When Oxlade came into limelight in 2019, his main attraction was the intensity of his sonorous vocals and his ability to thrive on mid tempo R&an rhythms which solidified his place as one of the fastest rising Afrobeats superstars earlier this decade and also birthed the global smash hit “Kulosa” which became one of the most streamed and most reckoned songs in Afrobeats history. However, in depth and emotional lyricism is not his threshold as he always struggles to make a lasting emotional impression on the listeners.

The release of “OFA” faced criticism for its lengthy delay, leading to a sense of apathy among fans who had hoped for an album sooner. Titled “Oxlade from Africa,” the project aims to showcase his Afrocentric roots and cultural identity. This intention is reflected in his choice of attire on the album cover and the inclusion of Eyo Masquerades at the listening party, highlighting his dedication to celebrating his heritage. A more timely release could have further amplified his connection with his audience.

The album opens with the “D PTSD Interlude”, where Oxlade enlists “Bobi Wine”, the Ugandan musician turned politician, to co sign his status as an African cultural figure. The interlude touches on the trauma of the 2020 ENDSARS protests and briefly mentions the arrest of Oxlade’s manager, “Ojahbee”. While this moment is undeniably personal, it feels out of place as an introduction and seems more like a forced attempt to tie in pan-Africanist themes than a sincere artistic moment. Makes the song cringe worthy.

Throughout the album, Oxlade sticks to familiar themes of romance and self-assurance, but the songs feel more like fleeting glimpses of his talent rather than a full display of his abilities. His falsetto, while impressive, becomes overused, leading to a sense of monotony as the album progresses. Tracks like “Blessed” featuring Popcaan and ‘RMF’ gesture toward the life of a global star, but they hover at a level of ordinariness, failing to push any boundaries.

His 2022 smash hit “Kulosa” was included in the project alongside the five collaborations that was released prior which feels lackluster. Only “On My Mind”, featuring “Tomi Owo” and “Ojahbee”, stands out as a successful fusion of Amapiano and House, while the other collaborations intended to enhance the album’s pan-African theme fall short of adding any real excitement.

Working with African legends like “Fally Ipupa”, “Wande Coal” and “Sarkodie” should have been a highlight, but these partnerships fail to deliver the impact they might have had years ago. For instance, Fally Ipupa’s contribution lacks the spark he once brought, and while “Flavour” shines on the highlife-infused “Ovami” the track feels like a comfortable, familiar groove rather than a bold statement. Wande Coal’s appearance, while nostalgic, sounds dated, missing the opportunity to create something fresh.

“Intoxycated” featuring Dave is a solid track that suits Oxlade’s style with its mid-tempo pace and polished production. However, it feels too reminiscent of the archetypes found in his counterparts project lacking an intriguing twist that sets it apart.

In contrast, “IFA” featuring Fally Ipupa emerges as a standout. The song is perfectly tailored for Oxlade, who glides seamlessly over the palmwine-influenced beat. Fally Ipupa adds a rich texture with his vocals, bringing much-needed dynamism to the track. This collaboration while it didn’t feel contemporary highlights how well-matched artists can elevate a song, creating a more engaging listening experience.

“Ololufe” featuring Sarkodie is a standout track that highlights Oxlade’s dynamic vocal delivery, with varied cadences complementing Sarkodie’s charismatic and dexterous flows. Conversely, “RMF” falls flat as a filler track, lacking freshness both thematically and sonically. Oxlade’s attempt to shift into braggadocio fails to resonate, resulting in a production that lacks impact and memorability.

“Ovami” and “Katigori” offer a glimpse of the potential the album could have fulfilled. Unfortunately, these tracks do most of the heavy lifting, leaving the new material feeling like filler.

Even when Oxlade closes the album with a self-assertive declaration of his status, it falls flat. The album’s 45-minute runtime feels like a slog through tracks that, while competent, never quite reach the heights of what a debut album should deliver.

The lengthy delay of Oxlade’s debut album seems to have influenced his approach, perhaps leading him to believe he could showcase a major evolution in his sound. While the project includes several commendable pop tracks, it feels somewhat ambitious for a debut.

By exploring new musical approaches without first solidifying his established identity, Oxlade risks losing the connection with fans who may be looking for continuity in his artistry at this stage. A more gradual evolution could have better served his growth as an artist.

Rating: 6.0/10

_{Written by: Kehinde Adesokan}