CKay The Second is not just a reanimation of past sounds, but a confident offering that reaffirms CKay’s role in pushing the boundaries of what Afrobeats can sound and feel like.
By Emmanuel ‘Waziri’ Okoro
One of the beauties of the ‘Afrobeats to the World’ movement is that it not only provided global inroads for artistes of West African extraction, but also, as an umbrella term, became a launchpad for sub-genres to permeate the scene and thrive. While operating within the mainstream Afrobeats enclave, these artistes have carved their own paths. Street-Pop, Afro-Piano, Afro-Rave, Afro-Adura, and Pon Pon are common annotations for the diverse genres expanding Afrobeats’ sonic landscape.
However, another subset worth mentioning is Emo-Afrobeats, even though there are not yet enough conventions agreeing on its inclusion as a formal subgenre of Afrobeats. This style, characterised by melancholic and reflective tones, coupled with emotionally charged vocals and lyrics, has gradually made its mark on the zeitgeist.
When considering this definition, it’s easy to zero in on the Nigerian singer, songwriter, and producer, Chukwuka Ekweani, popularly known as CKay, who has expanded the soundscape with his latest project, CKay The Second.
Since his emergence on the scene in 2016, CKay remained a sensation under the radar, until the release of his 2019 EP, CKay The First, which featured the track “Love Nwantiti (ah ah ah)”. The song became a global TikTok sensation in 2021 following a remix with Joeboy and Kuami Eugene, catapulting his career to new heights. Since then, CKay has released his 2023 debut album, Sad Romance, a deluxe version of the same, and a 2024 LP, EMOTIONS. CKay The Second, a reanimation of the first, sees the “Emiliana” crooner revisiting familiar themes while refining the signature sound that listeners have come to associate with him.
The opener, “tey tey”, a colloquial expression meaning ‘long time’, begins with a sonorous riff, supported by electric guitar plucks, soft piano notes, and mid-tempo staccato pads. It ushers in CKay, who wastes no time in serenading a love interest. At the core of his music, CKay aims not just to communicate but to make you feel, and he pulls this off effortlessly. “My girl fine pass Queen Amina/ She be Cleopatra, I be Julius Caesar o/ Keleku, she get wahala and fire boy like elewu/ Are you available?” he croons, before pleading remain committed, as he’s had feelings for her for a long time.
On “forever”, BMH’s velvety composition comes alive with soft Afro-Pop drum rolls, interspersed with gentle lead guitar flicks and a groovy bassline, as CKay once again professes his love for a muse. His vocals are soothing, matching the mood of yearning to be with her. It doesn’t get better than these lines: “Woman of my dreams/ I see you beside me when I wake/ I dey lose my cool when I nor dey with you”. As he sings about being with her forever, it evokes a vivid scene of the two lovebirds together on a tropical beach.
CKay The Second burst with new energy on “permit me”, and sees the singer melding between Nigerian pidgin, English, and French to deliver a ballad of assurance and love. The production is bolstered by soft piano chords, mid-tempo Afro-Pop drums, and a seasoned bassline. The song’s catchy hook and rhythmic bounce make it not only emotionally resonant but also a sure-fire party starter.
The EP’s emotional core deepens with American singer and songwriter, Sabrina Claudio, appears on “again”, “again”, a collaboration with American singer and songwriter, Sabrina Claudio. The track explores the tension between vulnerability and self-sabotage, as CKay navigates the pressures of fame and the struggle to stay emotionally grounded in a committed relationship.
His verse lays bare his imperfections, as he confesses: “You hate me when I give other girls my number/ I tell you sorry then I do it over again/ Cast the stone if you nor dey sin/ I’m a born sinner, generous giver/ But I want to be better for you, for you”. Yet, his muse is not easily swayed. Claudio’s response is assertive; her unwillingness to settle for anything short of genuine commitment is evident in her lyrics, “You’re gonna have to try harder/ Don’t want no more lesser”. This subtle back-and-forth captures the intricacies of modern relationships, where love needs accountability to thrive.
On “say no more”, CKay paints a sensually-charged atmosphere with a muse, as they explore the realm of intimate desires. The production is sleek and minimalistic, allowing CKay’s vocals to take centre stage. His delivery is subtle yet deliberate; an understated confidence that suggests he means business. “Everything is confidential/ But if they find out, we don’t give a fu fu fu fuck/ My loving is something special/ But you go find out, make I nor too talk”, he sings, balancing cheeky defiance with sensual intent.
CKay The Second ends with “nothing spoil” featuring Street-Pop act, Bella Shmurda. Set against a laid-back, mid-tempo composition, the track serves as a sobering reflection, as CKay undergoes a moment of clarity, a reality check that life is fleeting, and thus, embraces to make the most of the present, while interpolating Fela Kuti’s 1978 classic, “Shuffering and Shmiling”. Shmurda, known for his raw and expressive delivery, adds a streetwise perspective, reinforcing the theme of survival and resilience.
CKay has mastered the art of emotive storytelling, and on CKay The Second, he continues to cement his position as one of the leading voices in emo-influenced Nigerian Pop. This new project revisits the essence of his breakout moment in CKay The First, while pushing forward a more mature, reflective sound. Whether serenading a muse on the breezy “tey tey”, offering sultry promises in “say no more”, or baring his flaws in the emotionally-charged “again”, CKay displays a deft command of his feelings using melody.
CKay The Second is not just a reanimation of past sounds, but a confident offering that reaffirms CKay’s role in pushing the boundaries of what Afrobeats can sound and feel like.
Lyricism – 1.3
Tracklisting – 1.4
Sound Engineering – 1.5
Vocalisation – 1.4
Listening Experience – 1.4
Rating – 7.0/10
Emmanuel ‘Waziri’ Okoro is a content writer and journo with an insatiable knack for music and pop culture, with bylines on Afrocritik, PM News Nigeria, Tribune, ThisDay Live, Vanguard, and The Guardian. When he’s not writing, you will find him arguing why Arsenal FC is the best football club in the multiverse. Connect with him on Twitter, Instagram, and Threads: @BughiLorde.