The most interesting thing about “As We Get High” is not who is on it, but who put it together.
Creative collective bees & honey quietly orchestrated one of the more ambitious cross-continental link-ups in recent Afrobeats memory, pulling Omah Lay, Jamaican-American artist BEAM, and veteran reggae-dancehall singer Gyptian into the same room, sonically speaking.
Omah Lay, widely tagged as the “King of Afro-depression,” leads the track with that signature melancholic falsetto that made him a household name across the continent.
He sets a hazy, introspective tone early, and the production leans right into it with slow-burning sub-bass, ambient dancehall riddims, and a spacious Afro-R&B atmosphere that never feels cluttered.
Where Omah Lay drifts, BEAM sharpens things up. The Jamaican-American artist brings a more modern hip-hop and dancehall bounce into the middle section, shifting the energy just enough to keep the track from settling too deep into one mood.
Then Gyptian steps in, and that is where the song gets a different kind of weight. His gravelly reggae tone carries decades of sound system culture with it, and placing him alongside two younger artists is a deliberate move that gives the track a generational texture most collaborations this size do not bother with.
Lyrically, the song sits in familiar territory, escapism, romantic intensity, and the desire to block out the noise and just exist in a good moment.
It is not trying to reinvent anything thematically, but the way the three artists trade that feeling back and forth across their different regional styles is what makes the execution work.
The production itself deserves its own mention. bees & honey built something that genuinely holds Lagos, Kingston, and Miami in the same frame without forcing any of them to shrink.
The arrangement is spacious enough that each voice lands with its own identity, which is harder to pull off than it sounds when you are working with artists who have very distinct sonic signatures.
From a cultural standpoint, the collaboration is a reminder that Afrobeats continues to absorb and reflect influences far beyond its own borders.
Gyptian has been a dancehall institution since “Hold Yuh” became a global moment in 2010, and his presence here signals that the conversation between Caribbean and West African music is not just a trend, it is an ongoing, evolving dialogue with real history behind it.
BEAM, for his part, represents a newer wave of artists who move fluidly between hip-hop, R&B, and dancehall without planting a flag in any one of them.
His inclusion alongside Gyptian creates an interesting generational contrast within the dancehall side of the track alone.
Whether listeners come to this for Omah Lay’s fanbase, Gyptian’s legacy, or BEAM’s growing profile, the track has enough going on to hold attention from multiple entry points. bees & honey seems to be building something with a clear curatorial vision, and “As We Get High” is the clearest statement of that yet.
