In the two year interval that separates 1da Banton’s “Original Vibe Machine” and “1da Shall Never End“, his status firstly as a certified hit-maker and then a global hit crooner has been cemented.
When 1da Banton released his second studio album titled ‘Original Vibe Machine‘ in 2021, he was very persuaded of the statement he made with the title and went on to prove it to us across 15 tracks. With the songs well steeped in the groovy nature of Afrobeats, it can be said that every song on the project had a commercial edge to it and it was only a matter of time before some songs on it found their way into the appeal of the larger audience.
So, when ‘No Wahala‘ caught the heat on TikTok, anyone who visited the projects well would not be hit with surprise. Going on to become an European hit and with a fair share of certifications to back it up plus tours and remixes to further amplify it, 1da Banton enjoyed the feeling of an international superstar. However, all of that are good moments that the artist will surely be proud of but there is more pressing issue to deliver now more than ever to his increasing audience.
On his latest and third project titled ‘1da Shall Never End‘, 1da makes another statement signifying he is ready to give his all to ensure his superstar status is secured in the industry. All over the six tracks EP, 1da Banton steps into a mode of a well seasoned and an all-round artiste to create a wonderful experience of an extended playlist of songs to his fans, some nearly two years since the previous one.
It is straight into the heat of things on ‘Omotola‘. 1da Banton is well known for his emphasis on creating ready-made and essential party records that gets you grooving and made specifically for the dance floors. The production is spiced up with some elements of Highlife that gives it this African feels. 1da’s message was centered on him being played by his girl and when he sings “she dey play me, she dey play me like footballer“, his feelings were adequately captured. Although, that might have been documented with an happy backdrop, the message was far from happy.
On ‘No Love In Lagos‘, 1da is not surprised at the actuality of all that happens in Nigeria’s largest city. He documents the main happenings in the city with impressive one-liners that captures all other vices amongst it but rounds it up with “True love e no dey, e no dey, love no dey for Lagos“. Featuring German trio brothers, 255, who chipped in their bits with regards to the production, NLIL benefitted massively from the immense abilities of creatives who pieced it together.
When we get to ‘Nibolowa‘, the story is much positive than on the previous tracks. 1da is in so much anticipation of his lover’s visit and asks the question “Nibolowa” ? ( in English means, Where are you? ). His nervousness leads him to sing ” my head e dey hot, my chest e dey burn, my belle gan dey para“. 1da Banton stays on course with the theme of the song and it was very clear when the call decline sound are added at the close. Also, the delivery style is much dynamic, with 1da opting for different vocal deliveries over two verses plus the animated spoken words that pervades the track, it is a record well created.
1da Banton flexes his financial muscles on ‘Ego‘ ( the Igbo translation of Money ). He begins with “shey na money ?, i get am plenty, e no dey finish” showing off how much he has and then proceeds to reveal he is ready to spend it all on a certain girl ” as long as you go dey my side, I go dey give you money “. On here, the relationship is mutual and it is seemingly based on what each party has to offer, 1da in this case only has Money to offer.
On Family, 1da pens down his most gentle take on love. The production is relaxed and colourful saxophone sounds gives it an interesting feels. On the dancehall track, 1da narrates experience through thick and thin with his lover ( “she dey my side when e no bam” ) and then promises to share everything with her ( me and you, we go dey share my money, chop my money, chop the turkey because we don be family” )
On the outro ‘Call Jehovah‘, 1da Banton emphasizes on the need to always remember God in our highest and lowest times while also stressing the need for a close relationship with the Almighty ( “if you get problem, no dey call me, call Jehovah” ). 1da Banton shows his range to fit in different themes into his sonic atmosphere while retaining his not-so-common introspective self as an artiste.
On 1SNE, which is 1da Banton’s third studio project, the creative direction is not different from what he has always offered since his debut in 2017. It is still the same direction of crafting instant dance floor bops is certain to resonate with Nigerian audiences. However, staying within your comfort zone over time is not a offence as we have found out with 1da Banton. His ability to constantly reinvent new styles and ‘milk’ his sonic formular well without sounding monotonous has kept him afloat.
1SNE, on its own, is a very cohesive project thematically and sonically. All over it, there are evidence of a work well planned to perfection and a clearly defined direction they never strayed from. The themes are not one dimension with 1da choosing to stay with love, but exploring different takes on it. There is much confidence in his sonic direction too whilst also hitting new heights with it and also showing much improvements on his delivery plus songwriting.
As stated earlier that 1da Banton likes to make a statement with the title of his projects then goes on to actually fulfil those claims in the project, this is very true because 1da is not going anywhere soon and it won’t end. In a time where he has to cater for local and European audiences due to the exploits of his global hit ‘No Wahala‘, 1da Banton is showing he has enough left in his arsenal to offer.
