Shaker and Kojo Cue - BBnz

A (Late) Track-By-Track Review of Pen & Paper

This review is late in coming. But, as they say, better late than never. Contributor-At-Large, Nana Safo (@forksafo‏ ) decided to write a track-by-track review of the album, settling on which rapper came in the hardest on each track. This article is also to wish Lil Shaker a happy birthday. Enjoy his analysis.

The plan was for Shaker to release a solo album. A hiphop or rap album to prove to people that he hasn’t lost his hip-hop antecedents. Shaker has been slammed by fans who loved him for his hip-hop roots for reducing himself to a mere hook deliverer. As a fan, I strongly felt he’d have earned more stripes if he had gone as an indie artist than joining ranks with BBnZ.

So, when fellow label mate and rapper Kojo-Cue heard him laying bars over beats in the studio, he was willing to drop a few verses on some songs. Later, the two thought it wise to drop a joint album rather than Shaker doing it alone. The outcome: Pen and Paper.

Most fans were anxious, and at the same time very expectant of what the two would offer. Shaker had been silent on the rap scene for a minute, and has been singing most of the time. For those who are not familiar with him, this a flashback on his musical journey. Cue on the other hand has from day one till date stuck to his rap. He remains part of my 6 (six) underrated rap acts in the country.

If not mistaken, the 13 track album was officially released on Saturday, 4th November, 2017 with an impressive concert at the Alliance François, although it did not climax as expected (the show was forced to end prematurely due to time factor). Now left with the last two MCs on the label, let’s analyze, on track-by-track basis, the performance of each MC on album.

Accra – Kumasi (Prod by Ipappi)

The instrumental for the opening track produced by Ipappi was a classical hiphop freestyle beat that showcased quality as well as the worth of people who jump on it. MC’s of that caliber can never go wrong with such a beat. Both rappers did their thing chale, sticking to no particular subject but just the freestyled rhymes chale. Judging from the verses chale, I think Cue went in harder than Shaker Chale.

‘’I write verse ky3, the boy just dey type chale/ boys just dey bite chale/ chew and pour, we go sue them more/settle them/ take the settlement/ then we fly chale’’ Ko-Jo Cue.

Pen and Paper (Prod by Shaker)

This track happens to be the lead track of the album. It happens to be the first single with a simple and excellently conceptualized video (the seamless transitions are sick), dropped prior to the album release.

In an era where some rappers boast about stepping into the booth with no written rhymes and others typing lyrics on the phones, Shaker and Cue referencing pen and paper shows how much value they place on the good old art of hip hop: writing. As to who bodied their verses, well I call this one a draw because of how both acts put forward their strongest foot and traded verses with such impeccability. Read our video review here

Chale let’s face it, most of these new rappers no dey say sh*t, they basic/make I give them my beats make them waste it – Shaker

Man Dey (Prod by VacsOnIt)

This track seemed to set records straight. The two rappers told their survival stories at one end and at the other threw some shades. The chorus was perfectly laid by Cue. For the rap, Shaker took it back to what people knew him for: brilliant lyrics with funny references.

He took it to the era where the New Generation Skillions reigned supreme. With the trappy beat serving as the perfect canvas, the two felt very comfortable at work. Shaker’s display of diverse rap styles earned him a huge one over Cue.

Chale f*ck your Louis Vuitton/You see Wallaby before? – Shaker

Uh Huh, Eh Heh (Prod by King Jamal)

One of my favourite on the album. The bounce is crazy; likewise the display of word play coupled with lyrical dexterity. Lil Shaker and Ko-Jo Cue came to war on this song; sending warning lyrical shots to an artiste. Where Cue went covertly throwing shots at this artist, Shaker chose to be brazen, referencing this artiste’s signature tagline and girlfriend to give the listener an idea. Shaker topped this one too in my book.

The-6-VGMA-category-nominated-but-took-none-rapper, Medikal I’m sure would take particular interest in this song.

Wavy since, olden times/ soon we go Thor like Odin son / k) y3 Sakawa, Me no me y3 Shatta, Wale (Wa lay) every beat enkasa koraa, massa Mahama( Ma hammer) wo ex – president in my city, Nana kraa go test -ify – Kojo Cue

Pressure ft. Ru (Prod by King Jamal)

Both rappers gave what appeared as real accounts of their careers through the eyes of a staunch fan. Shaker’s career has, according to some fans, including Joseph (used in the song) stagnated since signing to BBnZ, and constantly questioned why that was the case. Cue’s approached the song from the standpoint of a young, upcoming artist who was seeking answers (from Cue) on how to make it in this industry. Honestly I feel the  Ru shouldn’t have to be on the song.

His verse seemly a little derailed from the pattern Cue and Shaker went. Ru’s verse was good but the Cue and Shaker’s spoke to a distinctly unique similar storyline and was better. Back to who took this one, I think Joseph’s narration of Shaker’s career got this one in my estimation. Both accounts by the two seemed real but Shaker’s seemed “more realer” (No Pappy Kojo things).

Read Lil Shaker’s Come Up Story

High Me ft. Magnom (Prod by Magnom)

Well, I’m not too happy this song was featured on an album titled “Pen & Paper”, conceived as a real hip hop album. One would have expected more ‘’guy guy’’ raps but not this song. With reference to the above two sentences, I shamefully say this ‘love song’ is one of my favourites off the album. Joe Magnom nailed the chorus and both rappers did what was expected of them on the song. ‘High Me’ is a sweet music piece: the bounce is infectious, the three line hook by Badman Magnom is catchy as hell. An excellent radio formatted song. I wouldn’t judge this song. It’s just… so good.

Politics ft. Kwabena Boham (Prod by Bedi Drumkits)

It’s said that nobody has it worse than an underground artiste. In their quest to make it, they scrap every dime and throw it in a dream, with no guarantee of success. Lil Shaker and Cue address this phenomenon, highlighting the real challenges up and coming and even some establish artistes face. Getting people to listen to your songs even when songs are on free streaming and download platforms, plus promotion and other financial constraints makes it a suicidal mission.

Cue and Shaker did a conversation / duet type of rap style, revealing how ‘everything is politics’ in showbiz. Kwabena Boham came in with a different approach. He stuck to the theme of and dropped some word play with the names of members of the BBNZ crew. I will call it a draw for all three rappers. This song has everything: humour, advice and real truths.

How you get 200k followers wey your retweets be two? – Ko-Jo Cue

Up & Awake ft. Kwesi Arthur (Prod by Ipappi)

Up & Awake is a trap-bounce song which featured Kwesi Arthur, one of the new rap sensations in the country. He did the hook and climaxed the song with a short verse. Fans just wished his verse was a little longer. In summary, the song thanked God for the gift of life (up and wake up/Glory to God o) and for Him to bless our hustle when we are awake. It really difficulty to tell who topped the rap and wouldn’t be fair to score it as a draw. Shaker did good but Cue held his own well. Cue had it. Special credit needs to be given to the producer. Those strings bawling beneath the beat was dope.

Read Up and Awake Review Here

Me Ti Ate (Prod by K Wypa)

A nice one to be played with high volume in a moving car. This song no doubt qualifies as a club banger. This is a hip hop tune which saw both acts “flexing” on their current standings in the industry and also how far they have come. Cue set fire to the ‘feature for exposure’ flag and the need for rappers to be smart with their finances.

Shaker pours out their credentials and why they are the leaders of the new school. An average performance by both rappers over the hard hitting kicks, head bumping beat and catchy chorus. Will pick Cue if I’m to choose who did better.

Just Know (Prod by Paq)

Not really a fan of trap music. I think this song qualifies as one. No doubt “Just Know” is nice piece of music and a good one to relax with. The song in summary speaks about confidence and the hope of success. They speak against fakeness, mistrust and need to stay real. If am to score, both rappers were up to par.

Things We Do 4 Love Ft KiDi (Prod by BB and JayMera)

A love song with beautiful highlife grooves with a trap influence. Lynx Entertainment artiste KiDi brought his smoothness on it. The instrumentation was well laid and the rappers were on point. Both rappers brought a local feel to their verses which am sure it would catch on with most people. Shaker did well with his infusion of the Ewe dialect and Cue as usual was spot on with his Twi.

The title of this song is however deceptive and disappointing for contemporary old school head like me. On a track title like that, I was expecting flashbacks from the early 2000s local TV series “Things We Do For Love”. Cue got this one hands down.

Abi you know say, if you were Kenkey/ I go pick you over Jollof, right? – Kojo Cue

Untitled (Prod by Jedi Drumkits)

The video to this song is mad creative. Untitled is a freestyle rap song where both Shaker and Cue went bananas with the bars. A listed favourite on the album, and I’m sure it will be on the hearts of most rap lovers. Listening to the song, I wonder how much Access Bank and KFC helped in its production.

Hate to say this but it seemed hibernating from the rap scene for a while took a toll on Shaker. Cue’s verses on this song could easily pass him for rapper of the year. Cue got this one by some distance. Read video review here

You see mic aa you go fear, you no near am at all, Cool cat rhymes aa Tupac Shakur, So many dope lines I for supply Tagor – Ko-Jo Cue


Hmmm Ft Cina Souls (Prod by JayMera)

Don’t know whether this is a style of BBNZ rap artistes; to climax their albums/mixtapes with real life stories of how they got to their present status in the industry. Funny enough, EL’s BAR mixtapes with similar patterned songs featured Shaker on BAR I (Saa Na Eti3) and the two (Shaker and Cue) on “We No Dey Hear” on BAR II.

Shaker did the chorus on both songs and had his story pending. Cue on the other hand, told his story and really didn’t have much to say on Hmmm (at least when compared to “We No Dey Hear”). Cina Soul, the third voice on the song blessed the piece with her sweet silky voice as she perfectly laid the chorus in Ga. I have a crush on her (Wassup @MannyFBC?) Shaker had this one for me. Just hope his verse does not breed any friction among colleagues.

Read AlsoGet Familiar: Six Top Underground GH Rappers You Need To Know

This by no means seeks to disrespect or downplay the crafts and efforts of any of the artistes. They both brought their gifts to the table, resulting in the crafting of one of the best albums released last year and also, one of the best collaborative albums thus far.

This is real hard work which needs to be supported.

Mad respect and appreciation goes out to the two artistes, the artistes who featured and to all hands who helped in putting this album together. Hiphop is much grateful. Again mad appreciation for bringing into light an innovative means of revenue collection Buy Pen & Paper Album here

PS: This album review was intentionally written late as Kojo Cue and Shaker REFUSED to ‘chill’ us for 5 days straight – exactly like they said they should in the song ‘Politics’. – Manny FBC

Nana Safo is a rapper and the biggest Papoose fan ever. He tweets at @forksafo


Video: Watch Ko-Jo Cue and Lil Shaker’s Cinematic Slave Inspired ‘Up and Awake’ Video

When Ko-Jo Cue and Lil Shaker began sharing photos of ‘Up and Awake’, featuring Kwesi Arthur, we knew the video would either be a slave video or be inspired by a slave story.

From the field nigger garbs to the lynching and abuse of these slaves, and their quest to attain their freedom are vividly recreated in this short yet profound video directed by Esianyo Kumodzi.

Inspired by the Steve McQueen 2013 Oscar winning movie 12 Years A Slave, the video opens with four slaves – Ko-Jo Cue, Lil Shaker, Kwesi Arthur and Juls- strategizing their escape to freedom from their masters. Juls, however bails out of the plan leaving the three to undertake this journey. (Juls bailing out is indicative of how indolent the whole slave progrom made some of these slaves).

Chased by their gun wielding masters on horse backs, Ko-Jo Cue and Lil Shaker succeed in their escape, rendering the attempts of their master’s unsuccessful.

Scenes of plantation life – the lynching, public beatings, cotton harvesting – are shown. The texture and quality of video, the garbs worn by them, the acting and the overall scenery aptly reflect the 1800s slave epoch.

The overall cinematic look of the video deviate from the traditional hiphop videos we are generally accustomed to.

Watching the video, one could be forgiven for thinking an old reel of a slave movie was imposed in the video from the 3:10 seconds mark. All the scenes in the video are however, acted out. (Fun fact: None of the people in the video are actors. This is their first acting ‘job’).

The runaway slaves become free in the end, trading off their white and khaki slave costume for resplendent kente clothes at the end of the video. Freedom has finally come.

Ko-Jo, Lil Shaker and video director, Esianyo Kumodzi have been releasing some incredible visuals for songs off ‘Pen and Paper’. Videos such as ‘Untitled’, ‘Pen and Paper’ and this latest work, ‘Up and Awake’ are conceptually different and incredibly executed.

Watch video below

DJ Juls Portrays The Ghana Life in “Agoro” Video


Every day is a happy time for Ghanaians; our dire economic situations notwithstanding. That sense of camaraderie and joyousness is brilliantly captured in ‘Agoro’, new video by Juls featuring highlife acts Adekunle Gold (Nigeria) and Bisa K’Dei (Ghana).

What is striking about the video is the quality of colour grading. Its gold dust appeal cast the scenery of Gbese, Jamestown (formerly British Accra) in a stunning manner.

It follows the journey of Juls to his grandpa’s hometown (Gbese) and ends up having a jolly time with Adekunle Gold and Bisa K’Dei, along with fellow ‘Jamestowners’.

The video portrays the life daily of Ghanaians living in the inner cities and reflect some of the recreational activities common to them. The Willowbrook bus ride through the streets of Jamestown, strolling goats, (apologize to AccradotAlt), football games, kids playing ‘tomato’ (hop scorch) and ampe as well as ‘cloth parachutes’ are snapshot of daily lives.


Then comes the party hour where Juls, Bisa K’Dei and Adekunle Gold joined others in a game of draughts, cards (spar) and palm wine drinking, amidst dance and merry making, feeding into the ‘Agoro’ theme (Agoro means play in Twi). Ko-Jo Cue, Shaker and Adomaa make cameo appearances.

As his fame had soured, so has the quality of his videos. Juls is curating well-conceived visuals with incredible story lines that reflect his history (a Ghanaian and African) and status as a global and urban guy. ‘Agoro’ is the latest addition in a rich video vault.

Watch video below:

Watch M.anifest’s Artistic Dance Interpretation of ‘Simple Love’ (A Short Film)


M.anifest has always been stylistic with his artistic creations. From his music to visual representation of songs, the rapper has found a way to showcase his art (videos) in different forms. His recently released short film ‘Simple Love’ attest to this observation.

‘Simple Love’ is a spectacular dance interpretation of the song. It follows the brilliant display of a female ballerina in search of love in a sea of people.

The video director, Makera Thekasi’s decision to film at the bustling Tema landing beach and capturing the excellently choreographed ballet dance in slow motion has the viewer following every inch of the dancer’s movement.


A poignant scene in the video begins at the 3:23 second mark, where she finally finds her lover (or so she thought). After a moment of flirtation, and scrutiny, she gestures to him (played by M.anifest) to follow her lead, something he staunchly refuse.


Heartbroken, she ‘runs’, and ‘screams’ out her disappointment or pain, expressed through her stooping posture, hands and head to the sky and general body language. Her search for simple love has proven futile.


Another interesting moment in the film was towards the end when a TMT (The Money Team) inscribed sandal is captured. I can’t tell if that shot was accidentally captured or it was scripted.

Whatever the case may be, the TMT sandals does contrast with a line in the song’s chorus: I want a Simple Love/Money cannot buy‘. Well, love is expensive and purchasable.

Watch video below

Album Review: Burna Boy Proves He’s Not A One Dimensional Artist on “Outside”

On “Calm Down”, the penultimate song of his recently released album “Outside”, Burna Boy hints: Got me moving in slow motion/ I’m tryna walk on top of the ocean. Though a reference to an overdose on drugs, this declaration, is a summary of his career. Over these years as an artist, the Afro-fusionist hasn’t received much credit for his immense talent. When the conversation around some of the best talents from Nigeria is made, his name falls down the pecking order.

Yet, Burna Boy, born Damini Ebunoluwa Ogalu, knew his time was inching closer and that, the validation he deserves would come in some few years.

“Outside” is the perfect project to accentuate his credibility as one of the incredible talents from Nigeria and Africa.

“Outside” has Burna Boy touching on the themes of life on tracks like ‘More Life’, which incidentally was one of the five songs he submitted for Drake’s album of the same name. Unfortunately, Drake chopped it as an outro, but Burna Boy chose to make it the Intro to his album.

The energetic Ph City Vibration (an ode to his home city of Port Harcourt, River State) offers a glimpse into his upbringing: I was born inna the Teaching Hospital/ I no dey stay far from the Liberation Stadium/ Na I dey chop poly, and fish and yam’. The 27 year old Burna Boy paints a picture to prove to all that, his come up wasn’t as rosy as many might think.

Music has always been in the blood of Burna Boy. His family has had a long association with music. His grandfather was once a manager of legendary afrobeats king, Fela Ransome Anikulapo Kuti. His father was a big dancehall enthusiast. It’s therefore no surprise how Burna Boy turned out, career-wise.

Afrobeat is omnipresent on “Outside” as exhibited on the rhythmic ‘Koni Baje’, a Yoruba phrase that translate as ‘It Won’t Be Destroyed’. Replete with sage wisdom about how success breeds many friends, the highlife toned song is dominated by soft drums, electric guitar riffs and horns sections that leaves you pressing on the rewind button after a first listen. ‘Ye’ continues in that same afrobeat realm, with it’s theme of staying successful: I no fit die for nothing”, he notes. ‘Plenty suffer wey we face/ just to make sure money dey attest to the mantra that many don’t see your pain, only your success. ‘Ye’ and ‘Giddem’ both have interpolation of Fela Kuti’s ‘Sorrow, Tears and Blood’ from his 1977 album of same name.

Burna Boy features UK acts JHus and Lily Allen, on the slow afro dancehall number ‘Sekkle Down‘ and “Heaven’s Gate” respectively. Whereas “Sekkle Down” focuses on romantic flings, “Heaven’s Gate“, with it’s ebullient spark, has Burna boldly telling haters you can’t come around my estate. Lily Allen’s shrill delivery adds a layer of texture to the song. (“Sekkle Down’’ carries a JHus imprint than Burna Boy’s, although he in the end, owned it).

If there’s any song with the potential of thrusting Burna Boy into global limelight, it’s definitely has to be “Heaven’s Gate”. Not only because of Lily’s name attached to the song, but the stellar delivery of Burna Boy.

On both “Calm Down” and “California Devil”, Burna Boy faces his demons- use or abuse of ecstasy drugs. He references his popping of molly in the club on ’Calm Down’ (So, why I just put all my pain and problems/ In this styrofoam cups/ And drink it all away). He revisits drug use on “California Devil” (I’m so high/ Can’t open my eyes/Can’t look in your eyes). The lyrics, however betrays how these drugs serve as a source of escape- from the pressures of life for artists like himself.

The EDM laced title track, “Outside” features UK pop singer Mabel, whose crooning adds an emotive feel to the introspective musings of Burna Boy. This, perhaps is the most personal song on the album, considering the legal issues he faced in the last part of the year. On ‘Outside’, Burna reiterate the ‘survival of the fittest’ theme akin to the jungle; alluding to how nobody cared when he needed help. Before the beat finally drops on the song, he asks a very poignant question: “so if my mama cry and I rest as well/ Does her son end up like Vybz Kartel?”.

“Outside” is proof of Burna Boy’s incredible versatility and artistry. The genre blending sounds aside, he shows no hint of struggle in his deliveries- he knows how to bend his voice to sit within songs. If “Outside” is Burna Boy’s gallery, then on each wall hangs a portrait of his gifts.

Mark Asari Shows His R&B Side on “Minus To Plus” EP

Steeped in mid- 90s R&B sound “Minus To Plus” is a celebration of love, success and a better future.

The late 80s and the early 90s babies had their teenage years defined by R&B music. From memorizing and karaoking some of the soul bearing lyrics from black American singers to slipping few romantic lines into letters to their childhood crushes, R&B music was a precious gift that many held on to with great care.

By the end of the 2000s, the appeal of that genre was beginning to wane. Artists who were once noted as proponents of that genre began to bend over to a new genre that wasn’t much a favorite of black American populace.

By the middle of new millennium, pop music (majorly a white genre) was stealing R&B artists away to it’s side. The reasons range from it’s popularity to it’s economic appeal. R&B market, compared to the pop music market, was very insignificant and the need to profit and expand their fanbase into a white demographic meant creating the kind of music that serves their interest.

That gradual switch in focus, however led to the gradual demise of R&B from their main music space. This development had led to some music critics to label R&B a dying genre. But, it appears the revitalization of R&B is gradually happening. That’s a conversation for another day.

For an artist, and for that matter a new one, to choose to go the R&B route on a project, in a market that accept pop induced music readily, could be seen as unimaginable since a pop record(s) is a surest bet for a new artist to earn acceptability. But, this isn’t the preoccupation of Ghanaian-UK act Mark Asari.

His 6 track EP, “Minus To Plus”, is an enterprise in self reflection, celebration of self and self belief. As the EP title indicate, “Minus To Plus” is about growth; it’s about resilience; and about victory. Mark Asari obviously has chalked some losses and wins in his life, especially in his career as a musician.

Steeped in mid- 90s R&B sound – with it’s mellow vibe, catchy melodies and mid-tempo feel- “Minus To Plus” is a celebration of love, success and a better future.

Mark Asari’s nasal falsetto offering peels through the kick and bass driven beats. The second song- which is also the title of EP- is a victory celebration. He sings about making it as these lyrics reflect: ‘School of hard knocks, I guess I’ve learnt enough’. He proceeds with, ‘I’m numb to the pain, I’m numb to the love, I’m numb to the hate’. These experiences are the backwood on which he’s floating to success : ‘Riding through the city with my windows off‘. Mark solicits help from Geovarn, whose voice is a something close to Bryson Tiller- sends caution to all the fake love spreading girls to stay back now that he’s successful.

Issues of love is dominant on the EP as heard on the opener ‘Ain’t Gotta Talk’, a request for a girl to back up her words with action (let your action speaks louder/You can’t be here selling a dream). The calamatic side of this joyous affair is heard on the Tion Wayne assisted, guitar synths and flashing piano chords dominating, heartbreak story ‘Baby Yo’.

The ebullient ‘Stay With Me’ carries a ‘ride-or-die-chick’ theme while ‘Me & You’ touches on a spending a life with a loved one. Whereas the beats on ‘Stay With Me’ sounds like something from Timberland’s playbook (think his drum heavy works on a Timberlake song), ‘Me & You’ tilt towards more traditional R&B influence.

The closing song ‘God Bless My Hustle’, despite it’s message of praying for godly mercies disrupts the feel of the EP. ‘God Bless My Hustle’ is a more up tempo, afropop song which doesn’t fit the overall R&B mood of the album. Perhaps, not a big deal but it snuffs something away from “Minus To Plus”.

Technically, Mark Asari’s shrill voice was within a perfect range. The producers did their best to highlight it’s beauty since poor mastering could have made his voice so piercing.

R&B might be on a downward slope, sad to say. But, for some artists who grew up on this genre of music, departing from it would be unthinkable. They’d rather be part of recuscitating the genre than abandoning it. And Mark Asari belongs to this brave crop of artists.

Concert Review: A FOKN Party The Rains Couldn’t Stop

Half way through their set, the rains began to fall; first in drops and latter in sheets. Earlier in the afternoon, the city had been washed by rains. But, the party wouldn’t be stopped by the showers. The adrenaline was high and the rains, it appears invigorated the fans even more.

The venue, Alliance Francaise wasn’t full when the party commenced. But, people trickled in as the show progressed. The venue was almost full a few performances later.

And the Fokn Bois – consisting of Wanlov The Kubolor and M3nsa- as usual, kept the audience excited throughout their two-and-half hour set.

What is fascinating about the Fokn Bois and their concerts is this: they are able to re-invent their performances each time they mount the stage. You can see them ten times performing the same songs yet, you wouldn’t have two sets being the same.

Their performance was a combination of comic dramatization, serious political commentaries, introduction of new artists -Fiddy and 730 (Seven Thirty) and of course, a strange appearance by a certain Donald Trump. (You read right). Ironically, this was during the performance of ‘Help America’, a humanitarian chant.

They performed songs from their classic album, “FOKN Wit Ewe” and “FOKN Ode To Ghana”. It wasn’t much about the songs they performed on the night. It was the manner it was performed that would stay with the many who were present.

The impressive backdrops and the dramatic interpretations of some songs handed their set a theatrical feel. It was like watching a musical being performed by master actors.

They had two ‘gays’ on stage to help dramatize the lyrically visual song ‘Strong Homosexual Guys’. The acting- from Wanlov being awoken by a phone call, to the ‘gays’ chasing them- as unexpected as it was-added to the overall excitement, especially when they got chased around on stage and through the audience. The backdrop did change with each song, including a Bruce Lee and a crop of lawyers during the performance of ‘Famous In China’ and ‘Laughing At Cripples’.

“Sextra Terrestrial Sex” went with a space odyssey backdrop adorned with graphics images of aliens, space ships and galactic impressions. Sitting on a couch, rapping out lyrics felt like two old buddies relaxing at a porch casually daydreaming about sexual escapades with aliens.

When we thought we’ve seen it all, they, like politicians on a podium, read out a joint ‘speech’. The speech, as politically and socially toned as they were, were taken from four songs off their “Fokn Ode To Ghana” album- ‘Live The Highlife’ (The price of lies/ the price of lies dey rise/ The price be right/ To my cit it taste nice), ‘Muga Yaro’, ‘One for Aniki’, ‘Africanspirit’.

They called on stage Medikal who joined them performed their new single ‘Wo Nim Mi’ (You Know Me). Watching the Fokn Bois on stage is amazing. Their ability to improvise and even crack jokes and start little off the cuff conversations is in itself an art. And on the night, we witnessed many of these instances.

The fever pitch moment, interestingly coincided with the rains; something they jokingly described as a godly ejaculation session. Fans weren’t perturbed. They joined the Fokn Bois in the performance of what had became a cult favorites: ‘Gimmie Pinch’, ‘Broken Lngwjz’ and ‘Super Chompia’. And when they were done with their set, the audience requested them to perform ‘Beeches’, which they had no objections to.

Like all their concerts, the Fokn Bois performed live. They had on stage a MacBook Pro which contained the instrumentations of their songs; some were a re-creation of the original.

The only downside on the night was the discomfort that some of their lyrics caused among some of the elderly folks who were in attendance. I couldn’t help but notice the facial expression of discomfort on the face of one elderly man who sat two places from me. He had his young family with him as well and hearing the Fokn Bois sing about genitalias obviously was uncomfortable.

But again, this is a Fokn Bois concert where irreverence rules. Like I always say, the FOKN Bois are masters of their trade. And they keep proving why they are one of the best performing artists in the country, by far.

Photos used in this article are sourced from the twitter pages of @revyboadu @mutomboDaPoet @arkiim_ @_kwnbnx @dadaeli_