Sonic Cohesion: 1.5/2
Unharried Transitions: 1.4/2
Expansive & Pristine Production: 1.3/2
Songwriting: 1/2
Optimal Track Sequencing/Topical Progression: 1.3/2

Total: 6.5/10.

This review is written by T.J. Martins, an Album Talks’ writer.

Listen to ‘Spy Shitta, The EP’ here

TJ Martins