Olamide Thrives On Self-gratification in “Ikigai/生 甲斐, Vol. 1”
Olamide shared a surprise seven-track album on the 26th of June. This comes less than a year after he announced the release of what was meant to be his final album, “Unruly,” with claims that it would be collaborations and singles henceforth. But it appears the rapper is perpetually married to the game and cannot effectively get divorced. The Ep on its first full day of streaming on Spotify, garnered an impressive 1.86 million streams, making it the most-streamed album in a single day in 2024.
Without the anticipatory phase that comes with a rollout—which the artist has become accustomed to—Olamide released “Ikigai/生 甲斐, Vol. 1.” (pronounced “ee-kee-guy), the first volume of a potentially longer project to streaming platforms. “Ikigai” is a philosophical Japanese concept that translates roughly to “a reason to live.”. Ikigai is not solely about finding purpose, but aiming for the sweet spot of the four guiding rules of Ikigai: your passion; what you love, your vocation; what you’re good at, your mission; what the world needs, and your profession; what you can be paid for.
Album titles are quite significant as they help set the tone of the album, thematically tie tracks together, and sometimes point at the central concept of the album. Olamide has shown an inclination for deliberate, conceptual album names, which is intriguing and sparks curiosity in fans. “999” in the world of numbers can mean the end of a chapter as well as the beginning of a new one. “Carpe diem,” a Latin phrase that translates to “seize the day,” is a call to enjoy the moment and not dwell on the future. “Uy Scuti” is the name for a red supergiant star, one of the largest in the Milky Way galaxy. “Unruly” simply means rebellious and although Olamide thematically weaves songs around his conceptual album titles, that’s usually not always the case.
Olamide’s seven-track EP lasts under 22 minutes and begins with an instant party stomper, “Metaverse“. He goes to work without hesitation, claiming that he has remained the King of Street Pop for the past decade. With an assist from mainstay producer Semzi, Olamide hops on Metaverse with an intense flow that naturally rides the vibrant production. He compels listeners to sway to the track’s heady quality into his charged metaverse with three verses and a catchy, energetic chorus. The song’s video, directed by creative genius Jydeajala, captures a group of dancers—in what seemed to be Olamide’s Metaverse—choreographing under scattering neon lights.
The party continues on Uptown disco as Olamide assembles a team of producers—Eeskay, Semzy, as well as present YBNL star artists Fireboy DML and Asake. The introduction of log drums combined with muffled noise from partygoers, police sirens, and the sound of a chopper sets the tone for Fireboy DML’s punchy entrance: “I say freeze! Who call police,” he bounces on the production. Fireboy DML continues pitching to a romantic prospect, slightly bragging in hopes that at the very least he leaves with something—with her. The chemistry between Olamide and Fireboy is electrifying; they display the same prowess that birthed “Plenty,” a party banger off Olamide’s “Carpe Diem” album. This implies that they had a sure hit on their hands without Asake’s backing. Regardless of the fact that both guest artists are known as heavyweights at choruses, Olamide felt compelled to emphasize his status as one of the greats when it comes to delivering infectious Afropop choruses.
On the next track, “Makaveli”, a romantic rendition, the rapper pleads with a love interest on a slow but jumpy rhythm, hoping to fix a slight grievance. He teases her with the prospects of being with him in a single verse, highlighting the typical lifestyle of opulence awaiting her. The effect of the “Walele” adlib lends credence to the artist’s assertions as truths.
He teams up with guest artist SABRI, a Dutch R&B singer, on “Knockout” to create something sensually raw. Olamide paints a picture of sexual exertion, a result of his lust and the erotic physique of the woman he’s dealing with. She cajoles him for a lasting devotion with SABRI’s verse, assuming the pov “All of your touch, all of your heart, oh/Take me tonight, you won’t drown no/Have mercy I’ll be your dinner, your lunch, oh”. But Olamide’s lyrics suggest that he is already obsessed with her.
Olamide explores no ideal or holistic narrative; instead, he appears to lead listeners down a path littered with trivialities—parties, self-indulgence, and luxury, which contrasts sharply with the philosophical and introspective narrative implied by the album title.
Mainstay producer Semzy fused intricate string and wind instruments peculiar to Arabian music on “Hello Habibi“, giving Olamide’s chorus an expressive tone punctuated by “Habibi,” an Arabian word that translates to my love. He begs to lavish his lady with extravagant luxury. The collaboration with Semzy bears creative fruit, as the producer seeks out elements that significantly contribute to the artistic brilliance of the tracks.
Olamide takes a breather from party mode and is reflective on his personal journey and how far he has come on the 6th track, “Morowore,” whose chorus interpolates Paul I.K. Dairo’s 2006 song “Mo wa dupe,” a Yoruba saying for “I’ve come to thank you.” Olamide aims to convey this same message of genuine gratitude to God, but in his own words. “I been dey H if you see my throat/Now we driving people crazy like woah,” he renders on a laid back production, coupled with Semzy’s signature bounce. The choral effect, distant trumpet, and passionate pulls at the strings of the guitar birth a beautiful record that tugs at the emotions of listeners.
Alumni YBNL artists Lil Kesh and Young Jonn, along with producer-turned-musician Pheelz, reunite with Olamide on ”Synchro System”, which pays homage to King Sunny Ade’s song of the same title, Synchro System. Pheelz takes the reins of production with a similar approach as Semzy on “Hello Habibi” by blending a rhythm of what sounds like the Japanese Koto and an insanely powerful kick. He bends with the production, displaying a depth of understanding as its creator. The track triggers an amount of nostalgia as Olamide and Lil Kesh feed listeners a flow suggestive of their early days as rappers. With Young Jonn’s impactful but short verse, they all properly sync to make a fine outro, worthy enough of the banger-soaked Ep.
This is a 7-track project of undiluted party bangers that begs for a comprehensive narrative, one that taps into the philosophical concept of “Ikigai” from Olamide’s frame of mind. Instead, it revels in the pleasures of the moment rather than a deeper existential account. Perhaps the sweet spot of intersection—a guiding rule for discovering one’s “Ikigai”—for Olamide is that he gets to offer the world what he’s passionate about: music.
Album Rating: 7.5
Stream Olamide: “Ikigai/生 甲斐, Vol. 1”
