Logos Olori’s self-titled debut EP is undoubtedly a project that carries a lot of expectations, and for some parts, delivers with catchy earworms.
By Emmanuel Okoro
The Nigerian music industry is always buzzing with anticipation, especially regarding new signings and joint ventures. Such was palpable when Afrobeats superstar, Davido, announced the latest additions to his revamped DMW 2.0 imprint, Morravey and Logos Olori. Both signees made guest appearances on his Grammy-nominated album, Timeless, serving as a soft launch for their solo careers under the label.
However, the rollout of Olori has been somewhat marred by controversy. The singer faced harsh criticism from the Muslim community in Nigeria following the release of the now-deleted 45-second teaser for his single, “Jaye Lo”. The bone of contentment was the seeming appropriation of Islam in the video, which was deemed offensive and disrespectful. Despite the initial backlash and shaky start, he has managed to weather the storm, and it seems the dust has finally settled. On the seven-track project, with a runtime of 17 minutes, he wastes no time immersing listeners into his world.
Its eponymous opener features the production trio of Magic Sticks, Ragee, and Mercury, setting the stage with a mesmerising blend of groovy bass guitar runs, and tantalising lead guitar plucks. Here, the singer effortlessly navigates English, Nigerian Pidgin, and his native Yoruba, as he delivers an ode to commitment, serenading a love interest. He candidly confesses to being swayed by various women in the past but assures that this time is different—he’s serious about her. He stumbles through the second verse, painting a vivid picture of his lifestyle, offering a glimpse into a modern, debauchery-driven fairy tale with lines like “99 problems but the money na least/ Take all you want ‘cause tonight we feast”.
Label boss, Davido, assists him on the easy-going bounce record, “Easy On Me”. While the song is instantly a delight, characterised by melodic piano and violin chords, its vapid lyricism sticks out like a sore thumb, with more focus placed on rhyming over thematic coherence. This leaves me questioning the decision to include the single on the EP or the utilisation of Davido’s calibre on this particular record.
On the Afro-Piano-led “Push It” the singer is unassisted, delivering a ballad of devotion to a love interest. Backed by a blend of padded drum rolls, log drums, and moments of brilliance from the electro-guitar, the song exudes an infectious energy that’s sure to get listeners moving. Despite the irresistible groove, it’s hard to overlook the bare lyrics that leave much to be desired. However, the track still manages to shine as a party anthem, when one doesn’t dwell deeply on its lyricism.
Olori shifts with the next track, “My Darling”, an Afro-Pop tune that sees the singer well in his element. He glides seamlessly over the beat, confessing his love and appreciation for his partner. Throughout the track, he reflects on the journey he has shared with his love interest, acknowledging the ups and downs they have faced together. On “Apapa”, the singer paints a vivid picture of intimate moments with a lover. Once again, despite the song’s melodies, there’s a noticeable lack of lyrical content. At certain points, the song takes a dig at perceived detractors that feel out of place within the otherwise intimate narrative.
On the Magic Sticks produced Amapiano record, “Hmm Hmm”, Logos Olori joins forces with South African singer and record producer, Musa Keys, famous for his contributions to Davido’s “Unavailable”. More emphasis is placed on the sonic rather than its overarching lyricism.
The singer seems to save the best for last with “Murder”, propelled by a mid-tempo mellow production filled with mild piano chords, lead, and bass guitar strings. Throughout the song, Logos Olori coasts smoothly celebrating his success and the various attachments that have come with fame.
Logos Olori’s self-titled debut EP is undoubtedly a project that carries a lot of expectations, and for some parts, delivers with catchy earworms. However, the project falls short in its overarching lyricism. While the production is impeccable in most parts, there’s an apparent lack of lyrical depth. As the project progresses, it becomes clear that most of its lyrics appear like placeholders that made the final cut rather than carefully crafted expressions of emotion. Another point of concern is the guest appearances sound somewhat lacklustre or uninspired, failing to inject the project with the dynamism it needs.
Nevertheless, Olori may not be without its flaws, but it serves as a promising introduction for an artiste who still has more potential to unleash.
Lyricism – 1
Tracklisting – 1
Sound Engineering – 1.4
Vocalisation – 1
Listening Experience – 1.3
Rating – 5.7/10
Emmanuel ‘Waziri’ Okoro is a content writer and journo with an insatiable knack for music and pop culture. When he’s not writing, you will find him arguing why Arsenal FC is the best football club in the multiverse. Connect with him on X, Instagram, and Threads: @BughiLorde.