‘Queendoncom’ has a lot of positives, but Yemi Alade needs a stylistic switch [Pulse EP Review]

When the door was closed, she admirably broke it down.

After she released ‘Johnny,’ which is one of Nigeria’s most recognizable songs of the modern era, she catapulted herself into an African brand. Instead of simply focusing on the music, she also incorporated Africanism and pan-Africanism into her craft while she upped the ante on her famous stagecraft as well as choreography in her music videos.

While most people would find whatever was or wasn’t wrong with her music, she was blowing up across the African continent, selling out shows in countries you only read about in social studies or geography classes.

Like Flavour, she stopped caring about Lagos people and simply created a working template that will ensure that she eats for the rest of her life. On the back of that, she was named the Best Female Act on the continent at the MTV Africa Music Award in consecutive years.

Her song ‘Knack Am’ also became an anthem. All the while, Nigerians unfairly criticized her lyrics while accepting the same lamba and mediocre lyrics, disguised as ‘vibes’ from Wizkid, Davido and more.

Her next move was Woman of Steel, her best body of work and the crowning moment in her storied journey. It also produced ‘Shekere’ featuring serial Grammy winner, Angelique Kidjo. A video for the record is one of the best Nigeria has seen over the past three years.

The intentionality of her brand also catapulted her into Grammy conversations, where she is now a member who also presented at the 2020 ceremony, rocking her signature ankara prints and her natural hair.

Her last album, Empress underlined a need for change, but her latest EP, Queendotcom has taken her need to reimagine her sound to another level. The equity of her brand is at an all-time high and she looks like an eventual Grammy nominee, but something about her sound needs work.

Yes, she will have great moments and records like ‘Shekere,’ which break the norm and take on a life of their own because she has such a resilient YouTube presence, but how about the other platforms?

Queendoncom

Although not the best, ‘Queendoncom’ is her most cohesive project till date. It also has the greatest replay value.

Records like ‘Ella’ and ‘Fire’ are standout performances which prove what Alade can become if she opens up a little. In particular, ‘Fire’ is one of this writer’s favourite records of 2021 so far.

But overall, Alade’s dance-oriented brand of pop music seems to have slightly plateaued and gotten ‘familiar’ as it follows a similar stylistic template and a recognizable dance-based Afro-pop trope.

The way she delivered records like 'Sweety,' 'Enjoyment' and 'Dada' was all too 'familiar.'

It was nice to see her ingratiate herself into the industry with her creative listening party for Queendoncom’s sip-n-paint session, but this style of music might not maintain her superstar status for much longer. It makes this writer anxious because Alade’s music could be so much more.

The woman is an A-list vocalist who is capable of different brands of music. At this time, her sound seems to be crying out for some newness… something slightly against the norm and against the ‘template.’

Yes, her brand will carry some of these records and ensure that she will never be average, but there is so much potential in that brand that could be explored for more sonic diversity.

Some people will argue that such diversity is risky for her established brand, which seems to be working as she makes even more money. But history has shown that artists can be easily replaced in the hearts of fans when they get offered something different.

The moment a new female artist can offer fans what they get from Alade, albeit with ‘better,’ more ‘diverse’ music, she runs the risk of competing for her fans’ attention.

But at the end of the day, Alade might simply be content with holding her side and playing her role in this competitive industry than taking any risks and she won’t be wrong. She might even argue that trying something new might alienate her already bankable fan base, but how about the new fans that should gain with something different?

Moreover, the change doesn’t have to be totally different. It could still be dance-oriented Afro-pop, but with diverse types of beats - as on 'Ogogoro,' and 'Ike,' - and better songwriting, and less ‘vibes’ or lamba.

It could also be a blend of her current brand of music with fresher, more experimental sounds with risque tendencies on a body of work.

She needs more exciting pockets like the one she found on 'Ogogoro,' when she went, "Whine for me, slow down, you so fine..."

That pocket was exciting.

She sang about a woman, so one can argue that the record was written by another person; possibly with an existent reference track somewhere. But the retention of a female-oriented direction to the song underlines the type of attention to detail that Alade's music might require.

Even if she completely changes her sound with an EP - for example, she can always go back to her recognizable sound with a swift follow-up. But if the music on the EP is put through a proper creative process with different production and proper A&Ring outside her primary team, she could really unlock another type of sustenance for herself.

One thing streaming has proved is that good music - especially from superstars - will never flounder. It might not catch fire immediately, but it can grow overtime. Just look at Made In Lagos. Although not a superstar, Chike’s Boo of The Booless is another example.

The craziest part is that the evolution already seems to have a two-year delay. It should have come after 'Woman of Steel.'

Alade also needs to switch the way she delivers her records. ‘Fire’ is such a beautiful record because of her slightly more ‘polished’ type delivery.

Ratings: /10

• 0-1.9: Flop

• 2.0-3.9: Near fall

• 4.0-5.9: Average

• 6.0-7.9: Victory

• 8.0-10: Champion

Pulse Rating: /10

6.5 - Victory