CTRL Lyrics by Kashcoming & Zaylevelten

Kashcoming and Zaylevelten just dropped “CTRL,” a track that feels like a neon‑lit night in Lagos mixed with a London club. The two Nigerian‑born producers and singers are already known for their high‑energy beats, and this song is no different. The hook is a simple, catchy “Control, control,” but the verses paint a picture of a life on the fast track: chasing money, living in luxury, and letting a woman’s movement pull you off balance. The lyric sheet reads like a diary entry from a party that never ends.

Kashcoming opens with a declaration that money is his obsession. “Ori ni money I dey chase, even my shayo na straight,” he raps, hinting that his hustle is so intense it’s almost a medical condition. The line “I dey medicate” could be read as a metaphor for the constant need to fuel his ambition. He doesn’t just chase cash; he wants the lifestyle that comes with itbottles popping, designer clothes, and a crowd that follows him. The repeated references to “money” and “wallet” in the pre‑chorus reinforce that this isn’t just about wealth; it’s about the freedom and power it brings.

Zaylevelten joins in with a verse that flips the narrative. He talks about “making the money come in” while describing a night full of “bottle popping” and “turning up.” The chorus, “Control, control,” becomes a mantra for the duo’s attempt to keep their lives in check while the party pulls them into a whirlwind. The bridge repeats the phrase “Califo’ za for the spliff,” a nod to the culture of mixing music with a bit of weed, adding a layer of authenticity for listeners who know that nightlife scene. The repeated “no sleep” line underscores the relentless pace of their lifestyle.

Both artists weave the presence of a woman into the fabric of the track. The lyrics describe a woman’s movements as “intoxicating,” a force that “makes it difficult to maintain control.” The line “She go sleep” in the bridge suggests that the party continues even when she does not. This portrayal aligns with a broader trend in Afrobeats where women are often depicted as catalysts for excess and desire, a theme that can spark conversation about agency and representation.

The production of “CTRL” is a sonic bridge between the two cities where the artists split their time. The beat is a mix of traditional Afro‑dance rhythms and UK bass, creating a cross‑continental feel. The repeated “Yo‑yo‑yo‑yo” hook is reminiscent of Nigerian street slang, while the bassline nods to London’s club scene. This fusion is what makes the track resonate with a global audience, especially those who have grown up listening to both Afrobeats and UK grime.

The song is more than a party anthem; it’s a snapshot of a generation that values instant gratification and the pursuit of wealth. It captures the tension between ambition and the need for balance, a theme that many young creators can relate to. In a world where social media often showcases only the highlights, “CTRL” offers a candid look at the high‑stakes lifestyle that comes with fame.

The track’s release is a reminder that the music industry is increasingly a hybrid space where African and Western influences collide. Kashcoming and Zaylevelten are at the forefront of this movement, and “CTRL” will likely become a staple in clubs and on playlists across the globe. The next step? Watching how they leverage this momentum to push their brand further, perhaps even collaborating with UK or US artists to expand their reach. The future looks bright, and the beat keeps rolling.