Joeboy is one of the few artists whose music, for more than half a decade, has been deeply rooted in love—both its pleasant explorations and unpalatable sides. Perhaps the one true heartbreak savant in the Afrobeats scene, he has, unlike his peers, never broken character since his mainstream introduction with the emotional ‘Baby’ to his no-feature debut album, ‘Somewhere Between Beauty & Magic’.
For the past five years, Joeboy has navigated the emotional corridors of love and heartbreak, crafting songs that stand the test of time. However, this signature strength only shines through on select tracks from his third full-length album, ‘Viva Lavida’, which translates from Spanish to “live life” or “long live life.”
‘Viva Lavida’ captures Joeboy’s romantic and vulnerable expressions through deft melodies, with these themes spilling into one or multiple sequenced songs.
The album opens with ‘Innocent,’ a mid-tempo track where Joeboy is hopelessly enamoured by his muse, his naïveté morphing into unshaken devotion over a laid-back instrumental that complements Joeboy’s delivery. The song closes with what sounds like a soul sample, adding a layered flavour to the well-crafted opener before transitioning into ‘Abena,’ an Afropop track where Joeboy assumes the persona of a sugar daddy, ready to lavish gifts if only she dances. The production on ‘Abena’ is minimalist but vibrant, with guest artist Tempoe’s delivery adding texture, making the track the longing record that it is.
On “Streets Are Lonely”, he reflects on the effort he puts into being a better partner, lamenting that he isn’t receiving the same commitment in return. The instrumental, like the guest artist’s delivery, evokes distress, and like most of the production choices on Viva Lavida, it’s a simple, slow-tempo one. Aware of how daunting the dating scene—the “streets”—can be, he advises both himself and his partner to strive for a smoother relationship.
The project picks up momentum with tracks four and five, where Joeboy continues into matters of the heart on some of the album’s most remarkable lead singles. “Taxi Driver” sees him seeking solace from emotional turmoil, mourning a lost love but remaining resolute in his decision to move on. The Y2K-evoking harmonies of “SMH” are strong and lingering, with Joeboy choosing to extend its original two-minute runtime with an additional verse. “Magdalene” rides on simple guitar progressions, flutes, and elements of Tempoe’s production, transporting the listener to soundtracks reminiscent of Igbo Nollywood.
While ‘Viva Lavida’ maintains a certain sonic consistency, the album feels disjointed, missing the mark on what it aims to achieve.
Still, standout moments emerge, like “Sunset,” featuring Brazilian pop singer Elana Dara, with Joeboy finding himself in a familiar R&B fusion space, daydreaming and pouring his heart out. The track is followed by “Adenuga,“ a model Afro-pop record featuring the ethereal presence of Qing Madi. Now with a more robust production in contrast to the first half of the album, Joeboy assures his muse of financial security, getting hyperbolic and even promising them the world. On “Free of Charge”, featuring Olamide, he steps away from his comfort zone, sing-rapping over a bouncy and energetic T.U.C.-produced beat.
As ‘Viva Lavida’ nears its end, Joeboy becomes more solemn and introspective. “Osadebe” is a reminder to stay true to himself and a nod to Highlife legend Chief Osita Osadebe, best known for his song “Osondi Owendi” (meaning “one man’s food is another man’s poison”), which Joeboy repeatedly chants on the track. He sets aside love narratives on “Hey Father” to reflect on resilience, embracing a carefree approach to life, aware of God’s protection as he continues his journey and career. The song takes a humorous turn as he shouts out colleague Portable and playfully bites his pen: “Zazu go reason you o, Zeh ko to Zeh ri o.” Meanwhile, “Sinner” is a confessional track on a mellow but moving production by Type A, as Joeboy acknowledges his flaws yet remains grateful for God’s unconditional blessings. ‘Viva Lavida’ closes with the uplifting “I’ll Be Okay,” with Joeboy finding solace and strength in Wizard Chan’s conscious, borderline spiritual delivery. “I’ll Be Okay” puts a fitting end to the LP, offering listeners a warm embrace with Wizard Chan’s prayer-like delivery that truly connects.
There is a slight disconnect between Joeboy’s ability as an artist and the execution of ‘Viva Lavida’. Unlike the lead singles, which exude his musicality and catchy, sing-along appeal, much of the album lacks the engaging delivery that typically defines his stickier records and successful songs.
The album’s executive producer, Tempoe—Joeboy’s frequent collaborator, whose vocals appear on tracks like “Abena,” “Streets Are Lonely,” and “Magdalene”—clearly dictates much of the sound direction, contributing to over half of the album alongside other producers like Dera, Semzi, and T.U.C.
‘Viva Lavida’ could be seen as a carefree, experimental project that finds Joeboy stepping into new sonic territory. But at its core, something feels amiss, resulting in its uneven execution. Is ‘Viva Lavida’ a reflection of an artist searching for reinvention? To this writer, it appears to be a silent tug-of-war for creative ownership between Joeboy and the executive producer, Tempoe.
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Rating 7/10
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