The theme of Nigerian Afrobeats in 2024 is ingenuity. Digging deep to discover resources one never knew they had or an entire brand reinvention is what would keep your name and lyrics in the mouths of fans, neutrals, and critics during this time. For that sake, Fireboy DML has decided this is the perfect time to show the world his new toys. After gaining global recognition for his smashing hit song “Peru,” and delivering three critically-acclaimed albums: Laughter, Tears, and Goosebumps, APOLLO, and Playboy, whose status in the lineup is still shaky till date, the YBNL star released his fourth studio album, adedamola. 

adedamola is an intentional piece. The title is written in lowercase. One might initially think this is an error from his team until you get a glimpse of the track list that is fully in that format. The cover art is a dark shirtless almost-silhouette portrait of the singer, but for his glittering gold teeth ornaments and neck piece. An indication that he is ready to come out bare and still shine as usual on this project. 

“iseoluwa” is the first track. Riding on the active YBNL gratitude wave initiated by Olamide’s “Morowore” and Asake’s “Suru,” the album’s opener is triumphant. He samples apala legend Haruna Ishola’s “Ise Oluwa Ko Seni Toye,” a move that Asake also pulled off on “Suru” track. On a Bassiqally production that is fairly dominated by traditional percussion instruments, Fireboy gives glory to the Supernatural (God) for how far he has come. There is a brief Saxophone solo mid-track, a start to motif on the album.

The Sophomore track, “call me,” comes with the same champion sound that carried the opener, but this time it is a message to a lover. He is ready to hang the moon for her. “Call me anytime you need someone to hold on to/Call me anytime and I will be right there to stand by you” he declares. On “ecstasy,” Fireboy’s sensual lyrics match the gradual Amapiano-esque drums in the background. This time, he talks about a collection of naughty feelings that come alive when he is around a particular lover. “Tell me what you do just like a recipe/you know I what you are doing mentally, but eventually, I want you sexually.” Damn.

Seun Kuti’s remarkable sax verse tarried the instrument’s clime. It remains unbroken on “hell and back” until “letting go” comes on. “Sometimes love is letting go”— that is the main message on the Lojay-featured track. With R&B-influenced tunes produced by godomarr, both singers express the difficulty in moving on from a past relationship. The Lojay feature is mutualistic. Their incredible vocals complement each other, mashing up a harmonious combo. 

The Saxophone motif is a very pivotal in the album. Its groovy and smooth movement is symbolic of the fact that Fireboy DML isn’t forcing his thoughts nor is he concealing them. Confidence reeks all over his words as he has found his stand in the industry. On “back n forth,” the motif is reintroduced with the presence of the masked percussion legend, Lagbaja. This is the standout track. You can feel the tender yet semi-gritty emotions of both generations of romantics. Old wine and a new vessel; love still rules for both stars. 

On “ready,”Fireboy sings to no extra production than a piano, which is most likely controlled by Grammy-winner, Jon Batiste. “ready“ is a perfect wedding playlist starter. “cuz I have been ready and I have been waiting all my life to say this, I want to be with you.” It is a true testament to affectionate feelings. At some point, Batiste joins as a backup harmonizer with sensational vocal chants. 

Track eight is “wande’s bop”; the party starts. It is never not a party when SPINALL is involved. “wande’s bop” is the same idea that Ayra Star initiated in “Jazzy’s Song”. Fireboy pays homage to the Black Diamond, as the veteran Afropop act stands as the source of his inspiration. The jam resembles Wande Coal’s famous “Ashimapeyin,” with tight Afropop beats that would cause listeners to involuntarily dance along. 

“change your life” has a mixture of house music and a jazz feel. The trumpet at the start is conversational and the pacey beats create a pensive air on what would come next. The gyrating production by Bassiqally builds a platform for Fireboy to go back to his love prophesies. It continues on the following track, “obaa sima,” which smoothly fades into the monotonous “need me”. “yawa” and “everyday” are the pre-released tracks on the album. The final track, “jon’s interlude” is a calm piano solo by Jon Batiste. 

adedamola is a beautiful album. Fireboy showcases his versatility as he blends different genres like Amapiano, jazz, Afropop, and R&B. The feature artists and production masters are brilliant, with the likes of Eskeez, Nxrth, Bassiqally, and ID Cabasa controlling the scene. In an interview with Apple Music Africa Now’s South African media personality, Nandi Madida, he reveals that the whole album is more of a tribute to legends that shaped the scene for the future generation, hence the big names included on the track list. 

@nandi_madida Catch my interview with with international superstar @Fireboy DML on @Apple Music about his new album tomorrow! #AfricaNowRadio #ANR Africa to the world 🌍✨ #tiktoksouthafrica #tiktok #tiktokafrica #fireboydml #tiktoknigeria ♬ original sound – nandi_madida

Overall, Fireboy delivers. He is the Loverboy with Cupid’s arrow sticking out from his chest. The lyricism on adedamola is outstanding, but would have needed a bit more energy in the party aspect. Nevertheless, Fireboy DML is a big name, and with the looks of adedamola, will be a big name for a long time.