Oxlade came with a unique talent into the music scene, which spoke for him when he dropped Oxygen in 2020. Oxygen was one of the beloved and esteemed projects from the 2020 music year, spawning songs like ‘Away,‘ and ‘Hold On’. Oxlade is an artist who possesses one of the silkiest vocals among modern-day Afrobeats singers, treading the extreme ends of the riskiest falsetto notes and returning with a neat, soulful feedback. Oxlade’s talent and debut EP placed him on a high pedestal, and a vast majority of fans anticipated the next explosive music collection from an identical depth. But the year ended on a rocky note as he almost lost his friend and manager, Ojabodu Ademola, creatively known as Ojah Bee, to police brutality during the EndSars movement, with Oxlade suffering a similar fate but narrowly escaping by the whiskers. Subsequently, following the release of some singles and a feature run, Oxlade, in collaboration with Troniq Music, released a 4-song, 12-minute EP titled “Eclipse” in 2021.
Last Friday, his long-awaited debut album eventually arrives nearly three years later, following a turbulent era of controversy, personal struggles, and a singles-feature stint. In this period, Oxlade released the infectious chart-topping hit ‘KULOSA.’ And except for the spaced-out singles and abrupt announcements of a forthcoming album, Oxlade From Africa, it was generally unclear that Oxlade was working on his debut album, an idea that didn’t exactly thrill fans. And this was a result of the tacky to non-existent rollout, the absence of a defined album theme or direction, and the overall lack of world-building.
Although the project deserves credit for bringing together a diverse group of African guest artists, which leans into the album title, it was devastating to this writer and many others to learn that nearly half of the 16-track album contains pre-released singles, the oldest of which dates back to June 2022.
Oxlade From Africa opens with one of the two interludes on the project ‘D PTSD INTERLUDE’, which features Ugandan activist Bobi Wine. Voices of angry protesters from the Endsars movement could also be heard demanding the whereabouts of Oxlade’s manager, Ojah Bee, after he was unlawfully detained and battered by the Nigerian police. The moving track recalls emotions and events of the brave fight put up against police brutality by Nigerian youths and sounds like a song originally recorded around the time.
With a play on words, cascading flows, and a catchy chorus on ‘OLAITAN-OLAOLUWA,’ Oxlade reflects, brags, and is grateful. The sequencing track ‘BLESSED’ is a mellow rendition of victory in the face of trials and strength in times of weakness. The album, particularly the non-single tracks, is delivered with an afrocentric flair that informs old and new listeners that it’s indeed an African project by an Afrobeats artist.
From track four to 8, the listening experience is a drab sequence of previously released singles, with the oldest dating as far back as 2 years ago. The album, which began rather satisfactorily, is displaced by an uncreative interference of now-overfamiliar songs, which disrupts the listening pleasure due to the lack of new materials that albums are generally distinguished by. It is possible that if these songs were compact singles with the album and not old, standalone—some, immensely successful—singles, Oxlade From Africa would be in a one of the best albums to come out of 2024 discourse.
However, ‘TAMUNO INTERLUDE’ marks an upward turn as a feminine chant rendered in the Izon language, also known as Ijaw, is heard.
The long-desired collaboration between iconic singer Wande Coal and Oxlade happens on ‘ASUNASA—HOLD YOUR WAIST.’ The dance and ultimate marriage of vocals and melodies from some of the country’s finest singers is nothing short of amazing, as the album progresses into another previously released single.
‘OLOLUFE’ with Sarkodie is a reenactment of the musical chemistry the duo have built over the years, from “Overload 2” to “Non Living Thing” to “She Bad.” Perhaps a collaboration project with Sarkodie would be a wiser, more rewarding course to steer next after the directionless mixtape that is Oxlade From Africa. The opening and first half of the 13th track, ‘RMF,’ sound like Oxlade was on a Show Dem Camp song, and a listener is immediately drawn in. The second part of the song, Oxlade Shape-shifts into a rapper, and his cascading flows on ‘OLAITAN-OLAOLUWA’ grow a lot more intense. It’s clear he was knowingly rapping as he singlehandedly recreated what an Oxlade, SDC record typically sounds like, with rap verse(s) and an enchanting chorus.
‘ON MY MIND’ is a feel-good track that spills ideas of longing for a love subject over a cheerful production. It has the tendency to be the album’s deep cut and go unnoticed. Oxlade’s debut album concludes with the title track, ‘OFA,’ which features groovy percussion and his catchy melodies.
Oxlade From Africa was not created with stakeholders’ interests, particularly fans, in mind and is a late attempt at releasing a three-year due album that has received numerous listens from the average Oxlade fan. Although the new singles are well-crafted and delectable music, there’s a chance a listener will miss out if they experience the album as a whole rather than listening to these songs individually.
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RATING: 7/10
