Fireboy DML’s artistic evolution, assessed by his albums, began with being an ambitious, next-rated vocalist. Head in the sky, buzzing with goofy, complex, and cute love stories (“Laughter, Tears & Goosebumps”), he merges superstar confidence with a scientist’s frenzy (“APOLLO”). “Playboy”, his supposed trifecta, reassesses his views on matters of the heart and positions his new non-committal to them.
All of Fireboy’s projects display up-close portraits. “adedamola”, his fourth and latest album is his most intimate. He bares his skin on the cover art like “Come feel me.” Although the cover art is overwhelmingly draped in gold and a bleak background, suggesting glitz and a dark, twisted fantasy, or a villainous state, it has his first name as the album title, a usual indicator of personal stories. But rather than a storytelling of personal moments in his life, the tracks explore his sexual and romantic nature. The music on “adedamola” blends styles — afropop, amapiano, house and soul — to exemplify these pieces of him.
At the pitches of the stomping gangan (talking drum) and omele on soulful chords, Fireboy DML throws his hands in the wind, waving in gratitude to the supernatural yet cryptic way of God on iseoluwa (meaning “work of God”).
“Life has been good to me, I do not take this with levity,” he shares. You can almost imagine him giving his testimony before a congregation, swaying in trad wear and worship spirit. Put the lyrics on paper, lines like “2024, I pray to God, make I no fall o / Bí mo sé n lo, bí mo sé nbò, Olúwa só mí o” read like a watchword out of stickers made by religious faithful. Fireboy DML has iseoluwa, Asake has Suru, and Olamide has Morowore; the YBNL mafia has much to be thankful for this year.
Fireboy DML is ready to ride into the sunset with the love of his life on call me, produced by Nxrth and Bassiqally. The self-proclaimed playboy finds love again. He’s learned to be more open; he won’t always be present because the money he looks fort is on the road, but he promises to always come back. On ecstacy, his songwriting is as sharp as the Bassiqally production. Seun Kuti’s saxophone softly rings through. By now, it’s clear that physical touch is his love language. We get it, bruh.
It looks like Fireboy DML loses love as quickly as he finds it. Or perhaps he’s yet to heal from a previous relationship, yet already in a new one. He’s vindictive and clearer on hell and back. He rejects a forsaking lover’s plea and trashes the possibility of starting over again. He’s only into businesses that pay him and his peace of mind. The story continues on letting go with Lojay, the guy who brings a bevy of ladies in the yard to help you get over heartbreak. All in all, Fireboy warns an ex-lover not to disrupt his healing.
Violin and saxophone hum underneath on back and forth, and the busy hands of omele and gángan roll in, giving a start to Fireboy’s new attempt at love. The afro-fusion comes alive to the serenading baritone of Lagbaja, who has been resting since his last outing and performance with Rema at the 2022 AMVCA. This song’s a top collaboration. The production shows taste. The cooks are surplus, and the broth is excellent. Eskeez, Nxrth, Bassiqally and ID Cabasa did something here. ID Cabasa continues his work relationship with Fireboy since Olufunmi Reimagined. Fireboy DML and the legends: young fire and old flame.
Fireboy keeps burning for love. Setting aside contemplation, he throws himself to love on ready featuring Jon Batiste. He yearns to love and seeks the rewards of being loved in clear, confessional, passionate language. Nelson CJ calls it “detaching shame from vulnerability and desire” — a concept many have yet to learn and accept. Jon Bapiste is a featured background vocalist and producer alongside Blaisebeatz.
wande’s bop featuring SPINALL vibrates with bubblegum pop, a notable homage to Wande Coal, one of Fireboy DML’s favourite artists. This song sounds like a bit of Wande Coal’s Ashimapeyin and The Kick, which features SPINALL in its music video. If wande’s bop gets a video, Wande Coal should be the performing artist and model in it.
As far as an Afropop homage goes , this is similar to Arya Starr’s Jazzy Song. The kids continue to honour the Black Diamond. The next song, change your life and obaa sima, continues to seek the prospect of love. It gets monotonous and bearable on need. The already-released yawa and everyday continue to sport uptempo vibes, bringing the album’s end to an abrupt piano decrescendo with jon’s interlude. It feels like drummers took their instruments away, but it’s a gentle end.
The album plays out his romantic desires in approximately forty-one minutes. There are no complexities; it’s simple, and the themes give it déjà vu. It delivers some excitement missing from his music since “APOLLO”. Rather than a supernova, “adedamola” is stardust that rubs off on his talent and ability to keep his listeners engaged. He’s a reliable vocalist anytime. Fireboy DML remains one of the leading voices of his generation.
“adedamola” is arguably his best work since “Laughter, Tears & Goosebumps” and his most enjoyable since “APOLLO”. It’s jolly-ride music, enjoyable. Repeated listens will eventually break into a few tracks — preferred titles are left to personal choices.
“adedamola” has the quality to be among the last-standing albums of 2024 when it’s all said and done.
