Album Review: Johnny Drille Seeks the Light on Before We Fall Asleep
The Nigerian singer/producer scrutinizes himself and his society through a lush blend of musical genres.
The year 2015 was a pivotal one in Johnny Drille’s career. His cover of Di’Ja’s “Awww” won him fans and the attention of Don Jazzy, the CEO of Mavin Records, which Di’Ja was signed to at the time. Two years before that period, the Edo State-born singer and self-thought music producer had been a contestant on the sixth edition of Project Fame West Africa, a music talent TV reality show. His debut, folk-inspired single “Wait for Me” put his name on the hearts of many music lovers, earning him a Best Alternative Song nomination at the 2016 Headies. In 2017, he signed to Mavin Records and, courtesy of his single “Romeo & Juliet,” he got three nominations—Best R&B Single, Best Vocal Performance (Male) and Next Rated—at the 2018 Headies.
Since signing to Mavin Records, Johnny Drille has released singles after singles that have expanded his sound palette yet remained true to his core: an incurable romantic who is the boy-next-door type and whose emotions, guided by his religious beliefs, shift between the ups and downs of intimate connections. On his long-awaited 14-track debut album Before We Fall Asleep, Johnny Drille embraces his artistic foundations and offers a few surprises. He produced ten tracks on the project and enlisted help from Nigerian producers Wilson Muzik, London, Burssbrain and English producer Fink. He also mixed and mastered all the songs, while Don Jazzy executive produced the album.
The album begins with the anthemic “MY KIND OF BROWN.” Here, Johnny Drille urges a woman to rise above her travails. “You’ve been hiding in your shell for way too long/Come out of the darkness, girl, come see the sun,” he sings. Johnny Drille’s singing is a passionate plea that tugs the heartstrings and will uplift listeners, regardless of their gender. He carries that message of hope into “SISTER,” which features Nigerian singers Kwittee and Cillsoul and the Lagos Community Gospel Choir.
On “loving is harder,” Johnny Drille recognizes the toxicity in a romantic relationship but refuses to pull himself away. Instead, he hopes that his biggest fears—being jilted or left alone—do not happen. On “ludo,” which is titled after the popular board game and has elements of afro-pop, Johnny Drille admits that he shouldn’t be in a toxic relationship. He is tired of being played and wants to go in search of a better lover.
Don Jazzy produces a brilliant verse on the dancehall-tinged “ova.” He and Johnny Drille apologize to their loved ones for mistreating them and ask to be let back into their lives. On his part, Don Jazzy regrets joining the Stingy Men Association, a social media-engineered group of men averse to giving their female partners money. He informs his ex that he regrets going against his nature: generosity, which is true, as evidenced by his giveaways on social media. These parallels give the track an engrossing relatability.
On “odo,” Johnny Drille and veteran R&B group Styl-Plus plead for the affection of their love interests. Shifi, one-half of the two-man group, mesmerizes with his croons and Zeal supports with background vocals. Johnny Drille proves he is a dedicated lover on “driving in the rain,” which features label mate and Nigerian rapper LADIPOE. While Johnny Drille is earnest about his feelings, LADIPOE is the opposite: he is withdrawn and calculative, unwilling to let his emotions be used against him.
Johnny Drille is no different from LADIPOE on “BEFORE I LET GO.” He takes on the persona of IK, a man whose lover questions his affection for her. Rather than reassure his lover, IK retreats into himself, choosing to fight whatever battle reigns in his head alone. “We’re two songs on different keys,” Johnny Drille sings.
On “in the light,” which features Nigerian singer and label mate Ayra Starr, he provides some answers for his reticence: he wants to figure things out himself because he feels letting his lover into his head will make it easier for her to manipulate him. On her part, Ayra Starr has trust issues but still, desperately, wants to love and be loved. On the R&B-plus-trap “CLOCKS,” Nigerian singer Chylde and Johnny Drille engage in a hazy slow dance of love and insecurities. Both need each other but act indifferent, holding their cards to their chest.
“LIES (To Whom It May Concern)” and “lost in the rhythm” represent a thematic shift in Johnny Drille’s music. The former is an alternative rock political anthem, wherein the singer takes scathing shots at the Nigerian government for their redundant, poverty-causing policies. On the latter song, which is buoyed by trap drums, Johnny Drille zeroes in on a young Nigerian man whose ambitions are squashed by the harshness of the government and the public. “He’s been through all the worst that I ever seen/Prays to the Lord for saving/A question to the world can you see him/Cause he feels lost in the rhythm, oh yeah,” he sings.
In 2019, Johnny Drille released “Papa,” a track dedicated to his father. On Before We Fall Asleep, he slips in “SWEET AS A MOTHER’S LOVE.” But the song isn’t particularly dedicated to his mother; instead, he stares at a romantic relationship through the prism of maternal love. On the closer “sell my soul,” Johnny Drille is resolute about not getting the short end of the stick, as regards romantic relationships. The song is also dedicated to Johnny Drille, the musician: on the outro, he speaks about being misunderstood for the choice he is making with his music; he believes only he understands himself. He makes a promise to himself to stick to his style of music.
In Christianity, light is a term for grace, hope, holiness and many good values. Johnny Drille, a Christian, brings those inclinations into Before We Fall Asleep. For him, being in the light represents standing out as a person and a musician and carving his niche away from the darkness of weakness, insecurities and fear.
Go HERE to stream Before We Fall Asleep.