M.anifest charts New Road with comfortable genius

17 Mar 2025 - 11:09

Published under the Creative Commons Licence

M.anifest’s footing among Ghana’s best rappers has long been anchored in a playbook that synthesises intellect and cultural insight. And with New Road and Guava Trees – his just-released sixth LP – the stakes are undoubtedly higher.

M.anifest.

At 42, M.anifest is an exceptional expositor; a venerated veteran; a generational genius. What we hear when we listen to his work is uniquely singular sonic tourism, drenched in personal experiences and sharp social observations. Themes of passion, resilience, constant internal conflict, and mortality occupy centre stage.

The LP’s title doubles as a nod to his roots in Madina, Accra, and a metaphor for new artistic experiments. Initially vertiginous to some listeners – particularly those unfamiliar with his style and literary ambition – the work becomes clearer, even therapeutic, with each subsequent listen. It invites introspection and interrogates interesting questions, not least of which is: what defines a truly great Ghanaian rap album?

For the artist, this focus is nothing new. Throughout his career, he has championed the notion that Ghanaian hip hop – which may include sprinklings and syrups of Afrobeats and highlife – should be of the highest calibre; an aural portrait that combines global standards with local authenticity. ‘God MC’ (2016), the track that cemented his hero status after securing victory in his famed beef with fellow rap titan Sarkodie, declares: “We some intelligent niggas that cannot dumb it down.” Doubling down on a 2019 Tim Westwood freestyle, he asks: “Dumb it down? Are you kidding when I’m so mature?” And on ‘Worth the Wait’, a recent freestyle that teased New Road, he proudly brags: “Didn’t have to compromise to get the Mass Appeal.” That last phrase alludes to his landmark deal with the Nas-founded hip hop label.

Sonically, New Road lands magnificently layered. Hip hop is its royal escort, but there are expert blends of everything from spruced-up R&B fusions (‘Spirit Riddim’, ‘Hang My Boots’) to indigenous pulses (‘Wine and Blues’, ‘Puff Puff’). The album also marks a glorious reunion with Budo, the producer behind some of M.anifest’s most iconic hits like ‘Suffer’, ‘Over and Under’, and the Efya-assisted ‘Asa’. The pair know the rules but are also not afraid to break them. Together, they avoid simply replicating their past work. Instead, they devise an impressive update and celebration of their parallel evolution.

M.anifest primarily raps in English, though he weaves in West African pidgin and Twi – the most spoken languages in Ghana. Historically, this decision has fuelled debate. In these parts, English is sometimes erroneously viewed as a marker of intellect and social status, and M.anifest’s use of it has often led to his work being dismissed by critics who view it as elitist. But English is merely a tool for expression. His choice of language should neither elevate him above artists who rap predominantly in Twi, nor should it ostracise him from the broader Ghanaian hip-hop scene.

There are hardly serious commercial expectations tied to M.anifest’s work – at least not on the scale of his pop-devoted peers. This is an unspoken agreement with his fans that has existed since his early days. Still, first-week numbers have been outstanding, as New Road shot to the number one album nationally within hours of its release. In its execution, New Road, like much of its author’s previous work, demands a patient listen. It doesn’t call attention to itself in the way mainstream pop songs do, but for those who invest the time, it can be rewarding with a near-infinite supply of Easter eggs.

M.anifest may not have the flashiest approach – the most versatile cadences, intricate delivery, or acrobatic vocal pace. He can be pedantic and needlessly verbose; still, what sets him apart is his grand vision, obsessive observation, and persistent perfectionism. He has also managed to curate such a revered persona that allows him to grapple with thought and hold the magnifying glass over issues with a depth few others manage. And while his technical skill may not be as immediately apparent as that of some of his peers, his ability to articulate complex thoughts with clarity and precision gives his work an intellectual weight that more than compensates for it.

In terms of standout moments, New Road features some of M.anifest’s most compelling performances. ‘Eye Red’ plays out like an action thriller, full of tension and urgency in its dissection of political greed and corruption, while ‘Wine and Blues’ will have the most street resonance, as the track’s other star, AratheJay, is the new street sensation. Poring over its lyrics, it is this reviewer’s view that M.anifest’s best rap performance on New Road occurs on the A-Reece-assisted “FTYD,” coloured by soulful, jazzy horns and chords, with his commanding baritone complemented by his South African counterpart’s subtle intensity as they preach empowerment, living one’s truth, and breaking free from societal expectations. “I’m in attack mode when I’m moving tactful,” M.anifest sings on the chorus of “FTYD.”

Elsewhere, on offerings like ‘Bad Man’, he adopts a playful, flirtatious tone while the churchy, piano-led ‘My God’ sees him breaking free from constricting love. ‘Ease My Mind’ sets him on a quest for the blueprint to romance, while album closer ‘Second Hand’ investigates what is original and what is not.

A classic Ghanaian album should hinge on lyrical substance, personal bias, pop value, and nostalgia. M.anifest’s albums generally meet three of these four criteria. His faithfuls swear that every album he releases is a classic, and there’s a consensus beyond that group that Nowhere Cool (2016) certainly merits that tag. What is conclusive, however, is that each M.anifest album boasts a shelf life that regularly far outlasts his contemporaries. What is the fate of New Road? Let’s circle back in a decade.