Davido opens his fifth studio album with a declaration: “Na God dey bless me all the way / Twelve years I’m still on top.” It’s a line that sets the tone for 5ive, a project that reflects on fame, faith, and fortitude, without losing the electric charm that made Davido a household name. Known for his irresistible blend of Afropop, R&B, and lovers rock, Davido continues to dominate with a sound that is as emotionally resonant as it is danceable. On 5ive, he surveys the empire he helped build, hungry for more but grounded in gratitude.
A Nigerian superstar since 2012’s Omo Baba Olowo, Davido has weathered personal losses, industry rivalries, and public scrutiny. With 5ive, he leans into legacy, delivering an album that thrives on magnetic confidence, soulful reflections, and sonic evolution. The album’s intro, a regal spoken-word performance by Nigerian poet Alhanislam, frames Davido as a modern-day David, meeting his Goliaths with melody instead of might. It’s a grand setup for an album that fuses biblical imagery with Afrobeats swagger.
Much of 5ive centers around love, both romantic and familial. Tracks like “Don’t Know” and “Offa Me” with Victoria Monét simmer with sensuality, while “Lover Boy” and “10 Kilo” are clear nods to Davido’s wife, Chioma, celebrating a relationship that’s endured tragedy and tabloid attention. His new marriage weaves through the album’s DNA, but so does his deep reverence for his family—his late mother, influential father, and siblings, all honored in the opening track.
Sonically, 5ive is a seamless ride through Afrobeats’ lush soundscape. Amapiano rhythms, highlife guitars, and dembow grooves converge across tracks like “CFMF” and “Awuke,” the latter a dreamy collaboration with Jamaica’s YG Marley that glides on a hypnotic, almost wordless hook. The album’s pacing makes it perfect for late-night drives or vibrant turn-ups, capturing the full range of Davido’s artistry—from lust to pain, celebration to contemplation.
Despite its strong cohesion, 5ive isn’t without flaws. “Tek,” a collaboration with Becky G, feels like a forced attempt at Latin crossover, offering little beyond cliché innuendo and a recycled “Careless Whisper” saxophone sample. Still, these moments are rare. More often, Davido sounds reinvigorated, especially on tracks like “Funds,” where he links with ODUMODUBLVCK and Chike for a swaggering ode to indulgent love, echoing the charm of his mega-hit “Fall.”
One criticism both fans and critics have voiced is the lack of homegrown female features. While Victoria Monét, Becky G, and Shenseea hold their own, the absence of Nigerian women—a rich and rising force in the Afrobeats scene—feels like a missed opportunity. When Davido does tap into Nigerian talent, the results are spectacular. The album’s closer, “With You” featuring Omah Lay, is a vibrant, emotionally charged finale that might be the strongest track on the album.
Towards the end, a trio of songs unveils Davido’s internal battles. On “Nuttin Dey,” he sings, “Don’t care what dem say / I don’t need no validation,” revealing a man hardened by experience but still grateful. “Titanium,” a duet with Chris Brown, channels this vulnerability into a brooding anthem of resilience—though Brown’s inclusion remains controversial, particularly in an industry still reckoning with its gender dynamics.
With 5ive, Davido doesn’t just rest on his legacy—he expands it. More emotionally mature than A Good Time and more vibrant than Timeless, the album pulses with “ginger”—a nod to the spice’s West African symbolism of energy and invigoration. Introduced to Nigeria in the 1700s, ginger quickly became a cornerstone of culture and slang. To be “gingered” is to be hyped, inspired, and alive—exactly what 5ive delivers.
Davido may have met his Goliath, but 5ive proves the crown was never really in question.
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