Review: Kuami Eugene’s Son of Africa album

19 oct 2020 - 09:50

With each new Kuami Eugene album comes great responsibility.

On Son of Africa, Kuami Eugene looks beyond Ghana.

On his debut, 2018’s Rockstar, the goal was to cement himself as a modern highlife hit machine. The numerous radio fixtures have attested to his impact on the country’s current pop scene. It is therefore only logical that the artist, who was recently crowned Ghana’s king of music, would set his sights on pan-African feats. In past years, Kuami Eugene flirted with that motive by collaborating with the likes of Davido and Ice Prince. On this new album, the man goes full throttle.

Of course, Kuami’s new ambition won’t be as straightforward, because the current guardians of that galaxy are formidable giants. Nevertheless, consider this: it has taken the ‘Angela’ man just three years since he first hit the mainstream – an incredibly short period – to earn a place among Ghana music's top plate. Additionally, if there’s one lesson to pick from his career thus far, it is the fact that he thrives on being underrated. Therefore, it is best to not count him out.

Those who came before Kuami pretty much spelt out the blueprint: regale listeners with tales about women; sing of how you survived the ‘haters’ and preach the grass-to-grace sermon. Next, secure the big collaborations. Finally, set your message to sunny rhythms and you will have pop success.

On Son of Africa, only his second album, Kuami ticks all these boxes and proves that he has mastered the art of the African hit song. The LP – 14 songs long and conceived under the guidance of mentor Richie Mensah – is a convincing journey of the highlife grooves that trace their roots to his home country, and influences that have found residence on the Afrobeats charts. It also instantly listens much better than its predecessor, whose lack of dynamism in recycling highlife deducted from its overall appeal.

In these parts, if an album largely commands dance, it is already on an upward trajectory. Son of Africa packs dance anthems and traverses tempos. Eugene’s vocal pep is propped by golden guitar patterns, sprightly percussions and rip-roaring drums, all elements that induce party vitality and prolong the lifespan of the Ghanaian pop songs. ‘Open Gate’, the album’s first single, more than sets its tone as a soundtrack for merrymaking. “When the music drop, you go dance,” Kuami reiterates on the Zlatan-assisted ‘Dance Hard’. At several other points on the collection, such as ‘Scolom’, ‘Show Body’ and the explosive ‘Ghana We Dey’ which brings together dancehall powerhouses Samini and Shatta Wale, Kuami is unflinching in this commitment.

On his choice of subject matter, Kuami also hardly deviates from the pop layout: he’s in regular pursuit of romantic bonds with beautiful women, bathed in the glow of love and the promise of happy endings. He’s ruing disloyal friends and those generally averse to his success. At the same time, he’s holding up his hands in prayer, requesting help from above. Above all, Kuami manifests that one begotten of Africa is one whose life is dictated by pounding rhythm.

Strong collaborations in fellow Ghanaians Shatta Wale, Samini, Sarkodie, Prince Bright, DJ Mensah, Nigeria’s Falz, and Eddy Kenzo (Uganda) all complement Kuami Eugene’s efforts on Son of Africa, positioning Kuami favourably in the continental pop conversation.

One more track on the album deserving of special mention is ‘Mama’. At some point in an artist’s career, a tribute to his mother is bound to happen. For anyone conversant to the Kuame Eugene story, it is a known fact that the singer’s mother is close to his success, hence, it was just a matter of time. On that sobering tune, Kuami recounts the years leading up to his current poster boy status; citing her as his ultimate support system. And while ‘Mama’ may not be as revolutionary as Prince Nico’s ‘Sweet Mother’, it still retains enough passion to summon a hot sob.

Overall, every record on Son of Africa has its merit. Kuami exhibits a versatile quality that answers to Ghana’s peculiar radio habits. Still, especially after subjecting the album to multiple listens, it is difficult to bypass ‘Show Body’, whose video dropped alongside the album, when naming the collection’s best song.

In Ghana, Kuami Eugene has held his end of the bargain; both with his individual efforts and when enlisted by other artists. With this new collection, he stakes a sound claim for the title of Africa's golden child.

Stream Son of Africa on Apple Music.