Stallionmane’s ‘trip’ is smooth R&B with unfulfilled potential

By Rita Okoye

I was ironing my shirt and getting ready to attend a movie premiere when Stallionmane’s Trip started playing through my Bluetooth speaker. I wasn’t paying much attention at first, but the opening saxophone notes and soothing bassline soon drew me in. There was something about the sound that made me stop and listen.

On my way back from the premiere, I caught myself singing along to the chorus. I hadn’t made any conscious effort to memorise it, but there I was, humming the melody. Clearly, the song had made an impression.

The problem is that the chorus is where much of the excitement ends. I kept waiting for a verse that would take the song somewhere unexpected, perhaps reveal something about the woman Stallionmane was singing to or the relationship between them. Instead, the verses circle around the same romantic sentiments without adding much to the story.

Listening to “Trip” reminds me of cooking Nigerian jollof and getting almost everything right, only to realise that something important is missing. The aroma is inviting, the seasoning is right, but the meal doesn’t quite come together. That’s how I feel about this song. It has all the ingredients of a memorable R&B record, yet something about the finished product leaves me wanting more.

Stallionmane sounds comfortable on the record. His low-toned voice and smooth delivery bring Chris Brown to mind in certain moments. There are also traces of the soulful Nigerian R&B style associated with veteran singer Mr Cool. He doesn’t sound like someone struggling to find his place on the beat. His vocals sit comfortably with the instrumentation.

The lyrics revolve around attraction and romantic persuasion. Expressions such as “Whyne for me now” and “You deh give me ginger” give the chorus a conversational feel. The Yoruba line “Omo, je ka fe ra wa” (let’s get married) adds a playful romantic touch. These expressions are familiar and easy to connect with, but they also leave plenty of room for a more interesting story. The suggestion of marriage, for instance, could have given the song a stronger emotional direction if Stallionmane had explored it further.

I particularly enjoyed the instrumental arrangement. The saxophone is a lovely touch, and the bassline gives the song a warmth that suits its R&B direction. The arrangement isn’t crowded, and Stallionmane’s voice gets enough room to breathe. For me, this is one of the record’s biggest strengths.

By the time I got home from the premiere, the chorus was still playing in my head. I suppose that’s a good thing for any songwriter. Stallionmane clearly knows how to put together a melody that stays with you, and the saxophone, bassline and relaxed vocals give “Trip” an appealing sound. But a memorable chorus alone doesn’t always make a memorable song. With more attention to the verses, this could have been a much stronger R&B record.