Adedamola Adedayo: Seyi Vibez References Faith, Destiny & Artistic Journey in “Vibe Till Thy Kingdom Come”

Afrobeats street-pop sensation Seyi Vibez’s rise to musical fame can be credited to his sheer grit. From being perceived as Asake’s copycat in sounds and appearance, Seyi Vibez has evolved beyond criticisms into a fine musical specimen. The singer has been prolific, releasing four projects in less than a year, which attests to his willingness to remain in the spotlight and keep pushing himself as an independent artiste. In his latest offering “Vibe Till Thy Kingdom Come,” he taps different genres, including Afrobeats, Fuji, Sakara and Amapiano. With the smooth combination of traditional and contemporary musical elements, Seyi Vibez showcases a dynamic, unique personality.

“Vibe Till Thy Kingdom Come” comprises ten tracks and includes interesting collaborations with fellow Nigerian artists, Young Jonn and Jibrille, American singer, Russ, and South African rapper, Focalistic. The album is a testament to the evolution of Seyi Vibez as he chronicles his struggles, wins and fantasies in a manner that especially appeals to street sensibility. He uses expressions such as “Pablo Escobar,” “action po bi Ogogo” and “lavida loca” that are now associated with local parlance. With the album being largely inspired by his personal experiences, Seyi Vibez makes a sincere and successful attempt to be relatable.

The album begins on a thankful note, with the introductory track “Kingdom” showing appreciation to God for the present life he is experiencing. Despite his slim chances of success, the artist believes the supersensible being has been instrumental to the change in fortune. As he succinctly puts it in his native tongue Yoruba, “oju ri kin to gba milli” (I have suffered a lot before receiving millions). 

The second track “Hat-trick”, initially released on May 29 off the album, brings out the bad boy side of Seyi Vibez. The song begins with two raunchy lines that allude to female pop stars Tems and Ayra Starr. While being boastful of his present status, Seyi Vibez flaunts wealth and lusts after a lady. When he repeats the line “money dey leave matter,” the artist suggests a similar arrogant posture as Rema in “Charm”. The song shines over a number of one-liners, with the singer’s sparse communicative style massaging his ego. 

Seyi Vibez and Marlian Records signee Zinoleesky were recently involved in a brawl, with the latter boasting that Seyi Vibez’s single “Hat-trick”, will not make it to the number one spot on streaming platforms, however, the song defied the odds as it hit number one on Apple Music a few days after its release. The music video, directed by TG Omori, has over a million views.

In “For the Gods,” Seyi Vibez reconnects with his creator whom he professes blessings on himself. In the next song “Dejavu”, the artist’s storytelling instinct takes over. He narrates, “Mami wa owo lo/O pade ola ati iyi lona/ Woli tan imole kin shona,” revealing the efforts of his mother who consulted a prophet on his behalf for her son to be a successful person. Referring to himself as “akanda omo” (a special breed), he expresses confidence in his newfound fortune.

The fifth track “Suddenly” begins with the enchanting vocals of producer-singer Young John as the duo deliver a romantic thought. Next comes the sixth track “Fuji Interlude”, powered by traditional drums, as the singer puts his listeners in a celebratory mood. Simulating live performance culture, the song sets a hypothetical folk party dancefloor. The seventh track, “Gangsta Remix”, an RnB delivery, features the sultry vocals of Nigerian female singer Jibrille and patronising vocals of American artist, Russ, as the song exudes a similarly romantic aura as “Suddenly”. “Gangsta” was first released as part of Seyi Vibez’s 2022 album, “Billion Dollar Baby.” In “Money Matter”, Seyi Vibez takes pride in his financial status once again as he brings Focalistic onboard. There is a deliberate attempt to please his South African fans, as Seyi Vibez makes quick references to Pretoria and the Zulu culture.

In the penultimate track of the project, “Amdallah”, Seyi Vibez reaffirms faith in destiny for the umpteenth time. “What God has designed/ No man fit spoil am/They talk and redesign/But my shoe dey shine”, he sings, taking a swipe at his imaginary enemies. As the last song “Blacka Rhythm” sets in, the artist is at his soulful, philosophical and emotional peak. Paying homage to his deceased mother and sister, the artist rounds off on a meditative note that is certain to leave fans feeling grateful for how he has turned out well despite the odds.

Three months ago, the artist took to his Instagram page to announce the death of his mother, describing the experience as the “darkest day of my life.” Last month, he shared an emotional message reminding us of her demise after acquiring a multi-million naira mansion. In his current album, the emotional baggage persists, but it is not overwhelming as to bore listeners. Notwithstanding, for most of the time in the album, Seyi Vibez highlights the role of destiny in his personal and artistic becoming while reiterating his faith as a Muslim.