Burna Boy earned his metaphorical flowers — and his very literal bras — as he ripped through a majestic two-hour set at New York’s Madison Square Garden, the first Nigerian headliner to do so at the famed venue. The first fire-engine red bra was thrust onstage at the beloved Afro-fusionist early in his set as he performed “Rock Your Body, ” from his breakthrough album, 2018’s Outside . By the end of the night, no less than six more had been flung at him — at one point, he hung several around his waistline like a utility belt. “Burna is so cool, yo!” shouted a male fan as Burna hulked down his lengthy runway, fenced by sharp strobes, to “Gbona” from his seminal title, African Giant .
The only moment of relative stillness from the audience came as they intently took in a new song sampling Toni Braxton’s “He Wasn’t Man Enough for Me.” Burnaperformedthe unreleased trackafter revealing that his next album would be calledLove, Daminiand drop on his 31st birthday, July 2. Beyond that, the crowd at the Garden was in constant motion, their rows of bodies like waves in a dark ocean of predominantly Black diasporans. Burna Boy’s frequent employ of an a cappella or minimalist arrangement meant the eager attendees could often be heard singing clearly, their voices as sweet as Burna’s smile. While set-closer “Ye” elicited an undeniable response from the whole Garden, a careful look into the stands showed how different everyone’s favorite songs from Burna’s deep discography could be.
In the pit, three young men moshed to his remix of Ghanaian rapper Black Sherif’s “Second Sermon, ” cautiously throwing their bodies into each other without disturbing the folks around them. Deeper in the seats, a young woman in a hot-pink bandage-wrapped top had a spiritual response to “Way Too Big, ” from Burna’s most recent album, the pandemic-produced Twice as Tall . Over a railing, a young man dressed more for a day at the office than the hottest concert in the city rapped “Bank on It” into his girlfriend’s phone from the top of his lungs, her flashlight illuminating beads of sweat on his face. Burna’s mother and manager Bose Ogulu, endearingly known as “Mama Burna, ” watched stoically from stage left until loosening up to the party-starter “Killin Dem.”
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The show reimagined Burna’s lengthy catalog, elevating already excellent songs. A brass section tore down African Giant standout “On the Low.” Violins raised the stakes of “Location.” A saxophonist competed with Burna’s impassioned vocal runs as they wrapped up “Onyeka.” To “Ja Ara E, ” a team of traditional African drummers surrounded his trusted background vocalist of five years, Christina Matovu, and they danced in unison from left to right as they performed. Burna Boy’s live arrangements brought the funk and the drama.
Dubbed “One Night in Space, ” the show found Burna as urgent as ever, performing a barrage of songs while only stopping to drink water or address his fans a few times. “Feel free to throw some more, ” he encouraged after the first bra toss, before listing the New York venues he had played earlier in his career while working up to the Garden. After he performed “Soke” a bit more than halfway through the night, he quickly admitted that the accomplishment was “some emotional shit for [him], ” before setting MSG on fire with some of his most vivid hits, songs like “Jerusalema, ” “Anybody, ” and “Kilometre.”
Burna performed several collaborative songs solo — the remix of “Second Sermon, ” the late Pop Smoke’s “Enjoy Yourself, ” his newest record with Wizkid “B. D’or, ” and his remix of Nigerian singer-songwriter Asake’s “Sungba” (an early contender for Afropop song of the summer). In fact, other than a quick spoken introduction by Busta Rhymes, there was only one musical guest, one of his heroes, Senegalese legend Youssou N’Dour, who ushered in the show with his song “New Africa, ” which was smartly translated onscreen. “Calling all Africans, ” read the sprawling graphics. “Let’s come together and let nothing pull us apart.” His message was hopeful, but somber: “When I think of how our grandparents suffered, I cry, ” read one lyric.
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A section of three of Burna’s most political songs gave the night even more gravity: “Collateral Damage” spoke truth to greedy power; “Another Story” began with a visual lesson on the ravages of colonialism; and most excitingly, Burna performed an unreleased track, often called “Off Your Mic” online. In it, he sang passionately of a snake in human form that swallows money as a criticism of Nigerian politics — “Off your mic, ” one of the lyrics, is likely a reference to an incident in the summer of 2020 when a Nigerian government official accused National Assembly members of corruptly pocketing profitable government development contracts for themselves.
Still, Burna Boy — whose team barred him from being asked political questions during the interview for his Rolling Stone U.K. cover story — is more rockstar than pundit. He smashed an acoustic guitar to bits, sprinted down his extensive runway, danced with bouncy knees and quick feet, and maintained absolutely pristine vocals throughout the entire performance. The energy, the joy, and the feeling of being seen was palpable in the Garden. “We made history tonight, ” said the evening’s host Young Prince, an African man from the Bronx, after Burna exited under a storm of sparks from the ceiling. “We started everything, ” Prince said of Africans. “We gon’ finish everything. Congratulations to the culture.”
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Nigerians Applaud Storytelling, Lyrics In Burna Boy's Album, 'african Giant' — Daily Nigerian
Some artists peak early. Others come up and down throughout their careers. A few are late bloomers and a select ones - like Burna Boy - have undeniable talent, but they struggle to truly realize it until they cut the clutter. Initially, Burna struggled to justify why many rated him so highly, but he never stopped putting in the work.
Now, Burna Boy is like a cat with nine lives on the third of those nine lives. However, he never really died on each of his two previous lives. On the first of those two lives, he released his debut album, L.I.F.E before descending into an ocean of drama that hampered his progress. He didn’t die, he just remained ‘there.’
On the second of those lives, he released a few projects and set off on a path to self destruction. Again, he fought and survived. Now on his third life, he had to fight for it by keeping his emotion in check and putting that same emotion into the music - keeping the conversation about the music.
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Emotion is why he lashed out at and combated fans at every turn. Emotion is why he reacted rashly to his fellow artists who criticized him. Emotion is also how he recognized how counter-productive that path was. Again, he combated that self-destructive tendency and again, he survived.
He released Outside. It was critically acclaimed as it was commercially successful. Still on his third cycle, Burna Boy has released his 7
The three traits of emotion, combative tendencies and survival carry greater meaning on African Giant and coexist on the album for topics addressed and the manner in which they are addressed. Together, they produce excellence and positivity.
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Even on the infamy that inspired his album title, emotion made him combat Coachella. Again, he survived, but he also thrived. African Giant is now the title of his best creative curve. A successful tour is named the African Giant Tour and an excellent album is named African Giant. A different career level is heralded.
For the first time, Burna Boy brings these three major traits that have defined his career into one career-defining album. The difference this time is that Burna brings his fans into his world to learn about his inner workings could also help liberate them. Ergo, he unintentionally projects these three key traits as material to his audience.
On African Giant, emotions inspire topics of love and gratitude, while combative tendencies pique on activism and pan-Africanism. On his motions, Burna Boy also read out his manifesto on his hopes for his people - Africans.
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He assumes the role of their activist and fights for more than self or career. He finds his higher calling which only showed traces on Outside. Equally, he delivers bangers.
Which features Ghanaian rapper, M.anifest. The track opens up to the dark deal of 1900, which saw Nigeria sold to the British Government for 865, 000 Pounds Sterling by the Royal Niger Company - now known as Unilever.
Also singing about the lack of change since our independence in 1960, Burna talks about how colonialists warp history and tell idealist lies in place of a crooked history.
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Tell them Africa we don tire, so here comes
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