On their very first collaborative project, Fireboy and Pheelz combine seamlessly like it’s another business day they’ve gotten accustomed to.
Both Fireboy and Pheelz are master of their crafts. In the new generation of popstars, Fireboy has been the most prolific artist and has released more critically acclaimed projects more than the rest of his peers. Pheelz on the other hand is a veteran producer who executed an organic transition into a popstar and since then has merged both worlds to become one of Afrobeats foremost tastemakers.
The reason why this duo work on this level isn’t lost on anyone. The bulk of Fireboy’s first two albums are produced by Pheelz and they’re widely accepted as classics of the modern era—so this EP is a continuation of that dynamic, except Pheelz is now singing here, adding a nice touch to the synergy because honestly he is the star of the show on the EP.
The EP opens with a three step Afro house record that has so much soul and wholesome ambience, that you could blink twice and mistake it for a gospel record. While the mainstream is yet to pivot entirely away from the House music variant of Amapiano, it’s interesting to see it embracing other subgenres of House. Like Olamide’s 999 and Rema’s FUN, On A Kentro is another beautifully made Afro-House song that is primed to dominate airwaves if positioned well.
Fireboy might have more memorable lines on this track, but it’s L.A.X musings on the exquisite thrills of life that stands out the most. Gozi was this writer’s favorite track on first listen and it heads back to standard uptempo Afropop territory. Fireboy is grateful for God’s blessings in his life and he’s everything but subtle—fully intending to make his good fortunes known to the world. He is okay with taking the backseat on this one and Pheelz shows out, further driving Fire’s points home with tasteful dynamism.
Unlike the other songs on the EP, Shake isn’t an instant earworm and on first listen—it stuck out like a sore finger, but it gets better with subsequent listens. It has the jive of a funk record but the call and response format, grounds it in African roots. It’s the most narratively bereft song on the project and both artists simply take turns in cheerleading their women on the dance floor.
Fireboy finds his most impressive pocket on the bridge of Young Again. It’s a rehashing of the gratitude themes of On A Kentro, but there is a larger emphasis on communal relations and spreading love to loved ones as it’s the most fulfilling thing in life. Despite not having any inherent inspirational themes, it’s difficult to listen to music this sonically effulgent and not feel inspired. The dynamic of Fireboy handling the hook and Pheelz delivering stellar verses continue and works to a tee here.
ILWY is another rambunctious, emotive Afro-House record that manages to be distinct sonically from the opener, because of its romantic gaze. Fireboy’s swoonings are heartfelt and Pheelz’s musings are earnest. The contrast between Fireboy’s sultry vocals and Pheelz’s rich tenor is so beautiful in the last verse of the song, where Fireboy takes the lead and Pheelz supports with background vocals. This is arguably the best song on the EP.
Fireboy DML’s and Pheelz’s Peace By Piece is another stellar addition to the discography of both artists that are well established, seasoned curators of their crafts. It’s an almost flawless project and one of the very best 2025 has to offer. I hope it gets the promotional campaign it deserves so it can clinch the success it merits.
Final Verdict:
Sonic Cohesion: 1.7/2
Expansive Production: 1.8/2
Songwriting: 1.7/2
Delivery: 1.7/2
Optimal Track Sequencing: 1.8/2
Total: 8.7/10
