Flavour continues to be the unwavering defender of the native sound in an industry that frequently rushes for Western validation. Afroculture, his most recent CD, is a masterwork on identity. The 13-track project, which was released right before the holiday season, is a colourful compilation of highlife, Igbo folk, and modern pop that honours the diversity of African ancestry. The title is a mission statement rather than a gimmick. Flavour is the “Ijele” of Africa, and this album is his masquerade dance—vibrant, regal, and steeped in custom.

The tone for the entire project is established by the lead single, Afroculture, which features Senegalese great Baaba Maal. It is a breathtaking clash of West African sounds, fusing Flavour’s grounded, rhythmic storytelling with Maal’s soaring, mystical vocals. It sounds more like a pan-African anthem than a pop song. In other places, the record doesn’t feel outdated because to the presence of contemporary hitmakers like Pheelz and Kizz Daniel. Flavour easily adjusts to their youthful enthusiasm, demonstrating that highlife is a dynamic genre that can change without losing its essence.

In terms of lyrics, Flavour sticks to what he does best—celebrate women, commend achievement, and provide tidbits of local knowledge. The distinctive “Ogene” humour and hype that Flavour’s core fan base loves are present in songs like Waga G. It is music intended for festivities like as weddings, chieftaincy titles, and family get-togethers. A welcome diversion from the digital loops of the popular charts, the production features an abundance of real instrumentation, with horns, guitars, and traditional percussion taking the stage.

Afroculture serves as a reminder of why Flavour has endured for almost twenty years. He is the ocean; he doesn’t pursue waves. His status as one of the continent’s most important musical ambassadors is further cemented by this album, which is a self-assured, joyful, and culturally diverse offering.

Listen to Afroculture here.