Mixing both Nigerian and European roots into one album is an interesting prospect – something that Asa has accomplished here with overly positive results.

Not content with focussing solely on the musical aspect, Asa has split her album nearly in half in terms of the lyrical content. Quite often, songs are either solely in English or Yoruba, a predominantly West African dialect, with some being a mixture of both that doesn’t necessarily alienate as much as provoke an inquisitive notion to translate.

Often during the album, the meaning behind the songs isn’t hard to figure. Mixtures of both positivity and optimism are here (see Peace), and sit alongside images of attacks on government laws and oppressive regimes that to the casual observer may be missed on Subway and the vitriolic Fire On The Mountain.

Coining her music as ‘Nigerian Soul’ is about right, as it centres around a contemporary African sound – there are elements in here that also feature in a slightly watered-down version on Remi Nicole’s debut album – but it’s possible to hear elements of Reggae and Latin too, with acoustic guitars played in a similar fashion to what many would associate as the ‘Jack Johnson sound’ on 360.

The aspect of religion isn’t too far from the surface either, with both Jailer and No-One Knows both having notable nods, with the latter casting a questions and possible self-doubt about faith. The Yoruba-only Awe features notable references to Mohamed, with approximately half of Nigeria’s population adhering to Islamism.

It could be argued that some of the tunes on here could fall into a ‘lounge music’ category, with Bimamke having an easy-going feel to it, with a reliance on strings and a subtle drumbeat to keep things light and breezy in a song that covers a lovers split. It’s the same story in Peace that focuses around the previously mentioned Latin and Bossa Nova sound.

The album finishes on So Beautiful, which alongside single Fire On The Mountain is a standout track. In homage to her mother, it fuses all the elements of contemporary Africa, both musically and lyrically in a way that sees the song flit between upbeat and slower, reflective moments. It’s this idea that is reminiscent of Red Hot Chili Peppers’ Venice Queen in some respects.

There are a few elements that could do with a second look for the next release, with the vinyl scratching that opens No-One Knows sounding cheap, and the previously mentioned laid-back demeanour only being a few steps away from turning turgid. With her stock rising and high-profile music heads showing their appreciation, it shouldn’t detract from a very good collection of songs.