Through her contagious contributions, Amaarae stretches the boundaries of Afrobeats, adding touches of Caribbean dancehall and American pop. The singer, composer, and engineer from Ghana has traveled extensively throughout her life, establishing the basis for her self-described Afro-fusion works, from the East Coast to West Africa and all points in between. “I experiment with a lot of different things, but if you listen closely, the drums are usually afro.” The Ghanaian drumming on Amaarae’s most recent album, Fountain Baby, is complemented with modern takes on country, R&B, East and South Asian instruments, and more. Her smooth vocals further enrich the experience. She has an unparalleled captivating effect in the industry. She defines a “fountain baby” as a bountiful Child of God whose cup overflows with style and inventiveness when asked what the term signifies. She captures this feeling on the album by fusing flirtatious ballads with lively club hits and experimenting with rock & roll.
The unifying factor that unites these divisive sounds, whether they’re appealing to the dance floor or the bedroom is Amaarae’s heavenly voice. She says to Unorthodox Reviews, “But it’s also straight love-making music. I just want people to have sex with my music.” She doesn’t overdo it; instead, she creates a naturally sensual ambiance with an air and confidence that only a “fountain baby” can create. Sure, sex is an easy and common topic to gain attention in music. She delivers the majority of her bars with confidence and charm, creating an authentically sexy ambiance even as they boast about her financial plenty and tasteful extensions of her fortune.”Reckless and Sweet” serves as an appropriate background music for a romantic venting session at the late-night bar after work. Amaarae’s song “Wasted” has a similar flow to “Reckless and Sweet,” but with the addition of traditional Chinese stringed music and afro drumming. She makes rejection feel exciting. Amaarae’s skill in incorporating South Asian instrumentation into her work is further demonstrated in “Counterfeit.” Her Ghanaian heritage causes the drums to become ingrained in her. However, the electrically pop-influenced snares and guitars on songs like “Sex, Violence, Suicide” and “Sociopathic Dance Queen” truly highlight her suburban New Jersey upbringing. Fountain Baby’s “Princess Going Digital” is undoubtedly its standout track because of its electric strobes, warm cowbell taps, and captivating chant “Take me out the streets” by Amaarae. The entire song exudes a euphoric feeling that permeates the entire space. With its hazy poetic outro and airy saxophone notes, “Aquamarine Luvs Ecstasy” likewise seems to suspend time. “Water From Wine” cedes Amaarae’s undeniable allure for sex and her capacity to quicken any. At an early age, she combined elements from other music cultures based only on instinct, dissecting the clichés associated with Afrobeats and even deviating from the genre entirely. After collaborating closely with musicians such as AYLØ, Kay-Ara, and Yaw P, Amaarae released her 6-track EP Passionfruit Summers in 2017, stepping into her own spotlight. What emerged was a gender-fluid persona that blossomed in her music, transcending Earth. The futuristic, somewhat robotic voice she provides over Afro-pop tunes, such as THE ANGEL YOU DON’T KNOW’s “SAD GIRLZ LUV MONEY” and “FANTASY,” unlock a hitherto unexplored avenue for Afrobeat and global audiences.
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