With the release of Auracle, Shallipopi has officially completed the trilogy that began with his breakout Planet Pluto EP and continued through Presido La Pluto and Shakespopi. If his earlier work was the sound of a disruptor crashing the gates of the industry, Auracle is the sound of him decorating the palace he now owns. The album title, a portmanteau of “Aura” and “Oracle” is a statement of intent, suggesting that his meteoric rise wasn’t just luck (aura) but destiny (oracle). Across a sprawling 22-track runtime, the Edo-born artist doubles down on the “Afro-pluto” sound that has become his signature, a hypnotic blend of amapiano log drums, nursery-rhyme melodies, and street-hardened philosophical musings delivered in his trademark nonchalant drawl.
Production-wise, Auracle offers a more polished and expensive sound than his previous lo-fi hits. While the core elements of the “Pluto” sound remain, the heavy basslines and repetitive, trance-inducing hooks, there is a noticeable upgrade in the mixing and mastering. Tracks like the lead single Laho utilize complex synth arrangements that give the music a futuristic edge, fitting for an artist who constantly references interplanetary travel. The production team has managed to keep the grit that makes Shallipopi feel authentic to the streets while smoothing out the edges enough to appeal to international ears. It is a delicate balance, but one that largely succeeds, preventing the lengthy tracklist from feeling like a fatigue-inducing marathon.
The feature list on Auracle is perhaps the strongest indicator of Shallipopi’s graduated status. The inclusion of Atlanta rap star Gunna on the track HIM is a major crossover moment, blending Atlanta trap flows with Nigerian street-hop rhythms in a way that feels surprisingly organic rather than forced. Closer to home, the remix of Laho featuring Burna Boy feels like a coronation. Burna’s gravelly, authoritative verse provides a grounding counterweight to Shallipopi’s airy delivery, creating a dynamic call-and-response that is destined to tear up dancefloors this December. These collaborations are not for clout, they serve to legitimize Shallipopi’s sound on a global scale, proving that his “vibes” can stand toe-to-toe with the industry’s heavyweights.
Lyrically, Shallipopi remains a fascinating enigma. He continues to trade in “street lingo” and Benin vernacular, often crafting hooks that sound unimpressive on paper but become mantras when set to music. However, Auracle also sees him offering more introspection than usual. He reflects on the pressures of fame, the fickleness of friends, and the rapid change in his lifestyle. There is a self-awareness to his writing here; he knows his style is polarizing, and he leans into it with a confidence that borders on arrogance. He isn’t trying to win over the purists who demand complex lyricism, he is preaching to the converted, the “Plutomanias” who hang on his every ad-lib.
Ultimately, Auracle is a victory lap. It cements Shallipopi not as a fleeting viral sensation, but as a cultural fixture who has successfully carved out his own lane. While the 22-track length inevitably leads to some filler, the highs are dizzyingly high. The album proves that the “Pluto” wave wasn’t a tsunami that would recede as quickly as it came, but rather a rising tide that has permanently altered the landscape of Afrobeats. With this release, the Presido has secured his second term in office, and the approval ratings are looking higher than ever.
