From Start to Finish, Fireboy’s ‘adedamola’ is Afrobeats Perfection

Ikenna ChurchillAugust 31, 20243 Mins read245

Fireboy DML’s fourth studio album, “adedamola,”showcases the artist’s personal and musical growth. From the moment the opening track, “Iseoluwa”, starts, it becomes clear that Fireboy is in a class of his own. He has a knack for setting the perfect tone at the beginning of his albums, and “Iseoluwa” is no exception. The song is a spiritual and introspective start, reflecting on life’s unpredictable blessings. This opening aligns with his previous album starters: “Need You” from Laughter, Tears & Goosebumps (2019), which radiated a warm, soulful appeal; “Champion” from Apollo(2020), a triumphant anthem of self-belief; and “Change” from Playboy (2022), which was reflective yet forward-looking. Each album begins with a powerful entry, setting the stage for the following musical journey.

“adedamola” is a pure celebration of Afrobeats, yet it also embraces Fireboy’s distinctive Afropop style. The drum patterns, beats, and overall production across each track are grounded in authentic Afrobeats rhythms that are refreshing and invigorating. Tracks like “Iseoluwa” and “Ecstasy” (featuring Seun Kuti) highlight the saxophone’s powerful and sensual sound, adding depth to the album. The use of traditional Afrobeats elements, blended with the catchy melodies and smooth vocals typical of Afropop, along with modern production techniques, makes the album a standout in today’s music landscape. Fireboy takes listeners on a musical journey where each song serves a unique purpose, showcasing his ability to create diverse sounds that cater to different moods.

One of the album’s strongest points is its carefully selected features. Collaborations with artists like Lojay on “Letting Go,” Lagbaja on “Back n Forth,” and Jon Batiste on “Ready” bring a unique flavour to the album. These guest appearances do not overshadow Fireboy but rather enhance his artistry, providing a collaborative magic that only elevates the listening experience. The chemistry between Fireboy and his collaborators feels organic, highlighting his ability to pick the right voices to complement his.

Fireboy’s vocal performance throughout ”adedemola” is exceptional. His voice carries a raw intensity that cuts deep, filled with emotion and clarity. Tracks like “Ready,” “Hell and Back” and “Call Me” reveal his vocal talent, capable of moving from tender to powerful with ease. His delivery is consistently on point, showing that he doesn’t just sing—he performs, conveying every lyric with a sincerity that resonates with his fans. His vocals are the heart of this album, proving once again why he’s considered one of Afrobeats’ finest.

Another highlight is the emotional range covered on this album. From the uplifting “Call Me” to the introspective and healing “Iseoluwa” to the playful and energetic “Wande’s Bop” featuring SPINALL, there’s something here for every mood. Fireboy does not create music for the sake of it; he crafts art for true lovers of sound and storytelling. His lyrics often delve into personal growth, love, and resilience, drawing listeners in with relatable themes that feel both personal and universal.

Remarkably, there was minimal promotional effort behind “adedamola,” yet the album has received a tremendous reception. This is primarily thanks to Fireboy’s dedicated fanbase, who have taken it upon themselves to spread the word about this masterpiece. The album’s quality speaks for itself, turning listeners into advocates and proving that sometimes, the best PR is a well-crafted piece of art.

”adedemola” could easily be seen as a continuation or a “part 2” of his debut, Laughter, Tears & Goosebumps. Both albums are deeply personal, exploring Fireboy’s internal world and growth. Yet, where his debut was filled with youthful optimism and discovery, ”adedemola” comes from a more seasoned perspective, reflecting his experiences and maturity over the years.

The track arrangement on “adedemola” is meticulously crafted. The flow from one song to the next is smooth and intentional, making it an enjoyable and coherent listening experience from start to finish. Regarding album arrangement, Adedamola competes with some of the best in the Afrobeats genre, including Ayra Starr’s “The Year I Turned 21” and Victony’s “Stubborn.” The closing track, “Jon’s Interlude,” an instrumental piece featuring Jon Batiste, provides a perfect end to the album, leaving listeners with a sense of completeness and calm, yet eager to hit play again.

”adedamola” is a 10/10 album with no skips. It captures the essence of Afrobeats while pushing boundaries with its rich, diverse soundscapes and lyrical depth. Fireboy DML has not only created an album; he has crafted a musical journey that reflects his roots, growth, and dedication to his craft. This album is a testament to his evolution as an artist and a reminder of why he remains at the forefront of contemporary African music.

WAW RATING: 10/10

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