It starts already in motion: "Uhun, remix," with the beat under it instead of waiting for an introduction.

Here’s the first loop: "Nwa baby, nye me ife gi" keeps coming back while the percussion stays light and steady.

The refrain gives way to quicker lines now; the voice starts riding the beat in shorter little turns.

Listen to how the words turn percussive here: "kporokotokpotomkpom" and "piompiom" hit almost like extra drum sounds.

The "Waka waka baby, oh yeah" call opens into a chant, and the answers keep the dance facing outward.

"Baby sawaleh" softens the mouth for a moment, stretching the phrase before the next sharp shout pulls it back.

Now the voice is almost a rhythm section by itself, repeating "kpom kpom" while the track keeps the floor steady underneath.

That laugh is a small break in the surface, and then the refrain comes back like home base.

The second verse brings in a street-party scene: suya, alcohol, money, and "plenty plenty plenty" all bouncing in the same groove.

The call sequence returns with the same shape; what changes is that by now the repetition feels lived-in, not introductory.

The second "sawaleh" passage opens the same brief air pocket, then hands the song straight back to the mouth-drums.

The late laugh leaves the groove hanging for a few seconds, as if the song could just keep circling.

The final name tag returns, and "Remix" becomes the last little stamp before the floor drops away.