Debut albums are supposed to launch out an artist in very strategic ways, that showcase the full extent of their talent, their unique qualities—presented in a way that’s the most accessible.
It’s the reason why debut albums are rarely the ventures for experimentation. Nobody wants to alienate a potential audience all in the name of being too daring and ambitious. Only artists who have won people over initially by the resonance in their art can afford to be more daring. Emerging artists have very creative leeway, because while they need to present their true unique sonic identity—they need to do so in the best digestible way, so that as many people as possible, can love them.
This usually results in a scuffle of finding the correct balance and most times a lot of new artists fail to hack it, as a result of inexperience and so end up churning out an album that dilutes their identity way too much, so as to appeal to the masses. It’s a common mistake and tribulation of the first album cycle, but Minz triumphs over that pit stop and makes music that showcases his talent and is accessible enough to win over new people.
Album opener, Revelation might adhere to the status quo of a Nigerian album having gratitude themes, and whilst Minz lyrics aren’t so otherworldly brilliant that you haven’t heard something along those lines before, it’s honest and resonant because it has his touch all over it. The song represents the core elements of his artistry. Minz is a street pop leaning artist, but with less indigenous lingua in his delivery and a bit more English. But it’s still suffused with the soul of the street and the unpretentious yearnings of success that comes along with it.
Shadow is this writer’s favorite track on the album. It’s your standard Afro-Pop bounce that has sound tracked an earlier era of Afrobeats in the last decade, but once again its Minz’s charismatic and bad boy persona shining through his delivery and lyrics that makes the song what it is. Matter of fact, when you analyze the lyrics independently for what they are, they aren’t so impressive but put together in the sublime way Minz delivers, it works. And this same sentiment applies to Wo Wo, his 2023 breakout track that put him on the mainstream radar last year.
Wap ft. Davido is a wasted opportunity. You see, emerging artists need to maximize the utility of an OG co-sign and put them on the most mainstream leaning record on their project—so as to facilitate a major breakout moment. This song is trying to be a sensual, steamy record with its intimate ambience and stripped back swing drums but it just doesn’t work because neither artists have the range to make it work. Minz doesn’t have the pengame of a Ruger to detail sexual anathemas in a way, that would make listeners blush and Davido is equally underwhelming on the song.
Diallo is more up the alley for Tekno, than Minz himself and it proves to be a worthy payoff, as Tekno delivers his most inspired guest verse in a while. There is not much to the song, and Minz sings about not having a care in the world if his lover intends to use him, as long as the using is mutual. Tekno on the other hand implores his lover to take the lead, as he intends to fall into place. It’s the sort of simplistic pop song that could go on and have a moment if pushed well. The next song, Ja is cut from the same sonic fabric and Minz doubles down on drowning in the lustful pleasures of his lover’s waistline. The percussion here is more charged and rhythmic, making for a soundscape ideal for hips gyrating.
Minz repeats the same mistake of Wap on Do ft. Blaqbonez, by not utilizing the featured artist’s presence well. Credit to Blaq, unlike Davido he does manage to find pockets amidst the quite chaotic onslaught of log drums and drum rolls with impressive cadences, but one can’t help but come off with the feeling of over stimulation after listening to this song. And whilst over-stimulation does works sometimes, the song would need resonant and simplistic parts to anchor it like Rema’s Ozeba for instance. That song might be the manifestation of chaos, but it only works because it has the simplest chorus ever which is just the title in repetitive succession.
The album hits a monotonous patch with Drama, as it begins to sound ‘samey’ in comparison with preceding tracks like Ja. The song has a competent verse, but a very weak chorus and whilst Moliy’s vocals are angelic and soothing, providing a great contrast with Minz’s—its not enough to save the song from mediocrity. Lon3ly is a much needed deviation from the Afropop atmosphere of the LP into an intimate, R&B one and whilst Minz might not deliver the goodies on heart wrenching emotions through brilliant writing, like the song demands—the production and his enthusiastic delivery would suffice for most.
F.u. almost falls into the same trap, but the featured artists bring much needed dynamism. Projexx fits like a glove into the dancehall beat and absolutely steals the show with an outing that’s arguably the best guest performance on the album. Yo Trane is almost as good, with his RnB coated vocals blending seamlessly. This song executes the sensual, sexy feel Wap was going for. Low is a mid tempo pop song in the vein of a bounce that was the template of Wizkid’s “MIL.” It’s an okay song, but could as well pass as a filler as it doesn’t do anything fresh sonically or topically.
Sokoto is the rudimentary Amapiano-fusion song placed on every album, for the past couple of years—even when the artist is better off away from the said soundscape. The problem here is mostly the tempo of the song, as Minz’s delivery doesn’t flatter it and it doesn’t come off as smoothly as it should. The hook is repeated one too many times and although Zinoleesky’s showing is memorable, the song could have done with much more simplicity in the production.
Disembark is yet another filler the album could have done without, with a bounce and delivery style that could be found with more dynamism on other songs. Mo De Ma is one of the brightest patches of the album and it has Minz in his creative bag, making cheeky references to other artists with an energetic flow that ensures the album closes on the high note it started on. Just like Shadow, it’s another unapologetic Afropop “live life” bop built on the sentiment of making the most of the moment.
Minz’s By Any Minz is a debut album that showcases Minz at his creative best and doesn’t exactly compromise on his identity to offer accessibility. And so the numerous shortcomings on the album are as a result of Minz’s inability to offer variance and be as dynamic, when the thematic matter and production needs him to be. However, like all pop albums it would be ultimately judged by its ability to produce hit songs and there are a handful of songs here, quite primed for mainstream resonance.
Final Verdict:
Sonic Cohesion & Transitions: 1.5/2
Expansive Production: 1.3/2
Songwriting: 1.0/2
Delivery: 1.0/2
Optimal Track Sequencing: 1.5/2
Total: 6.3/10
