Addiction stands as the clearest sign yet that Jay Melody is approaching that razor-thin line on the other side of which lies the rarefied status of one of the greatest in his genre, Bongo Flava.
By Frank Njugi
In music, only the most refined and resonant genres give rise to true superstars—artistes whose mastery and magnetism are so profound that they become the very face of the genre itself. In Bongo Flava, Diamond Platnumz and Ali Kiba have, for over two decades, both preserved the genre’s core identity and expanded its sonic and stylistic boundaries, ascending to iconic status not just as performers, but as enduring cultural and musical archetypes.
In recent years, however, a new generation of artistes has been steadily pushing its way to the forefront. Jay Melody, real name Sharif Said Juma, has been at the vanguard of this new wave. He has been hailed as next in line—not only for his commercial success, but for embodying the very synthesis of the genre and an artistry that positions him as a potential cultural icon.
In 2024, Jay Melody released his debut LP, Therapy—a 14-track project that reveals his interpretation of Bongo Flava: primarily a Swahili iteration of R&B music.
In 2025, Jay Melody returns with a new album, Addiction. This project builds on the R&B-infused melodies and smooth vocal stylings of his debut, Therapy. However, this time, he shifts focus towards Bongo Flava’s traditional roots as well. In Addiction, he incorporates rhythmic patterns and sound structures that highlight Swahili musical heritage.
Addiction comprises 12 songs—compositions that demonstrate Jay Melody is operating at the zenith of his creative prowess, exhibiting both technical mastery and a fleeting creative peak that might position him as a seminal figure capable of assuming a leading role within Bongo Flava. Lyrical poetics reminiscent of Taarab Swahili music shape the harmonic and narrative structures of most songs on the album.
The intro song, “Hawatoi”, captures the frustration of an artiste at their creative peak, yearning for deeper recognition and connection with an audience that often overlooks their brilliance. Sonically, the track seamlessly integrates the inflections and nuances of Taarab with the harmonic progressions of modern pop. “Hawatoi” establishes a thematic and structural framework that reverberates throughout the subsequent songs.
Jay Melody collaborates with three artistes on Addiction: the Tanzanian Bongo Flava and Afrobeats act Jux, the rapper and politician MwanaFA, and East Africa’s most successful artiste—widely considered the King of the Bongo Flava genre—Ali Kiba.
In “My Dearest” and “Tila Lila”, featuring Jux and MwanaFA respectively, Melody’s lyrics—structured as a hybrid of euphoric romantic proclamations and intimate articulations of a lover’s personal insight—are effectively carried by the featured artistes, whose vocal and stylistic contributions not only enrich the songs but also mirror and amplify their expressive contours.
Sonically, the latter has a slow, fluid rhythm that unexpectedly complements the featured rapper MwanaFA’s cadence, while the former leans into Afrobeats-inflected grooves, perhaps tailored to align with Jux’s signature style.
“Nishalowa”, the track featuring Ali Kiba, showcases a dynamic interplay between the featured artiste’s rich vocals and Jay Melody’s melodic flow, establishing a captivating combination that heightens the listening experience. This is achieved while drawing from the upbeat tempo and infectious chorus structure reminiscent of their 2024 collaboration, “Hatari”.
The track, “I Don’t Know”, invokes the tonal and lyrical motifs of “My Dearest”, functioning as a continuation of romantic expression. The use of background harmonies not only complements the lead melody sonically but also enhances its depth through carefully layered vocals.
“Hujaona Bado”, while sonically aligned with “I Don’t Know” in its harmonic structure and smooth production, diverges thematically. Lyrically, it foregrounds Melody’s aspirational self-image, celebrating the pleasures of refined living even as he acknowledges that his journey towards greater success remains ongoing. He juxtaposes an exploration of aesthetic polish with a narrative of self-assertion.
In “Mtoto”, the lead single preceding the album release, Melody’s nostalgic and introspective lyrical content—centred on the pleasures of youth in contrast to the complexities and understandings of adulthood—is underscored by a slow-flowing harmonic progression that reinforces its reflective mood.
Conversely, the song “Jirani” sustains the introspective thematic thread but redirects it toward romantic yearning, while its uptempo, rhythmically buoyant arrangement encourages physical movement and adds a sense of emotional lightness.
In “Kiguu na Njia”, a mid-tempo Taarab dance track, the composition draws on stylistic features reminiscent of Khadija Kopa’s repertoire, melding lively rhythmic patterns with introspective lyricism. The result is a cultural nostalgia for any Bongo Flava fan, as the track navigates both enjoyment and critical reflection on social dynamics.
“Nazama” extends this sonic characteristic, maintaining the buoyant Taarab instrumentation while shifting its thematic focus to the entanglements of love and romance within broader social frameworks.
In “Sina”, the artiste overlays traditional R&B with a soft vocal delivery, where restrained vocals function as an expressive device that amplifies the emotional intimacy of the lyrical themes of love and longing. The track’s minimalistic arrangement enhances the authenticity of the message, allowing the harmonic warmth of R&B to serve as an effective, supportive bedrock.
“Mara Ya Kwanza”, the final track, is similarly introspective in tone. Sonically, its texturally synthetic soundscape and processed background vocals simulate choral layering, creating a sonic rendering of emotional memory.
Since bursting onto the scene in the late 2010s, Jay Melody has cemented himself as the most promising and fastest-rising force in Bongo Flava. With dominance in sight, Addiction, the latest addition to his discography, stands as a testament to his relentless drive and meticulous craft—and proves he is accelerating towards an unstoppable trajectory.
The only notable shortcoming of this otherwise compelling project lies in the difficulty of discerning a clear connection between its title, Addiction, and the content of the songs on its tracklist. This leaves the listener in search of a cohesion that never fully materialises.
Still, Addiction stands as the clearest sign yet that Jay Melody is approaching that razor-thin line—on the other side of which lies the rarefied status of one of the greatest in his genre, Bongo Flava.
Lyricism – 1.4
Tracklisting – 1.1
Sound Engineering – 1.8
Vocalisation – 1.6
Listening Experience – 1.5
Rating – 7.4/ 10
Frank Njugi is an award-winning Kenyan Writer, Culture journalist and Critic who has written on the East African and African culture scene for platforms such as Debunk Media, Republic Journal, Sinema Focus, Culture Africa, Drummr Africa, The Elephant, Wakilisha Africa, The Moveee, Africa in Dialogue, Afrocritik and others. He tweets as @franknjugi.