Joeboy chooses a new path with ‘Viva Lavida’ [Review]

Although Joeboy likes to shy away from the ostentatiousness that defines music stars, his ubiquitous hits make him a familiar figure in Nigerian music. 

Since 2019, he has appeared on several notable hit records, including ‘Alcohol,’ DJ Neptune’s ‘Nobody,’ and CKay’s ‘Love Nwantiti,’ which are part of the biggest Afrobeats songs of the past 5 years.

It’s this collection of viral hits unified by recurring themes of love and merriment that has propelled him to superstardom and set a standard for which fans and listeners alike judge his work.

The singer recently released his third album, ‘Viva Lavida,’ which offers familiar mid-tempo melodies, heartfelt romantic themes, and string-based production that crowds his catalogue.

However, what many listeners would notice is the absence of big-name collaborations, trendy records, and palpable party starters that convey pop star ambitions. 

It would appear that Joeboy was done engaging in the rat race of finding the next big hit. He now seems to have settled into an era where he makes music that’s original to his artistry and easily reconcilable with his personality. 

“Viva Lavida” is a Spanish phrase that translates to “live life”. It’s this message of love, laughter, and the good life that Joeboy sings about in the album executive produced by ace producer Tempoe, whose contribution gives the project its sonic core. 

Melodies are Joeboy’s strong suit, and he molds them to fit into different Afropop and R&B contexts in the album, where Tempoe takes the role of a supporting cast whose innovative production and refreshing vocal contributions add sonic depth. 

The fine details of the albums are not necessarily in the themes which are familiar. They are in the experimental production which Joeboy admirably pushes himself to match.

In the opening track ‘Innocent,’ Joeboy admits to being the hopeless, undiscerning romantic who inevitably becomes the victim of unrequited love. A familiar story that is elevated by the sampling and production. 

This painful twist to his love life is a recurring theme on the album, where he shares this story of a love gone sour on ‘Street Are Lonely,’ ‘Taxi Driver,’ ‘SMH,’ and ‘Magdalene,’ which shines for their innovative production that combines multiple elements such as Highlife, Funk, and Indian musical elements.

A true romantic, he shares his yearning for love on the slow-burning R&B cut ‘Sunset,’ for which he recruited rising Brazilian singer Elena Dara, whose warm vocals lift the record. 

Credit must be given to Tempoe, who crafted the sonic direction for the first half of the album through innovative productions that are musically rich and straddle different worlds.

His efforts are notable on ‘Abena,’ ‘Street Are Lonely,’ and ‘Magdalene,’ where listeners will curiously find the sound similar to melodies cut from the same stock as Afrobeats stars Omah Lay, with whom he has extensively collaborated. 

These songs form the spine behind Joeboy’s artistry. Mid-tempo melodies, hearty writing, and emotive delivery. Even the promotion and his branding ties to this story of a cool-headed lover who has scored big records yet is unbothered by these feats. 

For many listeners, these offerings are familiar yet enjoyable. For others, innovation and the ability to get with the times is the premium currency of a popstar, and Joeboy might be suffering from a shortage of this currency. 

However, he did attempt to offer more than just his heartbroken side as he indulges in moments of chest thumping and celebration while retaining the easy pop approach that shapes the album. 

On the Folk drums infused ‘Abena’ he softly beckons listeners to the dancefloor. He boasts about his wealth on the hit Afropop record ‘Adenuga’ next to the talented 18-year-old singer Qing Madi who dazzles.

This album sets the foundation for a follow-up that this writer believes would carry a more rounded and fine-tuned product that he envisions.