For an artist who’s spent the past decade at the apex of afrobeats, Kizz Daniel returns with Uncle K: Lemon Chase, his surprise seven-track EP that signals a shift—a recalibration ahead of the larger, self-titled album Uncle K promised later this year.
Kizz Daniel has nothing left to prove in terms of chart performance—2024’s TZA brought in staggering global streams, and singles like “Twe Twe” and “Marhaba” solidified his place among the genre’s elite. But Lemon Chase is reflective in tone, scattered in structure, and surprisingly patient in its pacing. It feels like a series of snapshots—vivid, imperfect, and sometimes unresolved.
The opening track, “Black Girl Magic,” sets the tone. Lyrically, it’s a straightforward tribute to Black womanhood, but sonically, it leans toward understated elegance, letting its message breathe. It doesn’t chase an anthem; it asserts dignity in a steady rhythm. That kind of restraint is a defining feature of the EP.
“Eyo” brings a taste of Lagos nightlife, but even here, there’s a nostalgic tilt. The percussion rolls bright and inviting, yet the vocals carry a warmth that’s less about bravado and more about familiarity. There’s celebration, yes—but not the kind that demands bottle service. It’s celebration rooted in return.
One of the more unexpected moments comes on “Peace I Chose,” a collaboration with Runtown. Notably, it’s the first time Kizz Daniel performs over lyrics penned by someone else. The result isn’t a radical reinvention, but it is a moment of loosening—of letting go. The melodic phrasing is slightly more elastic, the cadence more exploratory. That decision to trust another writer feels symbolic of the EP’s broader themes: evolution, humility, and perhaps a new creative openness.
On “Al Jannah,” the spiritual centerpiece of the record, Odumodublvck and Bella Shmurda help navigate themes of grief and afterlife with emotional clarity. It’s the least radio-minded track on the EP, yet it holds the most emotional weight. This is where the “lemons” metaphor lands with real force—turning personal loss into a sacred chant rather than a pop hook.
But it’s “Police,” the closer, that might prove most polarizing. Featuring Angelique Kidjo and Johnny Drille, the track is playful and flirtatious, with rhythmic nods to highlife and subtle Caribbean syncopation. While the presence of Kidjo lends a kind of ceremonial weight, the song’s romantic bounce feels oddly detached from the rest of the EP’s thematic cohesion. It’s the EP’s most accessible song, but arguably its most dissonant moment.
Production-wise, the EP walks a careful line between polish and personality. Longtime collaborators like Blaisebeatz and RewardBeatz deliver reliably tight instrumentals, though at times they feel almost too familiar. The standout sonic experiment belongs to “Secure,” featuring Zlatan, where financial aspiration meets a twitchy, minimalist beat structure that’s more Brooklyn than Benin. It works because it surprises.
Kizz Daniel seems less interested in affirming his position at the top and more curious about expanding his depth. Artists like Burna Boy or Wizkid have made similar pivots in their later phases, dialing down their heat to build broader musical palettes. With Lemon Chase, Kizz Daniel appears to be entering that phase, too—not retreating, but reassessing.
As a standalone project, Uncle K: Lemon Chase might not dominate playlists. But as a creative waypoint, it offers something arguably more valuable: a glimpse at an artist unafraid to pause, reflect, and complicate his sound. For listeners looking for yet another crossover hit, the EP may feel subdued. But for those tracking the long arc of Kizz Daniel’s career, this is where the real transformation might be starting.
