When producers step out from behind the boards to present records under their own name, the expectation often shifts. The song is no longer just about performance. It becomes a test of vision. Angels by British Nigerian producer Lekaa Beats, featuring Omah Lay and Odumodublvck, sits right in the middle of that test.
On paper, this collaboration promises depth, contrast, and energy. In execution, it reveals how fragile musical balance can be when artists approach the same record from very different emotional and narrative angles.
Omah Lay’s Strength as a Storyteller
Omah Lay has always treated music like a diary. Every verse he delivers is usually part of a larger emotional arc, even when the song itself is not his. This is both his gift and his problem when it comes to features.
On Angels, he continues the familiar thread of emotional exhaustion and heartbreak. He frames healing as something transactional at first, almost jokingly suggesting that financial abundance could instantly erase emotional damage. But as the verse unfolds, that idea collapses into a more honest reality. Healing is not happening cleanly. It is being delayed and dulled with alcohol and marijuana. This contrast gives his performance weight. He sounds aware of his coping mechanisms even as he leans into them.
The problem is not Omah Lay’s delivery. The problem is that the song does not consistently meet him at that emotional depth.
Odumodublvck’s Energy Without Direction
Odumodublvck enters the record from a completely different place. His verse is energetic, animated, and technically confident, but it lacks thematic alignment with what has already been established.
He begins with flexes and vivid imagery about indulgence and attraction, then abruptly pivots into paranoia, persecution, and industry resentment. He compares industry opposition to biblical betrayal and wrongful judgment, before swinging back again to money, enjoyment, and legal confidence.
None of these ideas are weak on their own. Odumodublvck thrives in chaos and confrontation. However, within Angels, the verse feels like a parallel conversation rather than a continuation. Instead of responding to Omah Lay’s vulnerability or reframing it, he abandons the emotional core entirely.
The result is a song that feels stitched together rather than emotionally unified.
A Chorus Built for the Crowd
Where Angels succeeds most easily is in its hook. The chorus is deliberately simple, melodic, and communal. It is designed to be sung without effort and remembered without concentration.
This choice works in the song’s favor, especially in social settings. It acts as a reset button between verses that otherwise pull in different directions. Even when the storytelling fractures, the chorus keeps the song listenable and replayable.
Lekaa Beats’ Safe but Effective Production
Lekaa Beats opts for a straightforward Afrobeats foundation. The tempo is mid-range, the rhythm relies on familiar pon-pon patterns, and the shakers give it a light bounce that immediately feels accessible.
The instrumental does not take risks, but it does not fail either. A bright lead guitar floats across the beat, adding warmth and movement, while the bassline stays playful and dance-ready. This is production designed for motion, not introspection.
Ironically, that choice may have contributed to the song’s thematic confusion. The beat invites celebration, while Omah Lay’s lyrics ask for reflection. Odumodublvck responds to the beat, not the story.
The Cost of a Producer-Led Record
Because Angels is a producer-fronted release, the responsibility for cohesion ultimately falls on Lekaa Beats. The song sounds good, but it does not always feel intentional.
Omah Lay brings emotional continuity. Odumodublvck brings personality and momentum. What is missing is a shared emotional destination. The song never decides whether it wants to be about healing, excess, defiance, or escape, so it flirts with all of them without committing.
Final Thoughts
Angels is not a bad record. It is a functional, groove-friendly Afrobeats song with strong individual performances. However, it also highlights a recurring issue in collaborative Nigerian music where emotional storytelling clashes with stylistic bravado.
Omah Lay remains compelling because he treats even borrowed space like home. Odumodublvck remains entertaining because he refuses to dilute his persona. Lekaa Beats delivers a beat that moves bodies.
What Angels lacks is a reason for these elements to exist together beyond convenience.
