Nigerian singer FOLA don show appreciation for author Chimamanda Ngozi Adichie and music legend 2Baba for their contribution to him sophomore album, 9.
On album second track, how many, FOLA sample a portion of Adichie Harvard speech, in which she reflect on relationship between fear, self-doubt, and creativity. “Procrastinating is a form of fear, and it is difficult to acknowledge fear. But the truth is that you cannot create anything of value without both self-doubt and self-belief,” she talk for excerpt.
Singer also sample 2Baba popular song, If Love Is A Crime, on crime, the 11th track on FOLA second album, to pay homage to one of Nigeria most influential musicians and him enduring contribution to country music scene.
For X (formerly Twitter), FOLA share gratitude to both figures, write say, “Today, I’m beyond grateful to Chimamanda Ngozi Adichie and the legendary 2Baba for their contribution to the arts, their blessings on my sophomore, and for leaving my generation multiple standards to aspire to.”
FOLA return with 9, him sophomore album and a 14-track statement of artistic confidence featuring six guest appearances from Davido, Ayra Starr, BNXN, Darkoo, Bella Shmurda, and Zlatan. Album arrive at defining point in FOLA trajectory, when promise of him emergence gradually give way to substance of staying power. Title be both declaration and metaphor as 9 represent striker at peak of him game, forward who know where goal dey and rarely miss. E be apt reflection of FOLA run of consecutive hits since him mainstream breakthrough, period where him steadily transform commercial momentum into compelling artistic identity.
Album open with “awade,” ushered in by unmistakable resonance of gángan, traditional Yoruba talking drum whose expressive, conversational rhythm immediately ground record in distinctly indigenous soundscape. FOLA adopt vulnerable disposition, reflect on him relevance, express gratitude for him progress, and offer prayers for even greater accomplishments. Him interpolation of K1 De Ultimate “awade” add another layer of meaning, connect him present-day ascent to musical lineage wey predate him emergence.
That introspection gradually give way to self-assurance on “how many,” where FOLA turn attention from uncertainty of relevance to labour required to earn am. Line “isẹ́ ojokan, orá maybach” frame him success as consequence of sustained effort. Set against measured instrumental, record draw much of emotional character from arrangement: trumpets lend sense of grandeur, while eerie backing vocals deepen reflective atmosphere. FOLA sound increasingly conscious of wetin him don achieve, but him equally interested in reminding audience of wetin e take to get there. Inclusion of clip from Chimamanda Ngozi Adichie viral Harvard Class Day speech provide fitting closing touch.
Atmosphere expand on “2am in toronto,” featuring Davido, as album begin to loosen introspective grip and embrace more expansive, romantic sound. Davido lead record, him vocals gradually build over delicate guitar strings and piano motifs before FOLA entrance introduce traditional percussion and bright trumpet accents. Production particularly effective in use of contrast, allow instrumentation evolve without losing intimacy of song central theme. Both artists sing about devotion, but dem approach am from different perspectives. Davido lean towards material expressions of affection, while FOLA place greater emphasis on attention, care, and sacrifices wey give love substance.
“stubborn” feel almost like interlude, moment where album deliberately reduce instrumental density to allow FOLA words occupy foreground. Here, him speak with conviction about him intentions towards partner, him willingness to pay price for love, and him determination to remain committed despite opinions of outsiders. Record appeal lie partly in playful directness, particularly in line, “i guarantee your ponmo, let me be your maggi, be your knorr, make I taste that jollof.” Culinary imagery humorous and suggestive, but e also reflect FOLA ability to communicate intimacy through familiar cultural references rather than elaborate declarations. Beneath cheekiness be straightforward promise: him want to be indispensable to person him love, ingredient wey make experience complete.
That devotion take more vulnerable form on “Miss You II,” where album romantic narrative shift from assurance of commitment to discomfort of absence. FOLA find himself caught between memory and anticipation, replay moments with him lover while imagine future wey cannot yet be experienced. Him line, “Like jollof, I go need your plate,” extend album recurring culinary imagery, transform playful metaphor into expression of emotional dependence. Him no just dey miss someone; him dey imagine life dem could share, from wedding plans to countless details wey give relationship shape. In this sequence, “Stubborn” and “Miss You II” operate as emotional counterparts: one express determination to hold on, while other reveal vulnerability wey make holding on necessary.
One of album most energetic moments arrive with “In Order,” record wey shift atmosphere decisively towards dancefloor. Percussion become more animated, trumpets blaze with renewed urgency, and FOLA ride instrumental with ease wey demonstrate him ability to adapt melodic instincts to more kinetic arrangement. E be one of album defining moments because e introduce different kind of conviction.
FOLA return to him R&B sensibilities on “waf” and “Crime,” two records wey foreground melodic instincts wey don help distinguish him music. “crime” particularly notable for sampling 2Baba classic “If Love Is a Crime,” reference wey give song immediate sense of familiarity while allow FOLA reinterpret romantic premise for new audience. Sample deployed with impressive effectiveness, preserve emotional recognition associated with original while give record distinct contemporary identity. Its addictive chorus be kind of melodic construction wey fit linger long after song end, and e easy to imagine listeners returning to am for that reason alone.
That balance between familiarity and individuality continue on “My Type,” him fourth collaboration with BNXN. By now, pair don establish shared musical chemistry wey make their records easy to consume. Once again, result be melodic face-off, with BNXN deliver memorable chorus and FOLA respond with verse wey celebrate plus-size women.
“Hold U Down,” featuring Darkoo, occupy more familiar territory within album romantic landscape. Its thematic direction consistent with record broader exploration of affection and commitment, although its opening moments risk settling into formula wey album don already explore. For moment, song feel as though e might become pass but FOLA second verse introduce welcome resurgence of energy, revitalise record and give am stronger sense of forward motion. FOLA don develop recognisable vocabulary for expressing romance, and that familiarity be part of him appeal. Yet when similar themes recur across multiple records, distinction between continuity and repetition become increasingly important. “Hold U Down” recover some of its individuality through latter movement, even if e no entirely escape familiarity of its premise.
Album close with “It’s Over,” featuring Bella Shmurda and Zlatan, fitting conclusion to project wey don spend much of its runtime negotiating relationship between achievement and gratitude. Song turn towards protection, grace, and appreciation, allow album conclude on note of acknowledgement.
