Adedamola is a versatile and meticulously crafted project that showcases Fireboy DML’s vocal dexterity, penmanship, and ability to embody various personas across different tracks, all while maintaining a cohesive narrative.
By Hope Ibiale
In 2024, albums have taken centre stage, with some of Africa’s top artistes like Asake, Tems, Ayra Starr, Tyla, Rema, Victony, and many others releasing projects that have ignited global discussions and dominated music charts. Nigerian singer-songwriter, Fireboy DML, now joins these ranks with his fourth studio album, Adedamola.
He was first introduced to listeners as Fireboy DML in the 2018 YBNL collaborative album, YBNL Mafia Family, with the song “Jealous”. Although the song was re-released in 2019, it had already caught the attention of music enthusiasts and positioned Fireboy as a rising star.
In the same year, he released his debut album, Laughter, Tears, and Goosebumps, a 13-track solo project that showcased his commendable penmanship and vocal excellence. With his 2020 sophomore project, Apollo, he demonstrated his ability to explore various themes and sonic soundscapes, further solidifying his superstar status.
His third album, Playboy, released in 2022, saw him embrace his sensual side and add another layer to his artistry. However, 2023 was marked by the release of several singles such as “Someone”, “Yawa”, “Oh My”, “Outside”, and “Obaa Sima”, which, unfortunately, left little impact on listeners, and raised questions about his ability to continue delivering critically acclaimed records.
So when he announced the release of his latest project, a part of my mind already understood the purpose of this album: to reorient and reintroduce his best qualities to listeners, reminding them of his best qualities. Even the close-up shot of the artiste on the album cover feels like a “This is me” statement. This project isn’t just about reaffirming his position in the industry, but also about redefining what it means to evolve as an artiste while staying true to one’s core identity.
For this latest project, he assembled a stellar lineup of collaborators, including Nigerian artistes Lojay, Lagbaja, Seun Kuti, DJ Spinall, and American artiste, Jon Batiste. The album’s production is handled by a diverse group of producers such as Bassiqually, Nxrth, ID Cabasa, Foreigngotem, South, Godomarr, Eskeez, Jon Batiste, Blaisebeatz, WXLA, Pheelz, Drexbeats, Telz, South, and Magicsticks.
Together with Fireboy, they craft a sonically rich and emotionally resonant album that traverses a spectrum of themes, from gratitude and reflection to love and self-assurance. It is a versatile and meticulously crafted project that showcases his vocal dexterity, penmanship, and ability to embody various personas across different tracks, all while maintaining a cohesive narrative.
Adedamola opens with “Iseoluwa” which translates to “the work of God”. Over the backdrop of talking drums, omele, piano chords, and saxophones, Fireboy expresses his gratitude to God. Drawing inspiration from Musiliu Haruna Ishola’s 2000 release, “Ise Oluwa Ko Seni Toye”, and with its ear-catching production, Adedamola begins on a compelling note.
In the next song, “Call Me”, he transitions from expressing gratitude to God to showcasing his devotion as a lover. He sings, “I go dey for you, I go ride for you/ I’ll be right there to stand for you”. The song’s accompanying log drums are like a gavel that stamps all the promises he makes on the record.
“Ecstasy” brilliantly showcases Fireboy DML’s sultry side. A side that has been displayed extensively in his discography on records like “Tattoo”. On the record, Seun Kuti makes an appearance; supplying the record with a standout performance at the end of the song. The sonorous blend of the saxophone and drums elevates the sultriness injected by the song’s lyrics and the singer’s mood throughout the record.
For the next record, “Hell and Back,” Fireboy DML reaches into his bag of tricks for a record where he is a disgruntled ex-lover. Here, he refuses to return to a toxic relationship. The wounds from his broken heart haven’t healed yet, so despite his seeming boldness and indifference to his ex-lover’s approaches, he seeks escape in painkillers.
If Fireboy DML’s debut single, “Jealous”, ever had a sequel, “Hell and Back” might be a fitting continuation. Although there are few sonic similarities between the two tracks, the music video for “Jealous” depicts the artist being jilted by his lover. For an imaginative listener like myself, I can envision “Hell and Back” as his response to an ex-lover’s plea for reconciliation.
The follow-up song, “Letting Go”, sees Fireboy DML join forces with Lojay. Known for their penmanship and musicality, both artistes deliver memorable performances that seamlessly complement each other. Over the backdrop of drums and guitar strings, their vocals merge in perfect harmony. The track showcases a heartfelt and striking flow as they sing about amicably ending their romantic relationships. While reminiscing on their failed love affairs, they also promise to be reliable confidants to their former love interests.
The saxophone performance by Lagbaja ushers listeners into “Back n Forth”. This record stands out as one of the best on the album, thanks to several factors: Lagbaja’s brief yet captivating and masterful performance, the carefully selected instruments, the exceptional production, and Fireboy’s impressive vocal delivery.
Lagbaja’s contribution to this track underscores why he was a prominent figure in the Nigerian music scene during the 90s and early 2000s. It’s remarkable to see a veteran artiste feature on a 2024 record, and still deliver with such ease.
The thoughtful inclusion of instruments like the saxophone and talking drums adds a brilliant touch, evoking memories of Lagbaja’s past works. Fireboy’s vocal performance in the latter part of the song is outstanding. Ultimately, “Back n Forth” beautifully merges two generations of musical excellence.
Fireboy’s vocal dexterity shines brightly in the R&B record “Ready” Featuring Jon Batiste’s piano prowess and vocals, the song captures his heartfelt desire to commit to a love interest. Fireboy taps into his vulnerability, discarding any shame associated with expressing deep emotions. He confidently declares his readiness to fully embrace love, both to the world and to his beloved.
The second half of Adedamola kicks off with “Wande’s Bop”, a tribute to Fireboy’s musical inspiration, Wande Coal, and a collaboration with DJ Spinall. The track’s energetic production, crafted by Semzi, makes it an instant party anthem. Fireboy’s delivery mirrors Coal’s dynamic style from the 2015 track “The Kick”, adding a nostalgic touch to the vibrant beat. The lively energy seamlessly transitions into the next song, “Change Your Life”. In this Afrobeats track, Fireboy envisions love as the transformative force capable of positively changing his lover’s life.
He continues to offer heartfelt promises in “Obaa Sima”. Although I initially struggled to appreciate the track when it was released last year, its role within the album’s context becomes clearer now. It follows the narrative established in previous tracks and aligns sonically with the album’s direction, enriching the overall listening experience.
In “Need Me”, Fireboy continues his exploration of love, but this track falls short compared to others on the album. It feels somewhat lackluster, with uninspired songwriting and unremarkable production. The narrative also feels stretched and familiar.
“Yawa” sees the singer address naysayers and asserts his musical dominance. Drawing motivation from the whispers of his alleged creative slump, he is introspective as he lists out his achievements and brags about his musical prowess. His braggadocio disposition on the record, alongside the log drums and bassline, makes the record an enjoyable tune.
The pre-released record “Everyday” is still a heartwarming listen every time I hear it. The Afrobeats record is a lovely love record that shines because of its easy-to-learn lyrics, the danceable beat, and Fireboy DML’s harmonious performance. Its accompanying music video featuring Nigerian artiste, Bloody Civilian, also makes the song memorable.
The album wraps up with “Jon’s Interlude”, a solo piano piece by Jon Batiste that serves as an instrumental rendition of “Ready”. While placing this track right after “Ready” might have been an aesthetic choice, ending the album with it underscores the significant role that instrumentals play in shaping the project’s impact. This soul-stirring performance highlights that, alongside the artiste’s delivery, guest features, and production, the instrumentals are crucial in defining the album’s overall power.
After listening to Adedamola, it’s clear that the album is a deliberate effort by Fireboy DML to reinvent himself and reaffirm his status as a top African artiste. In response to critiques of his previous works, this album showcases his talent and versatility, achieving its goal of solidifying his place in the music industry.
Throughout the 14-track project, he relies on some of his greatest assets: his vocal dexterity and songwriting show the extent of his range and remind everyone what sparked their interest in him from the beginning of his career.
Following the success of his previous albums—Laughter, Tears, and Goosebumps, Apollo, and Playboy—and amidst speculation of a creative slump, this latest album has come under intense scrutiny, with some even claiming it surpasses his debut album. While comparisons to his earlier works are inevitable, his latest work carves out its own space in his discography, showing that his musical journey didn’t peak with his debut or past projects. Instead, his new project represents another extension of his artistry.
His mission to create a memorable experience for listeners and reposition himself positively impacts the choice of collaborations, instrumentals, production quality, and album sequencing. The album as a whole is strengthened by these factors which elevates the album’s overall quality and replay value.
The inclusion of veteran artistes like Lagbaja and collaborations with talents such as Jon Batiste, Seun Kuti, DJ Spinall, and Lojay further elevate the project, blending traditional and contemporary elements. While some tracks like “Need Me” might lack the same impact as others, the album as a whole is a testament to Fireboy DML’s ability to bounce back and seamlessly integrate diverse sounds and emotions, making Adedamola an impressive body of work.
Lyricism – 1.4
Tracklisting – 1.4
Sound Engineering – 1.7
Vocalisation – 1.4
Listening Experience – 1.5
Rating – 7.4/10
Hope Ibiale is a writer and journalist. She has a keen interest in music, film, and literature. You can connect with Hope on X @hopeibiale and via email: hopeibiale@afrocritik.com.