Artist MOE MOKS introduces a stylishly recognizable What Are We Fighting For, with synth-kissed production, addicting afrobeat rhythms, and a distinct level of vocal individuality. What Are We Fighting For is a fashionably recognizable track with a strong sense of personality?
After making tremendous impacts writing singles for renowned singers, African-born artist Moe Moks is battling his way into the mainstream with a style that has never been heard before. Fortunately, he has some fighting experience. In truth, he arrived in America after escaping the clutches of a dictatorial regime. Now he creates songs that will inspire future generations.
Moe Moks represents tenacity and black greatness, having gone from being destitute in Boston/New York to perform at Coachella Music Festival and J Cole’s Dreamville Festival. Now he’s back with a game-changing EP titled “the WAR.”
Listeners will not be overburdened by the brightness and intense bounce that may be heard elsewhere in afrobeat and dancehall music. Instead, they will be able to focus on the song itself. This single maintain a modest level of genuineness throughout – even the songwriting tackles inspiring topics while meandering through simplified, poetic findings that quickly suit the ambiance of the music.
On top of being an undeniably excellent collection of building pieces, What Are We Fighting For exudes an enormously cheerful and uplifting atmosphere. All the way through, positive vibrations fill the room; the soundtrack is multi-layered and beautiful, and it is full of melody, passion, and optimism. Finally, the concept, short lines, the feeling of character in the leading voice, and storyline are established. There are also a couple of symbolic flourishes, which are basic but nonetheless pretty memorable. All of this contributes to the finalization of the transaction.
One of the most powerful afrobeat songs ever written, this song is undoubtedly intended to reach a broader audience in the coming months. It’s definitely worth listening to at full volume.
