Wizkid Reflects and Innovates in Morayo

Ikenna ChurchillNovember 23, 20244 Mins read42

The title Morayo means “I see joy” in Yoruba, encapsulating the essence of Wizkid’s latest album-a celebration of his roots, his artistry, and the evolution he has gone through to become one of Afrobeats’ most influential voices. Coming on the heels of great personal milestones, including the recent death of his mother, Morayo is an album that feels both deeply personal and universally relatable, a spectrum of sounds blending tradition with innovation.

Wizkid has never failed to push the boundaries of his genre, and Morayo doesn’t disappoint. The 16-track album runs through a myriad of sounds, sampling multiple genres while remaining Afrobeats to the core from track one through its emotive end; Wizkid does well to prove that he’s still capable of creating timeless music and, for a record, one of the most consistent acts in the industry.

The album starts with “Troubled Mind,” a track that immediately signals a return to roots. Featuring a live sample of King Wasiu Ayinde at Wizkid’s mother’s funeral celebration, the song weaves Fuji rhythms into modern Afrobeats. This chilling infusion of culture, capped by that iconic callout of his name, gives a sensual and ceremonial vibe to the album’s opening notes.

Another great track included here is “Karoma,” an Afrobeats classic song representing Wizkid’s signature tune. The deep, reaching drum patterns and melodic flow will make this one fit right at home with songs with a special place in their hearts. Songs such as “Bend” also excel in this category; its catchy beats push listeners onto the dance floor while showcasing Wizkid’s unparalleled control over rhythm and melody.

Piece of My Heart, featuring Brent Faiyaz is an exceptional blend of R&B and Afrobeats, both genres Wizkid has easily mastered. The song’s smooth rhythm and heartfelt lyrics revisit the nostalgic feeling left by the classic Wizkid charm of earlier projects, all while keeping things fresh and modern. As the first single from the album, it hinted at the versatility and emotional depth that would define Morayo.

Bad for You” featuring Jazmine Sullivan, is the soul of this album. Jazmine leads powerfully and with emotion, while her vocals blend with Wizkid’s understated delivery perfectly, creating a balanced yet striking collaboration. It’s her performance that gives weight to this song, making her one of the most memorable features on Morayo.

Soji brings the vibe from Wizkid’s earlier love sound into play. On Don’t Care, Wizkid essentially states that his spot at the top isn’t about to budge, though the rivalries between the fans and online banter-even though he sometimes instigates it himself-remain heated. The track’s upbeat tempo and resounding chorus mirror his carefree attitude toward the drama, further solidifying his place in the conversation. Meanwhile, Break Me Down treads into dancehall territory. Its rhythmic and smooth delivery showcases Wizkid’s ability to combine genres while remaining true to his sound, adding a lively yet emotive layer to the album.

Morayo shows Wizkid’s versatility, as the album delves into genres such as Fuji, Afro-Juju, R&B, and dancehall. In “Time,” for instance, it’s a silky-smooth romantic ballad with R&B influences; Wizkid’s vocals soar above the crispy drum patterns. The arrangement is deliberate, from heritage-driven tracks down to contemporary genres.

“Kese (Dance)” is an Afro-Juju and Afrobeats fusion that recalls Fela in his prime, inspiring groovy instrumentation. The song had that old-school Wizkid feeling; it took me back to the “Joro” days. Meanwhile, “A Million Blessings” opens with a sweeping orchestral arrangement and grand and elegant tone, setting the scene for one of the album’s most cinematic parts. The song is an ode to aspiration, chronicling Wizkid’s life as a global superstar while keeping the narrative relatable with gratitude and ambition. Its majestic soundscape and powerful theme make it a standout track that no doubt needs a music video to realise the vision.

Wizkid’s features on Morayo make the project more three-dimensional, showing how well he can blend in with his fellow artists. “Bad Girl” featuring Asake is an exciting follow-up from the pair, even if it doesn’t quite rank up there with the album’s best features. The two artists’ synergy hints at the possibility of future projects.

“Après Minuit,” featuring Tiakola, is a love song that needs no translation. Tiakola’s French verses, complemented by Wizkid’s soulful delivery, make for a truly eclectic mix of culture and sound. The song was co-written by Tay Iwar, whose fingerprints also appear on “Million Blessings and Lose,” further elevating the album’s lyrical and musical quality.

Another highlight is “Slow,” featuring Anaïs Cardot. This is an R&B duet of love, as the artists take turns delivering lines that feel intimate and organic. The little back-and-forth chemistry makes it a performance-ready track that fans will no doubt look forward to seeing live.

As the album winds down, Wizkid delivers some of his most poignant tracks: “Lose” is an introspective set that shows the pain and victories he has gone through, while “Pray,” the album’s closer, is in itself a bold statement of thanks and assurance. With the lyric, “I know my mama pray me,” Wizkid reflects on his journey, honouring his late mother’s influence while affirming his belief in divine protection. Dedicated to his late mother, “Pray” wraps up the album’s theme of joy and resilience, making for a powerful emotional connection.

One of Morayo’s strongest aspects is its meticulous arrangement, where Wizkid begins by paying homage to his roots and gradually transitions into contemporary genres like Afro-R&B and dancehall. This thoughtful progression ensures that each track feels intentional and cohesive rather than a random collection of songs. Morayo builds upon the blueprint laid by Made in Lagos, a pivotal album in Wizkid’s career, where he showed he could craft a globally appealing sound without losing his Afrocentric identity. While Made in Lagos leaned more towards Afro-fusion and R&B, Morayo sees Ayodeji diving deeper into his root sounds with a plethora of new genre experiments that make for a versatile listen and further accentuate Wizkid’s growth as an artist and a sound curator.

Morayo is a brilliant addition to Wizkid’s discography, showing his prowess in fusing genres and storytelling. Some tracks, such as “Million Blessings” and “Karoma”, show innovation while still being in touch with his roots. The features are well-placed, each bringing something different to the table, even if some shine a little brighter.

The only criticism, if any, would be that Morayo could have had a title track that defined the project- a creative direction not explored in Wizkid’s albums. Even at that, Morayo stands as a cohesive, emotionally resonant body of work, a homage to heritage with an embracing modernity.

Morayo by Wizkid is a statement of his artistry and growth. It was a balancing act that blended nostalgia with innovation, further embedding him as the artist who has defined genres. The full-bodied sound and well-executed thoughts make this album an 8/10.

WAW RATING: 8/10