Bella Shmurda’s discography reads like a diary of survival and surrender.
First came Tension, then Hypertension, and now Sanity. The first two captured a young man battling poverty and striving to sustain his newfound fame in the unforgiving Nigerian music industry. Sanity is like the calm after the storm, the noise has subsided and introspection has become his focus.
Before arriving at this point of calm, Bella Shmurda’s career was shaped by the chaos of survival, the pulse of the streets, and the anger of youth against a system that failed them. Little wonder he called himself New Born Fela (Kuti).
In songs like “Ginger Me” off his debut High Tension, and “Level Up” off his sophomore, Hypertension, he talks about his academic difficulties and desires to lift his family out of poverty.
On his arguably greatest hits, “Vision 2020” (named after the Federal Government’s strategic framework to develop the country’s economic and political strength by 2020), he recounts the angst of many Nigerian youths, narrating how poverty and government’s ineptitude push many into crime. Olamide, his collaborator, paints vivid imagery with his verse, rapping about how many Nigerians lack basic amenities in their homes.
Sanity, however, is devoid of political discourse. The voice that once raged now reasons. His rebellion against hardship has become a meditation on healing, and the desire to continue providing for his family in spite of the dire economy.
Talking about family on the Reggae-leaning “Family”, Bella Shmurda reflects on how his parents sacrificed so much for him, despite being underpaid. Now that he is rich and famous, he aims to care for his parents and immediate family. “I’m working for my mummy, I’m working for my daddy, I’m working for Anderson,” he sings over the song’s skanking guitars and soul horns, showing his dedication to his family.
The commitment to maintain his musical career while striving to cater for his family has had a devastating toll on his mental health. Bella Shmurda reflects this on the album’s title track, “Sanity”, featuring Kummie. He sings that he has lost a lot of things, and his heart and soul are overloaded with sadness. Yet he is on the road, touring to make money for himself and his family. “My mind needs more clarity,” he cries. Understanding that life is one battle after another, Bella Shmurda is proud of the wars he won. He leaves the unseen ones for God to handle.
Assessing his life and musical journey on the album’s suitably titled opener, “Appraisal”, he reflects on how he’s “been through hell and back”, thanks God for sustaining his life, while praying to God to grant his wish of not falling behind.
Seeking sanity doesn’t mean one should brood excessively. To shake the lethargy off, Bella Shmurda calls on Seyi Vibez to jazz up his energy on the EDM-inspired “Bounce”. Both artists, as though picking from Obesere’s Playboy book in American Faaji, brag about having pretty ladies in major cities around the world.
“Verily” is a terrific song written by Shoday, and Bella Shmurda performs it with sublime emotion. The song’s melody sounds almost divine. Bella Shmurda praises Shoday’s lyrical depth, describing his contribution “as evidence of a strong pen game”. Bella Shmurda’s voice, very sleek but gloomy, remains an amazing instrument, capable of conveying distressing emotions.
“Only money can turn me on,” he croons on “Turn Me On”. But that’s not true. Sex, known for being therapeutic, also helps him regain his sanity. To relieve himself of mental issues, he seeks sexual healing with “Magdalene” and “Pretty Girl”.
Beyond its focus on mental health, love, and sex, Bella Shmurda wants the album to be a conversation between generations. To achieve this, he experiments with heritage music like Fuji and Apala. Fully out of his melancholy, he joyfully performs on “Fuji Fusion”, bragging about his success and being the talk of the town. The song’s title references K1 De Ultimate’s 2013 Okofaji Carnival Fuji Fusion album, which blends traditional Fuji music with modern sounds. K1 De Ultimate’s voice is interpolated as a sage, admonishing us to do good instead of evil.
After his elation on the previous track, he keeps it nice and slow on “Apala Fusion”. Reflecting on his achievements, he sings that he gets everything he desires, because he hasn’t turned his back on God. He begs God not to let poverty happen again, and is grateful that his son will never lack money. Musiliu Ishola’s voice is softly interpolated at the song’s beginning and end, encouraging us to enjoy our lives.
“Fuji Fusion”, with its lively instrumentals and joyful lyrics, is perhaps the medicine for his melancholy. “Apala Fusion”, with its calm instrumentals and introspective lyrics, is his spring of wisdom.
While the album showcases impressive brilliance, it certainly has its shortcomings. The track “Dangbana Rhythm,” featuring Fola, sounds notably muted and distant, indicating that it does not belong alongside the rest of the album. Focusing on enhancing this track could help it align better with the rest of the impressive work showcased.
Besides that, the album is well-curated and Bella Shmurda’s collaborators perform remarkably, helping him achieve his purpose. “This kind of music is my essence, it’s my purpose,” Bella Shmurda said in a video before the album was released. “The greatest war is sanity…it’s a battle with yourself.”
Sanity is a retreat and a reckoning, a new phase and sound of an artist exhaling after years of seemingly holding his breath. It’s a meditative album that demands patience, empathy, and repeated listens. It may not be Bella Shmurda’s most sonically exciting project, but it’s undoubtedly his most emotionally revealing. In peeling back his bravado to confront fragility, he risks alienating mainstream listeners while rewarding those who seek depth in Afrobeats.
**Michael Kolawole is a screenwriter, playwright, poet and cultural journalist/critic. Catch him on X @mykflow
