Ice-v and OC Willz’ Return on “Feast (Muonso)” with a Calmer, Sharper Groove

By Tami Makinde

Three years after Wetin Dey Play, the artist-producer pairing sounds more patient and more deliberate.

On “Feast (Muonso) ” Ice-v and OC Willz team up again with a kind of confidence than on “Wetin Dey Play.” The new track is less rushed and more measured. It does not chase the listener as hard. It lets the groove sit.

That choice changes the feeling of the record. “Wetin Dey Play” had a street-facing charge. “Feast (Muonso)” moves with a pulse. The tempo feels more settled. The beat has open space around the vocal. OC Willz still builds from rhythm. He is not relying on speed alone. The production gives Ice-V a frame that feels controlled and more grown.

The first thing that stands out is the breathing room. The beat does not crowd every second. The percussion gives the song its skeleton. The arrangement leaves pockets where the vocal can sit without strain. That space makes the track feel heavier in mood. It is not gloomy. It is less carefree than the collaboration.

There is a shade in the production. That shade gives the song character.OC Willz’s restraint works here than on “My Love.” On the Francis Brio record restraint made the song tender. On “Feast (Muonso) ” it makes the song firmer. The production sounds like it is holding something back on purpose. The drums are present. They do not spill over. The melodic elements support the mood. They do not become noise.

The result is a record that feels composed than crowded.This is where the artist-producer relationship becomes clear. OC Willz seems to understand Ice-v’s delivery deeply this time. He does not force him into a beat that demands vocal pressure. Instead he builds a groove that Ice-v can occupy.

That matters. Not every producer knows how to leave an artist inside a record. Some beats push hard that the vocal has to fight for space. “Feast (Muonso)” avoids that fight. The title suggests celebration. The song does not treat celebration as loudness. It is not a party record. It is closer to a contained groove. That groove can work in a playlist without needing to be the thing in the room

That makes the production more interesting. OC Willz understands that a feast can have weight well as movement. The beat carries that idea by staying grounded. There is also maturity in the arrangement. The production does not sound like a producer trying to prove every skill in one record. It trusts an ideas. It lets them repeat.

In pop traditions repetition is not laziness. It is often how rhythm becomes physical. OC Willz uses that principle well. The groove becomes familiar without going flat. The listener is given time to settle into it.The track runs under three minutes. That keeps it focused. The shorter length helps the production. There is no unnecessary section. The song does not have to search for a purpose. It arrives. It establishes its mood. It leaves before the groove becomes tired. That is a choice in the streaming era. It also suits the writing of the song. “Feast (Muonso)” does not need minutes to explain itself.

Compared with “My Love ” this record is openly romantic. It is less polished in the pop-radio sense. Compared with “Wetin Dey Play ” it is less urgent. It is more confident in its pauses. That middle ground is where OC Willz sounds most improved. The production has learned from the energy. It does not repeat it. It gives Ice-v something enough to continue their chemistry. It is different enough to show growth.

The supplied streaming figure places “Feast (Muonso)” in the broad range as “Wetin Dey Play.” That makes sense. Both records have a directness that suits Ice-v. The newer one has a sense of control. It sounds like the beginning of a working relationship. It sounds like two collaborators who already know how to meet each other halfway.

What makes “Feast (Muonso)” is not one spectacular production trick. It is the accumulation of choices. The open mix, the percussion and the absence of unnecessary clutter make the track usable and durable. For OC Willz the record shows a producer refining his role. He is still rhythm-first. He is more patient. He still gives the artist space. The space now feels more intentional. He still works inside pop language. He is less dependent on excitement. “Feast (Muonso)” is not trying to win by excess. It wins by control.

Taken beside “Wetin Dey Play” and “My Love ” the record completes a picture of OC Willz as a Nigerian producer with range. He can make a street-facing album cut move. He can soften the frame, for an Afropop record. He can return to a collaborator years later with a groove that sounds sharper, calmer and more deliberate. “Feast (Muonso)” is the kind of record that makes that development audible.