Review: Rema Is On An Emotional Journey In “Ravage”

Since breaking out in 2019 with an eponymous  debut EP, Rema has grown into one of Afrobeats’ global ambassadors.  AfroRave, his spin on the popular genre, has garnered  a reputation for its  upbeat tempo, one he frequently emphasizes with the tagline “another banger.”  At just 23 years old, the Mavin artist has toured Europe and Asia with Calm Down, which peaked at number 3 on the top ten of the UK Singles Chart. The remix with  American Pop artist Selena Gomez is now considered one of the most successful songs in Afrobeats’ history, as it recently became the first song by an African artist to reach 1 billion streams on Spotify. During a 3-day tour of India in May, Rema became the first Nigerian to record a sold-out music concert in the South Asian country. Last month, he also won the first-ever Afrobeats award at the 2023 MTV Video Music Awards.

Yet, Rema believes that, at home, he is still taken as an up-and-coming talent, rather than being unreservedly appreciated for his contributions to the development of the country’s most popular music genre. Ravage, his sophomore EP, is his response to that skepticism and proof that he is well past the newcomer phase.

The EP’s title cover image, and promotional videos all paint a  picture of a man  livid with passion and  bent on proving a point.  Comprising 5 tracks, Ravage explores a range of emotions, all of which stand out for their unvarnished rawness.

Trouble Maker sets the tone for the rest of the EP. Although Rema has never been conservative with his lyrics, he’s extra blunt on this project. “Leave me, leave me, leave me, make I do my own, omo no judge me. Make you sef reason, e better say they no call me nobody. I go still pass everybody even though say una use extra sheet.” The  lyrics, alluding to an examination hall, read like a diss, presumably directed at those who find him undeserving of a seat at the grand Afrobeats table.  And with his assertive delivery, we get the sense of an artist who has no doubt about his uniqueness and is bent on intimating everyone else about the fact.  He not only wants you to know how unique he is, but also to tell you that his age belies how far back his hustle for success goes. He sings, “Bought my first land since I was 17, you know, steady grinding/ Nothing wey you go show me wey go really surprise me.” Produced by Blaise Beatz, the  beat gels nicely with the lyrics, creating a catchy tune without detracting from Rema’s message. 

In DND , Rema seems even more  rattled. “Shey you no dey see say I just drop gbedu ayy? Them talk say I no be H-I-M, okay na. You go come tell me na who oh, na who Make humility, no go turn me malu.” Rema wants respect, but he isn’t begging for it as much as demanding it. 

Produced by P. Prime, DND, Smooth Criminal, and Don’t Leave conveys an intentional sync that eases the transitions, seamlessly without breaking the preexisting tone for the EP. Smooth Criminal is a not-so-subtle brag, as Rema’s verse flaunts his lifestyle, wealth, and success as opposed to his foe’s uneventful “boring” life. “Me and my guys make more money than you yearly. What am I wearing? It’s foreign. I know your life is boring. Please don’t disturb me.” 

Don’t Leave segues from the EP’s central theme,  as it wanders into the realm of romance. The chip on his shoulder is reined in, as he explores a soulful intimacy in all 3 minutes of the track. Although the song’s theme departs from his fury on previous tracks, Don’t Leave matches the EP’s sonic theme, an upbeat Afro-ballad swing.

In true showman fashion, Rema delivers Red Portion like a closing event, drawing the curtains with sonorous ad-libs, and building on Don’t Leave’s passionate storytelling. It doesn’t close off with his previous spiel about recognition and position, as his rage is played down. 

The attention to synchronization in this project is perhaps its most standout quality. Rema pays rapt attention to ensuring that the tracks build on one another, keeping the producer-artist chemistry highly exciting. The imagery and storytelling are also quite commendable and just might be Rema’s best work yet. It’s clear that more than anything else, his self-expression is centered in this project, and it’s fascinating to see  the hitmaker bare himself, exploring vulnerable feelings without inhibition. Rema wants you to acknowledge his esteemed place in contemporary Nigerian music, and Ravage is a rageful argument to that effect.