The Good Wine’s most recent EP, Kaya, finds its distinct voice in the now globally spoken language of Afro-fusion. The band, founded by Aima and her husband Kachi, delivers six songs that blend the lively beats of Highlife, the open-heartedness of gospel, and the close-knit feel of Afro-folk.
The most noticeable element is Aima’s voice. It transitions with ease—from clear, bright elevation to delicate restraint.
The title itself alludes to storytelling. Kaya recalls the Zulu word “Kaya,” which means home, and the Igbo phrase “Ka Ya,” which means to tell. The EP never loses sight of rhythm while reflecting on love, faith, and perseverance. Happiness here is both a goal and a reward, as the music continues to play while it thinks.
Kaya draws from a wide range of styles: the rootsy sound of The Cavemen, the jazzy energy of Kokoroko and Ezra Collective, and the distinctly Ivorian beat of Premier Gaou by Magic System. The UK-based arrangements keep the sound open to new directions, while remaining grounded in Nigerian and diasporic traditions. The horns and drums, in particular, bring out the communal spirit of Highlife.
It took months of studio work and even time spent in Marrakech to shape each track, and the songs grow slowly, with intention. The EP is a layered blend of nostalgia and modern expression—not a hurried mash of styles. The arrangements are thoughtful and lived in.
The opening track, Kaya, sets the tone with gospel-inspired Afro-folk melodies and harmonies. This introduction differs from the band’s earlier work on ACTS and Oghene Do—it feels more introspective, familiar, and grounded.
Guest appearances also provide depth. Esua’s part in Junita adds lightness, while Savy Henry’s contribution to Darling gives it a soulful edge. These collaborations strengthen the duo’s dynamic, but Aima’s voice ultimately ties everything together, guiding the listener through the EP’s wide sonic range.
The project closes with Jo, a Highlife track where Aima is at her most playful. Featuring energetic guitar lines and syncopated rhythms, it invites you to move. The song suggests that celebration and resilience go hand in hand—that happiness is learned by living fully and engaging with life.
The band shines on Kaya, but it is Aima who makes the work truly special. She sings with both strength and vulnerability, shifting between command and restraint. While Mosorire established her as a unique voice and ACTS showcased her versatility, Kaya positions her as an artist capable of crossing national borders while remaining rooted in cultural heritage.
In the fast-changing world of gospel Afro-fusion, Kaya embraces timelessness over trends. At a time when streaming services push instant gratification, Aima & The Good Wine have crafted an EP designed to endure. Warm and resonant, it leans on African storytelling and spiritual traditions while reaching listeners around the world.
With fans in over 100 countries, Kaya feels less like an export and more like a return to something familiar—wherever it is played. The record quietly asks: Where do you find home?
And for Aima, the answer may be simple: if listeners respond with gratitude, with dancing, or by hitting repeat on Jo, then she has already won.
