Blaqbonez isn’t trying to sound the same on every record, and “Chanel” is perhaps one of the clearest examples of that.
The opening beats of the song would remind one of a Mavo or Tenski record. It is a surprising direction for an artist whose music has often been defined by wit, eccentricity, and playful energy, making the opening moments of “Chanel” feel like a deliberate departure from the familiar.
For a moment, listeners conversant with his usually style may have noticed “Chanel” doesn’t sound like the Blaqbonez of “Back in Uni” or from “Fashionnova” this record, Blaqbonez feels like a familiarstranger recognizable, yet noticeably removed from the artist many listeners first encountered.
But, as the song progresses, that impression gradually fades and his voice becomes more recognizable, reminding listeners of the artist behind the record.
However, this initial impression begins to change with the arrival of Asake. His entrance immediately introduces a familiar energy rooted in the Yoruba and Fuji influences that have become central to his artistry.
While Asake undoubtedly enriches the record his presence is so commanding that he occasionally casts a long shadow over its owner. For many listeners, the first name that comes to mind when “Chanel” is mentioned may well be Asake’s before Blaqbonez’s. Yet, rather than diminishing the song, this tension becomes part of its appeal, highlighting both the strength of Asake’s contribution and the confidence of a Blaqbonez willing to share the spotlight in service of the music.
Both Blaqbonez and Asake attended Obafemi Awolowo University before finding success in the Nigerian music industry, unlike many feature records that feel commercially motivated, “Chanel” carries the comfort of a genuine connection. This shared history makes their performances feel natural rather than commercially motivated.
“Chanel” becomes a quiet anthem, slipping into conversations and playlists almost unconsciously. What makes “Chanel” particularly interesting is that it showcases a version of Blaqbonez that continues to evolve. While traces of the witty and unconventional artist remain, the song reveals someone increasingly comfortable navigating mainstream Afrobeats without completely losing his identity. Rather than trying to recreate the sound of “Back in Uni,” he embraces a different direction, one that feels more mature and refined.
The title “Chanel” presents an interesting layer of symbolism. It becomes even more fascinating when viewed alongside the cover art of Blaqbonez’s album “Emeka Must Shine,” which features a childhood photograph of the rapper wearing “Chanel”. The image now reads like a memory of the future, capturing a version of Blaqbonez years before he grew into the life the song seems to celebrate.
Beyond its themes and symbolism, “Chanel” works because it is simply an enjoyable listen. The chorus is memorable, the melody is easy to return to, and the chemistry between both artists keeps the song engaging from start to finish. It is the kind of record that quietly finds its way into playlists and daily conversations, making its appeal difficult to ignore.
Overall, “Chanel” succeeds not only because of its symbolism and interesting backstory but because it is a genuinely enjoyable record. The production is polished, the chemistry between Blaqbonez and Asake feels natural, and the hook carries the kind of replay value that allows the song to linger long after it ends. More importantly, it presents an evolving Blaqbonez who is comfortable experimenting without losing sight of his identity. In that sense, “Chanel” proves that Emeka was always going to shine.
