It’s usually rare for an artist to debut with an album adjudged a masterpiece, then follow it with a brilliant sophomore effort, with decent guest appearances that cement their brilliance, only to falter on the third outing. Such was the narrative surrounding Fireboy, who, after his stellar first two albums, faced criticism for the underwhelming nature of his third studio release, Playboy.
After the unimpressive Playboy and a few failed singles, fans and critics alike began to wonder whether the once-promising artist had peaked too early. However, with the release of his self-titled fourth studio album, adedamola, Fireboy has emphatically silenced his doubters with a project that not only reasserts his place among contemporary Nigerian music stars but also showcases the evolution of his artistry in a manner that is at once dazzling and deeply satisfying.
There is an air of nostalgia to the album. From the gold-tinged album art, which contrasts Fireboy’s journey with side-by-side images of his older and younger selves, to the retro jazz and funk vibes, each element seems carefully curated to transport us back in time.
Evoking memories of bygone days, Fireboy features the masked musician, Lagbaja, on the fantastic “back and forth”. The song is like a follow-up to “Never Far Away”, one of Lagbaja’s classic songs featuring the delectable songstress, Ego Iheanacho. It’s a reaffirmation of love; that moment of tender reconciliation when peace reigns after a misunderstanding.
In an interview, Fireboy mentioned Wande Coal as one of his music idols who shaped his music. To show the cordial relationship between them, he featured Mr. Coal on “Spell”, from his sophomore album, Apollo, where their distinct vocals melded beautifully. Here he pays homage to Wande Coal by naming a song after him. “wande’s bop”, recorded in 2021 in DJ SPINALL’s studio, is a clever imitation of Wande Coal’s nasal and jaunty style. With its nostalgic feel, the song isn’t just a tribute to Wande Coal but a recollection of his brilliance and influence on Afrobeats.
A key highlight of the album is the collaboration with guest artists, each of whom adds a unique touch to the album’s rich diversity. Each one seems to have been selected with care to match the ethos of the project. Whether contributing with their voices or instruments, they are not just features but integral parts of the album’s narrative. On “ecstasy,” Fireboy’s honeyed vocal seamlessly blends with the harmonious saxophone of Seun Kuti; likewise with the gentle piano of Jon Batiste on the soulful ballad, “ready”. And on “letting go”, featuring Lojay, the two voices beautifully intermingle as they explore the album’s central themes of love and loss.
One of the most remarkable aspects of adedamola is the way Fireboy balances minimalism with diversity in its instrumentation. Each track is meticulously crafted, every element serving a purpose. There are no superfluous sounds or unnecessary embellishments. Instead, the album relies on a careful selection of instruments that complement Fireboy and his visitors’ vocals to perfectly express the mood of the songs.
The production of this album is a masterclass in subtlety. The album opens with “iseoluwa,” a sleek percussion track interspersed with light piano and horns. This minimalist approach allows Fireboy’s voice to take centre stage, inviting us to join him in his retrospection and appreciation of God’s blessings. Yet, as the album progresses, the instrumentation becomes more varied, with tracks like “call me” and “ecstasy” incorporating elements of light rock, jazz, and even a hint of electronica, all while maintaining its cohesiveness
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.
Though not as intimate as Laughter, Tears, Goosebumps or as swashbuckling as APOLLO, this is a brilliant leap from the missteps of Playboy and the uncomfortable silence it left in its wake. However, one was looking out for a title track, a retrospective love letter to the younger and timid Adedamola and the superstar Fireboy on the album art. Perhaps this might be included in the album’s deluxe version.
With adedamola, Fireboy has created an album that is as much about what isn’t there as what is. The minimalistic approach to sound allows the lyrics, vocals, and guest artists to shine, creating a work that feels as if forged in antiquity yet contemporaneous. It’s a return to form for an artist who was once on the verge of being written off. It’s a reminder that sometimes, less really is more, and that mind over matter is magic.
*Michael Kolawole is a screenwriter, playwright, poet, and cultural journalist/critic. catch him on X @mkflow
