On His Sixth Studio Album, Davido Plays It Safe And The Decision Yields Midly Disappointing Results.
In 2021, Justin Bieber announced Justice, only a year after his highly anticipated LP, Changes－the long-awaited follow up to his 2015 classic, Purpose. Despite the short time interval between Changes and a new project announcement, the instant pivot made sense. Changes wasn’t simply a disappointment but also a creatively bankrupt excuse of an album that is easily one of the worst albums made by a popstar at the peak of his peak powers.
Justin understood the dangers an unmitigated Changes’ era posed and moved to swiftly set the record straight with the masterclass in pop music, that was Justice. It’s a bit dramatic to juxtapose the aforementioned with Davido’s latest arc but he is indeed in a similar boat by breaking his traditional two-year album breaks, to immediately follow up 5ive with Oriadé. The former might have been a decent album, however it pales heavily in comparison with its predecessor Timeless.
Unfortunately while Justin succeeded in pulling off the greatest comeback of his career, Davido does not excel in making a great album here, although the stakes aren’t that high and he isn’t trying to salvage some damage because his reputation wasn’t exactly tainted by the release of a bad album like Bieber. It’s a shame because the title and cover art held so much potential and heralded a return to much grounded and percussive African roots, which is a notable deviation from the overworked Amapiano-fusion formular of his last two LPs. But an idea is only as effective as its execution, no matter how ingenious. And an ingenious level of execution is found lacking on this album.
Davido opens the album with On The Road－with the right sentiment, emphasizing that he’s hungrier than everyone else and works twice as hard despite being a superstar. It sets the tone for the album and puts things in perspective, as to why an artiste of this ilk is still releasing albums in quick succession at such a late stage in his career. Despite having the right motives, Davido isn’t the most talented writer around and it shows in his sloppy rhyme schemes and clunky delivery that is propped up by too many words, because he can’t find an effective way to say much with less.
On Amazing Grace, Davido confesses that his love interest saved him from his old vices and gave his life new meaning. There is a strumming xylophone melody underneath that sounds like wedding bells and that’s definitely no mistake and by design in alluding to his point of inference on the song. Black Sherif’s silk voice and smooth flows are also an ideal fit. This is a decent song, but not the right one to kick things up a notch in the wake of a somewhat underwhelming opener.
Julie does kick things up a notch with an heartfelt request of Davido pleading that his lover doesn’t take advantage of his feelings. It’s a standard Afropop uptempo with rhythmic guitar strings woven into the bounce. It’s a good song and a better single that has potential if pushed well. Constantly is produced by Pheelz and his essence is reeking all through the production and even the cadence implored in the chorus and electric guitar roaring at the end, makes you know for sure that Pheelz was very hands-on for this song.
I know Who I Be is elevated by the album’s experience and sounds better as a part of the album, than a single. There are quiet stretches in the song that establishes tranquil before building up to a crescendo. While that’s good for an album song, it’s not standard practice for a single. Gimme Dat Ting builds further on I Know Who I Be momentum and ventures deeper into Afro-House waters. The beat here is more rambunctious and has very dramatic shakers, that gives it an exotic feel but David and NO11 are so formulaic and unoriginal with the song and it makes for a nothing-burger experience and a filler track on the LP.
Fortunately, B4 B4 is up next and it’s one of the album’s few purple patches. Mayorkun and FOLA have amazing synergy on the track, complimenting each other with a back and forth so smooth, like a lead singer’s voice and back up chorals. Davido’s verse is also a nice touch and he maintains his position as being the dominant lover in his relationship dynamic, who dictates and sets the tempo for loving as every traditional man does. Already Falling is turning out to be a fan favorite and for good reason, as there is a pulsating gleeful energy that spells out how giddy and intoxicating love can get. It also helps that the percussion is exhilarating and that alongside the subject matter, makes it well primed for wedding ceremonies.
Davido doesn’t shy away from wearing his heart on his sleeves on Tell Everybody and professes that he’ll tell every single soul how smitten he is. The brilliance in the production of this song is how it starts out as a mid-tempo R&B fusion beat, before bursting into seams with log drums in the chorus and becoming full blown pop. Leon Thomas doubles down on Davido’s stance and calls his lover, his “sanity” and the one thing keeping him in check. His delivery is a little safe but it’s clear simplicity is the goal here. Yaya opens with highlife-esque synths and as always, Davido’s tenor on highlife soundscapes is cash money and an amazing blend. The chorus is a bit clunky and Aya fails to turn in an impressionable performance too, so the song isn’t the best version of what it could be.
Davido uses Zanzibar, which loosely translates into “land of the blacks” as an allegory for his lover being his safe place away from the discrimination and grueling realities of life. It’s an interesting metaphor if intended, but sadly that’s the only remotely interesting element of this track. The over-worded and tightly-crammed deliveries continue on Guide, especially on the chorus and at this point, you can’t help but wonder why whoever is responsible for honing the rough edges of Davido’s writing is absent because my word, it is glaring. Llona is recruited for a solemn closer on My Light and the song has a bashment twist going for it, which makes it ample talent optimization for getting Llona on it.
Davido brings the perspective of a superstar and iterates that pressure doesn’t get to him, while Llona is more introspective and recounts his eternal tussle with his demons and how crucial it is for him to keep coming out on top. This song isn’t this writer’s cup of tea, but it’s admirable how both singers with differing artistry and approach—manage to find a middle ground on a song about finding the light in the darkness.
As for the entire album? It held a promising premise with Davido clad in native regalia and holding a diamond-studded crown on the album’s cover art, thus hinting at an intention to return to more culturally rich soundscapes, a fact he also alluded to in interviews. But for some reason, the execution is subpar and barely attempts to capture African magic in anyway. This is one of his weaker albums and that’s saying something of a discography as badly curated as Davido’s.
Final Verdict:
Sonic Cohesion: 1.3/2
Expansive Production: 1.2/2
Songwriting: 1.2/2
Delivery: 1.3/2
Track Sequencing: 1.1/2
Total: 6.1/10
