Laho II

“Laho II” is a multi-layered anthem that explores the complex duality of success and the lingering memory of struggle. At its core, the song is a celebration of achievement, wealth, and status, yet it's deeply rooted in the realities of the hustle. The title itself, with "Laho" meaning "please" in the Bini language of Edo State, Nigeria, sets up this central tension. The song can be seen as both a reflection on past hardships and a commentary on the pressures of maintaining success.

Lyrically, Shallipopi oscillates between boastful proclamations of a lavish lifestyle and vulnerable pleas for support. He paints himself as the "Minister of enjoyment," living an "Intercontinental" and "monumental" life, surrounded by the trappings of fame like paparazzi and expensive tequila. However, this is juxtaposed with the recurring chorus where he begs, "don't let me fall" and admits his "aza" (a slang for bank account) is "dry". This could symbolize a prayer against returning to poverty or a literal depiction of the precariousness of a high-flying lifestyle.

Burna Boy's verse adds a layer of seasoned wisdom and authority. He warns against mistaking kindness for weakness and emphasizes his focus on business and self-worth, famously twisting a biblical quote to assert that what belongs to "Odogwu" (his nickname) should not be given away. His contribution reinforces the themes of street credibility and financial astuteness in a world of fake love.

Ultimately, “Laho II” is a hustler's anthem that resonates with anyone who has experienced the journey from struggle to success. It's a song about ambition, resilience, and street credibility, all while proudly showcasing Benin culture and language on a global stage.

The song opens with a shoutout, establishing a sense of place and persona, questioning who the real 'lover boy' causing a stir in Benin is. This sets a confident, almost confrontational tone. The introduction quickly establishes Shallipopi's identity as 'Shalli-fucking-Popi' and 'The President of Pluto', self-proclaimed titles that signify his unique, otherworldly status in the music scene. He asserts his Benin roots and warns that not everyone can understand the ways of Edo. This creates an immediate sense of in-group knowledge and cultural pride.

The first verse, delivered by Shallipopi, paints a vivid picture of a lavish and desirable lifestyle. He describes himself as a 'Desperado' surrounded by many, with his 'amigo' being compared to the flamboyant footballer Balotelli. This imagery suggests a life of excitement, wealth, and a touch of drama. The mention of 'ladies taking me photo' and 'paparazzi' reinforces his celebrity status and the constant attention he receives. The reference to 'Don Julio' getting him high further illustrates a scene of opulent celebration and indulgence. However, this bravado is immediately followed by a plea in the chorus.

The chorus is a repeated appeal, sung in a mix of Nigerian Pidgin and the Edo language. The central phrase, 'Ghẹ gunmwẹn dẹ ọ, lahọ', translates to 'Please, don't let me fall, please'. This is coupled with requests to 'paste aza' (provide bank account details) because his own 'aza' (account) is 'dry' (empty). This creates a striking contrast between the verse's portrayal of success and the chorus's raw plea for financial support. It can be interpreted in a few ways: as a reflection of a past life of struggle, a commentary on the constant pressure to maintain a lavish lifestyle, or a humble acknowledgment that even at the top, one needs support. The repetition of 'lahọ' (please) emphasizes the sincerity and urgency of the request.

Burna Boy's verse injects a new dimension into the song's narrative. He begins with a warning: 'Don't get it twisted... No take my kindness for weakness'. This establishes a more assertive and world-weary persona. He makes it clear that he's about his business and that suffering will not be his fate ('Suffery nor go tear my singlet'). He introduces a clever play on the biblical phrase 'Give unto Caesar what is Caesar's', twisting it to 'No go give to Ceasar what belongs to Odogwu oh', with 'Odogwu' being his own moniker for a respected leader. This line asserts his self-worth and financial acumen. He states his preference for 'money over their love', suggesting a disillusionment with fake affection. His verse reinforces the theme of navigating success with caution and a clear understanding of one's value.

Following Burna Boy's verse, an interlude from Shallipopi directly addresses his detractors. He challenges those who might underestimate him, listing various streets in Benin (Upper, Sapele road, Ugbighoko, Third Junction) and implying that they wouldn't dare speak to him disrespectfully on his home turf. This section is a powerful assertion of street credibility and a reminder of his roots.

The final verse sees Shallipopi reclaiming his celebratory persona, calling himself the 'Minister of enjoyment'. He declares his legacy will be 'Intercontinental, monumental' and that 'We go live forever'. This is a triumphant and defiant statement against haters ('Are they mad? They must be mental'). He concludes by saying he's 'Smoking zaza, nai make I forget your matter', suggesting that he's rising above negativity and focusing on his own enjoyment and success. The song ends with a final repetition of the pleading yet catchy chorus, leaving the listener with the complex duality of a celebrated figure who hasn't forgotten the hustle.

“Laho II” is the official remix of Shallipopi's original hit song, “Laho”. The original track was first previewed by Shallipopi on his Twitter account in January 2025, generating significant buzz among his fans. It was initially released on February 21, 2025, but was quickly taken down due to a dispute with his former record label. After resolving the issues, “Laho” was officially re-released on March 13, 2025, under his own label, Plutomania Records, and the British label Since '93.

The remix, “Laho II”, features Nigerian superstar Burna Boy and was released on April 25, 2025. The collaboration came about after the two artists gave a surprise debut performance of the track at Burna Boy's historic sold-out concert at the Stade de France on April 19, 2025. The performance in front of approximately 100,000 people created massive anticipation for the official release.

The production for both the original and the remix was handled by Progrex (also known as Fayaman). The songwriters credited for “Laho II” are Crown Uzama (Shallipopi), Damini Ogulu (Burna Boy), and Dwills Harmony. The track was released under Plutomania Records and Since '93. The music video for “Laho II” was directed by Perliks Definition and released shortly after the song, amplifying its themes of luxury and street energy.

“Laho II” is rich with symbolism and metaphors that paint a picture of Shallipopi's journey and worldview.

• “Laho”: The central motif, meaning “please” in the Bini language, symbolizes a prayer or a plea. It represents a vulnerability and a memory of struggle, a prayer not to fall back into hardship despite current success. It's a constant reminder of the hustle.
• “Aza”: This slang for “bank account” is a direct symbol of financial status. The line “Aza mwẹ dry o” (“My account is dry”) is a potent metaphor for financial instability or the constant need for more resources to maintain a high-status lifestyle, contrasting sharply with the outward display of wealth.
• “Minister of Enjoyment”: This self-proclaimed title is a metaphor for a philosophy of life centered on celebration, luxury, and living life to the fullest. It symbolizes a triumphant state of being, having overcome past struggles.
• “Pluto”: Shallipopi refers to himself as “The President of Pluto”. Pluto, the dwarf planet, symbolizes his outsider status and the creation of his own world and rules, distinct from the mainstream. His fanbase are called “Plutomanians.”
• Balotelli: The reference to the Italian footballer Mario Balotelli serves as a metaphor for a lavish, dramatic, and unapologetic lifestyle, reflecting the persona Shallipopi projects in the song.
• Giving to Caesar: Burna Boy cleverly subverts the biblical phrase “Give unto Caesar what is Caesar's” by stating, “No go give to Ceasar what belongs to Odogwu oh.” This is a powerful metaphor for self-worth and retaining the fruits of one's labor, refusing to be short-changed.

The emotional landscape of “Laho II” is a complex and compelling mix of triumph, vulnerability, and defiance. The predominant emotional tone is one of celebratory confidence and swagger. This is established through the boastful lyrics about a lavish lifestyle, the self-proclaimed title of “Minister of enjoyment,” and the infectious, mid-tempo Afrobeats rhythm. There's a clear sense of joy and pride in having achieved success.

However, this confidence is constantly undercut by a current of vulnerability, most evident in the recurring chorus. The repeated plea of “lahọ” (“please”) and the admission of having a “dry” bank account inject a sense of anxiety and desperation. This creates an emotional duality: the fear of losing it all lingers beneath the surface of the celebration. It reflects the emotional reality of many who have experienced a rise from hardship—the memory of struggle is never far away.

There are also strong undercurrents of defiance and assertion. This is particularly felt in Shallipopi's interlude, where he challenges his detractors, and in Burna Boy's verse, where he warns against being taken for granted. This defiant tone adds a layer of street-hardened resilience to the song's emotional profile. The overall atmosphere is one of a lavish party where the host, while celebrating, keeps a watchful eye, never fully forgetting the hustle that got him there.

“Laho” and its remix “Laho II” have had a significant cultural impact, particularly within Nigeria and the global Afrobeats scene. The song became a cultural phenomenon, dominating social media platforms like TikTok with its infectious energy and Shallipopi's Benin City-inspired slang. It sparked a viral dance trend characterized by pointed fingers and shuffling feet, which was even adopted by sports figures like Indiana Pacers forward Pascal Siakam.

The original track peaked at #1 on Apple Music Nigeria's Top 100 chart and the remix further amplified its reach. “Laho” reached the top ten on the U.S. Billboard Afrobeats Songs chart, demonstrating its international appeal. The collaboration with Burna Boy, a global superstar, transformed the track into a cross-continental anthem, bridging Nigerian street culture with the global appeal of Afrobeats.

Critically, the song has been praised for its authentic incorporation of Benin culture and the Bini language into the mainstream, a cultural resurgence also noted in the work of fellow Edo artist Rema. It has been hailed as a hustler's anthem that reflects themes of financial struggle, ambition, and street credibility, resonating deeply with a wide audience. The song's success solidified Shallipopi's status as a leading voice in Nigeria's street-pop wave. The track also gained unexpected popularity among young soldiers of the Nigerian Army, who were seen in viral videos singing along to the song, highlighting its broad and diverse appeal.

The rhyme and rhythm of “Laho II” are key to its infectious and laid-back feel. The song doesn't adhere to a strict, traditional rhyme scheme, favoring a more free-flowing structure that aligns with its conversational and street-pop style. Rhymes appear intermittently, often as couplets or internal rhymes that emphasize certain lines.

For instance, in Shallipopi's verse, you see simple rhymes like “many many” with “Balotelli”. Burna Boy employs a more structured rhyme in his verse with lines like “witness” and “business,” followed by “weakness.” This adds a sense of lyrical dexterity to his section.

The rhythmic structure is built around a mid-tempo Afro-fusion beat produced by Progrex. The rhythm is hypnotic, driven by a prominent bassline and thumping drums that create a groove that is more of a confident sway than an energetic dance. This allows Shallipopi's relaxed, slang-heavy vocal delivery to sit comfortably within the beat, creating a seamless interplay between the lyrical and musical rhythm. The repetitive nature of the chorus, with the rhythmic chanting of “lahọ,” makes it highly memorable and contributes significantly to the song's hypnotic quality. The overall pacing is unhurried, reflecting the song's cool and self-assured demeanor.

“Laho II” employs a range of stylistic techniques, both literary and musical, to create its unique and impactful sound.

• Code-switching: The lyrics are a masterful blend of Nigerian Pidgin, English, and the Bini (Edo) language. This code-switching not only adds authenticity and represents Shallipopi's heritage but also creates a specific in-group appeal while being catchy to a wider audience. The use of phrases like “Ghẹ gunmwẹn dẹ ọ, lahọ” grounds the song in its cultural roots.
• Slang and Vernacular: The song is replete with Nigerian street slang, such as “aza” (bank account), “zaza” (weed), and “wahala” (trouble). This streetwise vernacular lends the song a raw, unfiltered, and relatable quality.
• Persona and Alter Ego: Shallipopi adopts the personas of the “Pluto Presido” and the “Minister of Enjoyment.” This use of alter egos allows him to toggle between themes of otherworldly confidence and celebratory indulgence, shaping the song's narrative. Burna Boy also leans into his “Odogwu” persona, signifying a respected elder or leader.
• Musical Arrangement: The production by Progrex features a hypnotic, mid-tempo Afro-fusion beat with a deep, thumping bassline and prominent drums. Instead of following the popular Amapiano trend, it opts for a lo-fi yet club-ready sound that gives space for the slang-heavy vocal delivery to shine. Burna Boy's remix introduces added synths and a deeper bassline, giving it a more polished, arena-ready feel.
• Vocal Delivery: Shallipopi's vocal style is relaxed and has been described as resembling a “'big-baby' singing through a nursery rhyme,” which makes his songs easy to learn and sing along to. His flow is playful yet boastful. Burna Boy contrasts this with his signature melodic and commanding vocal style, adding a layer of swagger and authority.
• Repetition: The chorus relies heavily on the repetition of the word “lahọ,” which makes it an infectious and memorable hook that is central to the song's identity.

What is the meaning of the song 'Laho II' by Shallipopi and Burna Boy?

'Laho II' is a song about the duality of success and struggle. 'Laho' means 'please' in Nigeria's Bini language, and the song contrasts boastful lyrics about a lavish lifestyle with a pleading chorus asking for financial support and not to be allowed to fall, reflecting a hustler's ambition and anxieties.

What does 'Laho' mean in English?

The word 'Laho' or 'Lahor' comes from the Bini (Edo) language in Nigeria and translates to 'please' or 'I beg' in English. In the context of the song, it's a plea for help and to avoid failure.

What language is 'Laho II' sung in?

The lyrics of 'Laho II' are a mix of Nigerian Pidgin English, English, and the Bini (Edo) language, which is spoken in Edo State, Nigeria, where Shallipopi is from.

Who produced the song 'Laho II'?

Both the original version of 'Laho' and the remix 'Laho II' featuring Burna Boy were produced by the Nigerian producer Progrex, who is also known as Fayaman.

When was 'Laho II' released?

The remix 'Laho II' featuring Burna Boy was officially released on April 25, 2025. This followed the release of the original version, 'Laho', on March 13, 2025.

What does 'aza' mean in the lyrics of 'Laho II'?

'Aza' is a popular Nigerian street slang for a bank account or bank account number. In the song, the line 'Aza mwẹ dry' means 'My bank account is empty', highlighting themes of financial struggle.

What is the cultural significance of 'Laho II'?

The song is significant for bringing the Bini language and Benin culture to a wider, mainstream audience through the popular Afrobeats genre. It became a viral sensation, especially on TikTok, and has been described as a 'cultural restoration' for the Edo people's influence in Nigerian pop culture.