Davido’s 5ive arrives cloaked in significance. It was positioned as a landmark moment in his career—a reflective chapter, a coronation, a reminder that Davido isn’t just part of the Afrobeats conversation. He’s its center.
Since Davido’s breakout with “Back When” featuring Naeto C, and the explosive “Dami Duro” that followed, Davido has wielded confidence like currency. Unlike some artists who build their mythos gradually, Davido has always been 001 by declaration, not consensus—and somehow, the world believes it. Over a decade later, he remains one of the genre’s most visible and consistent figures, shaping its global expansion with sheer presence and instinct.
But if Davido’s status as a hitmaker is indisputable, his albums have often told a messier story. A Good Time had energy but lacked cohesion. A Better Time overflowed with features but left little lasting impact. Even when the songs slapped, the vision felt scattered. It wasn’t until 2023’s Timeless that Davido delivered a project with clear intent—curated, structured, and thematically grounded. It wasn’t revolutionary, but it was refined, signaling a shift toward artistic clarity.
That’s why 5ive carried so much weight. This wasn’t just another drop. It was framed as a statement—an evolution. A crown-polishing moment from an artist who’s already climbed the mountain. The anticipation was justified. But does the album meet those expectations?
It opens with “5,” a spoken-word intro by Nigerian poet Alhanislam that paints Davido in grand, mythic tones. It sets the mood for something cinematic—a document of legacy, not just another streaming-era playlist. But that promise quickly fades. What follows is a collection of well-produced, catchy songs that feel familiar, even predictable. 5ive sounds like a Davido album. That’s both the comfort and the critique.
Songs like “CMCF” and “Be There Still” deliver what fans expect: vibrant percussion, sticky hooks, and the kind of energy that makes festival crowds lose their minds. But there’s a lingering sense of déjà vu. The sonic choices—log drums, mid-tempo grooves, crowd-pleasing melodies—rarely push past the boundaries Davido has already charted. For an album meant to feel monumental, 5ive often feels like more of the same.
Part of the problem lies in how Davido approaches collaboration. He’s always been generous with features, but this time, the strategy feels more mechanical than meaningful. Chris Brown reappears on “Titanium,” a pairing that once felt novel but now reads like obligation. There’s no spark, no tension—just two superstars trading verses because they can. The excitement has faded.
That said, not all the features fall flat. “With You” featuring Omah Lay is a standout, largely because Omah Lay brings a textured melancholy that Davido rarely accesses on his own. The beat is upbeat, almost disco-tinged, but there’s an emotional undertone that elevates the track. “Offa Me” with Victoria Monét is another bright spot—a sultry fusion of Afropop and R&B that benefits from Monét’s velvet vocals and Davido’s confident restraint.
But moments like these are the exception, not the rule. Too much of 5ive stays in the safe zone. Rather than lean into experimentation or thematic depth, Davido doubles down on what’s worked before. Amapiano-lite textures abound. Love songs dominate. The hooks are sticky, the production polished—but there’s little that feels urgent or new.
Even the album’s strongest pre-release singles, like “Awuke” featuring YG Marley and “Funds” with Odumodublvck and Chike, thrive more in isolation than as part of a larger arc. “Awuke” is a club scorcher, and “Funds” cleverly blends a Brenda Fassie sample with Yoruba, Igbo, and South African energy. But as part of the album’s flow, they feel less like chapters in a story and more like stops on a playlist.
And that’s the real disconnect. 5ive was marketed as a victory lap—an artist looking back, taking stock, and asserting his legacy. But the album doesn’t reflect on much. There’s no emotional arc, no sense of distance traveled. Instead, Davido gives us vibes. Vibes are fine—but when you position your project as a defining statement, the absence of reflection feels like a missed opportunity.
It’s not that the music isn’t good. On the contrary, the production is consistently slick, thanks to a roster of heavyweight producers including Shizzi, Blaisebeatz, and DJ Maphorisa. Tracks like “Don’t Know” and “Anything” show Davido in his emotive bag, crooning with tenderness and range. But even these moments don’t quite break new ground. They’re polished, but predictable. Like the rest of the album, they play it safe.
There’s also a lyrical flatness that becomes more noticeable across the album’s 17 tracks. Davido has never been the most introspective songwriter, but at this stage in his career, some insight—some storytelling—would go a long way. When he sings about love, we rarely get more than surface-level declarations. When he hints at hardship or triumph, the details remain vague. He knows how to create moments—but moments aren’t the same as meaning.
Still, it would be unfair to dismiss 5ive entirely. It’s enjoyable. It’s confident. It will spin in clubs, soundtrack parties, and dominate playlists. But for an artist who has declared himself the face of Afrobeats, the standard is higher. 5ive doesn’t stumble—it just stops short of being transcendent. It’s a solid effort that reminds us of Davido’s strengths, while also exposing the artistic risks he still hesitates to take.
Compared to Timeless, which felt like a curated reminder of Afrobeats’ global evolution, 5ive feels more like a maintenance check. There are sparks, but few surprises. There’s polish, but less purpose.
And maybe that’s the point. Maybe 5ive isn’t a legacy album—it’s just another win. Another chapter in Davido’s unshaken dominance. But for those expecting a statement, something reflective or revolutionary, this album might feel like a beautiful misdirection.
Because Davido doesn’t miss. But sometimes, he coasts. And 5ive, for all its gloss and groove, sounds like the work of an artist who’s not trying to outrun the pack—but simply enjoying the fact that he’s still far ahead.
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