Boj's 'Duplicity' explores the duality of alte's coolest king
Boj has always been the cool kid of the Nigerian music scene, a pioneer of the Alté movement who effortlessly bridges the gap between the underground and the mainstream. His new album, Duplicity, is a conceptual triumph that explores the twin sides of his artistry. The album is thematically split, delving into the duality of light and dark, the "good guy" lover and the "bad boy" rockstar. This concept allows Boj to showcase his range without the project feeling disjointed. It is a cohesive body of work that feels like a late-night conversation, intimate and revealing, yet coolly detached in that usual Boj way.
The rollout for Duplicity was spearheaded by two contrasting singles that perfectly encapsulated the album's theme: Contraband featuring Olamide and Diamonds featuring Mavo. Contraband sees Boj linking up with the King of the Streets, Olamide, for a track that merges the grit of Bariga with the smoothness of Victoria Island. Olamide’s verse is a highlight, adding a punchy energy that complements Boj’s baritone croon. On the flip side, Diamonds is an ethereal, Afrofuturist anthem where the star Mavo matches Boj’s laid-back energy. These tracks serve as the pillars of the album, demonstrating that Boj is comfortable in any room, whether he's rapping with legends or harmonizing with the new school.
Sonically, Duplicity is rich, warm, and textured, largely thanks to the production work of Genio and Blaise Beats. The album moves away from the standard Afrobeats shakers and leans into jazzier chords, muted trumpets, and rolling basslines. Tracks like "After Hours" featuring Anais Cardot are smoky and atmospheric, evoking the feeling of a VIP lounge at 3 AM. The mixing puts Boj’s unique voice, often described as sounding like it’s been dipped in honey and gravel, right at the front. It is an album that rewards headphone listening, full of subtle ad-libs and instrumental flourishes that might be missed on a casual listen.
Duplicity also serves as a gathering of the Alté tribe. The track Shana, featuring Show Dem Camp and Joey B, is a nostalgic reunion for fans of the genre. The chemistry between Boj and SDC is telepathic at this point; they have collaborated so many times that they sound like a single unit. Joey B adds a Ghanaian flavor that widens the album’s appeal across West Africa. These collaborations feel like a celebration of a movement that has now gone global, with Boj standing tall as one of its founding fathers.
Ultimately, Duplicity is the work of an artist who is comfortable in his own skin. Boj isn't chasing radio hits or trying to replicate the high-energy sounds dominating the charts. Instead, he is inviting the listener into his world, a world that is stylish, slightly mysterious, and incredibly groovy. It is an album for the "cool crowd," yes, but its melodies are accessible enough to pull in the casual listener. With Duplicity, Boj proves that you can be two things at once, niche and popular, soft and hard, and that the magic often lies in the contradiction.
Listen to Duplicity here.
