Mayorkun offers the familiar in ‘Still The Mayor’ [Review]
With nearly a decade in the scene, Mayorkun’s punchy jabs over up-tempo beats and R&B melodies that float over mid-tempo rhythms have delivered multiple hits.
His hitmaking ability lies in the versatility of his melodies which he molds with lyrics that combine Afrobeats peculiarities, a rapper’s wit, and Afropop dexterous delivery.
This is the case of his third LP ‘Still The Mayor,’ where he shows the range of a star skilled in molding Afrobeats records with all its defining peculiarities, while equally showcasing his range. However, while the project is true to his artistry, it offers little innovation and desire to step beyond the norm.
Everything Mayorkun does on this album, are levels he has consistently hit across his career. He doesn’t attempt to take it a notch higher.
Whether it is his punchy delivery on the opener ‘Keep On Rockin,’ where he samples the Yinka Ayefele and Sean Kingston classic, or ‘Diamond,’ the sensual R&B cut featuring Fireboy, Mayorkun doesn’t go beyond the first gear.
The two songs on the album that offer something refreshing whether in delivery or theme, are the fuji melodies on ‘Konko Below,’ where he samples the famous Lagbaja joint, and the conscious ‘Reason 2 Japa’, where he addresses the issues of mass migration informed by the increasing hopelessness amongst Nigerian youths.
Beyond these records, the album is filled with songs that have several similar references across his catalogue. While this doesn’t rob the records of their appeal, they also don’t offer the excitement derived from music that pushes boundaries, whether artistic or personal.
On the log drum punctuated ‘3:45,’ he links up with American Nigerian star Rotimi for an Afropop cut that communicates his desire to offer love with a good time in true Afrobeats lyricism that speaks to the everyday listeners who keep up with street lingo.
Mayorkun caters to the dancefloor on ‘Blessings on Blessings’ featuring Davido. However, in their victory lap, they struggle to rediscover the spark they used in delivering hit records in the past.
While the song lacks the cutting-edge required to retain listeners, it holds up Mayorkun’s compelling range in the form of his swaggering second verse and the fine details of his vocals, which delightfully pop out in the backup.
Even when he links up with Ghanaian hitmaker King Promise and fast-rising star Olivetheboy on ‘Hold Body’ and ‘Would You’ the songs offers nothing beyond the typical Ghanaian Afrobeats strain that has successfully deliver some hit records in the past 3 years.
The folk drums of ‘Woman’ take listeners on a trip across Mayorkun’s discography to a song like ‘Mama’ where he allows his vocals to do the heavy lifting as he pours out his heart to his love interest with the same intensity he did 8 years ago.
On his hit single ‘Geng,’ Mayorkun’s industrious raps provoked a posse cut. He leans into this hip-hop influence via storytelling on the interlude ‘Industry Girl’ where he’s joined by former label mate Dremo, The Flowolf, and Michii for a song that tells the familiar story of industry groupies with the same disregard for accountability on the side of the constantly whining stars.
‘Still The Mayor’ is a compilation of familiar songs that listeners can enjoy even if they pale in comparison to their references in this catalogue.
However, it’s not a compelling listen, nor does it hold the imposing quality that matches its chest-thumping title.
The song selection doesn’t appear to have a core beyond its surface appeal. The album sounds half-hearted and motivated by necessity, perhaps to offset a contractual burden rather intentional.
If Mayorkun is still the mayor, it’s for his past work, and not for this album.
