The Miseducation of Olamidé

On his self-titled 11th album, Olamidé, megastar Olamide blends rap, RnB and Afropop across 21 tracks and 46 minutes—showcasing his evolved vocal abilities, vogue-spanning imaginative and prescient and storyteller’s aptitude.

Olamide has consistently proved his mettle as a procedure artist, since his Rapsodi debut studio album in 2011. Over the years, his constant evolution has outlined his boost as a rapper, singer, song govt, and evergreen entertainer.

On his ethical-released self-titled 11th studio album, the award-a success rapper retools his professional identification as a homegrown and globally-minded big title. Notes on Olamidé

The album begins with a dreamy Prelude (with mercurial-rising singer Fxrtune) that gadgets an emotive and reflective tone. Clocking in at 46 minutes, it’s one of the well-known musician’s lengthiest albums in most modern times. Interestingly, forward of the leisurely decline of prolonged spins around the leisurely 2010s, Olamide’s first five albums every surpassed an hour.

His next music, Hasibunallah, finds him singing with gratitude over lush choral melodies and refined drum kicks. He recounts his blessings and motivations and attributes them to God’s graces upon his existence. “Oluwa wey dey attain am for me/ E no hunch ever quit on me,” he sings.

The third music, Kai!, (with Wizkid) brings support the party-starting up vitality that has marked their collaborations including hit tracks like Omo to Shan (2013), Kana (2018), Confam Ni (2016), and Totori (2019).

The music appears like a breezy conversation between two buddies as they focus on about the ‘Badman admire’, and existence as superstars, the total whereas serenaded by his producers Semzi and Eskeezondbeat’s hearty trumpets on the pop jam. The 2 producers, alongside P.Priime, had core manufacturing work across the album, whereas different significant beat smiths that labored on the file embody Yung Willis, Larrylanes, B.Banks, Magicsticks, and ID Cabasa.

On the fourth music, Luvaluvah, Olamide returns with a sample of the 1998 Lauryn Hill classic, Can’t In discovering Ample Of You, off her Miseducation of Lauryn Hill album, repeating: “Luvaluvah mi / Don’t you suffer me / Something else for you, I no fit lie aje!”. Here's his stealthy strive at setting up a highly wonderful first quarter of the album, showcasing his improved singing skill and lover-boy persona.

Whereas we rating to survey less family drama from Olamide on the social media condo, the rapper continues to portray the curious admire tales that fashioned his evolution as an particular particular person, family man, and artist.

The fifth music on the file, Billionaire’s Membership (with Wizkid and Darkoo), spins off with a feel-ravishing RnB-pop atmosphere as he shares nuggets he’s gleaned on setting up and sustaining wealth. He continues his soul-leaning pop voyage on the file, with cinematic violins serenading Darkoo’s outro on the music. This particular music brims with the prospective to turn out to be a world crossover hit, particularly with its mellowed sound direction and assortment of aspects. ‘Rap Prodigy’

Across the album, Olamide’s repute as a rap prodigy son tracks like Free (with Seyi Vibez, Muyeez) where he boom-raps with a bossy, leisurely-paced swag, whereas Seyi Vibez and Muyeez add coloration with their sure Fuji/Apala-toned singing. He reveals the same prowess on 1Shot, where he raps about how he had to “Breeze create mommy proud/ Shock awon weyrey doubt (Disprove all your naysayers)” whereas reminding his fans of his pedigree as a naturally proficient rapper.

Indika, Olamide’s most anticipated collab with American hip-hop legend Dr Dre and Spinall, kicks off with Dr Dre’s chilled leisurely-rap on the broad title existence. “World funds, I’m in a international country on ’em/ Here's a breath of contemporary air, I build the whisk on ’em/ Steppin’ on over this line there’s no borders/ Can’t rating closed minds on these delivery waters/ Regardless of she on, I will afford it.” Olamide follows, pulling his weight on the music alongside with his verse, which, arguably, ranks among his prime three handiest rap verses on the album, after 1Shot, and Free.

Your total album is laden with extra mellowed, laid-support RnB and Pop fusions, with a ting of laborious-hitting Avenue Hop, particularly on songs like 1Shot and Free, and dance song.

One other pleasure level on the album might perchance presumably be the comfy positive of the total collaborations: Paris, (with Nigerienne singer Fadí), Rain (with Jamaican popstar Popcaan), as well to the posse-scale back ninety nine (alongside with his YBNL protogés Asake and Younger Jonn, respectively, Seyi Vibez, and Zimbabwean singer Daecolm).

On Paris, Olamide unlocks a softened meditative groove, with Fadí’s lithe vocals floating over orchestral chord progressions with the piano and violins. On Rain, he displays on his ‘particular lady’ and the importance of revealing admire to the females in a single’s existence, preaching his highly wonderful message over soothing reggaeton-tuned RnB melodies.

On ninety nine, he bares his experimental tips on the party-starting up Amapiano jam, with seamless chemistry between the total singers, moreover Asake’s moderately lowered-out offer and recording.

Across the collaborations he explores several melodic terrains, with voices that complement every recording, embracing his daring tips that stretch his musical identification as a globally appealing musician. The Gaps

Per flaws, the album contained some waning songs including Duro, Ruba, and the album’s outro Stronger (with Boj), which level in direction of recording and mixing gaps. Moreover, cohesively, the album feels too relaxed and mellowed, revealing gaps in tracklisting, recording and audio mixing.

With 10 albums previously within his arsenal, Olamide’s voyage as a musician modified into once meant to moderately hunch alongside with the bound across familiar waters. Nonetheless, on Olamidé, he offers newer expressions of his less-familiar energy, which is singing. Many of the songs create for an infinite hear, exposing us to a contemporary-day or ‘hybrid’ model of the song govt, rapper, and singer.

Nonetheless, at any time when and wherever the Fuji-tuned jam Hybrid or the Amapiano-leaning Lalakipo comes on, one is poised to throw caution to the wind and take away pleasure within the euphoria of the ‘gbedu’ (party jam). This energy of the singer, setting up song that's firmly rooted in expertise and devotion to his predominant audience, whereas quiet expanding his scope in direction of European and American palettes is precisely the rebrand or ‘miseducation’ that the album objectives to be in contact.

Attributable to Lauryn Hill, for popularising the thought that of constant self-discovery and adapting one’s song vogue to suit that boost; due to on Olamidé, the musical boost is clear, upward, and, hopefully, transient.