The Best Features on Davido’s ‘Timeless,’ Ranked
Including Musa Keys, Morravey & more
Since his debut on the scene in 2017 with “Dami Duro,” Davido has edged out the competition with ease. From his debut album ‘Omo Baba Olowo’ with standout tracks such as “Back When,” “Ekuro,” “For You,” and more, he’s consistently spoken directly with his audience through his music and bypassed naysayers on his way to the top. His omnivorous album fast-tracked Davido’s name as a household name in Afropop history. While his return to a cohesive body of work didn’t come till almost seven years later, Davido never strayed from the limelight, keeping his legion of fans satisfied with groovy cuts and meme-able chrouses from 2017’s “FIA” and “Fall” to 2018’s “Assurance,” and more recent cuts such as Popcaan-assisted “Risky,” “FEM” and “Ke Star” featuring Focalistic.
His latest and fourth album ‘Timeless’ arrived last Friday after personal delays, but its record-breaking reception so far shows that its suffered very little from this. With the release of his new album, Davido brings to full picture the decade-long journey to the top of his game. A serial hitmaker in his own right, he wastes no time threading high concepts and innovative imagery buoyed by the album’s well-tuned production. While he establishes his signature identity and litters the project with delicious new slangs, he also welcomes a talented spate of artists into his world, both new and experienced–making way for their talent to shine while keeping him in the limelight as the skilled auteur.
There are nine features on ‘Timeless,’ a notable decrease from the stacked guest features on his 2020 album ‘A Better Time’ which welcomed artists such as Nicki Minaj, Lil Baby, Hit-Boy, Nas, Sauti Sol, CKay and more into his orbit. On ‘Timeless,’ no feature is out of place and Davido ensures that his guests flex their muscles and capabilities across the project’s 49 minute run time. Set up by outstanding performances by Davido and stellar production by Magicsticks, all collaborators on Davido’s highly anticipated fourth studio album, ‘Timeless,’ had big shoes to fill. From Skepta’s sleek bars, the dulcet vocals by new DMW signee, Morravey and more, here are The NATIVE’s best features on ‘Timeless,’ ranked.
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9. “U (JUJU)” – SKEPTA
Skepta has a soft spot for his African kindred and it’s visible in his numerous collaborations with Nigerian Pop stars. Whether it’s working with Wizkid on “Glow In The Dark,” Skepta has continuously tapped into his African roots bringing Africa to the world while simultaneously bringing the world to Africa. On Davido’s “U(JUJU),” the alluring saxophone paired up with the mid-tempo log drums accompany Skepta as he puts his best foot forward. The romantic number finds Skepta rapping about his adoration for his muse, “…while guys were switching sides you were there for me…” while tackling the challenges experienced in a relationship with a star. Closing off with lamba as he raps, “I never sleep sabi no dey worry me,” he puts a perfect cap on the single as Davido picks up the chorus.
Tela
8. “BOP” – DEXTA DAPS
Davido and Jamaican act Dexta Daps had previously collaborated on the 2021 single “Scripture,” a sensual, R&B-flavoured tune. They continue their connection on Davido’s “BOP,” an uptempo production with Dancehall influences. Like on “Scripture,” Davido and Dexta Daps are concerned with their affection for the female anatomy; with his verse and chorus, Davido sets the pace, while Dexta Daps, on his verse, utilises his patois delivery to add colour to the track’s hedonistic tendencies.
Uzoma
7. “NO COMPETITION” – ASAKE
Asake and Davido are a match made in heaven. After emerging as the undisputed champion of Afropop ‘22, his appearance on ‘Timeless’ seemed fated–a further crowning of his hit-making abilities. To the host’s credit, “NO COMPETITION” isn’t usurped by Mr Money. They’re both rather in synergy with the warm vibe the song exudes, their distinct styles making for a great record. Davido does absolutely fantastic on the opening and closing parts, paring down his vocals to mirror the theme of love. Asake’s verse however bursts in so unpredictably, taking on a rhyme scheme that elevates the mood as the production swells about him. In a way similar to Lil Durk on Drake’s “Laugh Now, Cry Later”, the feature thrills and then cedes way for the host.
Emmanuel
6. PICASSO- Logos Olori
On “PICASSO,” there are two winners: Davido and Logos Olori. Both label owner and latest signee exhibit a chemistry that portends great fruits for the future. Before signing to Davido’s label and making an appearance on ‘Timeless,’ Logos Olori was making music independently, playing with diverse sounds and genres and fashioning a way out of the Nigerian underground music scene. From 2020’s “Shine” to 2021’s “Iregullar” to last year’s “Lale,” the music act was building the foundation of the moment he enjoys currently.
On the R&B-tinged, cravings-full “PICASSO,” Logos Olori’s post-chorus is sweet and memorable, employing simile and metaphor as he sings “So baby draw me closer like Picasso” and “Make I sing and make you dance Awilo.” It’s his smooth vocals that give those lyrics their potency, and Davido, too, offers a fine showing with his impressive performance. While Logos Olori’s talent is undebatable, the major takeaway is that music lovers should expect—and will love—more tunes from both artists.
Uzoma
5. “KANTE” – FAVE
When Fave first caught onto Afropop audiences through a freestyle released during the pandemic, her voice was the decisive trait. It was fully embodied yet dynamic and could be playful and sensual if it needed to be. In the years since, those distinct vocals have been on wonderful display on her ‘Riddim 5’ EP and features with the likes of Olamide and Ajebo Hustlers, demonstrating a range that’s seen Fave mentioned in the same breath as the greats.
On “KANTE,” she gets unarguably her biggest feature yet and boy, does she own it! The beat nodding to Dancehall’s rhythmic pomp, Fave finds herself in familiar terrain. Enunciating the perspective of a lover enjoying intimate moments, she conducts the record, setting the perfect atmosphere for Davido. “Like Kante your skill is precious, you can’t change the whole direction,” she sings on the chorus, using the celebrated French footballer as a parallel for the iconic figure she shares space with on this ‘Timeless’ record.
Emmanuel
4. “CHAMPION SOUND” – FOCALISTIC
Released as a single and sitting within the soundscape of ‘Timeless,’ “Champion Sound” is a revered banger. Like the rest of the project, loaded with great vibes, joy and optimism -as expected from Davido- “Champion Sound” couldn’t have been a more perfect choice for the album’s closing track. Like the game of tag, the duo effortlessly glide in and out of the track, bragging in Pidgin English and SiPitori with verses bursting with catchy bars and distinct adlibs. Sitting within the spectrum of Amapiano’s buzzing synths, the dance track closes out the highly anticipated album on a cheerful note, capping off a welcome return for 001.
Nwanneamaka
3. “NA MONEY” – ANGÉLIQUE KIDJO & THE CAVEMEN
When the track list of Davido’s album was released, “NA MONEY” was one of the songs that instantly caught the attention of music lovers. Sibling duo Kingsley and Benjamin Okorie (of The Cavemen.) have introduced excitement into the African music catalogue with their style of experimental Highlife, recalling old sounds and modernising them for a younger audience. Angélique Kidjo is…well, Angélique Kidjo: Grammy winner and renowned performer of multiple genres around the world. What would be the result of combining a veteran, a pioneer of contemporary Nigerian music and two new talents? “NA MONEY” holds all the answers.
Produced by 1da Banton, who is also an artist, the track is a comfortable setting for The Cavemen.: Highlife. The surprise, though, is Davido. He easily finds a spot for himself on the song, matching the energy of the Okorie brothers without missing a step. It’s pure synergy, as all three flow in and out of one another’s verses, absorbing themselves into the percussions and delightful guitar riffs. Angélique Kidjo, as the master that she is, adds icing to the cake with an effortless, melody-rich delivery. In tandem with the theme of the song, Davido, The Cavemen. and Angélique Kidjo contribute to making “NA MONEY” a tastefully-made piece of music.
Uzoma
2. “IN THE GARDEN” – MORRAVEY
Morravey’s debut on ‘Timeless’ was nothing short of charismatic. While we all know Davido’s wide range palette in crafting love numbers, Morravey added a new feminine spice that came with authentic naivety that equalled the sincerity in her words. As she crooned over the bouncy afrobeat production “..never seen a man like you..” Morravey’s verse adds an extra layer of depth and dimension to the track. Showing off her sultry vocals and her daring nature as she hit the high notes while opening the track, “IN THE GARDEN,” was precise with one message clear: it’s Morravey’s time and we should all make way for the queen.
The glistening production from Rore only brought Davido’s vision of the project to life as he and Morravey exchanged verses of love that is pure. Sounding like an ancient love letter to your significant other, “IN THE GARDEN” is a sweet remorse of the beauty that love embodies.
Tela
1. “UNAVAILABLE” – MUSA KEYS
Considering standout tracks like “Kancane,” “Selema (Po Po)” and more under his belt, South African Afro-House frontliner Musa Keys and his eccentric artistry are visibly drenched in gently syncopated synths and rich harmonies. So when the ‘Timeless’ track list was revealed with a feature from Musa Keys, any fans of Nigerian Pop and Amapiano were bound to be excited. Having collaborated with the likes of Focalistic, Abidoza and Sho Madjozi, Davido and Musa Keys would expectedly be a perfect sonic match and the pair did not disappoint.
With Davido’s delivery on the catchy hook, “I’m unavailable, dem no dey see me” and Musa’s euphonious vocals paired with the glittering production by Magicsticks, “UNAVAILABLE” is deservedly already a crowd favourite a few days after the project’s release. Operating within the familiar soundscape layered with intoxicating drum patterns and rhythmic keys, Musa Keys is set up for a stellar delivery by Davido’s outstanding verses. Following the second rendition of the track’s captivating hook, Musa Keys’ mellifluous sound perfectly contrasts Davido’s rustic one, expertly riding the wave of beat. In a few short seconds, Musa Keys is able to elevate the already glimmering verse with an increased pace on the witty two-liner, “Cause I’m a big propeller, save the remorse/Girls go jealous, cause I dey Banana.”
Nwanneamaka
Featured Image Credits/The NATIVE
ICYMI: DAVIDO’S NEW ALBUM ‘TIMELESS’ MARKS HIS INDELIBLE LEGACY IN AFROPOP
Luwa.Mp4 Releases Riotous Debut Album, ‘punKstA*’
Across the album’s 12 tracks, Luwa.Mp4 continues his fiery exploration and fusion of genres like Punk Rock,...
Rising singer and rapper Luwa.Mp4 has released his debut album titled ‘punKstA*.’ The underground star who has been on a release spree all year long, announced the imminent arrival of his debut only a couple of days ago with a cryptic trailer video and an Instagram caption that simply read ‘PUNKSTA* MONDAY.’
Before the arrival of ‘punKstA*,’ the rising fusion star had been showcasing his diligence and talent with a consistent output that has seen him put out over a dozen songs since the start of the year. A string of singles led to a 6-pack titled ‘lore skooL,’ while a deluxe version that housed 5 new songs came just a month later.
His debut album’s lead single, “pUNK FANTASY,” arrived in late July, setting the stage for what could prove to be a pivotal moment in the underground star’s burgeoning career.
Across the album’s 12 tracks, the eclectic singer continues his fiery exploration and fusion of genres like Punk Rock, Afropop, Hyperpop, and Rap into something uniquely different. Tracks like “Pure Water,” which was previously teased on Cruel Santino’s Subaru Live Stream, the abrasive, Tecno-influenced “pROMISED NEVERLAND,” and the more laidback “pEEp MY RIDE” put on display the sort of varied, autotune-soaked approach that has set him apart and helped carve a growing niche.
While Luwa decided to go solo on his debut, credited as the only recording artist, the album was brought to life by a cast of talented producers like frequent collaborator TOPSY, Emyboi, JTRN, 3CB, FVKK.ANDI and Jeremy Cartier.
Listen to ‘punKstA*,’ here.
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Shekhinah Returns With Surprise Album, ‘Less Trouble’
The South African R&B star is at her most assertive on her first album in four years.
South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption.
The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight.
If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns.
Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,” and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’
Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album.
Listen to ‘Less Trouble’ here.
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The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’
‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...
Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music.
In the lead-up to her new album, ‘Black Star,’ she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.” Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’ As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens.
WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM?
Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.
Bamise: I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that.
Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different.
WHAT SONGS STOOD OUT ON THE FIRST LISTEN?
Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!
Daniel Akins: I need to hear “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2” with PinkPantheress is the collaboration I knew I needed, and I’m glad they finally linked up. It’s a clear standout on the project; their ethereal style complements each other.
Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!
HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?
Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.” The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.
Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.
Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen.
WHAT SONG IS THE BIGGEST SKIP?
Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album.
Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.
Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me.
WHAT SONG HAS THE BIGGEST HIT POTENTIAL?
Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically, TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”
Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.
Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.
OVERALL FIRST IMPRESSIONS
Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa.
Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae. Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will.
Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.
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