With the evolution of music from Africa, producers have had a chance to play around with sounds that may not fit neatly into genres, yet still maintain their African heritage. Successful records like these tend to leave a long-lasting mark, not necessarily because of the artists alone, but because of the creative decisions behind them.
A good example of such a record is Socapela’s 2024 track, ‘Life Is Good’. Among the people behind the making of this song is Manchester-based producer Okechi Joy Chidinma, professionally known as O-Jae. Since migrating to the UK in 2023, O-Jae remains committed to producing tracks rooted in African music.
From the very first moments of the recording, a well-thought-out atmosphere is established for listeners. The combination of textures that evoke Shaolin temple sounds with the presence of Amapiano shakers creates an unusual and successful fusion of different sound influences. Despite the contrast, all these elements come together to form an opening that immediately catches the listener’s ear.
Gradually, the influence of Yoruba roots begins to appear through the artist’s lines. However, these culturally rooted lines are not presented as obvious references made solely to invoke nostalgia. They are successfully integrated into the rhythmic flow of the piece and help establish its identity. In addition, the solid rhythm provided by Afrobeats allows the more complex elements of the composition to move freely around it.
Another intriguing element of the production is its dynamic approach. Through strategically placed swells throughout the song, there are moments of expansion that drive the emotional journey of the recording. While these transitions never disrupt the flow, they make the production dynamic and engaging enough to never feel boring.
Percussion-wise, another standout feature of this production is the shakers. They play an important role in maintaining the flow of the song and help make the record feel expansive.
It is the balance of these elements that makes ‘Life Is Good’ successful. There is an element of celebration that holds the sound within culture, yet the piece remains appealing to contemporary audiences. It is the fact that the elements are allowed to coexist without forcing themselves on each other that makes this happen.
O-Jae’s role as co-producer on this record shows her understanding of how contemporary African music is influenced by many things, yet still retains its identity.
