Brymo is the con­science of a Nige­rian mu­sic in­dus­try that has for­got­ten how to sing. How to sing about things that mat­ter. How to tell or re­call sto­ries that have noth­ing to do with brandy bot­tles, barely dressed women or mis­ogny. The sto­ries he wants to tell in­stead are about - shock­ingly for a Nige­rian artist - tak­ing pre­cau­tions with one’s sex­ual pro­cliv­i­ties, pay­ing homage to a God-de­signed mon­u­ment, Olumo and the peo­ple who make its home city, Abeokuta tick. The dimi­nu­itive rap­per of­ten de­fies easy cat­e­go­riza­tion. Judg­ing by his last al­bum, you would not be wrong to say he makes folk mu­sic. Look fur­ther in the past you might call him an R&B or soul artist. While he may ex­per­i­ment and shape shift with gen­res, a re­cur­ring fac­tor is a sound that is crisp and an artist who con­stantly seeks to pro­voke en­gage­ment (with his work) on his own terms. Ear­lier this year, he re­leased a video for his song ‘Hey Ya’ wear­ing noth­ing but a thong, play­ing a grand pi­ano un­der Third Main­land Bridge with the struc­ture in the dis­tance. No, it was not con­tro­versy for the sake of it. It was the call­ing card of an artist who has some­thing to say and knows how to make us gather round

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