Album Review: DOTTi The Deity’s Madam Dearest Pt. 1 Celebrates Love
The Ibadan-born singer/songwriter finds strength in the warmth of companionship.
With 2022’s “Forever Sweet” spotlighting his talent, DOTTi The Deity has carried on with his influences and preoccupations with resoluteness. His sonic identity, a marriage of Yoruba Folk music and other genres, marks him as one of Nigeria’s most promising alternative artists. His 2023 album For You Knew Me showcased his style of music, rich with storytelling and an observatory eye for the complexities of human relationships.
His follow-up album Madam Dearest Pt. 1 toes the same path. Music producer Phleksibu, who produced the entirety of For You Knew Me, is also called upon on this project, continuing their synergy since the 2020 EP Songs in Isolation. What differentiates Madam Dearest Pt. 1 from For You Knew Me, though, is that while the latter deals with both the excitement as well as the potential pitfalls in romantic relationships, the former is solely concerned about the celebration and consummation of love, with no care for the negatives.
The Reminisce-featuring lead single “Big Shirt & Boxers” metaphorically represents the shared bond between lovers through clothing. “You and me/Singing doremi/Making memories/In my big shirt and boxers o,” DOTTi The Deity sings before Reminisce lays a smooth verse against a backdrop of talking drums. On “Ololufe Mi Owon,” DOTTi The Deity is an earnest lover, professing undying affection to his better half.
Born in Ibadan in Oyo State, southwestern Nigeria, DOTTi The Deity’s identity as Yoruba permeates his music, from his lyrics to the choice of instrumentals backing those lyrics. Whilst he sprinkles English and Nigerian Pidgin, Yoruba is the fulcrum of his sound, reminding listeners of his roots and offering them perspectives of his world.
But DOTTi The Deity serves a pleasant surprise on Madam Dearest Pt. 1 with “Be My Darling” featuring PC Lapez. The highlife-influenced DOTTi The Deity’s Yoruba with PC Lapez’s Igbo, a predominant language in southeastern Nigeria, with both artists combining their uniqueness to serenade their love interests. Album opener “Hello Sisi,” burning with electric guitar riffs, finds Dotti The Deity and Ijaw music messenger Wizard Chan setting the stage with passionate outbursts.
The story of DOTTi The Deity is incomplete without mention Nigerian music producer Phleksibu. As he did on DOTTi The Deity’s previous projects, Phleksibu yet again crafts an assortment of sounds that keeps his companion’s messages from going stale. The music of Madam Dearest Pt. 1 borrows from Juju to Fuji to Pop to R&B to alt-rock. Standout cut “Sussana” is both DOTTi The Deity and Phleksibu operating at the highest level, serving an irresistible delight of talking drums and percussions.
While Phleksibu is a noteworthy presence on the album, DOTTi The Deity ensures Phleksibu’s efforts do not go to waste with his confident vocals and relatable, nuanced lyricism. On the Etuk Ubong-featuring “Balablu,” he employs the song title, associated with Nigeria’s President Tinubu, as a storytelling technique to convince a love interest of his intentions. DOTTi The Deity delights on the track with deft switches in flows – smooth in a moment, staccato-like in the next, and everything in between. That excitement is also noticeable on “Sussanna,” where he sings, “Wetin my doctor talk/When my bloodi short, Orheptal no go work/But if you give me your love o/Everything go pure.” On “Sinmilemi (Interlude),” he is more sober yet captivating as he, with background choir voices, invokes an energy that sweeps the listener in its power and sincerity.
“Forever Sweet” makes an appearance on the album with a verse from Nigerian singer Simi. Simi’s frequent collaborator Falz is also featured in the project and appears on the title track. He and Vader the Wildcard, who appears on “Madam Dearest (Samo Agbero Cut),” bring lighthearted rap lines. Nigerian trumpeter Etuk Ubong gives an impressive display on “Balablu,” with Reminisce, PC Lapez and Wizard Chan shining on their respective tracks. The features complement DOTTi The Deity’s performances, with none upstaging the other.
“Don’t leave me on my own/Make you carry me dey go, carry me go,” DOTTi The Deity croons on “Carry Me Go.” Those lyrics are central to Madam Dearest Pt. 1, for the artiste shows he is willing and unafraid, choosing to find strength and security in the warmth of companionship. He and his trusted producer do it with a fine ear for melodies and a firm grasp of the underpinnings of his Yoruba culture.
Go HERE to stream Madam Dearest Pt. 1.
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