When AV broke through in 2021 with Big Thug Boys, he had a very distinct sonic identity that made him a standout talent instantly.
He wasn’t the first artist to infuse highlife into pop, but his unique vocal texture, rhythmic cadences and catchy choruses made his music very digestible and enjoyable to the mainstream. He was also filling the void of a soundscape left by artists like Tekno, who had already become reticent after the turn of the new decade. Now he has released his sophomore EP, Pace two years after his debut project and he doubles down on the unique sonic elements that define his profile as an artist.
The Intro [Who Dey] is arguably the best offering on the project. It taps into the soulful elements, that lets his sultry vocals soar. Yes it doesn’t have him in his dynamic bag of delivering catchy one-liners over Highlife-infused pop beats, but this is some much needed range from AV that is evidence that he is indeed more than his tried and tested formular. The impressive thing about the song is that his writing isn’t so great, but his emotive delivery about his tribulations and the fact that no one’s truly got his back, works to a tee.
On Undisputed, AV recruits the services of Tekno, who is an obvious influence on the sonic templates he navigates. It’s his usual pop territory, and whilst it’s not one of his strongest songs—he does enough to make the song enjoyable for his fans. Tekno shows out on the beat, reminding us why he is the veteran with a verse that inspired and a flow style that encapsulates the best of what this soundscape represents.
On State Of Mind, the production remains immersive and rooted in grounded Afro percussion elements, lively classical guitar riffs and sax horns but AV’s weak writing becomes more evident than ever. Although he musters a competent hook, where he’s wailing that he is losing his mind and control over a manipulative lover, which is indeed a relatable sentiment many would resonate with, despite the weak writing. However, you can’t help but feel the record could be much better.
Magicsticks is on the production reins of Wicked Lo and you’ll expect his usual notoriety for Amapiano fusion, and you do get the log drums but it isn’t the usual template that’s dominated the mainstream for about three years now. There is a marked improvement in AV’s delivery and writing on this song, and it is indeed a good song but it lacks that subtle Highlife infusion that’s an ever-present flavour in AV’s best offerings. Nonetheless, it works for what it is.
On Obianuju, he features Ckay and Victony—two artists that are notable for manipulating their vocals in divergent, unique ways and utilizing their voice like an instrument. In only a few seconds, Victony reminds us why he’s one od the best writers of his generation and even Ckay has a decent outing on the song, despite his quite subpar year in general. When the curtains fall on Outro [Who Dey], the pathos of the EP opener return, alongside the chants—but this time it’s suffused with a pop beat that dimensionalizes the song’s grooviness, despite reducing its spirituality. That seems to be the intended play and it’s a worthy trade off, since you get the best of both worlds on the same EP.
Babyboy AV’s sophomore effort feels all too familiar, with him hardly venturing past the formular that works for him. There is absolutely wrong with sticking with what works for you as an artist, but if you don’t find ways to reinvent the wheel and make subtle tweaks—it will become stale and old. AV’s music is safe and digestible and for now, and that would be enough for him and his fans.
