One of the most striking things about FOLA’s music is his honeyed vocal delivery. It is his strongest asset, drawing listeners in before the softness of his phrasing and the emotion in his lyrics take hold. His rise has not happened by chance.
He has steadily built a reputation as one of his generation’s more consistent young artistes, releasing songs that have found audiences across streaming platforms. His debut album, Catharsis, further established him as an artiste capable of carrying the momentum of successful singles into a full-length project.
His sophomore album, 9, takes its title from the number traditionally worn by a team’s primary goalscorer in football. The metaphor suits an artiste who has enjoyed a strong run of successful releases since his breakthrough. Speaking on Apple Music’s Africa Now Radio, FOLA explained the thinking behind the title: “Every single song I put out, it just hits. It’s no misses. So they always call me striker because a striker never misses.”
With 9, he leans into that identity, assembling a project that moves between romance, faith, ambition and the pleasures of living.
The album opens with “Awade”, a track built around talking drums that pays homage to Wasiu Ayinde’s classic Fuji song of the same name. Rather than simply recreating the original, FOLA uses its familiar musical language to tell a more personal story about life’s tribulations and the need for divine guidance.
He calls on the Most High for support, with the talking drums framing the song at the beginning and end. The result connects his contemporary sound to a longstanding Nigerian musical tradition while establishing the spiritual concerns that run through parts of the album.
If “Awade” looks towards Fuji for inspiration, “How Many?” draws on the words of a contemporary literary figure. The track closes with an excerpt from Chimamanda Ngozi Adichie’s 2018 Harvard Class Day address, in which she reflects on fear, self-doubt and the creative process.
“Procrastinating is a form of fear, and it is difficult to acknowledge fear, but the truth is that you cannot create anything of value without both self-doubt and self-belief,” she says. The excerpt reinforces the song’s motivational undercurrent, encouraging listeners to confront their uncertainties and keep moving despite the obstacles ahead.
Romance takes centre stage on several tracks, starting with “2am in Toronto”, featuring Davido. The two artistes explore relationship complications from different perspectives. Davido leans into familiar references to wealth and financial success, while FOLA takes a more emotional approach. The talking drums give the track a measured, highlife-tinged feel, softening its edges and allowing both artistes to settle into its reflective mood.
On “Stubborn”, FOLA addresses the guardedness that can complicate romantic relationships. He mixes flirtatious remarks with sensual undertones and promises of affection, asking his love interest to lower her defences and embrace their connection. The song sits comfortably within his established romantic sensibilities, using his gentle delivery to make its advances feel conversational rather than forceful.
That tenderness continues on “Miss U II (Nriri)”, where FOLA takes on the role of a lovesick partner over a soft R&B production. “I miss you bad, my bae / When you comot, e dey give me migraine,” he sings on the chorus, expressing the discomfort of separation in straightforward language. It is a familiar sentiment, but his vocal performance gives the song the intimacy it requires.
Following the percussion- and saxophone-driven “In Order” is “Treat U Right”, his collaboration with Ayra Starr and one of the album’s more compelling moments. The two artistes find common ground on the romance-driven track, their voices complementing each other without losing their individual character.
The album then moves into the previously released “Attention!” and “Fine Ting”, two songs that return to FOLA’s familiar territory of pleasure, attraction and carefree indulgence. Both lean into the hedonistic streak that recurs throughout his music, providing a lighter counterpoint to the album’s more reflective moments.
However, 9 occasionally struggles to maintain its momentum. On “Waf”, FOLA’s vocal phrasing and delivery begin to feel repetitive, making the song less engaging than the tracks around it.
“Crime” offers a change of pace. Built around a sample of 2Baba’s classic “If Love Is a Crime”, the track revisits the album’s sensual atmosphere while paying tribute to a song familiar to Nigerian music listeners. Rather than relying on nostalgia alone, FOLA works the sample into his own romantic sound, giving the track a recognisable foundation.
He joins BNXN on “My Type”, where both artistes sing about their preferences in a romantic partner, including the physical attributes that catch their attention. “Hold U Down”, featuring Darkoo, shifts the texture again. Darkoo gives the song a distinct character, with her verse providing a welcome contrast to FOLA’s familiar melodic approach.
FOLA closes 9 with “It’s Over”, featuring his label boss, Bella Shmurda, and Zlatan. Despite its title, the song centres on perseverance, faith and the determination to rise above adversity. The artistes reflect on their ambitions, their desire to make their families proud and the importance of trusting God while navigating hardship and hostility from doubters.
Zlatan’s verse is brief but forceful, while the recurring hook, “Ọ̀rọ̀ mi lọ́wọ́ Olórun ló wà (Olórun) / And I’ll be taking over / When them say it’s over, that it’s over,” provides the song with its central conviction. It is an effective closing statement that brings the album’s themes of faith and ambition together.
Across 9, FOLA is most convincing when his melodic instincts meet the emotional directness of his songwriting. The album offers romance in several shades, from the yearning of “Miss U II (Nriri)” to the flirtation of “Stubborn”, while “Awade” and “How Many?” introduce reflections on faith, fear and perseverance.
The production also deserves credit. SBthaproducer, Magicsticks, Dave Nunes and others give the project its melodic depth, helping FOLA move between R&B, Afrobeats, highlife influences and more percussion-driven arrangements without losing the softness that defines his sound.
Still, the album occasionally slips into monotony, particularly when familiar vocal patterns and delivery choices recur without enough variation to distinguish one song from another.
With 9, FOLA continues to demonstrate that he can sustain the momentum of successful singles across a full-length project. While some tracks would benefit from more experimentation, his production choices and instinct for melody keep the album engaging. Like the striker behind its title, he understands the value of knowing his strengths. The challenge ahead is to keep finding new ways to use them.
