Very much has been expected of Shallipopi, yet also at the same time, nothing much has been expected of him. It is precisely this paradox that makes his recently released album, ‘Auracle’, so difficult to parse—the unfamiliar sonic territory on display in his third studio album challenges everything we thought we knew about the artist.
Ever since his explosive debut into the Nigerian music scene with “Elon Musk”, Shallipopi has been an artist who, regardless of how heavily he’s critiqued, consistently makes music that spirals into becoming a party staple. While some dismiss him as talentless, claiming he merely rides on the back of instrumentals and vibes, it’s worth noting that not everyone can build a thriving career on what Shallipopi supposedly “just rides on.” That, in itself, requires a certain genius.
And despite what critics have to say, confidence has always been the defining characteristic Shallipopi exudes throughout his career thus far. It’s not far-fetched that he carries himself this way given his roots in Edo State, Benin City; a place known for producing unapologetically bold artists. But still, this confidence has been Shallipopi’s saving grace in a music industry where consumers are notoriously hypocritical, criticizing the music Shallipopi makes while also applauding that of artists like Odumodublvck, who operate in remarkably similar sonic spaces.
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The seemingly deliberate pattern in Shallipopi’s project titles is perhaps why his recent album is called ‘Auracle’. His debut was titled ‘Presido La Pluto’, a project with all the hallmarks of an artist whose music lacks substantial depth but thrives regardless through sheer chaotic energy and divisive reviews. His sophomore effort, ‘Shakespopi’, was an audacious allusion positioning himself as the domineering act in the music scene, much like Shakespeare—from whom the name was coined—was an English maestro in the literature world.
Now, with ‘Auracle’, Shallipopi assumes the stance of legendary capacity, a clever portmanteau blending “aura” and “oracle” that rolls smoothly off the tongue. Whatever criticisms you might level at Shallipopi, claiming he doesn’t have the punchiest phrases for his projects would be an absolute lie.
Unlike his earlier projects, ‘Auracle’ represents a recalibration of the assumption that beyond loud, energetic tunes, Shallipopi would struggle to thrive in other genres. While ‘Presido La Pluto’ and ‘Shakespopi’ were afropop projects to their core, the copious volume of his third studio album explores unfamiliar grounds we didn’t anticipate the artist had mastered—R&B, soul, amapiano, and Latina-infused rhythms all make appearances.
This is precisely why listeners cannot comprehend the shift in his sound on this recent album, leading many to conclude that Shallipopi is attempting to become a western assimilationist. This assessment is simultaneously true and untrue, depending on how you examine it.
‘Auracle’ is a 22-track album clocking in at one hour and one minute, spanning across the familiarity of Shallipopi’s typical music-making, exploring unfamiliar grounds, and showcasing an evolution of that familiar sound—all of which he balances remarkably well. For what it’s worth, his third album stands, from this writer’s perspective, as his best project yet, regardless of whether or not it fares well in club parties.
It’s understandable that his attempt to westernize his sound comes as a shock, given that Shallipopi embodies the essence of street music—the very depth of sound that resonates within the Nigerian music ecosystem. However, following the global virality of “Laho”, the artist has perhaps found it necessary to seize the moment and water his seeds where he has a genuine chance to expand his craft internationally. After all, it’s the dream of nearly every African and Nigerian artist to have their work spread globally and find audiences beyond the continent.
In the segment of western-influenced tracks—which kicks off at track six and concludes with “Chokehold (Bro Code)”—Shallipopi recruits seasoned western hip-hop artists Swae Lee and Gunna. With their features on “Stay” and “HIM” respectively, Shallipopi unfolds an entirely different dimension of his craft. His vocal palette is more refined, his delivery calmer, the instrumentals breezy and accommodating for both the featured artists and Shallipopi himself, who genuinely appears to be having a fantastic time with these explorations.
In “Chokehold (Bro Code)”, Shallipopi flies solo and still maintains his assimilationist tone before diving right back into the thick of who he truly is, resuming in track nine, “Opuehh” featuring KeBlack. Even when featuring Pa Salieu on “Pull Up”, Shallipopi remains thoroughly soaked in the nostalgic nature of his familiar sound, and by this point, listeners can finally revel in the bliss of the authentic Shallipopi experience. It’s as though he cannot wait to return to the flesh of who he fundamentally is, as he embarks on an extensive spree singing about beautifully vague nonsense, as has always been associated with him.
However, the true merge of his evolved sound and his typical style actually appears at the album’s beginning. On his solo tracks early in the project, Shallipopi sounds noticeably calmer and more mature. As a listener, you embark on a journey, enthralled first by the somewhat calm demeanor of Shallipopi, then experiencing his explorative sound, before being skyrocketed into the familiar territory where he sings carefreely about money, women’s bodies, and street life.
On ‘Auracle’, there exists a segregated sound for every type of listener. Do you desire the Shallipopi you’re already attuned to? Do you want to witness the artist exploring unfamiliar grounds? Or are you curious to hear how Shallipopi would sound with a much calmer approach? For every desire, there’s a corresponding song in this album to satisfy it.
Shallipopi’s album is undeniably extensive and far more digestible than his previous projects, though it’s also somewhat cumbersome. For the particular sound that he makes, it becomes challenging to thoroughly digest the music project because as one transitions from one sonic approach to another, believing there’s closure to a particular style, more familiar sounds emerge. With Producer X handling a substantial chunk of the songs from “Na So” to “Rockstar” featuring Ruger, and the Young Jonn-assisted “Afa Relax Oo”, there’s an unmistakable similar thread running through these tracks, and the experience becomes overly familiar due to this sonic repetition.
‘Auracle’ is arguably the strongest album in the artist’s catalog, primarily because the release bears clear intent. Shallipopi is making an unmistakable statement with this project—starting from the name he chose, to the strategic features employed, which include heavyweights like Wizkid and Asake, and even Burna Boy. Following the viral success of “Laho”, Burna Boy hops on the remix, and Shallipopi doesn’t stop there—he creates a third iteration of the song, featuring Rauw Alejandro on “Laho III”, further cementing his global ambitions.
The choice to incorporate western influences in Shallipopi’s album is undeniably ambiguous, and the longevity of this strategic move remains uncertain. However, there’s genuine hope that Shallipopi remembers to maintain the core familiarity of the Benin City sound he has always authentically reflected in his music. His move is undoubtedly bold and strategically calculated, which bodes well for expanding his reach and influence. Yet the curious decision to bend his sound to closely mirror western hip-hop artists is more amusing than offensive, despite how many purists might choose to view it. Time will tell whether this gamble pays dividends or becomes a cautionary tale.
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