390 days ago, Adedamola Adefolahan formally informed his fans that he was working on his third album. “Peru”, his international breakthrough, came with the line: “I'm not playin' with you, I'm not jokin' (jokin') / My third album is loadin'.”

While the album loaded, a few significant things happened. Fireboy became bigger, something he touches on in “Change”; shared the stage with Ed Sheeran at the iconic Wembley Stadium; got into the studio with pop idol Madonna; and watched the original version and remixes of “Peru” rake in a combined 226 million streams on Spotify.

Born in Abeokuta, Fireboy nurtured his talent while schooling at Obafemi Awolowo University, Ile-Ife. By the time he relocated to Lagos in 2017, he was already hungry for stardom. Rather than wait for the opportunity to come to him, Fireboy embraced it when it arrived, and right now, he straddles the global space, moves comfortably among global stars and performs on the big stage. Truly, Fireboy is “scattering” the party.

Related ArticleOghenechovwe Donald Ekpeki Was Convicted In Public. The Correction Came as a Footnote.→

Three singles previewed the album. “Peru”, a freestyle, touches on a mélange of subjects, including sex and women’s clothing. “Playboy” is all shades of self-praise, while the twangy strings and synth-driven “Bandana” offer a biographical account of his rise.

People write, but only a small fraction can be truly poetic with words. Fireboy falls into the latter category. He sprinkles his songs with witty lines and metaphors, embraces hedonism when he wants to, craves love at other times, or sends a supercilious letter to an ex, as he does on “24”.

Fireboy’s high-spirited vibe runs throughout the album. He says whatever he likes on “Ashawo”, co-opts his African brothers to win over a girl on “Diana” and parties when the paycheck is right.

Some of the songs feel like freestyles, while others draw from more personal and existential themes. “Adore” is celebratory, though its simplicity makes it less striking than some of the album’s stronger moments. “Sofri” is built around lovemaking, with guitar strings adding sauce to the track. “Timoti” revolves around lewdness, leaning fully into the album’s playful side.

Fela Kuti-esque Afrobeat production gets appropriated on the anthemic “Afrohighlife”. Here, Fireboy gives a name to the sound he is carving out for himself, and it becomes one of the album’s most infectious moments. The production is rich, while the background vocals add another layer to the song. Fireboy also ditches his trademark legacy-centred album closers for a triumphal tune on “Glory”.

Lyrically, however, this is his least polished album. Fireboy struggles on some tracks and repeats lines—not for emphasis, but in ways that suggest an artiste who did not fully develop an idea before recording it. The confidence that makes the album enjoyable sometimes works against the writing.

“Playboy” finds Fireboy at his most cheerful, but you would be disappointed if you are looking for an elevated use of language in the lyrical composition. He is not chasing the poetic precision that marked some of his earlier work; he is all out for a jolly ride.

Playboy is an album of a star enjoying his new status. The production keeps the ride moving, the melodies are infectious and Fireboy sounds comfortable in his skin. But beneath the confidence is a songwriter who occasionally settles for the first good line instead of searching for the great one. After waiting 390 days for the album to load, there is plenty to enjoy, but not enough to call it his finest work.