Wizkid’s sixth studio album, Morayo, is here! Wizkid was flying high as the world returned to normalcy after an unprecedented global lockdown caused by the coronavirus pandemic. His fourth album, Made in Lagos, was released to critical and commercial acclaim and was globally declared one of the best albums released during the pandemic.
The album catapulted Big Wiz to new heights of superstardom as he had the world eating from the palm of his hands, selling out arenas in record time as evidence.
Since then, he has experienced an unfortunate slump. His last album, More Love, Less Ego, which was supposed to extend his run, failed to achieve mass connectivity and eventually became a dent in his discography despite housing some of his finest performances.
The unfortunate loss of his beloved mother would derail his tour plans for the fall of 2023 and eventually set him on the path to his sixth studio album, Morayo.
Whilst fans might have expected Wiz to tow the path of sobriety and introspection as he did in parts of his last project, S2, Wizkid opts for the opposite direction; Morayo is a celebration.
The album is also another exploration of Wizkid’s brand of R&B that flirts between Afro-pop, Bashment, Afro-fusion, and dancehall. This time the album is dominated by high-energy dance beats that come together in perfect harmony with the mellow and chilled mid-tempo we have become accustomed to.
The party starts immediately with Wasiu Ayinde’s electrifying performance at his mother’s burial, setting the album’s tone. He offers introspection on the opening record, Troubled Mind. He also offers a glimpse into his state of mind on the record, revealing his intentions to keep getting paid as he enjoys the rewards of decades of relentless hard work.
The album kicks off in earnest on the groovy Karamo, where Wizkid takes control of the dance floor, calling on city girls to let loose and move their bodies. Kese treads a similar sonic and thematic path, albeit with an infusion of Fuji drums.
Asake returns for the sequel of MMS as he reveals his admiration for Caribbean women on Bad Girls. Wizkid plays on a soundscape more suited to Asake, a stark contrast to the sleeper-hit MMS.
The party is briefly interrupted by the familiar laid-back, mid-tempo R&B fusion that Wizkid finds comfort in. Piece of My Heart is lush, chilling, and smooth. The second record is world-class R&B. Time is a top-class record in itself. However, it’s too familiar to be exciting.
Break Me Down is a captivating fusion of dancehall, afrobeats, and R&B. However, the song’s potential is somewhat undermined by its weak lyricism, which fails to deliver a memorable message. Despite this, the song’s infectious beat and catchy melody make it an enjoyable listen. Any verdict of the record solely depends on what the listener prioritises, melody or message.
Wizkid responds to the plea of fans who have often asked for a taste of the ‘old Wizkid’s on ‘Bend.’ He attempts to deliver a lamba-driven smash hit record. The record pales in quality with the offering of the ‘old Wizkid’ and sounds too dated to connect with an audience whose taste buds have long evolved past that sound.
On A Million Blessings, Wizkid acknowledges his good fortune on a soulful, mid-tempo track. The celebratory yet reflective song features lush guitar riffs, adding depth and warmth to its uplifting vibe.
Tiakola steals the show on Apres Minuit, delivering a standout performance that shines brightly on the album. R&B powerhouse Jazmine Sullivan is a close second as her powerful vocals deliver the goods on ‘Bad for You’ as Wizkid delivers a familiar dancehall flow.
The album enters familiar territory with Soji, a track that echoes the underwhelming More Love Less Ego era. It doesn’t particularly break any new ground and is a forgettable addition to the album.
In contrast, Don’t Care offers a more compelling glimpse into Wizkid’s mindset as he exudes carefree confidence. With its laid-back vibe and introspective lyrics, Don’t Care is a moment of self-expression as Wiz shows appreciation for his journey.
Wizkid’s storied career is much closer to the end than the beginning, and Wizkid realizes this. He has also realised that he has nothing to prove; this realisation is reflected in his approach to creating music.
He’s so established that he can take on a sultry R&B track like Slow and still get away with a merely decent performance, rather than one that truly elevates the song. His lyrics fall short on this track, much like they did on numerous records on More Love Less Ego, and he seems uninterested in elevating his delivery or making amends.
He closes the album with Pray. The record offers introspection, albeit on a groovy, upbeat note.
In itself, Morayo is a decent addition to Wizkid’s admirable discography. The album is smooth and easy to listen to. Wizkid operates in a soundscape that seems like his safe space, and he has no intention of breaking free from his comfort zone.
For those who expected Wiz to head in a new direction, this album will undoubtedly fall below their sonic expectations, as most of the records may be too familiar to excite them. For those on the opposite side of the spectrum, this album will do just fine.
Morayo strikes a balance. It is not groundbreaking, but it’s not unimpressive. It’s a solid, enjoyable listen that will resonate with anyone who approaches it with an open mind.
To this writer, Morayo feels like the offering of a superstar who has come to terms with his legacy. He knows his best days are behind him, and the limitations of his talents are now more apparent. Rather than clinging to past glory, he’s choosing to exit on his terms. Ultimately, whether or not to listen is up to you.
Review Overview
Summary
Morayo strikes a balance. It is not groundbreaking, but it's not unimpressive. It's a solid, enjoyable listen that will resonate with anyone who approaches it with an open mind.
- Songwriting6
- Production9
- Sequence7
- Enjoyability7
- Delivery6
