Iyanya last premiered an album way back in 2013 titled “Desire,” a record heavily stacked with hits like “Kukere,” “Flavour,” and “Ur Waist.” This album earned him the prestigious Artiste of The Year award at the Headies, among other top accolades of that time. Almost a decade later, and after a decent reign followed by a period of quiet or perhaps a shift in the musical era, Iyanya has unveiled a new album titled “Once Upon A Cat.”
Initial Impression
Initial impressions of the album, especially before its premiere, were somewhat disappointing. From the seemingly low-hanging reference in the title to the controversy stirred by Davido’s “new cat” statement, and the album art depicting Iyanya suggestively nude, the overall aesthetic appeared to lack depth and seemed geared more towards “clout seeking.”
However, a notable upside is the incorporation of new school acts, aligning with the album’s title. This move suggests a strategic effort to connect with newer audiences and promote emerging artists. Despite the pre-listen concerns, the collaboration with burgeoning talents could potentially breathe fresh life into Iyanya’s musical endeavors and contribute to the album’s overall impact.
Album Listen & Review
Welcoming to the album, “On Me,” Iyanya establishes the direction for the entire record. The reassuring single showcases Iyanya delivering a hard-hitting pop piece, reminiscent of what P Square might have released during their pop era. Derry Black contributes with her smooth vocals, and the lush production further elevates the single. Instantly, impressions are altered, Iyanya might be onto something.
Progressing through the record, the production on “Attention” is subdued yet pleasant until the “Every Woman needs attention” chants introduce a disappointing element that permeates the entire track. Overall, the song is decent, but its vibe notably lacks cadence, and the lyrics fail to fully capitalize on the beat, leaving a sense of underutilization. On “Kiss Me,” Iyanya maintains a predominantly shallow lyrical theme, but the record is largely redeemed by MOONLIGHT AFRIQA’s impressive composed delivery and the singles relatively short length. This combination elevates the song to a permissible average level.
On a second bout, Derry Black takes the reins on “Survive,” and it pays off as she delivers an intriguing performance with laidback elegance, representing the plight of every layman “survival.” With this performance, the project is further elevated, and Iyanya delivers on a straightforward set up role, Derry Black’s takeover on this record proved great benefit. “Call Me Baby,” sees Iyanya stage a major comeback, delivering an impressive and highly catchy hook that sets sail for the record. The hook takes cue from Ja Rule, interpolating the beat from his 2002 hit “Mesmerize”. His contribution ensures an easy transition for Dai Verse, who picks up seamlessly, resulting in a special single.
Track 6-8
In his newfound form, Iyanya impressively knocks “Strong” out of the park by adopting a more R&B approach. His smooth vocals and significantly improved lyrics are noteworthy, while Myron on the backend adds to the track’s appeal with an impressive performance. Notably, the song also features a striking resemblance to Wurld’s vocals, almost like the Alté star was on it.
On “Catching Cold,” Soundz takes the forefront with Iyanya on the backend, delivering a generic Afrobeats hit. The track, while not bad, relies on typical beats and flows, making it a textbook Afrobeats hit at best.
Introducing a street vibe, T. Dollar contributes an “Afro-adura” patterned performance on “Ope,” adding a nice dimension to the album’s sound. Iyanya, maintaining his trajectory, complements the tune with a well-crafted verse that aligns with the overall direction of the song.
In “Miracle,” the performance revolves mainly between Pawzz and Ashidapo, with both artists sharing the center stage alongside Iyanya in the backdrops. Pawzz salvages the opportunity and delivers a solid performance, but Ashidapo fails to match the pace, ultimately derailing the record despite the elevated heavy percussive beat from Kenzy Beatz.
Track 9-13
“W D O” presented a perfectly tailored vibe and beat for Qing Madi, raising questions about why Iyanya set the tone for the record. This decision proved disastrous, as it hindered a golden opportunity for Qing Madi to showcase a groundbreaking performance. Despite a respectable effort from Qing Madi, Iyanya’s initial contribution fell short, resulting in the tune being average at best.
Iyanya made a strong recovery with “Slowly,” providing the main highlight of the record through the killer chorus. While the verses from all three contributors were respectable, the hook emerged as the standout feature of the song.
“Running” introduced an introspective theme, offering a refreshing change of direction for the album. Unfortunately, the thematic focus overshadowed the tune itself, making it more impressive in concept than execution.
Closing off the album on a high note, “Sweet Life” featured striking performances from Young Duu, and notably, Toliban stood out, contributing to a solid closing theme. This track served as a robust conclusion to the project.
Closing Thoughts
“Once Upon A Cat” carried low expectations prior to its release, and despite making a strong claim of being a remarkable work, it ultimately fell short of being remarkable. Iyanya deserves immense credit for conceptualizing the showcase of young talents on the album, but the execution lacked depth. The album, while containing hits within it, notably lacks cohesion. Although each track may stand out individually, as a joint body of work, it fails to achieve the level of being truly remarkable.
