Our First Impressions of Fireboy DML’s New Album ‘Playboy’
a coherent and emotionally layered body of work
Fireboy DML is not new to weaving his life experiences into a coherent body of work. Among the artists of his generation, he has proven to be the most eager to create transcendental records within the conceptual plane of an album. So far, so good, as he’s delivered two critically-acclaimed projects since 2019, with the first ‘Laughter, Tears & Goosebumps’ widely earning the tag of a modern classic.
In the latter months of 2021, the YBNL and EMPIRE artist kicked off the run-up to his third movement. “Peru” was allegedly ‘leaked’ by label boss Olamide, but its breezy songwriting and effortless swag soon caught onto a swathe of Nigerian listeners. Not long after we’re hearing Ed Sheeran on the record, raving during international shows how he loved the song on first listen. Ever since, the 26-year-old artist has gotten a bigger international profile, getting on a song with Madonna and not long ago, becoming the first Afropop artist to perform at the main stage of the BET Awards.
‘Playboy’ arrives then, with much fanfare. It arrives on the back of these wins, and is naturally reminiscent of how we received his two albums. If the title, album artwork, and lead single reveals anything, it’s that Fireboy DML is exploring the more sensual aspects of his personality. Given his impeccable record as a writer, this is one album the members of our editorial team would have a great time discussing. In our tradition of first impressions, here are our honest and unedited thoughts about the much-anticipated ‘Playboy’.
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Best Song
Tela: Each song on this album is meticulously produced and curated. Adore and Peru are two contenders fighting for this spot. But I have to give it to Peru. Ever since its release last year, I have been a prisoner of the composition. The constant repetition of “Peru Para” gets me excited and singing along. In my own words, this is an example of timeless songwriting and production. The euphonious singing of Fireboy backed up by the numerous adlibs show that he is a born star who has perfected his craft. The drum bass lines add ferociousness to the song and the display composition doesn’t have to be complex. Its simplicity stands out for me.
Moore: My personal favourite song is the opening track, “Change”. It’s gentle opening draws the listener in, immediately making you focus on its personal, melancholic lyrics. The song consistently swells until it reaches its peak of intensity as Fireboy belts out his complex feelings about his changing life. It’s a song filled with raw emotion about very specific feelings in Fireboy life, while also capturing a feeling of anxiety that everyone can relate to.
Wonu: “Ashawo” is definitely my best song off this project. I’m a big fan of how he tells the story of the Lagos dating pool with such finesse. Of course, the message isn’t ideal, but it’s an extremely catchy song. Over this jumpy Telz production, Fireboy floats smoothly on the song. He goes from mostly being not so apologetic about his playboy ways on one verse to sounding committed in the next; how typical. Using repetition techniques on the hook, Fireboy is able to draw the listener’s attention in a few seconds – an art he seems to master over this album, other examples of this found on “Peru” and “Sofri.” “Ashawo” has the suave production and melody, and general aura of a potential hit song.
Oluebube: The best song for me on this album is “Change.” The song particularly speaks to me and reminds me of the EndSars protest and how the youths were united for a single cause. It is also very inspirational, as it speaks of those expectations that people have of you when you reach a certain level and how you have to live up to those expectations.
Best Production?
Damilola: The production of this album is so amazing and my favourite out of all the songs is “Adore” which features Euro. I particularly like this song because I fell in love with it on my first listening. I haven’t seen enough hype on this song but I believe it’s a sleeper hit with massive potential, especially because the other features on the album include big names like Chris Brown, Rema and Ed sheeran. If people decide to relax and listen to “Adore,” they would realise how beautiful the song is. I believe it is very important to give small names a chance too because they deserve the attention as well!
Cynthia: There is a lot of creativity and diverse sounds in this album that one can’t ignore. My first choice in the album for best production is “Peru” because it had me transfixed with its stellar percussion and soft piano melodies in the background. Shizzi has been known for producing great hits and “Peru” is no exception. My second choice would be “Havin’ Fun” which has this reggae old school feel to it. This sound takes us to a different side of Fireboy and allows listeners to see him experiment with new sounds than what we are used to.
Maria: My first pick for this is “Peru.” I’ve already spun it quite a number of times but I can never get tired of it. Shizzi did a great job putting this together as the soft piano chimes in the background go perfectly with the heavy hitting drums to create this groovy song. The melody is memorable and its replay value is through the roof, no wonder it’s already a certified hit.
Next is “Diana.” It’s the perfect fusion of Afropop, R&B and Dancehall. Phantom was in his bag with this.
Emmanuel: I found the production on this album to be quite delightful. However, my body had a visceral reaction to the sizzling percussion and horns of “Afro Highlife”. Before discussing the obvious topic of its title, the production is quite Afrobeat-influenced and carries the energetic live quality of Kuti’s sound. That, to me, was a masterstroke of interpretation because that sound has been constantly rejigged and used, but keeping it fresh… that’s another thing. Now, to the title, I don’t quite hear the Highlife element in this song; the guitars aren’t as prominent as the horns, neither is the delivery quite Highlife-esque. I’ve already seen someone describe the record as Afrobeat, and while I haven’t clocked that in myself, it’s about time we have a conversation about genres and how much freedom the artist should have in naming them.
Biggest potential hit?
Moore: The song with the biggest potential is definitely “Ashawo”. It’s a song that has wide appeal. It has a tempo that’s just energising enough to dance to, but is also low-key enough to not be overwhelming. It’s playful lyrics are also guaranteed to place the listeners in an equally playful, cheerful mood and invite them to sing along.
Wonu: The biggest potential will surely have to be “Ashawo” and for many reasons. One, when you hear “Funkula!” you automatically know something heavy is coming. Telz did something amazing on the production of this record, I must say. Two, Fireboy was passing a subtle message about what listeners of this generation want to not just hear but will also want to speak about. The buzz around the record is not only going to be huge but will also last for quite a while.
Cynthia: “Bandana” has the biggest potential, for me, because it has an exceptional sound that everyone can vibe to and it can be easily understood by the majority of audience plus a catchy feel to its lyrics that one would find oneself singing after a couple of replays.
Best Guest Verse?
Emmanuel: For me, the best guest verse is not even a verse. But what Asake does on “Bandana” just highlights his sweltering status as one of Nigerian Pop’s biggest influencers today. The chorus chant is just one aspect of why the whole thing works; within that boisterous enchantment, Asake’s rhyme schemes and references (“Bandana l’ori biti 2Pac”) contribute to the song’s alluring hipness. Rema did well with his verse too on “Compromise”, layering those slick vocals with sensual purpose; on any other project, he’d be top place. But here Asake is just too contemporary to ignore.
Tela: Euro’s presence on “Adore” cannot be ignored. He simply swerves into the song serenading his muse with numerous sweet nothings with a dash of simping. I love how he was at par with the album and song’s title showing he put an effort. His cadence and delivery convince you of his heart’s desire as he goes off “Violets are blue and these Roses are red, I should be burning these flowers instead.” He is not trying too hard with his lines as he tells you an easy-going story of a playboy in love.
Biggest skip?
Wonu: Well the album does not really have any major skips to me but my biggest skip will have to be “Peru” and this is not because this record is not good quality but because this particular record has been out for over a year and has been on the airways for quite some time but other than that, “Peru” is a monster hit.
Moore: While I wouldn’t rush to skip any song on this project, I’d say the biggest skip has to be “Afro Highlife.” While it’s a very enjoyable song in the right setting, it’s one that needs to be played in the right mood. It’s not as versatile as some of the other songs featured in the project. The fact that I still wouldn’t skip it 9 times out of 10 is a testament to the quality of ‘Playboy.’
Standout verse?
Oluebube: For me, “Change” is still the one. The beats of the drums, piano strings, and the voice of Fireboy just provokes a certain feeling that one can’t help but think. This song particularly stems from a place of emotion especially when he says “stepping in a room and I got everybody smiling. Don’t know if they like me for myself or my talent. Most times I feel like I be suffering but I’m silent.” This just speaks to those fears that we have which are relatable.
Maria: “Change” takes the cake here. Fireboy’s album intros are always powerful as he is an amazing songwriter but this is his best yet. Lyrics like, “See my life’s about to change, but I feel some typa way, everyone around me keeps asking me the same “Are you ready for the pain?” tell the all too relatable tale of the fears that come with a new phase in life. He also touches base on the struggles of being a young superstar, saying “It’s kinda hard to deal with the pressure but I’m trying / “Don’t know if they like me for my person or my talent”. The song in its entirety is resonant, honest and relatable. I get it Fireboy. I get it.
Tela: There is nothing as satisfying as the perfect introduction to an album. “Change” is a soulful piece showing Fireboy DML’s growth. He makes a statement with the song, acknowledging his greatness in the Afropop industry with lyrics such as “…its kinda hard to deal with pressure but I am silent,” a reference to the fact that he is currently on the international watch since the release of the smash hit “Peru”. It might be the piano keys or his prolific storytelling skills but this verse does it for me.
Overall first impression
Wonu: ‘Playboy’ is a solid body of work. Everything about the album stands out, from the production and engineering to the lyrical content. On his debut album ‘Laughter Tears & Goosebumps’, I believe Fireboy had set the bar extremely high but with every new release, the artist continues to redefine himself and his sound. A major takeaway from this album is that Fireboy wants to leave a mark on the world with his music. He doesn’t fail to not just say it but also find a lasting impression that listeners can always hold on to. A very commendable body of work from the artist and all the contributors on the project, Fireboy has another solid body of work under his belt.
Damilola: I wasn’t so pleased with the first song and that gave me a scare because I thought it was going to be like that till the very end. But to my surprise, the album because better as I kept on listening and I love it now! I believe Fireboy is a unique artiste because his music always finds a way to stand out. He has progressed so much over the years and now has big names like Ed Sheeran and Chris Brown on his album which is very impressive. Every aspect from the engineering to the lyricism and the transitioning is perfect and I think you have to be patient while listening to the album for the first time in order to enjoy it.
Emmanuel: Having come through the gates with artistically ambitious projects such as ‘LTG’ and ‘Apollo,’ here Fireboy wants to lay back a little. That, for me, is very crucial in parsing the execution of the album. On first listen you wouldn’t find obviously great songs, but just like “Peru,” I expect a number of songs to slowly warm their way into the hearts of listeners. Eventually, this is the album that reminds you that Fireboy is still a young man after all. He might have made his name being a poet for the sad generation but hedonism still ranks high among art’s enduring subjects. For me, that might be the reason for the relaxed nature of his songwriting here but overall, he does well in executing that particular vision.
Stream Fireboy DML’s third album ‘Playboy’ below.
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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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Tems Partners With Hennessy For Leading Vibe Initiative
Launching in Lagos, Nigeria, this event pioneered by Tems marks the beginning of a continent-wide movement to...
In July, Tems announced the Leading Vibe Initiative (LVI) to support women in music and the creative space on their journey to make a mark in their fields and create space for other women in those industries. Born from Tems’ journey as a self-taught artist with a focus on driving change, the initiative offers training, mentorship, industry access, and community for women in music in Africa.
After a rigorous selection process for its inaugural cohort, Hennessy will join the two-time Grammy Award-winning star to celebrate the launch of the Leading Vibe (LVI) Initiative in Lagos, Nigeria. Held from August 8 to 9, 2025, the two-day event is the beginning of a bold new chapter in Hennessy’s long-standing commitment to music and culture in Africa.
“I’m excited to partner with Hennessy in bringing this initiative to life, supporting talented young women in music as they find their voices, embrace their power, and shape the future of the industry across Africa and beyond,” Tems said about the partnership.
The Leading Vibe Initiative aims to champion the next generation of female artists, producers, songwriters, and music professionals, increasing representation within all areas of music across the continent and beyond.
With Hennessy as lead partner, this ambitious program kicks off with an immersive event in Lagos featuring curated workshops, networking moments, and panel discussions led by top-tier talent from across the global and African music industries.
“Her vision, talent, and purpose align deeply with Hennessy’s legacy of championing those who push boundaries and redefine the world around them. We’re honored to support the Leading Vibe Initiative and to continue empowering African communities and cultures,” said Vincent Montalescot, Hennessy Global Chief Marketing Officer.
Hennessy’s partnership with Tems builds on the brand’s decades-long history of supporting music and artistic expression globally and on the continent. From Hip-Hop to Afrobeats, Hennessy continues to stand beside the artists and communities that shape culture.
In Africa, the Maison has deepened its commitment through meaningful initiatives like In the Paint and now, with the Leading Vibe Initiative, is taking a focused step toward amplifying women’s voices in music. With the Lagos launch as a powerful first step, the Leading Vibe Initiative will expand across Africa and globally, creating a cross-continental network of empowered women ready to shape the future of African music.
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