Evolving or Erratic? Why Rema’s New Album “HEIS” Divides Opinions
To say that the reception of Rema’s new album, HEIS, has been schismatic would be to put it mildly. Opinions from fans have been equal parts acclaim and equal parts derision. Like the man himself has been declaring for a while now, the Afrobeats scene no longer has a “Big”3″—a colloquialism for the top three artistes in the genre, namely Burna Boy, Wizkid, and Davido. For him and a large percentage of fans, Rema has ascended to Mount Rushmore and is equal to the other three in any regard. On his new album, he argues that he is the Heis, meaning number one in Greek. While the validity of that assertion remains to be seen, his latest offering leaves much to discuss and debate.
The major talking point is how remarkably different this sound is from what Rema has been known for. Rolling Stone says HEIS “shocks Afrobeats to life.” Album Talks says Rema doesn’t care enough. And it goes on and on and on. For younger and diasporic Afrobeats fans, this may be the first time they have witnessed a segue as sharp as this. Could you make no mistake: it is? The album bears no semblance to the starry-eyed Rema we met on Dumebi, nor is the sound mellow like what we got on Calm Down. Heck, it’s not even as bubble-gum-with-a-wink as Bounce was. This album is decidedly loud and unapologetically brash. Many commentators are struggling with the “why” of it, and in their enthusiasm to curate what the singer should be sounding, they miss out on several things.
One, musicians make music primarily for self-expression—their self. But because music is such a powerful and personal expression, it often resonates with listeners, who project their experiences and emotions onto it. Therefore, it can feel like a betrayal if they make music that does not necessarily connect to us now. It feels worse if, by our judgment, it appears lacking in the characteristics we consider markers of “good music,” i.e., lyrics. We forget that before the artiste emerged into our consciousness, they’d been their person, crafting a career according to their dreams. Of course, the line blurs when the music becomes packaged and sold; we feel like we’ve invested in the artiste’s success when it happens. We also forget that when it comes to brass tacks, after all the braggadocio about Lamborghinis and Richard Milles, musicians are most fulfilled when they can make the music they want to.
Secondly, and more importantly, artistes evolve and grow. Sometimes, that growth contradicts what fans and educated music industry experts expect from them. It’s why we would expect HEIS to follow the Afrobeats sound that brought Rema all his fancy things—his crib, cars, clothes, and jewels—all of which are the central theme of his album. In fairness, it is not wrong to anticipate a certain level of superior artistry from an otherwise talented songwriter like Rema. HEIS makes no pretensions to care about that sort of factor and relies instead on catchy instrumentals and catchphrases, in this case, a variant that caters to an emerging counterculture in Nigeria exemplified in the artistry of, say, Shallipoppi. Now, we may thumb our noses at them because of their propensity for borderline activities. Yet, they represent a demographic of Nigerian youth that is proving irrepressible.
Yet, there’s a third angle that critics of “new Rema” may not be considering: he may very well be nearing the end of his contract with Mavin Records. The acquisition of the Don Jazzy-led company by Universal Group Music was well received, as it proved the point that Afrobeats could be successful on the global stage. But that does not necessarily mean that all of Mavin’s signees will continue the journey with them at this point. We already know (without claiming to know what’s in Rema’s contract) from Mavin’s records that it typically signs artistes for five to seven years, with two and three albums. Rema was signed in 2019—five years ago and has released two studio albums, four EPs, and a slew of singles during that time. His work rate, as they say, is Kante-esque. And if his reaction to a tweet by Mavin’s official handle in April is anything to go by, it’s clear that the label wants him to release new music. When artists and labels get to a terminus, the artists deliver anything. As Donald Trump says, this could be something or a big, fat, nothing burger.
That said, the entire point is that artistes evolve. If fans are lucky, the evolution will match their wants. When it doesn’t, it doesn’t necessarily mean that the artiste has fallen off or is doing something wrong. Rema came into music as a rapper, and his style was entirely altered by Don Jazzy, whose Midas touch has made Rema into this beloved star now. Who’s to say that the next evolution of the singer will not take him even higher?! And even if he fails, he can find what works for him again. At 24, he’s only just entering his peak. He needs to succeed and fail on his terms. That cannot be a bad thing. It should not.
Jide Taiwo is a writer and media practitioner. His second book, E File Fun Burna, is available here.
Lastly, stay updated with all you need about African music at S.O.A. right here.
