Omah Lay, BEAM, and Gyptian meet on "As We Get High," a hazy Afro-dancehall collaboration curated by creative collective bees & honey. The track holds Lagos, Kingston, and Miami in one spacious frame, using three unmistakable voices without forcing any of them to shrink.
Omah Lay sets the haze
Often tagged the "King of Afro-depression," Omah Lay opens with the melancholic falsetto that turned inward-looking records into global songs. Slow sub-bass, ambient dancehall rhythm, and a wide Afro-R&B atmosphere leave enough negative space for his voice to drift without the production becoming empty.
The mood is reflective but not motionless. Lyrically, the record sits with escapism, romantic intensity, and the desire to shut out outside noise for one good moment. Familiar territory becomes interesting because each performer carries that feeling through a different regional and generational language.
The collaboration works because Lagos, Kingston, and Miami can all be heard without any one city becoming background decoration.
BEAM sharpens the middle
Where Omah Lay floats, Jamaican-American artist BEAM adds a cleaner hip-hop and dancehall bounce. The shift keeps the track from sinking too deeply into one mood and reflects the fluidity of an artist who moves among R&B, rap, electronic production, and Jamaican cadence without needing to choose a permanent box.
That flexibility is crucial in a collaboration built on connection rather than contrast for its own sake. BEAM functions as both participant and bridge, linking Omah Lay's introspection to the veteran voice waiting later in the arrangement.
Gyptian brings sound-system memory
Gyptian enters with the gravelly reggae tone that has carried decades of Jamaican sound-system culture. Since "Hold Yuh" became a worldwide record in 2010, his voice has remained instantly identifiable. Placing it beside two younger artists gives "As We Get High" a generational texture that many star-heavy collaborations forget to build.
His presence also makes the African-Caribbean dialogue explicit. Afrobeats did not develop in isolation from Jamaican music, and modern dancehall continues absorbing African rhythm and audience energy in return. This record treats that exchange as a living conversation rather than a marketing trend.
Curatorship is the hidden headline
bees & honey deserve attention for assembling the room and producing enough space for every identity to land. The collective appears to be developing a curatorial vision built around combinations that make musical sense before they make social-media sense. "As We Get High" is a strong statement of that intent.
Listeners can enter through Omah Lay's audience, BEAM's cross-genre profile, or Gyptian's legacy and still find a reason to stay. Stream the cut above and listen for the handoffs. The names draw the first click, but the balance among their worlds is what gives the collaboration replay value. That balance is the real achievement.
