Tiwa Savage takes things personal on her fourth studio album, This One Is Personal. The album brims with aching memories,...
Musically, the album is a buffet with an impressive menu. Burna revisits his early dancehall roots with Leriq, then jumps into trap with Travis Scott, mixes Afrobeats and country music with Shaboozey, goes full rockstar mode with Mick Jagger, before linking up with Stromae for some Francophone flavour
Baddo’s Song’ with the South African musical duo Jazzworx and Thukuthela, a supposed homage to rapper-singer Olamide, does a disservice to his towering reputation in the Nigerian music scene. Why collaborate with artists not attuned to Nigerian street-pop or Olamide's musical brilliance and influences on a tribute song?
The production, handled by a lineup of trusted collaborators like Tuzi, Duktor Sett, IBK Sleek, Semzi, and Magicsticks, is a masterclass in variety. From high-energy bangers to soulful ballads and Fuji-infused jam, the album’s sonic diversity keeps us engaged.
Morayo is just a nominal dedication with erratic lyrics, jumping between different ideas, moods, and styles. It feels fragmented, thematically reflecting an artist at a crossroads. It oscillates between Wizkid’s penchant for romantic, mellow tendencies and upbeat, danceable tracks. The result is a sonically rich yet thematically inconsistent experience
We live in an era defined by artistic collaboration that defy borders. It’s understandable for an artist to seek international collaborations to broaden his horizons but some of the guest artists on Lungu Boy, though talented on their own, can’t seem to connect with Asake's Lagos street life, especially the Isalẹ Èkó street culture
What makes the album engaging is not only Odumodu’s delivery but the revolving cast of guests who help him shape the album and make it colourful. “Toy Girl,” with Juno and Valentino Rose, offers a softer, romantic diversion. The singers lace the log-drum-driven beat with silky harmonies that temper Odumodu’s rough-edged persona.
Burna Boy's collaboration with Shaboozey on the Afro-country track “Change Your Mind” brings a refreshing twist to the uneven album. This track stands out for its soft and heartfelt mood. It's one of the album's rare instances where the innovation truly springs from deep emotion rather than just genre-mixing flair.
Almost a year after his comeback album, Ikigai, artist Olamide returns with his self-titled 11th studio album, Olamide. The title...
Kuti sounds jaded as he continues to address the discomforting political, economic, and social conditions of Nigeria on “Corruption Na Stealing”. Simmering with steady percussion, Femi Kuti shares incisive critiques with exhaustion, bemoaning the use of English language to subvert the truth and rule of law in favour of the rich.
One remarkable attribute of Fireboy is his ability to blend sublime lyrics with the mundane (Lamba). Throughout the album the lyrics poetically explore the complexities of romantic relationships with a touch of levity. The album is well-sequenced from the opening track to the end, but the smooth transition from “obaa sima” to “need me” is simple yet beautiful.
With featured appearances from Olamide, Qing Ming, Ladi Poe, Amaeya, and the late Mohbad, Chike manages to create an album that further consolidates the strength of his exciting discography while announcing without equivocation the arrival of a legend in the making.
