5ive is very limited in terms of variation, featuring diverse genres and styles, but presenting an even keel in energy and brightness.
By Abioye Damilare Samson & Yinoluwa Olowofoyeku
Few artistes in the modern Afro-Pop era understand the anatomy of a Pop record the way Davido does. This almost scientific intuition, carried by charisma and a knack for bottling the zeitgeist, has made him one of the most reliable Afro-Pop hitmakers.
Since stepping into the limelight in 2012 with “Dami Duro”, the brash and boisterous anthem that still sends crowds into frenzies over a decade after its release, Davido has remained a generational constant: equal parts global Pop star and a defining figure in Nigerian pop culture whose music, persona, and lifestyle continue to shape the sound, style, and spirit of an entire generation.
The path to becoming that global Afro-Pop titan, however, was anything but smooth. In the early days of his career, his husky, gravel-thick voice became subject to mockery, with many questioning his talent.
But if anything, the criticism only fueled his determination to keep releasing ecstatic records. For an artiste whose music, and, by extension, life, feels like a perpetual search for euphoria, his 2019 sophomore album, A Good Time, marked an attempt to distill that feeling in his music.
Released at a period when Afrobeats had gained significant global traction but was still on the brink of fully cracking new markets, the genre-fluid album crystallised his relentless hit-making run with records like “If”, “FIA”, “Fall”, and more. A year later, in 2020 and still in the thick of the pandemic, he followed up with his third album, A Better Time, a guest-filled project that is more ambitious in scale and execution.
But grief has a way of silencing even the most joyful souls. The loss of his son in 2022 was a heartbreak too immense to gloss over. He withdrew from the internet and retreated into the quiet void that grief demands.
In 2023, he resurfaced with a cohesive album, Timeless, that closes the loop on his time-marked trilogy. The project spawned the global hit “Unavailable” featuring Musa Keys, sold out arenas across continents, and even earned him a Grammy nomination. And now, with the release of his fifth album, titled 5ive, Davido steps into a new phase in his career.
One of the most significant elements of 5ive is its intentional, meticulously crafted rollout, and like his previous four albums, it spans 17 tracks. The album is ushered in by Nigerian poet, Alhanislam’s sublime and emotive spoken word, which hints at the album’s essence through numerology: “5ive is freedom, unbound by borders, rising by lifting others”, she intones.
On “Anything”, he makes a bold declaration of self-worth and dominance. The line “People talk, people talk, but nobody fit fill my position”, acknowledges the online criticism he’d constantly received, but he asserts his place at the top remains untouched. The David and Goliath reference is sharp: “Who born Goliath wey dey micrimo?” He asks this rhetorical question to emphasise his belief that he’s one of the biggest Afrobeats stars and no one is big enough to bring him down.
This theme of indomitable presence flows smoothly into the pre-released “Be There Still”, where he, once again, reaffirms his position as a permanent fixture in the music game. “Anywhere money dey make, dem call me/ I will be there still”, he sings on the chorus. It’s an energetic party anthem, cut from the same Amapiano-driven cloth as the two singles: “Funds”, featuring Odumodublvck and Chike, and “Awuke” featuring YG Marley, prior releases to 5ive.
Davido’s hedonistic desires shine through on the bouncy “CFMF”, where the intoxicating rush of pleasure takes centre stage. “‘Cause I can’t feel my face no more/ I just want a taste, ṣo mọ/ Why you come dey tension oh”, he sings on the chorus. That fixation on romantic obsession resurfaces on “Don’t Know” and “10 Kilo”, though the latter trades the high-energy bounce for something more tender.
On “10 Kilo”, his affection turns soft but intense as he sings: “If you leave me I fit run go mad/ Why I no fit leave you my ọrọbọ ten kilo”. It’s a love letter to a fuller-bodied muse wrapped in admiration.
The collaborations with Victoria Monét on “Offa Me”, Shenseea and 450 on the Caribbean-tinged “R&B”, and Becky G on “Tek” lean deeply into sensuality, offering love-drenched moments that, while uneven in execution, still manage to find their footing. Of the three, “Offa Me” stands out as the most fully formed. Victoria Monét’s verse and chorus glide with lush melodicism, wrapping the song in a hypnotic flow that elevates it into something slow-burning and danceable.
Davido has long proven his mastery of the Amapiano form, especially when in sync with South African collaborators. On “Holy Ground”, he reunites with Musa Keys and brings Victony into the fold. It’s another attempt at a party anthem, but one that stumbles slightly in arrangement.
Victony’s bridge carries the track, and its melodic texture offers a glimpse of what the song could’ve been if more space had been given to his influence. Still, Musa Keys’ chorus glows, delivered with honeyed smoothness that lifts the record just in time.
Tucked into 5ive’s second half, the Selebobo-produced “Nutting Dey” emerges as one of the album’s most thrilling moments. It’s Davido at his most self-assured. “Don’t care what dem say, I don’t need no validation/ So nigga, fuck your opinion/ Ki l’ọn sọ?” he sings with the unbothered feeling of someone who’s seen it all and still stands tall.
That confidence spills into “Titanium”, his latest entry in a growing archive of collaborations with Chris Brown. Their chemistry remains intact, even if this one doesn’t glow as brightly as previous collaborations. Still, “Titanium” is grounded in emotional clarity, built around resilience and love that sees past the shine.
He follows with a similar sense of reflection on “Lately”. The intro beat, reminiscent of Asake’s “PBUY”, sets a familiar tempo, but Davido’s words pull the mood inward. “Lately, lately/ I have been through many things lately/ Pray for me/ Make you pray for me pa”, he sings. But even with the weight of those lines, it doesn’t wallow in sadness. Its chorus blooms into a bright, dance-ready flow.
Across 5ive, Davido continues his mission of bridging sonic worlds. “Lover Boy,” a silky collaboration with French Pop artistes, Dadju and TayC, is an effortless blend of Francophone melody and Afrobeats groove.
5ive closes with “With You,” a warm, groove-heavy track that finds Omah Lay floating gently over the production. At the same time, Davido delivers a gently seductive verse: “Omoge too fine, no be makeup, oh / O ya baby, lay down, oh / Finish work for me, oh”. It’s the sound of a man in tune with his emotions as a lover boy.
Davido has mastered the art of churning out Afro-Pop hits. His penchant for the boisterous and danceable is admirable and practically undisputed. However, simply stacking bangers back to back does not make a great album.
If an album were likened to a story, then effective storytelling requires rises and falls, climaxes and denouements, peaks and valleys. The tracklist of 5ive is very limited in terms of variation, featuring diverse genres and styles, but presenting an even keel in energy and brightness.
The catchy nature of Davido’s brand of Pop doesn’t lend itself to the most thought-provoking lyricism, however, a few lines manage to catch the attention as poignant and relatable. His actual singing has found a serviceable pocket to reside in where it can no longer draw the kind of ire it once did, and it seems he has also learned how to bolster his strengths and minimise the visibility of his weaknesses in that department.
This can also be testament to the stellar audio engineering work across 5ive. Davido’s current station in the music industry, both home and abroad, affords him access to the best the industry has on offer. From the richly layered, delicately balanced, bright and creative production to the well-mastered, spaciously mixed, technical engineering, Davido’s sound team brought their A-game.
The diverse cast of featured artistes brought their unique slants and spins to Davido’s work and even carried some songs with their efforts—a phenomenon one can chalk up to Davido’s understanding of artistic leverage.
Yet, no matter who they were, the majority of the vocals across the project shine crystal clearly through typically dense instrumental layers, allowing the listener to notice all the sounds at play.
Davido’s space in the Nigerian music scene is undeniably his. He has earned his perch on the top shelf of the hierarchy, and he has refused to get lax with his output. Arguably, the collection of songs he compiles for his albums is getting increasingly better on an individual basis. The world just seems to be waiting with bated breath for the album that will be able to tie it all together as a definitive and cohesive body of work.
Lyricism – 1.0
Tracklisting – 1.2
Sound Engineering – 1.5
Vocalisation – 1.4
Listening Experience – 1.7
Rating – 6.8/10
Abioye Damilare is a music journalist and culture writer focused on the African entertainment Industry. Reading new publications and listening to music are two of his favourite pastimes when he is not writing. Connect with him on Twitter and IG: @Dreyschronicle
Yinoluwa “Yinoluu” Olowofoyeku is a multi-disciplinary artist and creative who finds expression in various media. His music can be found across all platforms, and he welcomes interaction on his social media @Yinoluu.