When the greatest rapper on the continent decides to name his 15th studio album after himself, you know something serious is coming. For some, the title signaled an introspective pivot, a conscious and reflective work befitting his veteran status, akin to what Nas did on Life Is Good or Jay-Z’s 4:44. For others, it spelled a return to vibes and bangers the kind only Baddo can deliver. But no matter what you expected, one thing is sure an Olamide album always delivers a cohesive body of work with melodies and bangers.
The singles off the album “Kai” featuring Wizkid and “99” featuring Young Jonn, Asake, Seyi Vibez, and Daeclom gave the impression that the album might be on a calm, feel-good level. And with the album’s release being postponed several times, the anticipation reached a peak.
The project opens with Prelude, performed by Fxrtune, an upcoming artist whose voice glides smoothly over soft classical instrumentals. His vocals echo lines like “I feel home at last” and “This is where I belong” lyrics that already hint that this album is about comfort, peace, and growth. The same feeling was reinforced by scenes from Olamide’s album listening party, where he showed up with his wife and kids a rare move. The calm energy around him said everything. This album reflects where Olamide is now: a place of luxury, peace, and control. Right from the intro, the production quality is already at a high, showing that this album isn’t about chasing hits it’s about owning his moment.
He follows that with Hasibunallah, a track first heard on Aktivated Studios a major moment for the platform. The song is built around a chorus that samples Quranic recitation, reflecting gratitude and appreciation to God. It’s a typical Nigerian thing to do to tie success back to faith.
One thing that stands out on this album is the production. It’s clean, smooth, and intentional. Shoutout to producers like P.Prime, Semzi, and Bbanks who brought the vision to life. The sound feels rich and relaxed like the kind of music you play with the AC on, feet up, sipping something cold. This isn’t Olamide forcing anything he’s in his comfort zone, enjoying himself and giving us quality. We’ve had Afro-luxury projects before, especially from guys like Ajebutter22 and BOJ (who’s also on the album), but this one hits a new level. The whole thing feels like Nigeria’s version of a Rick Ross album lush, calm, and expensive.
The chemistry between Olamide and Wizkid continues to shine. They link up twice on the album “Kai” and “Billionaire’s Club” (also featuring Darkoo). Both songs are smooth and easy to enjoy. Wizkid doesn’t do too much he knows how to ride a beat and match the energy. Same goes for Darkoo, who delivers nicely to wrap up the collaboration.
Some of the best songs are the ones where Olamide rides solo. “Luvaluvah” samples Lauryn Hill’s version of “Can’t Take My Eyes Off You” (which she also sampled from Frankie Valli), and Olamide flows with confidence and clarity. His love lyrics are simple but effective, and the sample was used properly not wasted.
Tracks like “Duro,” “Special,” “Hybrid,” and “Lalakipo” showcase the Olamide we all know. “Duro” and “Special” bring that mid-tempo, heavy bass vibe with his smooth flow. “Duro” talks about a love story that didn’t work out. “Hybrid” reminds us of his Fuji roots — a laid-back jam that still slaps. “Lalakipo” leans into a dancehall vibe, with fast drums and metallic sounds that make it perfect for clubs.
Not every experiment landed perfectly, though. “Ruba” continues the luxury and love theme, but the heavy use of auto-tune felt like a reach. It was an attempt to match the album’s chill tone, but it came off a bit forced.
“1 Shot” is reggae-inspired and brings solid flows, but it’s clearly aimed at younger listeners. It offers advice, which you’d expect from someone like Olamide who’s helped build the careers of many Nigerian artists. He drops lines like “Make mama proud,” “Ma lu eyan ni jibiti” (Don’t defraud people), and “Ma fi gbogbo akoko fa loud” (Don’t waste your time smoking weed). But this message clashes with lyrics on other songs like “Hybrid,” where he uses slang tied to internet fraud, or “Stronger,” where he praises weed culture. These contradictions make you wonder: was there a central message to this album, or was it just vibes?
One of the most talked-about tracks before the album dropped was “Indika,” thanks to the rare feature from Dr. Dre. The track co-produced by DJ Spinall starts with Dre flowing smoothly, keeping up with the laid-back energy of the album. Then Olamide enters, rapping in Yoruba, sticking to his roots like he’s always done when working with international acts like Nas, Akon, or Wale. But despite how important this feature looks on paper, it doesn’t hit that hard. But for all its gravitas, the track feels more ceremonial than essential a “bucket list” feature. The track would’ve still stood strong without Dre’s input.
A month before the album dropped, Olamide gave $20K to some TikTok influencers. At first, people thought it was a marketing move. And maybe it was. But this album suggests it may also be genuine love. He name-drops, TikTok influencer, Tunde Perry, known for old age buffoonery on “Indika” and samples Mrescom1’s skit on “Hybrid.” These gestures show that he sees value in these creators beyond their online presence. It’s cultural respect.
“Rain” features international dancehall star Popcaan, but the song ends up feeling more like an Olamide track than a collaboration. He carries the energy so well that you almost forget Popcaan is on it.
As expected, Olamide uses this album to introduce new talent — a signature move in all his projects. This time, he reaches beyond Nigeria. Zimbabwe’s Daeclom shines on “99” with a verse that stands tall beside the industry heavyweights. Fadi from Niger Republic brings a soulful performance on “Paris,” a classy interlude that sounds like something from a French blues club. “Free” sure to be a fan favorite features Seyi Vibez and rising star Muyeez. It’s clear that Olamide isn’t just co-signing them he’s pushing them into the spotlight. Their performances are strong, and they clearly understood the assignment. Olamide himself also steps up with punchlines like: “Even for Abuja, you go think say I be Wike,” and “Eyin ẹ̀kùlẹ̀ lo ota wa but I see am for Canada.” The track ends with Wike’s voice, connecting back to the earlier bar a clever full-circle moment.
“99” had dropped before the full album and featured some of the most sought-after artists in Nigeria. With Young Jonn, Asake, and Seyi Vibez all on the track, fans expected a hard-hitting jam. But the song was slower and more chill than expected. It wasn’t until the full album dropped that the track made more sense within the overall theme. However, even though the song is solid, Olamide’s voice and presence felt a bit lost. In an interview with “Album Talks,” he said the song originally belonged to Young Jonn before ownership switched, which explains why his usual touch wasn’t as clear.
The album ends with “Stronger,” one of the songs Olamide himself was most excited about. Sadly, it ends up being one of the most shallow tracks. Featuring BOJ, the song leans fully into baddie culture lyrics glorifying tattoos, BBLs, smoking, drinking, and sexual freedom. While it masquerades as a celebration of women’s autonomy, it risks sounding like fetishization masquerading as feminism. “If your boyfriend no fit Lalakipo” isn’t empowerment it’s an instruction to consume life recklessly. And in that moment, Olamide the legend veers dangerously close to sounding like an out-of-touch uncle desperately trying to vibe with Gen Z.
Still, overall, OLAMIDÉ is a strong, well-produced album. It’s clean, intentional, and full of variety. The biggest highlight is the production and how much effort was put into making every song feel high-quality. It’s a project that might connect more with international listeners and older fans who enjoy calm, luxurious music. But it also raises a question: will his core fans the ones who crowned him king of the streets relate to this version of Olamide? Or is this his way of reprogramming their taste and showing them a different side of what greatness can sound like?
RATING
Sound & Production = 2/2
Lyrics & writing = 0.9/2
Performance = 1.8/2
Originality = 1.5/2
Reply value = 1.6/2
Cultural impact = +1
8.8/10
WRITTEN BY: KEHINDE ADESOKAN “DANK OF AFRICA”