By March of 2023, the Afrobeats world still had yet to elect the year’s champion. In the wake of lockdown’s ‘Made in Lagos’ fever – which saw Wizkid reign from the album’s late-2020 release across 2021 – and Asake’s scene-rattling run in 2022, it was understood that there was indeed a sort of Afrobeats throne, and that 2023’s was ripe for conquest. So on March 21, when Davido returned from a months-long social media hiatus to announce that he would release his fourth studio album ‘Timeless’ in 10 days time, there was little speculation about who would claim the year’s coveted crown.
For a nation whose identity is wrapped up quite intimately – and often unhealthily – in the livelihoods of its biggest cultural icons, Davido’s return felt like a long-bated breath finally released. His departure from the limelight, triggered by his son’s devastating passing towards the end of 2022, felt both tragic and surreal. This was, after all, the same figure whose raspy belt soundtracked countless Nigerian childhoods and club nights, whose years of joviality, banter and buoyant hits set him apart as Afrobeats’ “man of the people.” How could one who routinely conveyed joy across the nation so cruelly have been robbed of it? So while the visceral reactions that accompanied his return were partly indicative of Nigeria’s parasocial relationship with Afrobeats’ “Big Three”, the sheer thrill that coursed through the nation felt justified. At last, it seemed, Afrobeats’ resident joygiver had gotten back some happiness of his own. And with his re-emergence, the Davido-shaped hole in the scene’s fabric was filled once more.
“Ah, that moment was special, man,” the 32-year-old Afrobeats star remarks, reminiscing back to his internet-breaking reappearance. “I won’t lie, it was emotional. Coming back after everything I had been through…it wasn’t just about dropping an album. It was about healing, growth, and showing people that even through pain, we can create something beautiful. Yeah, of course it was a little daunting. I had been off the grid for a while, and the world moves fast – but I knew the music I had on ‘Timeless’ was different. I knew it would speak for itself.”
Three GRAMMY nominations, more than 500 million Spotify streams, and two sold-out performances at London’s O2 Arena and New York’s Madison Square Garden later, the ‘Timeless’ era did, indeed, speak for itself. It has not only proved its value as a stellar body of work, but also formed a fitting conclusion to a euphoric, three-album-long run defined by Davido’s ability to offer consumers an incredible “time.” 2019’s ‘A Good Time’ and 2020 follow-up ‘A Better Time’ were bold projects that made good on what their titles promised, only adding fuel to a seemingly eternal career that caught fire all the way back with 2011’s legendary ‘Dami Duro’.
Now, Davido is officially back in album mode, still hungry to make history with his latest project ‘5ive’. Set against the backdrop of a 14-year career, ‘5ive’ conveys myriad messages, celebrating both his enduring presence in Afrobeats, as well as his readiness to evolve alongside the genre as it globalises and takes on new forms.
“I’ve always put everything in my albums, so it’s not as if I wanted to achieve something I didn’t achieve with ‘Timeless’,” Davido explains to me during our Zoom call, detailing the contours of ‘5ive’’s formation. “I’ve just always loved delivering a good body of work and good music. It’s definitely going to be another one of those classic Davido albums. I named the album ‘5ive’ because it was my fifth album, and what makes the number five great ended up being exactly what is happening in my life right now – change, growth, and hope.”
The first track ‘Intro’, a transcendental spoken word performance complete with nature sounds and a glorious orchestra, serves as the project’s thesis. Amongst the many other themes reflected in the track, ‘Intro’ primes us for an album that sees Davido both persist and transform, declaring that “legacy is not just what you leave behind / but what you breathe into the future.”
The project continues to emphasise his resilience and longevity, particularly in the face of adversity. Mirroring ‘Over Dem’, the introductory track on ‘Timeless’, ‘Anything’ reprises Davido’s trusty “David and Goliath” metaphor, positioning him as a sort of underdog who, over the years, has constantly fought for his place in the scene and won. While this fight did not manifest in the most conventional of ways – he is notably the product of incredible wealth, so much so that he deems himself “Omo Baba Olowo” (“son of a rich man” in Yoruba) – it took the form of him having to assert his talent in the midst of allegations that his fame was simply the result of his privilege. With this context, the pre-released ‘Be There Still’ stands as a delicious “I told you so,” reminding detractors that his place in the scene is both justly won and virtually impossible to diminish.
“From day one, people always had something to say,” he divulges, offering me a glimpse into his years-long quest to define himself on his own terms. “‘He’s only here ‘cause of his dad.’ ‘He’s not serious.’ ‘He won’t last.’ But I’ve always believed in myself, and more than anything, I knew the music would speak louder than the noise. I’ve faced a lot of battles, not just in music but in life. People don’t always see the behind-the-scenes, but I’ve been through things that would break most people. And I’m still here, still rising. That’s God, that’s grace, that’s hard work. Now, 14 years in, I won’t say I don’t still fight — but it’s different now. I’ve earned my place. I’ve built a legacy. I’m not trying to prove anything anymore, I’m just walking in my purpose.”
Davido not only makes sure to affirm his long-standing career, but also to ensure its continuation by reflecting the changing face of the Afrobeats scene. As such, he turns himself into a symbol of Afrobeats’ newfound international resonance, calling on global stars to rein in his brand new era. Victoria Monét makes her Afrobeats debut through ‘Offa Me’, an uncomplicated Afropop love song where the GRAMMY-winning R&B star carries the hook. Strengthening his steady relationship with Jamaica, which has seen him put forth successful collaborations with dancehall stars like Popcaan and Dexta Daps, he calls upon Shenseea and 450 on ‘R&B,’ and on YG Marley with ‘Awuke’. ‘5ive’ reprises the iconic Davido-Musa Keys combination that began with ‘Unavailable’, calling the South African powerhouse back as a vocalist and producer on the irresistible amapiano hit ‘Holy Water’. And with delectable features from Dadju, Tayc, and Becky G, the album ensures the Francophone and Latin markets feel the weight of Davido in motion.
His assumption of the role of Afrobeats’ flagbearer speaks to the overall slant of this album — a project which, in the midst of high-spirited party anthems, sees Davido take on an incredible level of responsibility. Reflecting his regal positioning on the album’s cover, where he stands amidst multicolored masquerades dressed in pristine white, ‘5ive’ represents Davido’s understanding that he is Afrobeats royalty, and that with such great power comes equal responsibility.
“We have to be very cautious and understand that it’s way bigger than us now,” he says thoughtfully about Afrobeats, his carefree demeanour turning serious. “We’re representing a whole demographic of people. The culture as a whole and Afrobeats have come and changed the mindset about being African. It’s a way different time from when we started. I remember when I first got signed to Sony, I was telling them, ‘This Afrobeats is coming o. We’re going to be the biggest, we’re going to be the hottest.’ Then, they were looking at me like I was crazy. Now look at them rushing to Nigeria to sign every Tom, Dick, and Harry.”
At this point, it becomes clear to me that Davido is rather uncomplicated, and that even with over a decade under his belt, the Davido of now is not so different from the Davido of then. His mandate, for years, has remained the same: to put African music on the map at all costs. This same mandate has seen Afrobeats in particular ascend to impressive heights, and he continues to partake in its neverending rise.
Indeed, Davido is known for championing the sound anyway he can – particularly by signing talent under the iconic DMW (Davido Music Worldwide), a record label which has seen Afrobeats acts like Mayorkun and Dremo rise to prominence. Having unearthed his two newest talents Morravey and Logos Olori last year, he is ready to introduce even more stars to the world, particularly his newest signees Mightyyout and Boi Chase. In line with his dedication to “rise by lifting others,” Davido’s work with DMW forms part of the larger effort to offer the Afrobeats scene the backbone it requires to continue thriving.
“I’m just happy that most artists – even the young ones that are coming up – have structure in the Nigerian music industry,” Davido shares earnestly. “As of six years ago, there wasn’t really structure. Now everybody is getting what they deserve, even down to producers. Songwriters, for many years, were getting paid in ‘Come, write this song for me and take one million.’ Then the song will go and make one billion naira.”
There will always be intrigue in engaging directly with someone who has seen a scene rise and mutate — so much so that they have become a key emblem of the scene itself. But while Davido offers insight into Afrobeats’ past, mysteries still remain about his future. For example, what ventures can we expect Davido, ever the businessman, to expand into next? Apparently, film production, agriculture, and textiles are all on the table, and he’ll be working with close collaborators like his wife, Chioma, and his director, Dammy Twitch. What should we expect in the way of tours for ‘5ive’? Here, we’re told to anticipate shows across the US, the UK, and Africa – including a Nigeria tour that’s heavy on production quality. And since we’re asking questions, what exactly did he mean by“I suppose relocate but I go buy Belgium” – a contentious lyric from one of ‘5ive’’s pre-released tracks ‘Funds’? Here, he guffaws, offering an answer that is almost as blissfully absurd as the lyric itself. “You know when you’re somewhere, and you’re meant to relocate because you can’t afford the price of living in that place?” Sure. “But then God blesses you and you hammer [suddenly come into a lot of money].” Okay. “So you’re saying, ‘I suppose relocate o, because money no dey, but now I get enough money to buy Belgium.’” But why Belgium? “I don’t know!” Here, our laughs collide, and we chalk it all up to the unique rules governing Afrobeats — the primary being that so long as the music sounds good, then who really cares what it is that we’re singing about?
It is these small moments of communion that make it easy to forget: while we might both be calling into this interview from Lagos, our lives at the moment are worlds apart. Davido’s day has been filled with back-to-back errands relating to the album’s impending release, all coming after a long night spent on a Twitch stream chatting about ‘5ive’ with Alté star Cruel Santino. Soon, he’s about to set off for a five-stop world tour promoting the album – touching down in London, Paris, and New York, among other cities. Even in the face of such an imposing schedule, he sounds as lively and confident as the Davido we have spent 14 years coming to know, seeming somehow unperturbed by the hulking tasks ahead of him.
“Back then, I was just tryna make bangers and have fun, you feel me?,” Davido reflects, aptly referencing those early days way ‘Back When’, when ‘Davido’ was not yet a household name but instead, a moniker for Afrobeats’ electric new kid on the block. It goes without saying that things have changed — but it is not only his fame that has expanded, swelling to mammoth, international proportions. His vision has, too. “Now, it’s bigger. It’s global. I’m thinking legacy. I’m building for the culture, for Africa, for my kids’ kids. I’ve learnt the business, I’ve become a better performer, a better artist, even a better leader with DMW and the people around me. Personally, life has humbled me. I’ve been through joy, pain, loss… and all of that changed how I see the world. I’m more grounded now. More intentional. I still love to live life and enjoy, but I move with more wisdom now. Everything I do, I do with purpose. What’s stayed the same? That fire. That passion. That hunger. I still get in the studio and feel like it’s day one. I still love the fans like I did when it all started. And I still believe that nothing is impossible when you’ve got God and you put in the work.”
Credit: mixmag