Our First Impressions of Olamide’s ‘Olamide’ album
The NATIVE team give their early thoughts on the Afropop giant's 11th solo studio album.
10 solo albums into a glittering career, the legend of Olamide is largely written. When the historians of the future revise the period between 2010 to 2024, they’ll find a legacy that’s been forged through countless hits, cultural-shaping contributions, and an equally successful pivot into becoming an Afropop executive with his ears close to the ground.
While Olamide has undoubtedly morphed into an excellent executive, he still has the zest for music that saw him rise from a young upstart working his way out of Bariga to a global music icon. The hunger made his assertion that 2023’s ‘Unruly’ would be his final album unbelievable for long-term Olamide listeners. True to expectations, Olamide has continued to release music with 2024’s ‘Ikigai / 生き甲斐’ serving as a palate cleanser for him.
His new eponymous album finds him in unrestrained territory with nothing to prove and a lot to be appreciative of. As his 11th album, it’s also his most globally reaching album, boasting two songs with Wizkid and collaborations with Popcaan and Dr. Dre. Still, the Street-Pop icon does not forget his origins, teaming up with Seyi Vibez on two songs and tapping his protege, Asake, for an exciting interpretation of Afropop on “99.” At an age where many of his peers are content to put their feet up and call it a day, Olamide is still evidently raring to go.
After our first couple of listens, here is The NATIVE’s team sharing their early thoughts on ‘Olamide.’
FAVOURITE SONG
Wale: I love “Stronger” with Boj. I saw a tweet that Olamide made about them finally having a song together on the album, and I was looking forward to that. I like the fact that girls who have gone through toxic relationships and come out on the other side of it have something to turn up to. Boj’s chorus is very mellow, allowing Olamide to dig in on his bars, and that just works perfectly on “Stronger.”
Boluwatife: I’ll pick “99,” but it’s probably because of familiarity bias. I thought it was underwhelming when I first heard it, especially considering the stacked lineup, but it eventually grew on me. It has a chilled house vibe that’s so relaxing and irresistible. It’s exactly the kind of music you want to play when you’re at a beach house with friends.
Bamise: I really like “Hybrid.” It feels like a Fuji action movie and has that Olamide energy that built him up as the OG Street-Pop rapper and icon that we know and love.
BEST PRODUCTION
Dan A: “Indika” is a quick standout on the project production-wise. It’s a quick excursion into Highlife/Palmwine music. It’s highly percussive, the guitars are grooving, and the saxs don’t let you down. It brought the best out of Dr. Dre on Afrobeats, and I need to hear more Olamide on Highlife.
Boluwatife: I think SPINALL did a madness on “Indika.” The bass guitars, the percussion, the trumpets, everything seems layered to perfection. Dr Dre & Olamide’s smooth verses are both strong on their own, but they sounded even more pristine over SPINALL’s lush and groovy beat.
Dan B: The production on “Indika” was superb. The beat that SPINALL crafted was the perfect blend of Afrobeats and Hip-Hop to allow Dr. Dre and Olamide to have as much fun with their verses as they needed; nothing sounded out of place.
WHAT WAS YOUR FAVOURITE VERSE
Moore: I enjoyed most of “Luvaluvah,” but particularly the the part where Olamide goes, “Lova lova mi/Don’t you suffer me/Treat me special, treat me properly/It’s a cold world/My baby cover me.” It perfectly captures the yearning feeling of the song.
Israel: Wizkid’s verse on Olamide’s “Billionaires Club” is hands down my favorite moment on the entire album. It feels like vintage Starboy with a new edge. The way he slides into the beat so effortlessly, blending Pidgin and English with that cool, understated confidence, just commands your attention without ever raising his voice. There’s a calm luxury in his delivery that matches the theme of the song perfectly. He sounds like someone who’s already won, who doesn’t need to prove anything, and that energy is infectious. It’s one of those verses that reminds me why Wizkid is still in a league of his own.
Sien: For me, it’s the first verse of “Lalakipo.” It gives me the feel of an Olamide song I listened to in high school, but also the newness of a song I know will get me on my feet at the club
BIGGEST SKIP
Sien: I’ll say “Ruba.” I love a Semzi and Olamide team-up, but for some reason, this doesn’t speak to me. Still, a part of me also feels I might end up revisiting this song more frequently.
Wale: I don’t like dancehall-leaning Olamide as a principle. I think it’s not a style of music that suits his best strengths, so I have to go for “Rain” with Popcaan. Olamide sounds insipid on this one and doesn’t particularly mesh well with Popcaan. I doubt I’ll be revisiting this one.
Dan B: “Ruba” didn’t do much for me, the song felt a bit weaker than the other tracks on the project, especially since it’s coming after such a heavy hitter like “99.”
WHAT’S THE BIGGEST POTENTIAL HIT
Dan A: “99” and “Indika” for sure. I didn’t think “99” got enough love as a single simply because people placed too much expectation on the music when the lineup on the track was announced, but I think slowly, the people are starting to see the beauty in the track. “Indika” speaks for itself, it’s groovy, it’s slightly different from what we’ve come to expect from Olamide, and it will resonate.
Boluwatife: It’s a little difficult to pick a potential hit because it seems the general mood of the album suggests Olamide wasn’t necessarily looking to engineer hit records on this album. But if I must pick one, it’s a toss-up between “Hybrid” and “Lalakipo.” “Lalakipo” is the most club-ready track on the album, while “Hybrid” is reminiscent of the iconic 2010s Olamide era.
Bamise: For me, the first option is “Duro”, it’s catchy, it’s heartfelt, and is a song about the one that got away, something we can all relate to, especially with the added context of the said lover leaving before Olamide came into fame. Men love a grass-to-grace story that elevates them above their ex, and I can see how this song would be deployed to save a troubled relationship or as a crutch to lean on in the aftermath of a breakup. I can also see it taking off on TikTok and other social media apps with the craziest breakup stories ever. Other potential hits, in my opinion, include “Hybrid”, which has that big energy/ street banger feel, and also “99” by virtue of its heavyweight collaborations. All that song needs is to find solid footing online and on the airwaves, and it’s up from there.
OVERALL FIRST IMPRESSION
Wale: This album reminds me of ‘Morayo’ in how it attempts to fuse all the different styles that its creator has worked with across his career. This is a career that’s into its 15th year, so there’s a lot to work with, and Olamide’s ear for innovative production remains a constant too. Interestingly, Olamide is only now just realising an eponymous album, and I had half-hoped that he would lean more towards biographical elements and what’s happening in his life these days, but he just wants to have a good time. Overall, I think it’s an interesting album that just finds Olamide at his thrill-seeking best without making any radical changes to the formula that has served him well recently.
Moore: Nothing about this album feels particularly flashy or concerned with following trends. Instead, it was an emotive project, with lots of range but also cohesion. It made for a very pleasant listening experience.
Israel: My first impression of the project is that it feels really smooth and well put together. Olamide sounds focused and intentional, like he knew exactly the kind of vibe he wanted to create and stuck with it. The production is clean, the features are well-chosen, and there’s this grown, reflective energy throughout the album that makes it feel personal without being heavy. It’s not trying too hard to be a hit record, but it still has replay value. It feels like something you can live with for a while, and that’s what I appreciate the most.
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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