OBONGJAYAR’S MASTERPIECE: “GONE GIRL,” A MUSIC REVIEW BY GEORGE OCHEKWU
Someone described Obongjayar as a “sonic chameleon,” another title worthy of addition to his heavy archive of sweet personality and unique musical style. Listening to Obongjayar, as he is also known, gives you a taste of Sade Adu’s music sense, sealed with the attitude of Fireboy. In my own view, I think that that’s the specialty he brings to spice up the music industry, which I see as his unique gift.
Obongjayar ranks above the novices in the industry, no doubt. His few years of experience in active music and the detailed artistry in his words sure stand him out amongst his peers.
Known as Steven Umoh. He had his early life in Calabar, Nigeria, before moving to England to live with his mother. Obongjayar isn’t your regular kind of musician. Without mincing words of comparison and in an ocean of gems, he is a rare talent, one to be watched out for. His style would certainly have you rack your brains, as he comes with a fusion of spoken word, soul, afrobeat, sonic music, and a slim taste of pop. Although he was born into a Christian home, his lyrics expose words of spirituality, love, and not being exactly religious.
Obongjayars song, “Gone Girl,” will certainly go down in history as one of his greatest tracks of all time. I am not only referring to the tone of the song, the beats and its simple but fine vocals, I am particularly interested in the lyrics of the song. Beautiful lyrics penned down by someone who knows how to carefully select words to portray his own mind, an art only done by someone who knows exactly what he is doing—a beautiful lyricist and an intelligent writer.
Gone Girl was released last year, 2021. It is the second track of his extended play, which was titled “Sweetness.” Sweetness is a creative extended play of four tracks. From an album, I bet you’d have a hard time picking a favourite. To me, though, Gone Girl stands out from the rest of the songs. Maybe because of the song’s imagery, or maybe I’m simply obsessed with the song. But my stand would surely confirm the overflowing love the song would get, after it must have been listened to.
Gone Girl is a piece deeper than what one would see as a piece of musical gratification. Obongjayar deeply but clearly highlighted the story of a lover, a past lover, it seemed like. One whom, through the lyrics, could be seen to have once left him in a state of grief, fear of heartbreak and to have become what I would call a “prisoner” of love, which also puts him in a state of confusion and loss. This is obvious in the first few lyrics of the song.
The song also takes a different tone, when he begins to sing:
“…Zombie, zombie Zombie, zombie, zombie Zombie, zombie Zombie, zombie, zombie
Gone girl oh, where did you go? Where did you go? Gone girl oh, where did you
go? Where did you go?”
Here, it feels more like, after leaving him, his lover makes a comeback; after he must have almost deleted her from his mind, she then appears again, prompting him to refer to her as the dead (zombie) and ask her where she had gone to.
On this song, Obongjayar has provided nothing short of a musical masterpiece. Trying to find an error in it would not be different from looking for a needle on the shores of the sea. I would rather advise you to get your headsets, recline yourself on a soft cushion, and tune in to the beautiful gift of a song we have.