Fireboy DML was the least popular artist signed to the YBNL record label in 2018. “Jealous” was a single on the 2018 ‘YBNL Mafia Family’ project, which featured instant hits such as ‘Ika’, ‘Motigbano’, and “‘Poverty Die’. But “Jealous” was an organic hit that found its way into the hearts of like-minded listeners, introducing him to the music scene. The song, with its infectious melody and catchy hook, slowly latched onto radios and individuals it came in contact with, eventually becoming one of the most successful tracks on the album. A year later, Fireboy DML released his debut album, ‘Laughters, Tears, and Goosebumps’, which is arguably one of the most well put together modern Afrobeats albums. Fireboy’s niche music, which often centres on the different phases of the love cycle, now found individual hearts and a community to cater to.
From the point of releasing his debut up until the release of his 2-pack single ‘Outside/Obaa Sima,’ Fireboy DML has experimented, tinkered, and evolved with his style of music. His recent release and fourth studio album, however, takes a similar approach as his first, which has been deemed one of his best, most finely executed albums. It appears Fireboy took to the criticisms and general feedback from fans and critics alike. On ‘Adedamola,’ Fireboy DML revisits a familiar past and allows himself to get submerged once more in the endearing world of desire, romance, success, and heartbreak. He does so with striking similarities to his debut but with a more masterful approach and execution, courtesy of his years of experience in the art.
‘Adedamola’ almost feels like a second instalment to his debut ‘LTG’, and the simple act of Fireboy retracing his way back to how he originally began suggests he’s possibly doomed to be a keeper of tales of love, which is certainly not a bad thing. The functional value that was missing and repelled most listeners on his third studio album ‘Playboy’ returns on ‘Adedamola’. And it’s evident in the difference in the reception of both albums. Not all artists are given the grace of experimentation, and it appears Fireboy is charged with the responsibility of catering to a specific audience. He accomplishes this duty on ‘Adedamola’ but not without questions as to why he ever had to walk away from what feels like his intuitive territory.
The album starts off with a powerful intro, ‘Iseoluwa,’ a song of musings and thanksgivings accompanied with the rich rhythm of the talking drum. It is immediately followed by a track of masculine yearning ‘Call Me‘, which features an “Afrolife” delivery style reminiscent of tracks like ‘Energy’ and ‘What If I Say‘ off his first album “LTG.”
One of the many beautiful things about Fireboy DML as an artist is his ability to musically walk listeners through a specific subject matter. It’s almost like listening to a friend tell a story, and this is what the third track ‘Ecstasy’ gives off. The appearance of the guest artist, Seun Kuti, the youngest son of Afrobeat pioneer Fela Kuti, is utilised on the track, as he further charms the record with his solo play of the saxophone. Fireboy DML shows deftness and proves a great collaborator as he creates space for the guest artists to bring something special to the record. The aforementioned track and the song with Lojay “Letting Go” affirm this take. However, on “Back n Forth,” a great song could have been an even greater song if the iconic Lagbaja was allowed to record a longer verse. Notwithstanding, the unexpected pairing of both artists resulted in a chemistry that birthed a remarkably kinetic track.
“Hell and Back” is essentially an Afro-R&B creation that soundtracks Fireboy mentally and physically checking out of what must have been a toxic relationship. He clearly states he has no intention of returning to his love interest, even if it’s what they want: “Oh, now you want me back. After putting me through hell and back, I thought I told you that I’m done with that. So tell me, why do you want me back?”
‘Wande Coal’s Bop‘ is a track that evidently pays tribute to one of Nigeria’s greatest vocalists, who has inspired and continues to inspire a handful of the new generation of Afrobeats singers. From the production to the cadence and melody, listening to Fireboy’s imitation of Wande Coal is as entertaining as it is flattering. The aftertaste of Wande Coal after hearing Fireboy sing on ‘Wande Coal’s Bop’ lingers and reappears on “Yawa.” On the track, Fireboy DML sings about living an unbothered life regardless of the backbites and gossip, delivering his message with a more Wande Coal-esque melody. Imitation indeed is the sincerest form of flattery.
It’s beautiful to realise once again that a pacy production is familiar territory for Fireboy DML. It makes a listener think back to tracks like ‘Scatter,’ ‘Vibration,’ and ‘Omo Ologo’. On “Change Your Life,” Fireboy is persistent in winning the heart of a love subject.
The sequencing of the album peaks from ‘Wande Coal’s Bop’ to ‘Change Your Life’ to ‘Obaa Sima’ to ‘Need Me’, as they all feel like one long party experience. ‘Need Me’ is a more energetic sequel to ‘Obaa Sima’ and both paint a story of a whirlwind romance.
The album started with a powerful opening record, and it’s a plus to the experience if it finished on a similar note. ‘Jon’s interlude’ switching places with ‘Ready’ would have given the LP the finishing it deserves. But this doesn’t take anything away from the album’s cohesiveness, nor does it do major damage to the album’s sequencing.
Fireboy DML has always had a working formula from when he was first introduced to listeners. It was the ability to tell relatable stories using well-penned yet regular lyrics on a properly engineered production in a way no other artist in the Afro-R&B scene does. He never lost his touch as an artist; as a matter of fact, Fireboy DML is perpetually talented. All he had to do as the niche artist that he is was to return to telling stories that resonated with listeners through his music. And it worked, ‘Adedamola’ has been widely accepted with open arms as some are boarding a ship that claims it is Fireboy’s most superior work till date and adamantly sailing away.
RATING: 8/10
Listen to the album below and share your thoughts.
