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Black Sherif

Review: Black Sherif – The Villian I Never Was

The 20-year-old’s debut is easily one of the biggest of his time, introducing the world to his sound via his catchy, operatic choruses & raw storytelling, a trait that has made him one of Ghana’s brightest talents on a global scale.

It feels like just yesterday when I received an entry from one Black Sherif requesting to perform at Merchmania 2k19. In a short period, he has worked himself up the ladder as one of the fastest-growing waves, powering his movement with experimental records.

Blacko has a fast-paced run, the remix for the second sermon, which featured Burna Boy, shot him into a different ball game, the international scale, a space where an artiste can operate freely and diversify his craft.

The lead single “KKT” was a powerful statement; not only was it the first Ghanaian song to top Nigeria’s Top 100, but it was also the most Shazam song in the world as of April, defying the odds in an Afro-era.

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“TVINW” is a sonic insight into Black Sherif’s journey, forty minutes of trials & tribulations, anxiety, heartache and a never-ending zeal. “The Homeless Song” marks the genesis of his journey.

On patches of a drill-inspired production, he sounds warbly and frustrated, opening the song with a sad declaration “I’m at my down-est in life & I’ll be homeless for a while”.

Naturally, that’s how it feels when you’re starting a journey with no solid ground info, which inserts Blacko’s vulnerability, an element that runs through the album. On the second song, he seemed to have found some luck, “Oil in my head” sheds light on his spirituality.

The act is originally an ancient custom of hospitality and respect shown to esteemed guests by the host to anoint his invitee’s head with oil, with his host being the highest, hence him turning everything he touches into blessings, one of David’s songs for the Lord.  

Before the album’s release, JAE5 posted a snippet of his record with Blacko,  which had fans thinking he would be on the album. Well, the collaboration got a slot, just not the song that was previewed, “45” is proper Kwaku Killa trap.

It jumps cuts from his chattering vocals and blunt lyrics to hopscotching baselines, making it a fan favourite days after its release. “Soja” still holds replay value when you want to jumpstart your confidence.

Black Sherif has moulded his sound into many modes, making it universal. One of these modes is “Ten Toes Blacko”. He sounds commanding and ready for war or whatever, and “Prey Da Youngsta” (my personal favourite) is as frosty as he gets.

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It also marks Joker’s second appearance on the album(The homeless song being the first), the Ghanaian producer has crystallized the sonic footprint for Blacko, its no coincidence “Soja” & “KKT” are default Blacko elements.

Their bond encourages the maudlin effect of Blacko’s ’ writing with synth atmospheres and trap snares; the same current that runs through “Konongo Zongo”, a heartfelt drill song which morphs into a fully developed ecosystem where all of the keys and sounds are built around his frame of mind; his origin.

The dense, grimy sound that pioneered the sermon series is heavily felt in this body of work, “Sad Boys Don’t Fold” holds a  steely production with all the hallmarks of a third sermon blockbuster. Honestly, “Wasteman” also sounds like a sequel from the Sermon franchise. From its an avalanche of blistering couplets over a lengthy drumroll to instinctive hooks, it reminds us he still has the drill scene on lock.

One of the album’s highlights is his partnership with Nigerian Producer, London. He has mastered the craft of diversifying his work. In Blacko’s search to expand his music’s scope, he bags two solid records with the producer.

”Don’t Forget Me” is the smoothest song on the album. Contemporary dancehall production that tailors Blacko’s high-pitched tenderness in his voice, the ragga grit from London and Blacko’s penchant for perfect hooks makes it the happiest song on the album. However, the writing breeds bits of paranoia. Blacko’s adaptable voice thrives in both scenarios.

On “We Up”, he conforms to the bedrock of the beat, clattering against the synths and drum machines. Some of his best writing has come from his most vulnerable moments, especially ones that involve a lover, “Toxic Love City” is super down-bad-Blacko.

The lyrics here are heart-clutching and overly sad. The second verse explores his unwillingness to let go of a toxic affair, wailing lyrics, “I’ll stay and pay for the cost of my decisions, I will stay and get me roasted for my decisions”.

Another heartfelt record that completes this album is “Oh Paradise”, an emo-drill beat by Samsney, which sees Blacko paints his past love more clearly, opening up about the death of his high school lover. Blacko’s pen steals the show as good as the production is. He bluntly processes grief, with a chorus that comes from the innermost thoughts of a man still coping with heavy loss. 

Debut albums are essential cementation of an artiste’s place in the industry, and for Jiggy Blacko, that’s as good as it gets; he frees the rein to his experimental instincts with a penning skill that catches the singer at his most vulnerable, trying to remember the sketches of his life.

The iMullar is the voice of emerging African music and the lifestyle that surrounds it, showcasing exceptional talent from all around the globe focused on promoting the most distinctive new artists and original sounds, we are the authority on who is next.