This writer first learned of Jeriq when he released the ‘East meets West’ EP alongside Dremo in 2021. He had released his debut EP ‘Hood Boy Dreams’ the previous year. It was that project that gave him his first taste of public attention since he started exploring his musical abilities at the age of 15. Fast forward to 2024, Jeriq is a hood hero and the front runner of the new wave of Igbo rapstars taking over the Nigerian Hip-Hop scene. With a successful debut LP and multiple hit records under his belt, A sold out stadium show in his city and co-signs from some of the biggest figures in the industry including the Godfather of South Eastern Hip-Hop Phyno, Jeriq has realized his status in the Hip-Hop scene and has rightfully ascended the throne as the KING of South East Hip-Hop.
It is that realization that informs the opening record on the album, KING, where he tells stories of his past detailing the undesirables he had to go through and conquer before declaring confidently multiple times ‘I am a king’. He raps about his life in the dirty ghetto and how he dodged his landlord due to unpaid rents as well as all the illegalities he had to engage in to survive. Now things are different, he has made it and now he is royalty. He raps ‘Sitting on the throne, in the East i am a king’ which is testament to his belief that he is the new King of Igbo Rap.
Jeriq’s music is largely aspirational and affluence based, loaded with stories of his days in the hood, delivered with his signature brash cadence and gauzy vocal style. The music on this album is no different although his recent experiences have inspired a different perspective.
For example, a recent trip to London seems to have ‘Ogbe in London’ where he, alongside Knucks, details his experience in London with some exciting and cheeky bit of lyricism. Another trip to Paris inspires ‘Bonjour’, a drill anthem where he discusses his flamboyant lifestyle and his love affair with his Balenciaga drip as well as a graphic description of his encounter with a Chinese beauty.
The drip talk continues on the Highlife gyration ‘Fresh and Dope’ featuring Blaqbonez who absolutely destroys the record and delivers his most interesting performance of 2024.
On ‘Rands on Rands’ which features Maglera doe boy, he is unapologetic about his love for money and reveals that it’s billions on his mind. The song is one of the standouts on this album with a booming beat with a thumping bass and infectious hook. The song has a futuristic and upbeat vibe -which shares a bit of similarity with Lil Uzi Vert’s monster hit record ‘Just wanna rock’- is perfect for getting a crowd moving.
He acknowledges the lifestyle he is currently enjoying is the life he chose on ‘Life i Chose’ featuring Odumodublvck, an ode to his lavish lifestyle, where extravagance, drugs and sex reign supreme. With swaggering confidence, he flaunts his wealth and success, leaving no doubt he is living his best life.
While this album is firmly rooted in Hip-Hop, it houses some fine Afropop records. ‘Way’ featuring Ajebo Hustlers and ‘Daily Bread’ featuring Victony sees Jeriq playing catch up to the featured acts while he holds his own well alongside Bella Shmurda on the gospel inspired ‘Jehova’. Victony’s hook on ‘Daily Bread’ deserves so much more credit. It’s the best hook on this album.
He attempts to pay homage to his roots utilizing the indigenous sound of the South East on ‘Ogene’. The record is a disaster. It sounds all over the place and its poor structure affects its enjoyability. ‘Update Ijikwa’ is a forgettable record. Jeriq delivers a poor performance and Quincy delivers an equally poor verse. Nobody would have missed the record if it was yanked off the album.
‘Ije Nwoke’ sounds better on the album than it did as a single. It’s a strong show of strength from Jeriq and is the finest deep cut on the album.
For some, this album might sound too Jeriq. Across 15 tracks, Jeriq sticks to a familiar approach relying on the production and the featured artists to provide the diversity and some bit of excitement that an album needs to flourish in the ears and hearts of its listener. It’s why he is easily bested on records like ‘Fresh and Dope’, ‘Way’ and why a record like ‘Update Ijikwa’ is unbelievably poor because Jeriq fails to offer anything decent and Quincy lacks the talent to salvage the situation.
Despite these missteps, In the end, King is a triumphant declaration of his reign as the new King of South Eastern Hip-Hop. With his signature blend of aspirational lyricism and storytelling, delivered over gritty and infectious beats -the production on this album is on steroids-, he continues to solidify his position in the Nigerian Hip-Hop scene.
