As SAMSON ILIYA reports, the story of ‘Masquerade Call’ is bigger than the rise of another Nigerian hit. It is a story of a young Plateau artiste turning ancestral memory into contemporary sound, finding an unlikely bridge to a national star and challenging the world to listen to a culture often heard only within its own borders
The song, ‘Masquerade Call‘ by rising Plateau artiste, Gtapzy, and featuring Jos-born rapper, Ice Prince Zamani, has become a meeting point between generations. It brings Ngas cultural identity into a modern Afro-pop setting and gives Plateau’s creative community another reason to believe that its sounds can travel far beyond Jos.
What makes the moment particularly significant is not simply the presence of a major artiste on the remix, but the decision to retain the indigenous character of the original while giving it the energy and reach of contemporary Nigerian music.
Jos: The talent factory that needs fueling
People outside Plateau are familiar with the names, they sing the songs, watch the goals and celebrate the stars. But, unfortunately, they rarely ask what it took to get them there.
For years, Jos artistes built studios in their bedrooms, paid for radio airplay from their pockets and travelled to Lagos and Abuja in search of opportunities.
The talent was never the problem; the enabling environment was.
That, however, is beginning to change, with the Plateau State Government increasingly acknowledging the potential of culture and creativity to contribute to the state’s economy.
Through the Ministry of Youths and Sports Development, in partnership with the Plateau State Tourism Corporation, the government has introduced initiatives aimed at identifying, training and supporting young creatives.
From music production boot camps at the Jos Enterprise Development Centre to talent showcases at the Rwang Pam Township Stadium and support for young filmmakers and fashion designers, the message is gradually shifting from “go to Lagos” to “build here.”
Governor Caleb Mutfwang’s administration has also placed emphasis on security and infrastructure around Jos’ creative hubs, recognising that artistes need electricity, internet connectivity and safe spaces to create and perform.
“It’s not enough to clap for our stars after they blow,” a senior aide in the Ministry of Culture said recently, adding, “We have to water the ground before the seed.”
Fortunately, that ground is beginning to receive the attention many creatives have long demanded.
Meet Gtapzy, the kid who studied the greats
Gtapzy is one of the young artistes emerging from this new environment.
“I’ve personally been following Ice Prince for a very long time,” he told THE NIGERIA STANDARD, explaining that even as an upcoming artiste, he studied Ice Prince’s music, followed his career and learnt from his sound.
That influence is evident. But ‘Masquerade Call’ does not simply reproduce what came before it. Instead, it turns years of listening and learning into an entirely new sound of its own.
Gtapzy grew up absorbing the street energy that helped make Ice Prince a household name. But he also listened to something much older: the music associated with his ancestors in Kanke Local Government Area during festivals, including the drums, chants and call-and-response traditions of Ngas cultural music.
For years, he paid his dues through studio sessions, small performances and singles that failed to achieve the breakthrough he wanted.
Nevertheless, he kept recording and learning.
“When I recorded ‘Masquerade Call’, I knew the original song was already strong, but I felt a remix could take it somewhere bigger,” he explained, adding that Ice Prince was the first person who came to his mind.
Getting a verse from an established artiste is rarely a matter of talent alone, as access, timing and personal connections often determine whether an ambitious collaboration becomes reality.
Gtapzy initially tried to reach Ice Prince directly, but management structures and busy schedules made the process difficult.
He eventually turned to his community, relying on a close friend and brother, Young Bis, who is also a friend of Ice Prince.
Young Bis facilitated the connection. Subsequently, the conversation took place. And Ice Prince agreed to the collaboration.
For Gtapzy, that breakthrough represented more than another song credit.
“Honestly, featuring Ice Prince has been a dream of mine since I started my music career,” he confessed, describing the rapper as a global star whose input he had always wanted on one of his projects.
Today, that dream lives on streaming platforms, in DJ sets and in the videos being created around the song.
Breaking down ‘Masquerade Call’
Listen closely to the remix and three elements stand out: Afro-pop energy, street appeal and indigenous identity.
The song carries the rhythm and urgency of a party record, with drums and bass pushing listeners towards the dance floor.
Ice Prince brings another layer through the street energy for which he is known.
“You know, Ice Prince is known for his versatility,” Gtapzy said, explaining that the rapper brought a raw and energetic street feeling that seamlessly fitted the spirit of the song.
But beneath the modern production lies the most important element: the indigenous soul of ‘Masquerade Call’.
The song is rooted in Ngas culture, with its original concept drawn from ancestral music associated with cultural celebrations in the land.
Gtapzy’s approach is not to replace that tradition but to give it a contemporary platform.
“What I’m doing now is bringing that traditional sound into the modern era,” he said, pointing out that he wants to modernise the sound while preserving its message and cultural identity.
The remix becomes even more significant because Ice Prince, who also has Ngas roots, raps and sings in Ngas on the record.
“He wrote most of his verse in English, and I helped translate some of the lines into Ngas,” Gtapzy disclosed, adding that Ice Prince also remembered some words and terminologies which they incorporated into the final version.