EP Review: Pheelz Revels in His Successes on Pheelz Good II
A breezy yet enjoyable affair.
Pheelz dropped “Finesse” in 2022, and nothing stayed the same. His early attempts at transitioning from a music producer (a renowned one) to a recording artist culminated in the 2021 EP Hear Me Out. Before that, Pheelz had built a distinguished reputation under the auspices of Olamide’s YBNL, producing superb tracks and albums for the label boss and label mates Lil Kesh and Adekunle Gold. The BNXN-assisted “Finesse” ended Pheelz’s trial stage and shot him to the top of the charts in Nigeria and around the globe. The following year, two EPs—Pheelz Good and Pheelz Good (Triibe Tape)—were birthed, deepening Pheelz’s stay in the consciousness of music lovers.
Pheelz’s latest project, Pheelz Good II, closes out the “Pheelz Good” series. But it is not a lesser companion to its predecessors. As with the others, Pheelz brings his gift as a producer, journeying into the past sounds of Nigerian music for inspiration. “Majo,” a vibey rendition, interpolates Adewale Ayuba’s “Ijo Fuji” on the chorus, as Pheelz urges a love interest to the dancefloor to let off steam. With whistles, backup vocals and a bustling beat, the track keeps the high from the preceding track.
“Kamakaze,” which interpolates Olu Maintain’s “Karmakazee,” slows the tempo. He substitutes the boisterous energy of Olu Maintain’s track for a solemn, reflective disposition. He carries the listener through the pressures he faces in his life. “Anxiety gets the best of me sometimes (Oh no no)/And it’s been hurting me o/Sometimes I dey lose my mind (Oh no no),” he sings over the background vocals and log drums. The strain in his voice on the chorus adds an extra bite to the track – where Olu Maintain’s was celebratory, Pheelz’s sounds like a wail for help.
Earlier in the year, American R&B maestro Usher hit the airwaves with his ninth studio album, Coming Home, eight years after 2016’s Hard II Love. He tapped Pheelz to contribute to the album, with Pheelz producing the title track featuring Burna Boy and producing and featuring on “Ruin.” The collaboration indicated Pheelz’s rise and, in general, the respect being accorded to Afrobeats and its act across the globe.
The two instalments of the “Pheelz Good” series featured no female act. On Pheelz Good II, Pheelz ensured a change with “Bop.” Featuring Niniola, the track is a metaphor for the sensations the two generate in each other and celebrates the connection between lovers. As its title suggests, “Bop” moves with infectious energy, as Niniola’s verse plays up sexual undertones. Those undertones are spotlighted on “Rotate,” with singing, “As I dey move she dey move/I dey move and I tell her to come to the zanga na/Girl I see the way you dey look into my eyes.” The up-tempo “Yeye” is a celebration of love, full of praise for a romantic partner.
Pheelz Good II is a breezy yet enjoyable affair. The five-track project is a two-punch pack highlighting Pheelz’s talents for creating music as a producer and an artist. From his YBNL days to now, Pheelz continues to add to his legacy as one of Nigeria’s music geniuses.
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