“Born Again” is the opener track of the album, it was native both sonically and considering the quite striking vocal input of the Malian Fatoumata Diawara, who infuses her local Mali dialect in between to make the record qualitative as it serves the cause of a satisfactory opener. AG Baby also delivered the track x-raying his personal experiences, one which is how he realized he has been living for people back then. Now he claims to have tasted freedom and declares himself a new man. Indeed.
Two years ago, Adekunle Gold’s music career took a new shape. From blending local highlife and incorporating Afrobeats to make music which also reflects his style. Well, currently he looks buoyant as an experienced popstar plus ready and powered music which could practically connect him to a wider demography.
In 2020, he released his third studio album which was more like his popstar transition and appeal at the time. It was him laying the pipes then, with both local and West African creators to witness how far he could lift, channeling the same energy which he re-introduces on his fourth studio album.
Currently, Adekunle Gold makes pop staples and the kind of music fans can easily connect with from the comfort of his bedroom with his beloved wife who often mixes and masters the music. A few weeks ago before the release of his fourth studio album “Catch Me If You Can”, he teased a new single titled “Mercy”, it was released on January 21st before he officially walked us into the current album which has kept his fans in the wait since last year.
From his third studio album Afro-pop Vol 1, to this point of his career run, AG Baby is in the winning season. A few days after his recent album release, the LP peaks at YouTube Music and has become visible enough for the inhabitants of United Kingdom pedestrians and drivers to behold on the streets Billboards. This is simply the first officiating moments Catch Me If You Can successfully walk AG Baby into; plus the wins that would come with it but originally started after the release of the third album in 2020.
Adekunle Gold’s features on “CMIYC” are also simply outstanding and intentional, although a few songs aren’t so notable, however it depicts how far he has gone on to make a very successful music career. He is in the winning season catch him if you can. He features the American sweetheart Ty Dolla $ign, the British most beloved Stefflon Don, American Lucky Daye, and Fousheé plus an array of West African creators like Fatoumata Diawara and Davido.
On “Win” he weaves through cadencing pop giving gratitude to his Mama who he claims raised a young king. Also declares himself a winner and calls winning an every day something even as he doesn’t underestimate the sweetness of winning. “Mase Mi” becomes more melodic and unfolds his enriched personal state of mind. He uses his dialect also to fully story his thoughts.
Adekunle says goodbye to bad energy and requests that the Lord cleanse his soul. While “One Woman” featured the American Ty Dolla $ign. The record was exceptional and drives through the waves of love while the sonic structure was built around Afrobeats and pop fusion as Ty Dolla’s rap eloquence blends right through the flow which gives an introduction to Dolla’s depth in our culture, allowing him to request one of the most popular West African dish known as Ofe Nsala in the Igbo culture meaning – White soup.
The album explores grooves during the 2mins 47secs runtime of “Mercy” alongside “High” which featured Davido. “It Is What It Is” can’t go missing too on this category. Mercy isn’t just a plough of groove but it comes with a strong message and is more personal to AG Baby’s career run carrying his perspective with it also, just like It Is What It Is. Meanwhile “High” is more of enjoyment, fandom, and a groove that has to do with fun and partying hard. Davido’s input can’t be disregarded either.
While the project wasn’t terrible, neither was it so pensive and striking; some tracks are good as just singles. The likes of “Fye” featuring Stefflon Don, “Dior, Dior, Dior” featuring Fousheé, and “Sleep”, are good, but should be as singles off this album. “Selah” is melodic and progressive. “Catch Me If You Can” is the end of the album that becomes more personal than ever x-raying various circumstances AG Baby is going through. He understands his music is in high demand as he endlessly races towards the light, calls himself the man, and says you should catch him if you can. “More Than Enough” is a love ballad that sounds appealing and satisfactory as well.
Meanwhile, in conclusion, this album gives Adekunle Gold clarity and the confidence to rake more career wins and excellence as a fully transitioned pop star. Catch Me If You Can is AG Baby’s win season.
