Five Takeaways from Fireboy DML’s New Album, ‘Adedamola’

One of the better album artists of his generation, a new Fireboy DML LP arrives like a towering ship on shore. It promises high-end musicality, but also considering the range of features — Lagbaja, Jon Batiste, Seun Kuti, Lojay, SPINALL — there’s the potential of discovering new facets to the enigma-born Adedamola.

Here are our takeaways from the new Fireboy DML album.

A strong opening run

The modern Afropop album has often relied on foreshadowing. When a listener hits play on a new album, they should be able to trace the artist’s motivations from its first few records. This has made opening runs very important, and every successful album in recent times has grasped that sense of direct pacing. On Adedamola, Fireboy DML certainly understands, as the triumvirate of “iseoluwa,” “call me” and “ecstasy” settle the listener into the sexy, upbeat direction of the LP. It’s a colorful opener to the project, but more importantly, these records work like complex cardboard pieces, coming together to propel a larger vision even while being accomplished records by themselves.

Sharing space with ingenious musicians

Fireboy DML has always been a purposeful collaborator; from going all-out solo on his debut album, to consistently bringing fine musicians into the world of his sonic ideas. But on Adedamola, he’s even more demanding of his features, calling up names that represent the highest level of their expertise. Sometimes it’s the linguistic verve of Lojay joining forces with his fellow new-schooler (“letting go”), but often Fireboy DML seeks the master: evocative sax from Seun Kuti on “ecstasy” and the iconic drawl of Lagbaja on “back n forth”. Even SPINALL’s hit-laden touch can’t be missed on “wande’s bop” and on “ready,” Jon Batiste shows up with feather-light vocals to assist Fireboy DML in creating one of the year’s best ballads.

Fireboy DML’s assuredness of voice and intent

Anyone who’s informed on the commentary around Fireboy DML will (rightly) perceive this album to be a redemptive moment for the artist. Between the tacky switch over to a playboy persona to the actual disinterest perceived in some songs off the album, critical tongues have sprung up in check against a creative slump. But the artist slowly won over doubters with his last few singles, and with Adedamola, such talks will finally be dispelled (at least for now).

A representation of homage

Two titles starkly represent the ethos of homage across Adedamola. They are “wande’s bop” and “jon’s interlude,” which are titled after the Nigerian sensation Wande Coal and the American pop catalyst, Jon Bellion. In his early interviews, Fireboy DML mentioned both musicians and the British singer-songwriter, Passenger when asked about his musical influences. Giving direct recognition to them, besides being endearing, also represents the intentionality of homage that new school Afrobeats acts are embracing. On HEIS, close friend and colleague Rema does similarly, listing an accomplished number of friends and associates, essentially building a reference point for future conversations. Ayra Starr also does the same on “Jazzy’s Song,” and with Fireboy DML being the latest contributor, being inspired never felt so cool.

There’s no amapiano

Whether you like it or not, amapiano is currently one of the biggest Afro sounds. Since 2021, it has progressively moved into the center of the African sonic tradition, especially for its South African creators but more so because of Nigerian acts, who are typically enthusiastic about incorporating foreign elements into their music. And whether you like it or not, the usage of amapiano drums on a record or album will influence its immediate talking points. A recent example is Lungu Boy, where Asake’s producers subverted his love for the genre into bigger, stateside-aligned bops. But its shortcomings being more lyrical than sonic, what was accomplished in the latter went under the radar.

Fireboy DML has sparingly adopted amapiano into his sonic palette, and on Adedamola, he’s even more distanced from the trend. The 14 songs here are distinct in their drums, and striking in melody base. It’s a dream for the forward-thinking listener, who seeks to hear Afropop without the same old log drums. And with Fireboy DML delivering strongly without those elements, it indeed proves that adapting to novel forms — or improving on trusted ones — will always be a musical hack. He comes unseen, with a story to tell, and no heavy drums to obstruct its narration. We hear him clearly.