Music
The story of Burna Boy in 10 essential tracks
From Lagos lounge singer to African Giant, Damini Ebunoluwa Ogulu has established himself as a global pop kingpin.
Embodying the modern, cosmopolitan African man, shaking his dreadlocks over retro-style jewellery and colourful button-down shirts, Burna Boy started out as Lagos’ best kept secret.
Burna draws heavily on the discography of Afrobeat originator and legend Fela Kuti, who his grandfather, Benson Idonije, once managed. Blending earthy jazz horns with fiery dancehall riddims, he is a man in love with the sounds of his native Nigeria, the wider continent of Africa and the islands of the Caribbean -- effortlessly fusing Yoruba, pidgin English and patois dialects in his lingo.
His first and second album offerings -- L.I.F.E in 2013 and 2015’s On a Spaceship -- courted the West African club circuit, before his impact was truly being felt in the UK.
He continues to grow from the boy into the man, with last year’s Grammy-nominated African Giant album advancing the irresistible aura that finds anyone and everyone on their feet, swaying in unison to his voice. Here, we trace his story to date.
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1. Tonight
Burna’s early stint with Aristokrat Records was powered by a string of saucy crowd pleasers, the first of them being Tonight. Produced by underrated prodigy LeriQ, it celebrates the spirit of faaji, a Yoruba term which translates simply as ‘enjoyment’.
On the track, a continuous countdown sets us up to meet the boy himself. Looked back on by die-hard fans as the first time their ears perked to Burna’s voice, it's equally as memorable as it is impressive.
2. Don Gorgon
In this, Burna fancies himself as the one and only Don Gorgon. His swagger is irresistible, and the track is another announcement of him stepping onto the scene -- except this time it’s louder.
Playing on Jamaican hall of famer Shabba Ranks’ iconic Ting-A-Ling, Burna reimagines himself as Burna Rankin. The visuals show a young man stepping into a lift, with every ascending floor unlocking a new level of turn up: from a carnival to a parlour of cheetahs.
3. Soke
Slowing us down, jazz melodies underpin a track that is equal parts banger and social commentary. Going heavier on the Yoruba adlibs here, he reflects on the state of his homeland in West African pidgin. “People don kolo, eji soro, not easy, no money o, no light e o, water nko? E no dey flow,” are the words of frustration at a corrupt and disappointing government. But you don’t have to understand his words to hear that he wants more -- for himself and his people.
4. Rock Your Body
It’s fair to say that Burna never neglects his romantic side. Here he bypasses the initial first-date tingles altogether to something much more tempting. As an artist, he becomes more comfortable in his signature sound of mid-tempo vibrations and neatly tucked seduction.
5. Ye
Living proof that anthems don’t need complex lyricism, Ye is the bass you put in your voice as you chant it over and over again. It is a declaration of aspiration and self-empowerment, speaking into existence a life of success. And with it has come popularisation of the phrase “I can’t come and kill myself” as a commitment to putting oneself first in the face of struggle.
6. Killin Dem (ft. Zlatan)
Amid a hypnotic slew of drumming and rattling, Burna repeats, "we go dey wound dem like that" to show us that -- along with Zlatan -- he came to play no games with us on this track.
Dancing is a big deal in Afrobeats, so it follows that no one is standing still in the music video either. In it, the cross-armed shaku shuffle builds to an almighty gbese -- the leg-raising skip move ending every chorus, with Burna, Zlatan, and their dancers' feet colliding with the ground.
There's an element of friendly competition too; with each participant going head-to-head, there’s no room for stiffness.
7. On the Low
Slick and sensual as ever, this is one for the lovers. Ditching the player's lifestyle, Burna is surprisingly relatable for hopeless romantics too. The refrain's "Angelina" is the elusive object of Burna’s affections, and his determination to woo her finally culminates in a private encounter -- but it’s still hush hush, of course.
8. Gum Body (ft. Jorja Smith)
One of the shining stars on the African Giant album, Burna Boy’s collaboration with Jorja Smith is gentler than what we’re accustomed to hearing from him. Smith’s soft vocals and late night car rides are the answer to his low-toned regretful pleas, as together they paint the image of a separated couple trying to find their feet again. Both are unafraid to explore the full spectrum of their emotions, and the depth it produces is moving.
9. Money Play
Money Play is a hustler’s anthem for everyone on their grind, from Burna’s exclusive connect in the city of Abuja to the women sellers in the sprawling markets of Lagos. Burna's profile adorns the cover art's reimagined currency, and across his verses it becomes clear that, although he makes the money, the money doesn’t necessarily make the man.
10. Odogwu
Odogwu is the ancient Igbo title bestowed unto men believed to have done great things. With the full-bodied and righteous cultural symbolism of tribal headgear, markings and dancing, Burna invokes the imagery of an entirely different, yet powerful society. Surrounded by a lineage of authoritative Igbo men, he is the only one sat on the throne: the true chief.
