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Switching from a performing artist to a producer will take a lot, including having good sound engineering skills and an ear for detail; it may be taking a step back. In contrast—a producer to artist—is a bounce from the background to exposure and scrutiny. Young Jonn has successfully manoeuvred his switch to a recording artist, beginning as most producers who start out featuring artists while they stay behind the keys. Now he’s released a debut album, Jiggy Forever, and is signed to the coveted Chocolate City Music label. What would the man who savoured the name “The Wicked Producer” say 10 years ago to having the top album in the country for six successive weeks—and counting—on Spotify’s weekly album chart since its debut?
Young Jonn’s big break was ushered by his delivery of heartfelt melodies in “Xtra Cool,” although he was already loved for making great beats. His previous EP Love Is Not Enough, and its Vol 2, presented him as a street evangelist for matters of the heart, coupling wry lyricism. On Jiggy Forever he isn’t as focused on a single theme, he also sings about having a good time, and sometimes serves up the antithesis to his romantic narrative.
This wise choice makes the music in Jiggy Forever refreshing and smacking; even when he sticks to the format behind “Xtra Cool,” it works. But what is more noticeable is that his sonic style is evident of the artist who has spent a lot of time on their sound, hacking and finessing it, that it doesn’t take much to place him beside other artists doing well with new sounds: Asake with Amapiano, or Shallipopi’s experimentation with hypeman theatre bop and playground poetry as theorised by the critic Carl Terver.
The self-eponymous album tries to be self-adulating (“jiggy forever”) or its pace promises to put you in a good place. It ultimately delivers on the promise of a good pace. The first song “Tony Montana” opens in good form and sets the tone; YJ sings with a mannered composure, almost like he is setting himself up for his delivery. On this album, he explores the opposing character to his romantic persona. Like on “Bahamas” where you’d expect a beach-themed track where he tries to woo his muse; instead, he assumes the breezy location for himself and emphasises his unavailability. Such character is retained on songs like “Pot of Gold,” “Showcase,” and “Shine Shine.”
This further improves the album’s replay value and quality, catering to various audiences by including the narrative of love and its antithesis. In “Aquafina,” “Sharpally,” “Bucket List,” and “Maya Maya,” Young Jonn returns to his well-known attempts of trying to impress his woman. Besides this, collaborations from Ya Levis and Sean Paul show his intent to push for an international audience. “On Big Big Things” and “50 Million,” he’s all about having a good time, living up to the album’s name.
The cherry on Jiggy Forever is sustained by Jonn’s sturdy wordplay (when he feels like it), and his vocal range. Where lyricism wanes, the production is sufficient to carry him through. The production credits seem to exclude him but feature a lot in variety: Majicsticks, Blaisebeatz, P.Prime, Ragee, Yung Willis, and TeeMode. Jhay2unes is one of the repeating hands. When Jiggy Forever works, it is beautiful to see. It is a feat for a debut only a few can pull in a saturated market. YJ has been on a terrific run from his last EP; with this album so far he’s found triumph.♦
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Ayodeji Ajibola is studying for a B.Pharm at Obafemi Awolowo University, Ife, and writes music, poetry, and fiction. He is an intern music writer at Afapinen. 𝕏