Review: “Joyful Anthems” is a marker of EmmaKeyzz’s artistic growth

By Itty Okim

Music out of Africa seems to have the whole world’s attention at the moment. Post-COVID, African music of all forms have taken over the global stages, with genres and sub-cultures like afrobeats, amapiano and even African house music, breaking boundaries and nullifying aged stereotypes.

Lucidly, African gospel music has not been left behind. Names like Limoblaze – who stole the internet’s attention with his version of Maverick City’s “Jireh” featuring ace Christian rap artist, Lecrae – and Victor Thompson whose “This Year” remix caught everyone off guard with a feature from Gunna, have thrown a lot of light on what contemporary faith-based music from the continent could sound like.

However, beyond these immensely familiar names are budding acts, making incredible music and impacting their niche audiences through oomph music and soulful-yet-intentional melodies. And one of them, as his latest extended-play proves, is EmmaKeyzz.

On 10th May, EmmaKeyzz released a music project thoughtfully titled “Joyful Anthems”, in a bid to accurately describe the songs that make it up, but how much of a successful venture is the attempt?

Just like the very vibrant yellow-coloured commercial buses in Lagos would catch your attention very easily, so will the bass lines on most of the songs on this project. Built heavily on African traditional influences merged with western pop instruments, all the records – from ‘Hero’ to ‘Come Follow Me’ sound very original to the artist and his region.

The 6-track EP wears the appearance of typical afrobeats in songs like ‘Hero’, ‘Hallelujah’, ‘Tinini Tanana Love’ and ‘Come Follow Me’. ‘Praise Party’ strategically is a House song, while ‘Buleiya’ would best be described as a reggae fusion.

Perhaps, one of the reasons this EP project will easily be found relatable by listeners would be how nostalgic its sounds feel. Songs like ‘Buleiya’ and ‘Come Follow Me’ would easily remind the listener of afrobeats’ mid 2010s era and the production elements of that time.

Again, it is probably paramount to state how much heavy and resplendently-striking bass lines outline the songs on this EP which gives it a bop, feel-good texture. Perhaps, with better engineering, the creativity of the artist would be portrayed on the level it truly deserves.

So many things could be in doubt, but the fact that EmmaKeyzz really does know how to write great afropop songs cannot be debated. The perfect balance of loosely-packed choruses, very catchy hooks and indent verses is one that is almost never possible with music creators out of the continent, but EmmaKeyzz was able to establish this balance in the songs on this project.

Truthfully, his writing style might not be very in tune with what is popular with the times when it comes to African pop, but they very well serve the purpose of which they are written.

When it comes down to the stories told by EmmaKeyzz on this project, it is binary – about his faith and relationship with God, and his love for a significant other. The former includes all the songs except ‘Tinini Tanana Love’ which falls under the latter.

Tinini Tanana has the artist confessing affection in several Nigerian languages, especially Nigerian Pidgin, Yórùbá and predominantly Igbo – which perfectly fits the original afrobeat (without the ‘s’) five-pattern drum beat that overlays the song with a traditional piano chord progression and as typical to the project, a dominant bass line.

On relating with his higher being, the project opens up with Hero. Hero would best be described as an afrobeats gratitude confession to Jesus. Clark Kent would be superman to man, but to Emma, that perfect hero with no weaknesses would easily be Jesus.

The project has only one collaboration, and it’s with Magpsalms, on ‘Hallelujah’. The song is that of praise to God, born out of immense gratitude.

Praise Party literally has a self-explanatory title as it is a record that would best fit an actual praise party. With its upbeat and uplifting lyrics, it is more likely to get the playlist placements.

Bulieya is loosely translated from Igbo language to mean “Lift Him”, and is a nudge for the listener to adore God, maybe as much as the writer does himself.

Come Follow Me is a nudge as well, but this time it’s more of a call-to-action; encouraging the listener to dance, praise and move their bodies to the rhythm of the song.

I will always hold the belief that one’s greatest competitor is their past self, and if I were to judge this EP based off this very special philosophy, “Joyful Anthems” by EmmaKeyzz shows a lot of personal and artistic growth in the singer. It represents maturity in his art, his undying eagerness to be better and a desire to pass his message across to the listener, even while making the music wear its best sonic appearance.