“Big Daddy” is the slickest Nigerian pop song of the year. In under three minutes, Tems’ kiss-off is breezy and poised as she throws jabs at her ex: “No ambition, he’s a loser.” If that weren’t enough, she wields the titular pet name against him, clowning on his familiar switch-up from all-demanding Lothario to pathetic beggar boy (“What’s the deal, daddy?/Big daddy, jump for me.”) Consider this the flip side of “Love Me JeJe.” This time, it’s all resentment.

What makes “Big Daddy” so potent is its incorporation of 3-step, a style of South African house music that bridges amapiano and AfroTech (its defining feature is three quarter-note kicks). While other fusions of 3-step and Afrobeats have simply slapped on the drum pattern or stripped the genre of its booming presence, “Big Daddy” makes the kicks feel crucial at the higher BPM, like Tems is standing with her arms crossed, tapping her foot in annoyance. That rigidity is met with lithe, syncopated log drums—sumptuous textures that keep the mood dreamy. It’s a friction that telegraphs Tems’ headspace: She’s fed up, yes, but that won’t stop her from feeling herself.