We can all agree that Fireboy DML has never failed to keep his audience enraptured with his smooth vocals and heartfelt lyrics. His latest self-titled album, Adedamola, is no exception. Named after his birth name, this project feels deeply personal, offering a window into his growth both as an artist and an individual.
Known for his uncanny ability to blend Afrobeats with elements of R&B and soul, Fireboy DML showcases his versatility and creativity in this cohesive body of work. Adedamola serves as a testament to his artistry, leaving listeners with an album that is not only sonically rich but emotionally resonant.
Here’s a track-by-track review of Fireboy’s latest album, Adedamola.
Iseoluwa
Like most of Fireboy’s other projects, Adedamola opens up with deep retrospection. We start with a reflective track called Iseoluwa, which translates to “the wonders of God” in Yoruba. This is a deep song that credits Fireboy’s steady rise to fame to God. On this track, we see Fireboy DML get raw and emotional about the ups and downs he has encountered in his journey.
You can’t miss the brief but evident sample of Musiliu Haruna Ishola’s classic song, Ise Oluwa Ko Seni Toye. As always, Fireboy began the album with a bang and I all but rubbed my palms together in anticipation of what was to come.
Call Me
On Call Me, we’re treated to an incredibly brilliant song that beautifully combines equal parts Afrobeats and equal parts Western Pop (if you listen closely enough).
While the African drums are prominent enough to bring a traditional feel to the song, you can’t miss the steady trumpet blasts and guitar riffs that also make it sound like an early 90s pop song. Brilliantly done if you ask me. Plus, of course, the short sample of Fireboy’s Outside featuring Blaqbonez.
Ecstasy ft. Seun Kuti
Next, on Adedamola, we get treated to an intense, incredibly catchy song called Ecstasy, featuring Seun Kuti. This song tugs on themes of love and intense passion, following closely in the footsteps of Tattoo from Fireboy’s 2020 Apollo album.
Hell and Back
I read a review of this album where the writer referred to it as Fireboy’s “lean-in to his lover boy era,” and I couldn’t agree more. Just the first few lines of Hell and Back confirm that Fireboy was out to tug at the heartstrings of all the romantics out there.
And, of course, it’s never a complete Fireboy love song if it doesn’t paint a sultry, explicit picture of steamy lovemaking. I particularly like this song because of its steady pace. It’s slow and steady while building enough momentum to keep you hooked till the last verse. So, if you’re one of the… *coughs …. Love makers out there, Hell and Back will certainly make a fine addition to your playlist.
Letting Go ft. Lojay
Now, let’s talk about features. Adedamola had a couple of unexpected performances from artistes like Lojay, Jon Batiste, DJ SPINALL, and Lagbaja.
Letting Go is another steady-paced song that speaks of a lover’s dilemma, trying to decide between letting go or holding on to a seemingly failed trial at love. I mean, what do you expect when two incredible songwriters like Fireboy and Lojay team up on a track?
When you listen to this song, look out for the storytelling. Not sure who Julie is, but true true, wetin Julie do Fireboy no good at all.
Back n Forth ft. Lagbaja
Yes, you read that right. Fireboy DML and the one and only Lagbaja on a song together. The chemistry between Fireboy DML and Lagbaja on Back n Forth is undeniable. It starts off with an incredible saxophone intro by Lagbaja and whew! Goosebumps, I tell you. This transitions smoothly into the talking drums backed by Fireboy’s scintillating vocals.
As a matter of fact, I’d say the strength of this song lies in its transitions. From the saxophone to the talking drums and, finally, to Lagbaja’s raspy iconic vocals. Can we take a moment to appreciate this performance?
Ready ft Jon Batiste
Speaking of unexpected features, Fireboy teams up with Jon Batiste on Adedamola on a song called Ready. This song shows off Fireboy’s vocals in a way we haven’t seen yet on this particular album. This is backed by a sad, expressive piano performance that adds a sense of yearning to the song.
Wande’s Bop ft. SPINALL
The next song on Adedamola takes a complete 360 from the previous track. While Ready is slow and drawn out, Wande’s Bop is, well… a bop (for lack of a better word). It uses an upbeat cadence and steady interjections that sound like something Wande Coal would sing.
Sure enough, Fireboy admittedly tried to imitate 2015 Wande Coal on this song, and dare I say, it was well executed. He told Apple Music, “The fun side of Wande Coal is so difficult to imitate. I think it came off great and that’s why it’s like a tribute to Wande.”
Change Your Life
This song definitely borrows from classic Western EDM sounds, and we see that in full display at the start of the song. I enjoyed the intro so much that I almost didn’t expect a verse to come in. However, when Fireboy’s verse eventually comes in, it follows the lead of the beat, which allows you to appreciate it even more.
Obaa Sima
The next track on Adedamola is what Fireboy describes as his “greatest song of all time”. I can see why he’d say that. It sounds like classic Fireboy, but with a little twist. The Amapiano log drums here and there keep the song interesting, but overall, it wasn’t a favorite of mine.
Need Me
If Need Me sounds like a continuation of Obaa Sima to you, it means you’re paying attention. While the previous track sounds more drawn out, Need Me pays more attention to the log drums. While both songs are great, with the right transitions, they could’ve been better executed as one moderately lengthy but great song.
Yawa
Finally, the more playful side of Fireboy comes out to play. This song shows us more of what Fireboy was like on his 2022 album Playboy. Yawa was a pre-released song, so you’re no stranger to it. Regardless, it still remains a vibe. And if you listen close enough, you can definitely hear the distinct “Wande Coal-like” vocal performance.
Everyday
As the album draws to a close, Fireboy seems to let his hair down a bit. No more lost, longing boy in love. Now, we see more playful quips and playful lyrical performances. In another pre-release, Fireboy seamlessly uses both Yoruba and English lyrics to deliver an instant earworm on Everyday.
Jon’s Interlude ft. Jon Batiste
As you may have guessed, the final track on Adedamola gives an ode to Jon Batiste, making this his second appearance on the album. In another drawn-out piano performance, which is just ten seconds shy of two minutes, Jon’s Interlude speaks more volumes than most of the other songs on the album.
The absence of a vocal performance made it even more heartfelt, which forces you to listen and let the rising and falling notes wash over you. I see it as a reminder that Adedamola was one of Fireboy’s most heartfelt albums yet.
Final Thoughts on Adedamola
At the risk of sounding biased, Adedamola is a flawlessly executed album. Fireboy DML certainly leans into his strengths– deep retrospection and love, while paying respects to several legends in the industry.
The features, while unexpected, played a huge role in adding some much-needed diversity to the album. Needless to say, the features were also finely executed.
Overall, Adedamola is emotive and cohesive, representing what one can call a masterpiece.