The Nigerian DJ has been dropping hits and a groovy body of works since his rebranding, making himself one of the continent’s recognizable DJs. On his sixth album, he proves why he has been a “Top Boy” all these years. Oluseye Desmond Sodamola is not new to the industry, over two decades of Disc Jockeying, he has dabbled between multiple departments of the music scene, starting off as Radio DJ at Raypower 200.5 FM, promoting prospects on a weekly basis. From being the official DJ for Wande Coal during his time at Mavin Records to Djing at the 2017 BET Awards, he has been able to build a network good enough to fill up albums.
With production flourishes from himself, Magicsticks, Kel P, DJ Snake, and more, Top Boy leads his discography as one of the most diverse guest features ever, making him a formidable music connoisseur, with or without big names. “Cruise” is almost the perfect intro, a song solely produced by him, one of many records on the album where his Afrobeats proclivities come in handy, he elevates Azanti and Zaiam’s groovy style with integrated sounds that complete it as a typical Nigerian Afro-tune. It’s the same on “Everyday”, just that the production leans on Amapiano here, a similar tactic that gave the album’s lead single “Palazzo”, an entry on the billboard U.S. Afrobeats at number 6. Minz and Spinall fuse the trademark log drums of Amapiano with established club genres, with Minz’s spiritual lyricism dictating the song’s vibe, it’s a relaxed song that can go both ways.
However, “Give Me Love” comes with a more heartfelt theme, a soulful one thanks to Niniola, whose nimble and light voice craves love in English and fuji dialect. Lead singles “Cloud 9” and “Sere ” serve as additional fire powers that set the tone for Top Boy, with a Sere’s remix featuring LVN’s 6lack. The next three songs are a show off on big name features, BNXN fka Bujuj & Stefflon Don’s link up on “Oshey” is a club anthem, Stefflon laces her lyrics with Jamaican patois which balances the song’s components, making it a sweltering jam. It’s fair to say Spinall is a fan of Amapiano, the ever-growing genre gets another slot, and this time, there’s a bit of originality here, Ntosh Gazi’s gravelly voice speaks existence into the song, making it easy for Phono and Reekado banks to float effortlessly. Tay Iwar’s run of eating up every feature rolls on, his gliding Afro-soul style pours his dense on “Honesty, a slow tempo record that surges with a stream of Afro-Soul/pop guided by London’s Tamera and producer, TSB.
Amaarae joins Minz, Jess of VanJess, and Asake as the only artists on the project to get a solo run, Amaarae’s presence on “Bow Down is so sleek, ye very commanding, she adds texture and personality to the song, with trumpet horns that flashes through the production, with a flowing second verse that heralds her as one of the voices of Alternative music, it’s one of the stand-out performances on the album. You’d think Blxckie and Ladipoe on a record are going to give you one of the hardest rap sequences, instead, they are as light and fun as ever, Blxckie’s high-pitched singing accommodates Ladipoe’s punchlines. Olamide, whose writing skills aided in the creation of Palazzo is felt here again, this time, teaming up with Kemuel, whose chorus fits perfectly on the logged drums. The album’s final moments give listeners an excellent production showdown, produced by Spinall and DJ Snake, Summer Walker empowers the song with sultry ballads, mixed by Dr. Dre, she and Äyanna take turns like a baton, dictating the theme of the song with powerful lyrics that suits the title of the song. The production is so diverse and open, it succumbs to Nasty C’s glee as a rapper, summing up an album that is able to live up to its predecessor, due to its expanded reach for features and production. Top Boy feels like spring, is a breezy warm compilation that has a bit of everything for its listeners.
