The self-styled Mayor of Lagos, Mayorkun, makes a confident return with his third studio album, Still The Mayor. A 12-track project that completes a sonic trilogy following his 2018 debut The Mayor of Lagos and 2021’s Back in Office. This latest body of work sees Mayorkun reaffirm his dominance in Afropop, blending vibrant party anthems with mellow R&B cuts, alongside a robust cast of collaborators including Fireboy DML, Rotimi, Dremo, The Flowolf, Michii, King Promise, and Olivetheboy.
The album kicks off with “Keep on Rocking”, introduced by Semzi’s signature tag. It’s a high-energy opener that sets the tone with carefree vibes and infectious Afropop rhythms, as Mayorkun invites listeners on a joyride through his musical world also interpolating Sean Kingston’s ‘Beautiful Girl’ & Dr Yinka Ayefele in the process.
Track two, “Innocent”, features Fireboy DML and serves as a previously released lead single. The duo glide effortlessly over a minimalist, mid-tempo production, using soft melodies and flirtatious lyrics to try and win over a muse. A smooth, laid-back offering that complements both artists’ strengths.
“3:45”, featuring Rotimi, continues in the mid-tempo lane, a smooth record interpolating Kid Laroi’s ‘Stay’ but introduces a distracting log drum beat that slightly undercuts the song’s potential. While Rotimi’s vocals inject soul and polish into the track, the production struggles to maintain cohesion, making it one of the more polarizing moments on the album.
Mayorkun reunites with Fireboy DML on “Diamonds”, a sensual R&B track that emerges as a highlight. The chemistry between the two artists is undeniable, with sultry vocals and witty wordplay painting an intimate picture. The beat is delicately layered, allowing both singers to shine without excess.
On “Konko Below”, the album shifts gears into a more dance-oriented tempo. Drawing from traditional percussion and vibrant strings, Mayorkun crafts a song built for movement. However, the over-repetition of the chorus phrase “Konko Below” may wear thin for some listeners, detracting from the song’s overall replay value.
The mid-album interlude “Industry Girl”, featuring Dremo, The Flowolf, and Michii, pivots into hip-hop storytelling. Focused on nightlife escapades and a particular love interest, the track showcases Mayorkun’s range and offers a glimpse into the collaborative spirit behind the project. While not groundbreaking, it holds its own with decent performances from all featured artists.
“Blessings on Blessings”, featuring Davido, reignites the album’s celebratory tone. Fueled by fast-paced percussion and subtle log drums, the track is a jubilant ode to success, luxury, and longevity. It’s an enjoyable and energetic link-up that taps into the duo’s proven chemistry.
The social commentary emerges on “Reason 2 Japa”, where Mayorkun addresses Nigeria’s dire economic conditions and the urge to seek greener pastures. It’s a timely track, underpinned by familiar log drums and high energy, offering both groove and substance.
“Hold Body”, assisted by King Promise, is another love-leaning Afropop gem. While the recurring use of log drums starts to feel predictable at this point in the album, King Promise’s convincing delivery adds depth, helping the track rise above the potential monotony.
“Woman” slows things down, with Mayorkun wearing his heart on his sleeve. This mellow tune, marked by sparse instrumentation, sees him serenading a lover with earnest simplicity. It’s a soft landing after the upbeat sequences.
On “Would You”, featuring Olivetheboy, we’re treated to another R&B ballad, rich in emotion and smooth vocal interplay. It’s a gentle, heartfelt offering that highlights Mayorkun’s lyrical finesse and Olivetheboy’s vocal charm.
The album concludes with “Jiggy”, a triumphant closer where Mayorkun reasserts his identity as “Still The Mayor.” It’s a bold, celebratory track that bookends the 31-minute project on a fittingly high note.
Still The Mayor is a testament to Mayorkun’s versatility and consistency. While some tracks suffer from repetitive production choices, particularly the overuse of log drums. The album is still an enjoyable journey through love, success, and self-expression. The features are well-curated, with standouts like Diamonds, Would You, and Blessings on Blessings offering memorable moments. Though not a groundbreaking reinvention, the project solidifies Mayorkun’s place at the forefront of Afropop.
Lyricism: 1.7
Production/Sound Engineering: 1.2
Tracklisting/Sequencing: 1.3
Vocals, Delivery & Execution: 1.5
Listening Experience: 1.6
Overall Rating: 7.3/10
Abdulmuqsit Idowu is a music critic and writer with a focus on the African entertainment industry. With a passion for music and culture, he offers insightful and honest commentary on the ever-evolving landscape of African entertainment. Follow him on X and Instagram: @justabdulmuqsit.
