Davido – 5ive Album Review: A True Representation Of The Artist’s Identity

When you’re Davido, there’s hardly anything left to prove—perhaps nothing at all. He’s never been one to push musical or sonic boundaries. What he is, however, is a hitmaker—and not just any hitmaker, but Afrobeats’ most reliable one.

At this point in his journey, Davido’s focus seems to be on legacy. And to fully cement that legacy, he’s already making the right moves—building a solid discography through consistent release of albums, a noticeable shift from the first half of his career, during which he released only one album and an EP over eight years, empowering artists through his label, and staying true to his identity. For an artist who’s given so much to the ecosystem, this album is not a reinvention; it’s a reaffirmation: Davido knows who he is, and he’s doubling down on it.

Predictably, his fifth album is a party. There were no attempts at a sonic reset or new themes. He makes this known early on the album on 10 Kilo, where he sings, “I know say different songs don come out/but if I no sing about you wetin I wan sing.” It’s an honest reveal to listeners coming to the party with heavy expectations.

After 12 years in the game, there’s not a lot to talk about. There are no new themes to explore, so the logical option would be to stay loyal to the core tenets of his sound. He does so masterfully, delivering what is perhaps the most quintessentially Davido album yet.

After dominating the Nigerian music scene for over a decade, Davido delivers an album that offers a refined version of the sound that brought him to the dance and made him one of Afrobeats’ biggest stars. 5ive doesn’t aspire to break new ground or push sonic boundaries; it’s a collection of quintessential Davido songs meticulously crafted with the confidence of an artist who has nothing left to prove.

At its core, 5ive thrives on the excellence of its execution. The album maintains a seamless flow, with each song transitioning effortlessly into the next, creating a cohesive listening experience. Its curation sets the album apart; from the track listing to the sequencing, every element has been considered.

The album opens with Anything, an introspective declaration that establishes the album. Davido reflects on his position in the industry, sending shots at detractors with assertions that no one can fill his position despite years of dismissal of his talent. The song is a diary and victory lap that builds up into a hook that hits with remarkable impact, a recurring occurrence throughout the album.

Introspective energy flows seamlessly into Be There Still, an examination of Davido’s journey. The song mirrors an autobiography, touching on his public rivalries, struggles, and triumphs. When he declares, “Anywhere money dey make dem call me,” it’s a braggadocious statement of intent, a warning to detractors and a promise to himself that he will “be there still”.

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Records like Nutting Dey and Titanium featuring Chris Brown, which come later on the album, also feature similar themes. He acknowledges the influence of the divine in his life on Nutting Dey, noting how different things might have been “if men had their way”. The song is a spiritual companion to Be There Still, reaffirming his determination to continue winning. On Titanium, he likens himself to the indestructible metal. If he realises on the opening record that he can conquer “anything”, here, he establishes that he cannot be conquered.

He brands himself a Lover Boy on the record featuring Dadju and TayC, which strategically caters to his French-speaking audience. The song traces his evolution from playboy to devoted lover, a character trait he will display in no small part on the album. With CFMF, he delivers a typical Davido filler record that combines his vulnerability and charm. It’s a typical Davido record that is neither here nor there, leaving one without an opinion on the song. The song takes too long to wrap up but seamlessly flows into the exceptional 10 Kilo, which celebrates plus-sized women as Davido recalls the spirit of his classic hit Dodo.

With his signature charismatic delivery, he sings words of affection to his “orobo 10 Kilo” love interest. He remixes Portable’s popular phrase “who go help you no go stress you” into “who go help you no go stammer”—a playful reference to the voluminousness of his bank account and its ability to handle the weight of her financial demands. The song sounds like Davido.

On Offa Me, Victoria Monet brings her sultry vocals to create a beautiful duet that stands among the album’s highlights. While Davido holds his own, it’s Monet’s unforgettable hook that elevates this bouncy collaboration to another level.

Don’t Know feels like a late-night confession wrapped in smooth, rhythmic production as Davido dives into emotional territory, rejecting clout and distractions in favour of solitude and truth. The chorus—“You don’t even know what you do to me”—is both a plea and a confession, revealing the grip his love interest has on him.

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This emotional thread continues on R&B, where Davido enlists Jamaican sensations Shenseea and 450 to explore similar sentiments. The song’s hook borrows a line from Don’t Know as Davido sings, “Abena Abena, don’t know what you did to me.” Shenseea shines particularly bright here, delivering sharp, punchy Patois bars before transitioning into smooth, melodic singing that complements Davido perfectly.

Unfortunately, 450’s contribution feels like an afterthought. He arrives after the song has already peaked, playing the third wheel on a record where the chemistry between Davido and Shenseea is more than enough to carry the moment.

Awuke, featuring YG Marley, is one of the album’s more curious inclusions. While the writer admits to not being a fan of the record upon its initial release, its seamless integration into the album’s flow is a testament to the project’s excellent curation. Awuke, though a weak track, becomes tolerable within the context of the album. YG Marley’s lazy tone raises questions about whether he was the right choice for the song, as his verse does little to elevate it. Overall, the songwriting is underwhelming—as it is on parts of the album—and the exciting production can only carry it so far.

The album reaches one of its sonic peaks with Holy Water, where Musa Keys sounds divine alongside Davido’s background vocals on the hook. Davido eventually steps in with a swaggering verse, while Victony does what he does best. What truly distinguishes this track is its production—the bass has no business being this insane. It’s one of the album’s standout production moments.

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The album’s final stretch begins with Tek, featuring Becky G, who proves to be a competent partner as Davido boasts about his sexual prowess. The track is unabashedly sensual and belongs in the middle of a steaming hot sex playlist. Funds, with Odumodublvck and Chike, is the album’s most successful pre-release single. It thrives on the distinctive styles of each artist, with Ucee’s melody-rich production providing the perfect backdrop for all three to shine individually while maintaining a cohesive sound.

The album concludes with With You, featuring Omah Lay, a track already gaining significant traction on TikTok. Omah Lay delivers some of the album’s most memorable moments, while producer Tempoe crafts a sound reminiscent of his work on Joeboy’s Magdalene. The result is an infectious closer to an album defined by consistency and craftsmanship.

As an artist who has navigated the ever-evolving Afrobeats landscape for over a decade, Davido has carved out a distinct identity as the genre’s most reliable hitmaker. 5ive is a reflection of that consistency. The album doesn’t chase trends or attempt to reinvent his sound; instead, it embraces the musical elements that have endeared him to fans worldwide.

This project is a celebration—a jubilant showcase of Davido’s ability to craft infectious melodies and feel-good records. His approach remains rooted in the core tenets of his music: resonant hooks, vibrant production, and a charisma that permeates every song.

5ive might just be the most quintessential Davido album in his discography. It’s the work of a musician who understands his strengths and leans into them unapologetically. In an industry driven by innovation and reinvention, Davido delivers exactly what his audience expects—and loves.

For long-time fans, the album offers a familiar experience, elevated by the polish and precision that comes with years of mastery. For newcomers, it’s an accessible entry point into the sound that has made Davido an Afrobeats icon. While it doesn’t break new ground, 5ive succeeds brilliantly at what it sets out to do—deliver an enjoyable, expertly executed collection of songs that reaffirm Davido’s place at the forefront of African music.

To truly enjoy this album, you have to listen with an open mind and accept it for what it is. Once you do, one thing becomes clear: this album is freaking great.