Undoubtedly, Olamide is the one person who has truly earned his flowers for his profound impact on the Nigerian music industry today. It’s been more than a decade since Olamide dropped his first studio album, Rapsodi, and served back-to-back down to his potentially last album, Unruly. Not only has he cemented his name in the sands of the streets and the industry at large, but his voice has also echoed the minds of the average Nigerian whether you are a trench bred or not.
The certified street pop hitmaker posted about his 10th album, Unruly which could potentially be his last album. These days the Industry OG and YBNL label boss seems to be more focused on the business and backends of creativity of his signees. Despite repeatedly expressing his indifference towards the international influences pursued by his peers, it’s evident that Olamide has somewhat gravitated towards that aspect of his brand.
The Evolution from Rapsodi…
If you ask a day one fan of Olamide, they’d tell you how much he held the streets down with hits too many to count, which is the truth. The majority of his fan base are the street-pop lovers, who enjoy his hardcore rap in Yoruba, English, and Pidgin. I remember how frequently my brothers and I played Rapsodi at home till the CD began to crack. Not to mention how we used to chew the lyrics to Olamide’s hit songs back in Secondary school to prove who is a better fan of his music. He not only embodied his upbringing as a trench-bred but also reflected the realities of the average common man. This is one major reason for the love he gets today.
However, in 2020, Olamide began his transition from hard bars and aggressive flows to a more laid-back persona and musical style. His 8th project, Carpe Diem, unveiled a calmer persona of his unruly nature, channeling the same energy but with a more subdued approach. This persona was consolidated in UY Scuti which created a divide amongst his listeners. I, for instance, loved the Olamide on his last project while many other fans I know were hesitant or still do not embrace it.
Anyways, Olamide has carved his new path since Carpe Diem which reached its zenith with UY Scuti. As the first notes of the project played, I can vividly remember how the air smelt like burning cigarettes in the room when I hit the play button on this album, an ambiance reminiscent of his distinctive musical style. Stepped out for a walk and the scent of petrichor lingering post-rain made a perfect accompaniment to the album’s soulful resonance. It felt like he was going through a healing journey through love’s embrace which I could relate to.
As his new “unruly” persona unfolded before the project dropped, people were happy to see it and believed they would get the 2010s Olamide back. I guess the album title is responsible for this. I think it doesn’t exactly help cement his legacy in the industry so far especially if this would be the final album of his career. Either way, Olamide’s evolution continues, and with Unruly, his sonic voyage has taken yet another captivating turn.
…To Unruly
Unruly holds some similar sounds day 1 supporters love. However, experimentation seems to be the name of the game, a daring exploration of musical boundaries. Olamide somehow found a way to create a blend of his newfound sound and reignite Nostalgia in his listeners. You can hear Olamide delivering flows similar to this on “Gaza”, “Doom”, “Hardcore”, and “Street Jam”. On “Supplier,” he employs a similar flow to Afro-Swing and dancehall, except that he delivers it on Amapiano. He reaffirms his position as the voice of the streets but in a more authoritative manner. You can hear the “I’m now a senior man” energy from his flows and delivery. “Doom” reminds me of Portable’s “Zazoo”. A friend on first listen said, “It’s giving oontz oontz music” If you know, you know. Okay, okay, if you don’t know, it means EDM.
You will hear more of the UY Scuti sonic influence refined with a touch of Amapiano elements on tracks like “Jinja” (which reminds me of “Rock” off UY Scuti). Not only has Olamide blended pop influences in his sound, but he also recruits the energy of his younger counterparts in the industry to create a balance. You can hear an obvious sonic leaning to that of the featured artists on this project. Top tracks like “Trumpet” ft Ckay and “New Religion” ft Asake portray this so well. They were allowed to express their sound and he let them ride within their comfort zones. BNXN was able to capitalize on this on the track, “Come Alive”, Rema didn’t fail to cement his unmistakable melodies on “Mukulu” as well as Fireboy on “Shibebe”.
In addition, his active role as YBNL label boss and in Asake’s career and projects is also quite evident on Unruly. He leans into a similar style we hear in Asake’s project. “Celebrate” and “Problem” contain elements of the sound associated with the aforementioned and it’s no coincidence that they were produced by Magicsticks. When you hear the Rhodes Piano, you can already tell.
In conclusion, as Olamide teases stepping back from the forefront of the music industry, the time has come to acknowledge and celebrate his remarkable journey. The legacy he leaves behind is already a testament to his artistry and brand. Although shifting his focus towards behind-the-scenes endeavors, we cannot overlook his past achievements and ongoing contributions.
Furthermore, with the success of his signed talents both at home and on the global stage, Olamide’s influence will be etched on the industry. As the curtains gradually close on this chapter of his career, it is only right we present him with the well-deserved recognition and appreciation he has earned as we anticipate new avenues he explores in the future.