Rising Nigerian singer-songwriter Fireboy DML set out to ignite a special kind of late-summer flame with his sophomore album APOLLO. But despite his name, Fireboy’s heat is not so much the raging, all-consuming forest fire that a casual Afro-beat listener may come to expect from the likes of globally recognized Nigerian artists such as Burna Boy or WizKid. Instead, DML creates a smooth, slow-burning sensation with his second release, taking inspiration from the Greek God Apollo, the god of the sun, Fireboy instead embodies a warmth that is unique in the 2020 musical landscape at large.
With the albums introductory track, “Champions,” Fireboy goes full-on Greek god in pursuit of greatness as he urges listeners to “Remember this/I’m a king/A legend in the making/I’m a champion,” on the refrain. The prideful anthem is one of only 3 explicit cuts out of the 17 tracks and brisk 48-minute runtime. In fact, if it were not for the super occasional employment of a few f-bombs, this album wouldn’t even break a PG-13 rating. Much of the project plays out as a buoyant odyssey through the universal ups and downs of modern life. But it’s entice is by no means to the project’s discredit, as no cut ever extends itself longer than three and a half minutes, leaving listeners with an easily digestible collection of songs that’s accessible to almost anyone. To Fireboy’s credit, it’s this consistency that is the project’s strongest selling point as the singeris steadfastly true to the self-ascribed “Afro-life” approach to music. His sound is a unique combination of traditional Ghanaian highlife music as well as reggae, R&B, Afro-fusion and at times, hip-hop. It’s the commitment to a broadness of ideas that serves as the core appeal of this compilation, as well as Fireboy DML’s artistry. His ability to address such common-place themes such as heartbreak, pride, lust, and love helps denounce the notion of viewing non-Eurocentric music as an alien. Fireboy transcends himself onto a universal platform on the same level of quality of other major Western pop stars.
The tenderness that this project exudes maybe a little too sugary for thos who prefer music that both sonically and lyrically plant you deep in your depressed, 21st-century feelings. During these unprecedented times, it seems as though the cultural consensus is behind music that is either so contemplative and reflective it comes off as theatrically sad or songs that are so devoid of substantial meaning that the point is to avoid emotion altogether, ignore our problems, and live in the moment. But on APOLLO, Fireboy tackles the tougher emotional themes but presents them with a sonic sweetness that is refreshing in today’s musical atmosphere. The light instrumentals on the project prove that there is much beauty to be found in simplicity and familiarity as you don’t need to be an Afro-beat buff to resonate with the album’s shimmery pop influences, spurred by the recent resurgence of 80’s synth techniques in modern popular music. Such tendencies are best exemplified by glittery tracks such as the lead single “Tattoo” or “Friday Feeling,” further proving that even if the lyrical content merely scratches the surface level, the production – mostly helmed by YBNL Nation label head and rapper Olamide – synthesizes the album’s eagerness to please as many listeners as possible.
APOLLO is an optimistic and bright endeavor, if somewhat on the nose with its references and feel-good textures, it’s a necessary mental cleanse full of brisk, whimsical moments that’ll add some Nigerian flare to your self-care Sunday playlist.
