Nigerian rapper Olamide scarcely needs any introduction. He is one of Nigeria’s most successful rappers, and he has also given others a helping hand. In the last five years, he has been in a semi-retirement stage—much like his mentor, Jay-Z—while helping Fireboy and Asake navigate the industry. After months of anticipation, his new album, possibly the much-fantasised parting gift, Unruly, has been released.
Truly, it is unruly.
The release date was quite unusual: Wednesday, August 9, 2023. That is not the unofficial album-release day in the world. Artists hardly release albums on that day of the week.
Olamide’s, also called King Baddo, album releases have always been moments fans anticipate. I still remember where I was and how I felt when Olamide released his last two projects, Carpe Diem and UY Scuti. I was unaware of the release date of Unruly until I woke up four hours into August 9, 2023, and my inbox was filled with messages from Olamide’s fans.
2022 was a mild year for Olamide. His two solo singles, “Hate Me” and “We Outside,” failed to boost his brand. This year, things seem to have changed for the better, as two singles, “Trumpet” and “New Religion,” made some waves in the music space. The songs became the torchbearers for the new album, offering a brilliant teaser of what to expect on Unruly. The timing between the singles was also right.
Olamide featured just five artists on this album. The other ten tracks are standalone. Eskeez and Magicstics, Asake’s longtime producers, worked on the majority of the songs. With over a decade in the music industry, Olamide attempted to satisfy diverse demographics with this album. There is the Gen Z generation, there are Olamide’s early fans, and there are also people in their 50s and 60s who are familiar with some of his songs. Simply put, there were many mouths to feed with this album.
It is always hard to satisfy different fans, yet Olamide made some brilliant attempts. “Celebrate,” which kicks off the album, takes fans through some of Olamide’s musical journey. It is a song for a victory lap, the type you sing after a major accomplishment. Olamide has nothing to prove. For him, the accomplishments he has made are enough, and he is thankful to the highest for this.
The intro of “Jinja” takes from “Rock,” off UY Scuti. The Amapiano elements in the track brighten the song. Olamide’s flow takes a cue from the Galala music genre. On “Problem,” Olamide finds it hard to be the motivational speaker he aspires to be. He hardly stays on topic. He allows the log drum to dance around the song.
Olamide has claimed to be from the streets. He makes music for that demographic, as well as the elite. Some songs on this album are created for the street. It shows in the lyrical compositions, choice of beat, flow and more. The street emblems are written all over these tracks.
For example, a track like “Gaza” is for the street. The lyrics are filthy and sound like a freestyle. Olamide returns to this template on “Doom,” only this time, with the production slowed down. This allows Olamide to manipulate his vocals and achieve the desired result: giving the street a jam.
The featured artists on this album take tracks six to ten. The previously released “Trumpet” finds Olamide and CKay singing about ballads and living a good life, as CKay tries to win a girl over with his voice while Baddo delivers his verses about living an easy and private life. The track is a fusion of pop and Hip-Hop.
BNXN’s legendary status as the go-to guy for hooks remains unshaken. If there was ever a doubt, a spin on “Come Alive” will change your mind. His brilliantly written hook lays the foundation for Olamide’s braggadocious two verses.
The sweltering “New Religion” swirls between Afrobeats and Amapiano, as Olamide and Asake leverage their strengths for a celebratory tune. Fireboy could have made a whole song off his hook on “Shibebe”; it is that good. Olamide’s verse is a disservice to Fireboy’s dazzling hook.
Rema, the Mavin Records-signed artiste, puts in an effort on “Mukulu” that is so forgettable that one wonders why the track was not taken off the album. It is a dreary attempt at making a hook. It is even a disrespect to the fans for Rema to have laid this blathering hook.
“Hardcore” sounds like something created for Hip-Hop fans, the ones who love Baddo’s raps. Nothing is hardcore about this track; it is just Olamide having fun in the studio, perhaps after some puffing.
“Supplier” is a return to making a street jam, a freestyle that takes inspiration from UK grime. “Life Goes On” is arguably the most personal track on this album. Olamide sings about life changes. The message of this song seems to be reserved for old friends and enemies alike.
“No Worries” and “Street Jam” are the final two tracks on the album. On the former, Olamide makes peace with life’s challenges while remaining full of hope for what life will bring.
“Street Jam” reminds one of “Voice of the Street” from the YBNL album (2012). This track is significant. It is a way of paying homage to the street and appreciating them for their support.
At just eight seconds short of forty minutes, Olamide takes listeners through a journey. His attempt to satisfy the different travellers remains a hard knot for him to crack. Beyond the Rema feature, all the other features come off well. They are not even many, so that gives Olamide ample opportunity to give the fans what they desire.
In the course of penning this review, the question of whether this is the much-fantasised parting gift arises.
No doubt, some tracks will become hits.
Come on, this is Olamide, a one-time street lord. This album has a slim chance of taking its place on the legendary or classic list of Nigerian albums. Olamide relied heavily on Amapiano. Remove that genre from this album and you find a watered-down project.
The number of tracks and the timeframe are kept short. This is a smart move.
Where does Unruly rank in Olamide’s discography? This album ranks above the polarising Lagos Nawa. However, it is nothing close to the seminal Carpe Diem.
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