The journey from Lagos, Nigeria to New York, New York highlights a universal truth: a corner is still a corner. Across various neighborhoods around the globe, where financial resources may be scarce, the energy remains vibrant.

During his inaugural headline performance at Madison Square Garden, Asake brought to life the raw essence of the Lagos streets that shaped him, utilizing his emerging discography to connect diverse cultures.

“Let me talk to my people,” he told the crowd early on. “I love this energy. I love New York.” 

The current tour is named after his latest album, Lungu Boy, which translates to "Ghetto Boy," emphasizing the creative and communal spirit found in impoverished Black neighborhoods.

As the concert commenced, a dark curtain fell from the ceiling and was swiftly removed by stagehands, unveiling a set intentionally adorned with stacks of tires, shipping drums, heaps of old televisions displaying Asake's image, and vibrant graffiti.

This artwork, combined with his dancers dressed in denim shorts and stylish Timberland boots, along with the expert scratching by one of his DJs throughout the performance, evoked the essence of New York street culture that has propelled hip-hop into a global phenomenon and serves as a cornerstone of the Afrobeats genre that Asake has made his own.

 

“It was hip-hop but it was local to us,” Music critic Ayomide Tayo from Nigeria shared insights with Okayplayer regarding the impact of rap music on the development of Afrobeats.

“It had a lot of slang, and a lot of local languages put together, and the instrumentation wasn’t just pure hip-hop, they were fusing indigenous Nigerian records into it.”

Asake has proven to be a masterful interpreter of cultural essence, skillfully blending traditional Nigerian genres such as Fuji and South African Amapiano with the dynamic flair of hip-hop. His sound, characterized by its rich and intricate instrumentation, reached new levels during live performances.

Each band member showcased their talents prominently, with a backdrop featuring rusted tin sheets reminiscent of those used in constructing homes in West African slums.

The stage was adorned with various street signs representing notable locations in Lagos, including Adeniji Adele, where recent reports indicate government actions aimed at demolishing informal settlements alleged to harbor criminals and drug traffickers.

Asake took to the stage with a metallic red baseball bat in hand, a prop that initially suggested chaos and violence but ultimately functioned more like a conductor's baton for his performance of "Start" from Lungu Boy.

The deliberate creation of a casual street corner ambiance on stage was evident, yet the overall presentation occasionally felt disorganized and underwhelming. His dancers brought energy to the performance, but their synchronization was often lacking, as if they were encouraged to improvise rather than adhere strictly to choreographed routines. While Asake delivered electrifying moments, particularly during his dynamic participation in "Fuji Vibes" from his latest album, he frequently performed from the DJ decks positioned in the corner, giving the impression of a casual gathering rather than a concert.

At times, the informal interactions during the show were endearing, such as when he ad-libbed during his special guest Fridayy’s rendition of "Blessings" or exchanged vocals with Sarz on their hit "Happiness."

However, these moments occasionally resulted in dips in audience enthusiasm, compounded by an extensive set list of approximately thirty songs.

Asake and his DJs seemed to sense this, urging the crowd for increased participation throughout the evening—more singing, more volume, and more energy. Consequently, the concert often resembled a spectacle rather than a cohesive experience.

The visual elements were certainly impressive, featuring mist and fireworks that erupted during "Ligali" and "Organize," alongside a row of flame throwers that illuminated the arena during tracks like "Amapiano" and "Skating," creating a captivating display as the flames danced in rhythmic patterns.

The performance of “Skating” featured an intricate showcase, with actual skaters and trick bikers gliding across the stage in concert merchandise, while the dancers playfully mimicked the act of riding a board.

During “Basquiat,” Asake brandished a smoke cannon reminiscent of a Gotham villain, and prior to a vibrant rendition of “MMS,” he called for the audience’s flashlights, stating, “I need light. I’m hungry for it!” When it was time for his latest single “Active,” featuring Travis Scott, Asake sprinted around the Garden floor twice, with security and camera operators struggling to keep pace. One enthusiastic fan joyfully returned to her seat after successfully reaching out to him during his dash.

However, Asake's focus was less on engaging the audience and more on his personal connection to the music. He delivered his vocals with strength and clarity, often appearing blissfully immersed in his own sound.

The true highlight of the show was the dynamic, impressive, and entirely fresh arrangements crafted by him and his band. With just a drummer energetically playing and three keyboardists—one also handling the bass—the music took on an orchestral quality.

It was captivating, from their innovative take on a 1990s R&B groove to reinterpreting “Muse” from his breakout album Mr. Money With the Vibe, to the urgency infused into “Basquiat,” which resonated like a superhero theme. Asake’s most popular tracks—“Joha,” “Terminator,” “Organize,” “Sungba,” and “Peace Be Unto You”—were saved for the very end of the show, making the wait feel excessively long given the packed setlist.

Nevertheless, every performer on stage poured their energy into a fiery display of organized chaos, embodying the power and grandeur one would anticipate from an Afrobeats concert at the Garden, especially following Burna Boy's landmark performance there in 2022.

Ultimately, Asake embraced the unique strength of his authentic sound and his passion for it, bringing his Lungu to New York City.