Review: Wizkid remains glued to his comfort zone on More Love, Less Ego

The one with the most controversial fanbase in Africa, Wizkid, registers his fifth project as a professional musician with More Love, Less Ego. The album whose title is suggestive of an embattled individual whose victory over a destructive natural ego has just been announced is not anywhere near the momentum gathered through interview sessions granted to talk about his ego, and then, his public show of love to friends he once fell out with. Perhaps, the outcome of this album has authoritatively limited the above efforts to a mere PR. For listeners who look out for a storyline on a musical project, Wizkid might have just shattered the raised expectations and hypes that rode miles ahead of the release of his album.

Wizkid’s More Love, Less Ego, whether the songs that make the final tracklisting put out are scrutinized in units or as a collective artistry, is more of a love motif with the supposed “ego” either completely ghosting throughout the playtime of the album or inexistent at all in the first place. This reality further pitches the voices of critics who have called for “range” in the art of the self-acclaimed Popsy in relation to themes and genre exploration since after 2016 Ojuelegba.

Wizkid’s More Love Less Ego cover art.

More Love, Less Ego reduces Wizkid’s personality as a musician to romance, and almost irregularly, money. When it is not love, it is mostly “your body”, “your bum bum” or “ikebe” at relevant junctures on MLLE. He has Naira Marley on Wow to complement that usual lewd fantasy specific to majority of the industry. Wizkid’s ability to appeal to vibe lovers is not in doubt by the way. That charisma is felt on Bad To Me, the most impressive song on the project, appeal-wise, Deep and Pressure.

One also wonders why Love & Money should be the opening of the project in an industry where artistes are now more conscious of the sound that breaks their projects open. Based on discovery in recent times, the opening of Afrobeats albums is recently more “musical” or “story-telling” than the rest of the albums. Omah Lay’s Recognize, Asake’s Dull, Brymo’s Illusion, Adekunle Gold’s Born Again, Bella Shmurda’s New Born Fela, Burna Boy’s Glory, Skales’ Hope, Freedom and Love, Falz’ Another Me, Fireboy’s Change, AQ’s Won De, Chike’s On The Moon are some of the 2022 album opening tracks bearing the aforementioned characteristics.

Two similarities have been drawn, at the arrival Wizkid’s More Love, Less Ego. The first is the inference that Wizkid explores Rema’s sound on his new album. This opinion is laughable especially when you remember how noticeably Rema sounds Wizkid at different intervals on his own Rave and Roses album he debuted with in February, this year. There are also fans saying Omah Lay made a better album than Wizkid. That’s equally unacceptable and rather sentimental. Comparing what is supposed to be a singer’s fifth album to the debut album of another artiste? It’s like comparing a very fresh Haaland’s sharpness to that of a rickety Ronaldo who is slowly losing his vigor to ageing. If there should ever be a comparison, it should be between Wizkid’s Superstar album and Omah Lay’s Boy Alone.

Name it; More Love, Less Ego may not please a lot of people, rival fans aside, it may not justify its title, it may not explore the wideness of topics and genre, it may be the same known Wizkid in the past five years; regardless of this, music has different purposes and entertainment is one of them; Sir Wizkid’s MLLE certainly embodies that aspect of music.

Sam George Mac is a music journalist known for the reviews of several music albums and songs. He is a singer and songwriter of Afrobeats, Dancehall, Highlife and RnB with the stage name SGM — a graduate of Mass Communication from The West African Union University, Cotonou.

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