On his 5th album, the Afrobeats cult musician preaches more love and less ego, showing patches of tenderness throughout, a decadent testament to his maturation as a recording artiste.
Life has been good for the Grammy award-winning artiste. He just sold out Madison Square Garden, put up one hell of a show, won an AMA (American Music Awards) and his baby Mama is expecting. It’s been a winning run for him in all aspects, reflected in his records. “Money & Love” sets things off here. It starts as a preparation for a low-key jazz tune before it erupts into hypnotic horns and dreamy bass guitar licks, a production by P2J that is heavily embraced by Wiz’s style.
The Nigerian-British producer oversees a vast part of the production on MLLE, crafting 11 out of 13 songs. However, Kel-P’s dexterity thrives on “Balance”. The record is well polished while revivifying the formal contours of MIL with records like Gyrate. Wiz’s writing plays around his time in Ghana, dedicating his lyrics to Ghanaian girls. Despite its release as a lead single, Bad to Me” still sounds like a decent approach to trying Amapiano. But the chorus and hook give a replayable jaunt here.
MLLE has various features, Ayra Starr’s feathery vocals and energy on songs have made her a go-to featured guest, and she doesn’t disappoint on “2 Sugar”. Her penning skills are bold and mesmerizing, allowing her to sift through her fears whiles Wizkid follows the chorus to fortify the song.
“Everyday” sounds like it would’ve been the perfect intro for the album, besides its beginning, which preaches about the album’s title. It also pursues a sonic and lyrical interiority that translates to great Afrobeat vibes. It’s the type of song that is slept on.
The feature list crosses the West Indies on the next song, recruiting two of Jamaica’s hottest prospects, Shenseea & Skillibeng. On rasping synths & hard-edged drum machines, the duo’s sonic presence fuses into a sweltering dancehall jam, balanced by Wizkid’s Afro’ism. Shenseea steals the show here, switching from rapping to singing or finding a pocket somewhere between the two, while Skillibeng’s nimble sense of melody sums up a very satisfying record.
Halfway through the album, you can tell it’s a softer approach compared to MIL. Previous workers from MIL get another go at a wiz project here. Even through Wizkid’s writing skills, you can feel Tay Iwar throughout “Deep”.
Wiz Carry’s the same tenderness on “Flower pads”, buoyant, bliss-inducing penning skills with a bit of sexuality for his lover. Getting Skepta and Naira Marley on “Wow” is a genre crossover I didn’t expect, but arguably the best song, alongside the record with Don Toliver.
Wiz and Skepta’s chemistry is not new to listeners, their link-up has produced unforgettable afro jams, and with Naira Marley’s slow-wining voice, there are enough uplifting ballads to complete the song. P.Priime’s melodramatic piano strokes create a frenetic energy and melodic palette for Wizkid to paint “Pressure” from. It’s a catchy song that builds up with time, especially with a chorus that sounds like it could be the new Instagram Reel go-to sound.
There’s a bit of similarity between the next song and the previous one, just that “Plenty Loving” is fast-paced and heavily dwells on the depths of Amapiano’s elements, blending it with Afrobeats to create a more cohesive groove.
The album’s tenderness is top-notch, there’s more room for bedroom anthems than can bangers, and the smoothness on “Special”, which featured Don Toliver is the grand moment on the album. The song is tailored by Ghanaian Producer Juls, who pays homage to the percussive foundation of his trademark sounds.
It’s an unpredictable tune, per the arrangements, you’d expect a base drop at some point, but instead, you’ll get Don Toliver’s high-pitched soulful voice crooning over the production, wiz inherits the joyfulness of Toliver’s voice, sounding smooth and inviting on the most exciting song on the album.
At this point, it’s fair for fans to request a Tay Iwar/Wizkid project. There’s no bad song with the two on there together; Tay’s combined energy completes the expansive “Afro-Soul” vibe we get from the duo, “Frames” is a flawless song; the slow whine tune mimics the optimistic glow of “True Love” from MIL, Tay Iwar takes on a director’s role here, stepping aside vocally and allowing his penning skills to shine via Wizkid’s charming vocals.
Wizkid makes himself a modern mellow crooner on More Love Less Ego, introducing newcomers to Afrobeats with a universal resonance, with a body of work that mesmerizes ambient atmospheres.
