By Philemom Jacob
Since making his big break in 2021 with the Bnxn-assisted Confident, Savage has quietly put together a fine catalogue stacked with strong albums and a string of impressive singles which now includes his new album, Melövia. His 2021 debut album, Utopia, set the tone for his career as he showcased his expansive sonic palette, touching on Afrobeats, Afro-swing, and Hip-hop across ten tracks exploring love’s ever-evolving nature.
His sophomore album, That Uzere Boy, delved into his roots, offering listeners a backstory into his formation and upbringing in Uzere and how that has fuelled his creativity. The album was another display of his versatility and willingness to explore different soundscapes while maintaining the core elements of his fascinating artistry.
His latest LP, Melövia, an invented word which loosely translates to the way of melody, is not as sonically expansive as his first two albums but shines through the strength of Savage’s storytelling and songwriting. Savage has always been a good storyteller, but his songwriting sometimes felt shallow in the past. On this album, however, his writing shows significant improvement — not because of more sophisticated wording, but through simple, relatable lyrics delivered with conviction, heightening his believability.
The album offers a glimpse into his state of mind and the realities of his life as a popping Nigerian pop star. In typical Savage fashion, he enlists a star-studded lineup of guest collaborators, including Odumodublvck, Jeriq, BackRoad Gee, Erigga, Zlatan, and King Perryy, while spotlighting lesser-known talents like Priesst, Attifaya, and Morello.
“If you see me dey smile make you happy for me,” he sings on Magician. In this deeply compelling, reflective tune, he shares the current realities of his life over the OG Sterling and Dummex-produced record, pouring his emotions into a celebratory anthem that paints the picture of a young man savoring his success. “Magician, I’m feeling like a magician / Everything I touch e go turn to gold,” he declares on the hook with a confidence that can only come from tasting real success.
This song should probably have opened the album, as it captures the project’s ethos remarkably well. Opening with a confident, reflective, celebratory tune before diving into a chest-thumping anthem like Who (the album’s opener) would have offered more satisfaction. Regardless, Who is a raw and introspective record where he embodies a man wrestling with his personal flaws while finding strength in his self-belief. “Yes, I know I’m a sinner man, but cast a stone if you’re better than,” he confesses before questioning the audacity of humans to judge others. Morello proves to be a competent partner, delivering a weighty verse that calls out the fakeness in humans.
Similar sentiments echo on the Hip-hop cuts. On Let Me Be featuring Odumodublvck, the duo aim their fire at the envious, the doubters, the gossipers. “Na my matter dem dey discuss, dem no get work,” Odumodublvck raps before expressing his willingness to be the man responsible for their pain. On Display comes next. Alongside British rapper BackRoad Gee, Savage paints vivid images of luxury and motion with lyrics that flaunt his lifestyle. BackRoad Gee’s gritty delivery perfectly contrasts Savage’s laid-back approach. The booming trap beat accommodates Savage’s smooth hook while giving BackRoad Gee’s aggressive delivery the heavy backdrop it thrives on.
The braggadocio continues on the Drill anthem Canopy featuring Jeriq and Attifaya. “All eyes on me / See the money for my body / Chilling under my canopy,” he sings on the hook. Attifaya delivers the most impressive verse on this record, lacing his lines with clever wordplay carried by a smooth, polished flow.
Treehouse makes a strong case for the best song on the album. The laid-back tune has a mellow, hazy vibe that leans on slow drums with a steady bounce that gives the record a chill groove, while his lyrics amplify the sense of ease the record offers.
Savage also reminds listeners of his ability to craft resonant records for the dance and club circuits. Concussion featuring Zlatan, Gaga featuring King Perryy, and Soji featuring Laime are guaranteed to get you moving any day of the week. Soji, in particular, carries the vibrancy and electricity that have defined some of the best Amapiano songs in the last five years.
As a collection, these songs highlight Savage’s ability to tell introspective, personal, and relatable stories alongside his knack for crafting records that move dance floors. Sonically, the album borrows from different sounds, with Afropop as the anchor. While Melövia is not as expansive as his earlier works, the honest, emotionally charged storytelling notches it a level above its predecessors. The songs feel like they were written in the moment, and there’s a conviction in his delivery that captivates.
Melövia achieves the sonic cohesion we’ve come to expect from his albums, striking a fine balance between laid-back introspection and high-energy bangers without veering away from its central focus. He continues to lean into his unconventional vocal texture, using his raw, rugged tone to add believability to his records and give the songs a distinctive edge.
He also has an ear for outstanding production, picking beats that fulfill the needs of each record — whether it’s the hazy bounce of Treehouse, the booming trap of On Display, or the Amapiano charge of Soji — giving each track a distinctive feel and making even weaker cuts like Tongbolo, Casanova, and Follow Up hold weight.
One of the album’s strengths is his ability to match every record to the right instrumental, ensuring that even when the lyrics are simple, the music carries enough weight. With a runtime of 34 minutes, the album offers a smooth, concise, and enjoyable listening experience. The relatable themes of success, struggle, and celebration — and Savage’s willingness to offer listeners a peek into his life — give the project a resonance his earlier works don’t have.
It’s a strong offering from an artist who elevates the quality of his music with every new release. Each album feels better than the last. He deserves more credit than he gets, and his place in today’s Afropop landscape could be more established than it is. But rather than resort to gimmicks, he is staking his claim with Melövia — the way of melody.
