At a time when the sonics of Afrobeats were unfolding and garnering rapid acceptance locally, a certain demeanour of artistry had erupted in the Nigerian music industry. One that arrived with an affluence of the diaspora but innately embodied the culture and bravado of the people. Before then, the state of the industry, especially Afrobeats, was mostly marked by the underdogs, artists whose grass-to-grace stories followed their music. Yet, Davido, in all manner of grit and passion, defied the conventions: a smashing hit and debut album, Omo Baba Olowo (The Genesis), one that would earn him the Headies 2012 Next Rated Artist. An award that would ultimately project him as the future of Afrobeats.

Fifteen years later, Davido is still the crowned head, one of the best representations of the sound. Beneath the sagas, accomplishments, highs and lows is an artist who has stayed, paused, evolved and chosen to continue. Call it resilience, consistency or passion, but it’s this crown of self he embodies on his sixth studio album ‘Oriadé’ (translated as the crowned head).

A long successful career: global anthems, Grammy nominations, multiple festival performances; yet, hard work is not a metaphor many choose to associate with his name. But the Atlanta-born has never allowed his story to be translated by public narratives. For him, a fifteen-year career marked by six albums is still a journey, as he sings in his intro.

Over the 13-track Afrobeats project, he seeps in moments of himself that have seen the world and returned home. The album is a pat on the back for his long-standing artistry, blending themes of royalty: reflection, love, self-assertion, resilience, and hope.

It delivers his signature sound and is also one of the times he finds himself most collaborative in the composition and production. Black Sherif, Sensei, NO11, Aya Nakamura, Leon Thomas, Llona, FOLA, Pheelz, Bayanni, Major AJ, and more that he brings on while reuniting with former signees Mayorkun and Peruzzi.

The Loudaa-produced opener “On The Road” sets the cadence and foundation for the reflection and assertion the album exudes. Here, he wastes no time disclaiming narratives against his defining artistry. More importantly, he confidently affirms that he’s still on the journey to the precedents he has set for himself. The mid-tempo cadence follows him to the Black Sherif-assisted track, “Amazing Grace.” The theme deflects to romance this time, where the Ghanaian act propels the emotional intensity with his silky vocals.

The previous tracks modestly capture attention but leave you with a lingering expectation that is satisfied on “Julie,” the next track. The Bayanni-assisted writing finds Davido drenched in unrequited romance. But he mostly begs—with an undertone of pride—for the intimacy that has given him sleepless nights. Yet the inflected Ghanaian high-life rhythms call for repeated listening.

“Constantly” is where the tempo increases, as he begins to wear the cloak of confidence and celebration. Unlike his lyricism, catchy melodies have never been hard for the serial hit-maker. Yet, it feels the track was entirely composed by Pheelz and only featured Davido. Still, the track’s brilliant production from Pheelz and his background vocals don’t take away the shine of Davido’s vibrant delivery.

The album’s lead singles “I Know Who I Be” and “Gimme Dat Ting” featuring Abuja star NO11 are yet another proof of Davido’s ingenuity in churning great House music. Despite having been released previously, they cohesively highlight the album’s core message of royalty and the singer as one of Afrobeats’ prolific hit-makers. The excitement from these dance tracks heightens at the entry of “B4 B4,” one of the album’s standout tracks.

For long, Nigerian music missed the dynamic duo of Davido and Mayorkun that serenaded us with cheeky melodic verses and groovy bops from their DMW era. On this love-inspired track, Mayorkun’s vocals and pen-game are still reminiscent of his earlier days. Afro-RnB sensation FOLA complements their trio with his sultry, lush vocals. “Already Falling” is undeniably another noteworthy testament to Peruzzi’s ingenious artistry, yet it highlights Davido’s brilliance in delivery each time they collaborate.

Songs like “Aye,” “Assurance,” and “One Milli” will forever be remembered as Afrobeats’ love anthems. But posterity will tell of the savouriness of “Already Falling.” The stellar production from Sensei and Classic; the catchy chorus, standout basslines from Analeychi Daniel, Peruzzi’s harmonious background vocals and interpolation of Elvis Presley’s “Falling in Love,” alongside Davido’s delivery call for an instant replay. The international collaborations “Tell Everybody” and “Yaya” featuring Leon Thomas and Aya Nakamura maintain the high-energy momentum, with the latter leaving a lasting impression thanks to the Malian-inspired production.

“Zanzibar” invites you into another pulsating journey of African rhythms and percussion. The track’s bare 2-minute duration is where its reward lies, as it strengthens its groovy production. Before the album closes, “Guide” calls you back for another mellifluous listen. Here, he acknowledges that the lessons that have accompanied him over the years are what he still holds onto.

Another track that once again proves Peruzzi is a maestro of the art. His songwriting and composition exalts Davido’s impressive melodic delivery. Like “Already Falling,” the Afrobeats production is stellar, a nod to the same team that worked on both tracks.

Signing out of the project, Davido shares the introspection that beset the album with Llona on the mid-tempo track “My Light.” There’s a certain crown of awareness that comes with being an artist who has been in the game for a long time. Staying relevant, choosing peace in the right moment while still aiming for success can waver one’s stance. Yet, there’s a confidence and hope in the divine light that they both cling to, despite being in different stages in their careers.

His shortest album yet, Oriadé is proof that Davido’s ability to remain one of Afrobeats’ most defining voices in the last fifteen years is uncontested. He doesn’t need to prove it; his legacy as one of the continent’s consistent hit-makers hovers over this heavily Afrobeats-influenced project. Although it doesn’t offer anything groundbreaking sonically, it leaves a personal experience of who the singer has always been as much as he has grown to become.