Annatoria delivers this multi-lingua afrobeats song in English, with bits of Shona, Broken and Spanish in the key of C sharp minor…. vocalises a lot like Brandy…her riffs and runs are executed intricately, with precision and speed…
It is almost like every line climaxes on its own. Sopriye’s vocals are so fluid, delicious and easy to follow. She does have an extensive vocabulary of riffs and runs that are neither obtrusive nor overpowering in any way, but at the same time are very correct and authoritative. Everytime I think of her vocal dexterity, I think of the scripture…
Judikay’s lyrical style exhibits her exquisite Nigerianness in the line ‘It can never ever exist o’ and how she lists characters from the bible, making the song more colourful. Her harmonies are incredibly happy and bright. Her vocal style reminds me of Jekayln Carr and Mercy Chinwo a bit with rich highs and lows, but she is slightly…
Bunmi’s alto range is simply a breath of fresh air on this bluesy piece. Her cover of Elijah Rock is slower paced to Mahalia’s tap dancey one. The cover starts with notes from the organ and beats from the drums. Her tone is all round rich…
‘Now unto the Lamb upon the throne, we raise a sound’, reminds me of the melody of Westlife’s ‘Fool Again’… Nosa adlibs characteristically, with cool Nigerianness.
Baylor’s vocals are strong, robust and delicious, accompanied by crisp and soothing back ups. The instrumental, which is a mixer of synthesizers, the lead and bass guitars, as well as drums is so yummy, I could almost taste Bob Marley’s ‘No Woman, No Cry’. Enjoying this song is like eating strong meat with the greats…
Koryn does growl her heart out after the bridge, and the mix controls it, making it even prettier. The chorus allows the bass guitar shine with yummy deliciousness…
How do you recognize who is singing a song without even seeing their face? The answer is TONE and it is simply the distinct character, colour or quality of the (singing) voice.
