Swanzy Flexy Urges For The Fulfilment of Love on “More”

One senses a distinct energy in More, the record by Swanzy Flexy. Its sound does a great job in carrying the proposition of a bop, from the first second humming to its own bounce. It’s of course one of the more prominent elements in afropop, that uncanny ability to groove along, utilizing the individual touch of producers to showcase this dispensation towards joy. 

A catchy drum line is not the only thing More has going for it; there’s also the ominous notes that play out like the soundtrack of a vintage adventure game. 

Who hasn’t felt the pangs of unrequited love? Well, this artist has, and succinctly expresses that. “E dey be like I lost,” he sings in the evocation of that longing that’s so well related across popular music, and definitely afropop whose artists have the linguistic dazzle of pidgin and its attendant melodies to call from. 

Who hasn’t felt the pangs of unrequited love? Well, this artist has, and succinctly expresses that. “E dey be like I lost,” he sings in the evocation of that longing that’s so well related across popular music, and definitely afropop whose artists have the linguistic dazzle of pidgin and its attendant melodies to call from.

What makes More interesting is the contrast between that feeling and the record built around it. Swanzy Flexy may be singing from a place of uncertainty, but the production rarely allows the song to become weighed down by it. The drums keep things moving, while his delivery remains measured enough to keep the emotion from becoming overly dramatic. The result is a record about wanting more from love that still feels suited to a lively room.

Its short runtime also works in its favour. There is little room for the song to wander once the central idea has been established, and More gets in and out before its bounce begins to lose its effect. One might wish Flexy had spent more time developing the story behind that longing, but the brevity appears to be part of the record’s appeal.

There is also something effective about the way he uses pidgin to communicate the frustration at the centre of the song. Rather than explaining the relationship in detail, he relies on short expressions and melody to carry the feeling, leaving the production to do much of the remaining work.

More is an assured showcase of Swanzy Flexy’s ability to describe romantic frustration. He may be asking for more from love, but he understands when not to overstate the point.