“When you think about highlife, what comes to mind?” is the question The Cavemen. pose in the introduction to their album. The music is the answer. “We want the sound of highlife to not just be a distant memory; we want the people to think about highlife and think about The Cavemen. And think about roots. Keep the spirit of highlife in the present, then take it to the future…through love.” 

Brothers and bandmates Benjamin James and Kingsley Okorie began their musical journey in the church. From a young age, The Cavemen. composed music instinctively—driven by feeling, not formal training. Their sound is shaped by a wide spectrum of influences spanning generations and genres: from Rex Jim Lawson, Oliver De Coque, and Aṣa to Coldplay, Foo Fighters, Michael Jackson, and Bob Marley. Rooted in highlife, their music knows no bounds. 

Highlife—defined by vibrant horns, bright riffs, jazz flourishes, and African percussion—originated in 19th-century Ghana, but its roots stretch across West Africa, from Liberian palm-wine music to Yoruba jùjú to Igbo and Edo styles. Today, The Cavemen. stand as the genre’s most vital and visionary modern custodians. 

The band’s name was born in Kano, Nigeria, where Kingsley was studying law. Far from the familiar bustle of their hometown, Lagos, the feeling of being “caved in” inspired the duo to adopt a name that reflected both confinement and the primal creative force they were channeling, thus The Cavemen. 

In 2020, The Cavemen. released their self-produced debut Roots, winning “Best Alternative Album” at the Headies. Their 2021 follow-up, Love and Highlife, featured Cobhams Asuquo and Made Kuti. A 2023 feature on Davido’s Grammy-nominated Timeless cemented their rise—marking both commercial success and cultural revival. 

Cavy In The City, is a continuation of what fans have grown accustomed to from the duo. True to their roots, The Cavemen.’s music feels fresh without straying from the familiar—proving that evolution doesn’t always mean departure. “We always keep the soul, no matter what.” For the brothers, embracing instrumentation–drums, bass, keys– as the foundation of their art is key to maintaining the integrity of highlife music. And their desire to revitalize what is considered a 

classic West African genre is not driven by reinvention as much as it’s guided by honoring tradition. “One way to connect to people is through culture,” they say, understanding that a commitment to what is ancestral to them resonates with both native and global audiences. “People kind of put highlife into a box. This album is expanding that box. We’re making you view highlife as something new that you’ve never experienced before.” 

Featuring Grammy-winning Beninese icon Angélique Kidjo, Gambian-British rapper Pa Salieu, and the most consistent collaborator; their mom, whose voice has graced all of their albums. — Cavy In The City assembles voices from across the continent. Together, they contribute to what The Cavemen. call the “documentation, promotion, and transporting of culture.” For nearly a decade, the brothers have intentionally worked to modernize and globalize highlife—singing in English, blending diasporic sounds, and crafting feel-good music. 

The Cavemen. are clear in their mission: to remain anchored by their roots while taking highlife to new heights. “We can really do anything musically.” Their work strikes a balance between preservation and innovation—pushing boundaries without losing tradition. In a landscape led by afrobeats, they’ve carved space for highlife as a vital, coexisting force. 

The Cavemen. are cementing their legacy by rewriting highlife’s story. Their approach is simple: make music that speaks to the soul—not trends or turmoil, but the emotions that connect us all. To them, “music is soul food” that can “heal the mind, body, and soul.” As they proclaim, “We see Africa as the center of the world, and what is central to Africa is music.” And they’re certain: “Highlife is what the world needs right now.”