Asake impresses at Barclays Center

The judgement from London was that even if his fertility with hit singles and albums frame him as an Afrobeats playmaker and man of the people, his live shows needed urgent fine-tuning for him to be taken seriously as a performer.

Asake clearly took notes, for his New York gig, which boasts a similar size to the O2, is instantly better. Even if not by an order of a magnitude, he demonstrates that he can improve on stage, aware that catalogue heft and sheer star power will not always compensate for a bland performance. As it turns out, diligence with technical detail, including the acoustic needs of an auditorium can go a long way, even if the headliner’s natural vocal ability is limited. It also helps if you pick up two Headies trophies a few days before.

In London, he brought out famous friends including YBNL mate Fireboy DML, label boss Olamide, DJ Spinall and Afropop diva Tiwa Savage. In Brooklyn, it is mostly just him – his set anchored on his two LPs Mr Money With the Vibe and Work of Art.

On the night, Asake, whose eccentric fashion choices include unique denim and leather outfits, as well as an ‘I Love NY’ branded black vest, wears a frequent grin on his face, taking in the energy of a teeming crowd of smiling faces which shares the same emotions he espouses in his songs, and the same joys he emits on stage.

Even the band feels different in how in sync it is with his every bounce, a sax lining his verses. At times, Asake busts a move, charging the audience with agile footwork and backing his claim that his foray into showbiz was via dance.

In all other respects, the New York show is quintessentially Asake. His entrance is marked by theatrical flair. In London, he descended from a chopper. In Brooklyn, he emerges in a blaze of excitement, from a ball-like contraption, armoured in motorcycling gear with a helmet that lights up around the eyes.

Tracks like ‘Organise’, and ‘PBUY’ constitute the night’s highlights. ‘Mogbe’ brings the TikTok challenge to life, while ‘Lonely at the Top’, his biggest song today, sparks a post-concert internet trend. He performs ‘Awodi’ while holding his son to his chest. His performance of Davido’s ‘No Competition’ is stripped down, featuring only his vocals accompanied by guitar strings, only, due to a smaller stage, he has to make some creative adjustments, improvising with pole dancers instead of aerial silk performers.

Asake also makes sure to honour his fuji heritage by marrying old and modern elements for depth and authenticity, expressed in such introductions as talking drums to his act. His Yoruba evangelism reiterates the cardinal point that one needn’t understand music to be enraptured by it.

Step by step, Asake is mastering conquering the big concerts, and proving he is no fluke. His showing at the Barclays Centre confirms that he is, indeed, plotting his residence among the big leagues as he inches closer to headlining a stadium show, the new barometer for Afrobeats sovereignty.