Davido’s intentions are ultra clear on this album and it’s not geared towards his usual hitmaking antics. This is a project with a lot of intentionality aimed at making it feel like a body of work.
Up until Timeless, there was a shadow of doubt cast on OBO’s discography. His legacy was cemented no doubt, but the quality of his catalogue didn’t hold undisputed classics like his peers and that was because he always approached curating albums in the wrong way. Prioritizing arranging a couple of loose, disjointed single-material songs as opposed to creating an holistic experience. On Timeless however, he rectified his mistake for the most part and manages to attain a balance, where a bulk of the album was cohesive and another chunk wasn’t.
And it worked to great results, because there was something for everybody. The music heads appreciated the cohesion and there were enough stand alone, bangers that went on to become hits that electrified the general public. On “5ive” however, OBO takes it a step further and goes all in on the immersive album experience, almost to the detriment of curating those stand alone, banger singles that we all love him for.
The sentiment is justified, because he’s now a superstar entering his graceful years and needs to prioritize longevity over instant gratification. He has the fanbase to ensure relative success of almost anything he puts out and he doesn’t need the immediate, but waningβstatement-making-ploys the new generation artists are usually up to. He’s done making a name for himself, so making albums that will stand the test of time is the smart move for anyone in their veteran years. However, does this decision yield positive results?
“5ive is a number that speaks of balance, like the pillars holding the sky” Spoken word poet, Alhanislam says on the album opener, putting the thematic direction of the album into purview. In many ways, this is Davido’s most matured and balanced body of work, due to its sonic direction and cohesion. Anything is a twin to Over Dem and Davido alludes to the same David and Goliath dynamic, the previous album opener was built on. Where he was giving the middle finger to his detractors on Over Dem, Anything is more of a victory lap than a braggadocious record, where David makes it pixel clear he can conquer anything.
This writer is not the biggest fan of Be There Still, but the sentiment shines through beautifully in context of the album. It’s a profound topical progression, from iterating that he could trump any challenge to attesting that he will “be there still” no matter what, despite everything he’s been through. CFMF has less jarring log drums and tepid piano notes simmering under the surface, that instantly makes it a superior record to the preceding track. It also has arguably the best chorus on the album that’s catchy and resonant, while not being too repetitive or elementary.
10 Kilo is a fan favorite for many reasons and rightly so. Like CFMF Davido is still singing from a euphoric place of love, but the tempo is mellow here and the melodies are more soulful. It’s that record that’s so elusively R&B with its topical matter and midtempo rhythm, that it could easily be mistaken for pop. Offa Me featuring grammy-award winning R&B singer, Victoria MonΓ©t also straddles the blurred lines of midtempo pop and uptempo R&B with both artists’ vastly different deliveries, shedding light on what genre their artistry tilts towards. Davido’s delivery is very lamba infused and pop driven, while Victoria keeps the sound grounded in blues.
On Don’t Know, Davido looks inwards and makes it clear beyond reasonable doubt that his lover is the one thing that keeps him going on his darkest days and lowest moments. It’s an heartfelt song that required a beat suffused with a more intimate and harmonious production, but we get the staple Amapiano fusion beat that isn’t presented in a refreshing way and it does dock points for the song’s overall quality. R&B heads into Afro-Swing territory and it’s of course tailor made for Shenseea who steals the show and glides over the beat like its her song. Davido and 450 aren’t half bad either, but they can’t hold a torch to the dancehall artist’s delivery.
There is a great segue into Awuke ft. YG Marley that elevates the single’s quality on the album. Despite being a mostly nothing song that doesn’t excel particularly at anything, it doesn’t suck much either. It’s just a harmless, forgettable songβmeant to trigger a moment with its sing-along esque post chorus. Holy Water ft. Victony & Musa Keys starts out brilliantly with mininal log drums, kinetic drum rolls and a smooth Musa Keys intro that sets up the song for a great build up into its mid phase.
Unfortunately, the signature log drums patterns kick in again and the song loses its unique flavor. By the time Victony comes in, the more grounded drums have all been drowned out in the chaotic shakers and rattles. At this point, one can’t help but wonder why Davido is still doubling down on the Amapiano-fusion soundβwhen it’s barely the predominant industry pop sound anymore and it was the same sound he tapped into on his last LP, with even more dynamism. It’s really a curious decision. Nuttin Dey starts out like its deviating from the overarching album soundscape, which is very needed to break the monotony but it eventually devolves into another log drums onslaught.
Titanium eventually breaks through the mould and heads into Afro-Pop territory, although the simplistic bounce of the beat would have been more befitting to lyrics easier on the ears and more pop-fitting, but Davido opts to sing about how resolute his strength and conviction is. It’s not a bad song, but the beat is at odds with its subject matter, where the former wants you to sway your hips and the latter demands your utmost attention. Davido continues his self reflections on Lately and it’s the closest thing to a filler track on the LP.
The writing isn’t in anyway bad or forgettable, but at this point on the album, he’s already sang in more interesting ways about his perseverance already and the beat doesn’t help things either. Tek opens with rhythmic, beautiful jazz horns that is the highlight of the song. The chorus is a bit of a letdown and Becky G doesn’t rise over the underwhelming delivery template Davido started out the song with, so overall it’s a mixed bag. Funds remains the best song on the album with its ingenious fusion of Igbo Highlife synths and log drums.
Upon release of the song and hearing its faint sonic similarities with Awuke, this writer believed that was the direction OBO was taking on the album and got excited. It’s a shame we only got more of the same old, recycled Amapiano sauce from his previous album. It’s no mystery that some of the best songs on the LP are the ones that deviate from the soundscape like the two closing tracks, Lover Boy and With You are some of its brightest moments.
The percussion on Lover is very African and inherently cultural, making it ideal for Tayc and Dadjuβtwo French singers with African heritage. Davido lets them do their thing and totally relinquishes control and it pays off, because they rise to the occasion. Unlike Titanium, where a groovy bounce met a dense topical matterβon With You, Davido and Omah Lay keep it simple. The production also draws from hiplife elements with subtle flutes and lingua, which Davido infuses into his delivery. There is a lot of unwanted criticism for Davido’s verse online, because of his opening lyrics but he outshines Omah Lay on this track, overall.
While 5ive might be Davido’s most cohesive album yet, it pales in comparison to its predecessor, by attempting to navigate the same sonic templates, without substantial reinvention to keep the sound fresh and thus, it lags and sounds stale at times. The length of the album also doesn’t help itβas certain track sequences are simply laborious, making all the more clear, it would have benefited from being much more succinct and streamlined.
Nevertheless, this is a good enough album that’s capable enough to do bits and which success will ultimately be judged by its hit-making offspirings over time. And while it might not have the unmistakable, hits on arrivalsβonly time will tell. As far as curating a good album experience goes, Davido can rest easy because he’s put in a tight shift here.
Final Verdict:
Sonic Cohesion & Transitions: 1.6/2
Expansive Production: 1.2/2
Songwriting: 1.3/2
Delivery: 1.3/2
Optimal Track Sequencing: 1.5/2
Total: 6.9/10
