When the name Oxlade comes to mind, all you think about is the feeling you had the very first time you heard that blend of sound, unending falsetto and most importantly, a musical sense that carries you along. Taking apart his first album, OFA (OXLADE FROM AFRICA), the title alone speaks volumes as he has chosen to stay rooted to his humble beginnings, wearing upon his neck the cloak of African identity with pride. And when we pick out the music he delivers, all we see is a talented star who hasn't stopped growing, evolving and ramping himself up to be the best of his limited version.

“D PSTD” ft. Bobi Wine, just like the title depicts, is a show of struggle and the masses’ fight against oppression. The track is a package of what goes through the mind of every average Nigerian youth, an impeccable show of resilience that we all noticed during the ENDSARS protest in 2020. In a more melodious tone, Oxlade appreciates the grace of God over his sacrifices and struggles. The track “OLAITAN (OLAOLUWA)” was named after himself. It's a rhythmic opening to what is yet to unfold in the project. In a much more distinct collaboration with Jamaica’s Popcaan on “BLESSED”, Oxlade blends in quickly with the music style, incorporating the patois language is a brilliant fit. Both artistes speak about overcoming obstacles and how far they’ve come in the journey of life. Indeed, they’ve been blessed. “INTOXYCATED” was one of the early single releases, fully packed with a show of romantic prowess. From a softer look, Oxlade depicts a heartbroken view of being abandoned and betrayed in love. UK rapper Dave syncs to the soul-wrenching experience with his signature lyrical storytelling. “IFA” on the other hand is a speculative story of how a union would be, if allowed to flourish. Along with Fally Ipupa from Congo, the track is evidence of how much of a lover Oxlade truly is. The sixth song on the album, “KU LO SA” is a globally popular release that rode on the waves of trendy TikTok challenges and is still popular to date. The staunch Igbo musician, Flavour whose affinity for love songs is no news delivers on the “OVAMI” feature. The poetic delivery of romantic interest emanating from the vocal cords of these talents simply can’t be described by words. It was beautiful in its entirety. In “ARAMBAMBI”, Oxlade sings from a place of want. His need for this romantic company is undeniable and the chorus stands out as he emphasizes his love interest and her moniker in the single. The interlude, “TAMUNO” is a direct call back to Africa’s indigeneity as the title is an Ijaw dialect interpretation of ‘God’,  and reverence to the supreme creator. RnB and Afrobeat legend Wande Coal is the perfect match to turn things around alongside Oxlade on “ASASUNA (HOLD YOUR WAIST)” where they both compete with tempo to appeal their obsession with a love interest. The fluidity of their flows surely matches the whining of this “waist” they keep seeking to hold. “PIANO” and “OLOLUFE” tracks are equally love-packed melodies with the Ghanaian talent, Sarkodie outdoing himself on the “OLOLUFE” track. “RMF” is a gyration about an artiste living a ‘mega superstar life’ and navigating popularity, from party scenes to concerts, and more. The 14th track, “ON MY MIND (OMM)” features Tomi Owó and OjahBee. Tomi Owó opens up the song with a soft rendition that leaves the heart with intense yearning. The other features fit in like a missing puzzle piece, all delivering a masterpiece. In a more solemn reflection on the past, Oxlade stuns on the “KATIGORI” track, telling a story about his rise and overcoming of segregation and other obstacles in the music scene. The highlight and illumination of this track also lies on the shoulders of the choral music. The 16th track, “OFA” emphasizes Oxlade From Africa as the album is meant to be packed with infectious drumbeats and rhythmic use of instruments. The track is a befitting end to the OXLADE FROM AFRICA album and a nice opening to the album's deluxe version. The “DOINGZ” is another music fully dedicated to showcasing Oxlade’s desperation for love as he tries to convince this woman in question to be in love with him as he equally is with her. He backs it up with the fact that he stays true to his words with the “…they call me talk and do…” lyrics. “OMALICHA” strums in with an appreciation of a woman’s beauty and magnificence using exclamations in all languages possible. Oxlade’s “SHO MI” is a deeper view of the trials of life. His lyrics paint a picture of the unequalness of fingers and how God supports him through life throes. Lastly on the album, “VANITI” transmits the emptiness and fleeting feelings that accompany the pursuit of the world, narrating in both English and his Yoruba dialect. 

The cover art of this album holds a simplicity yet focuses on Oxlade in his full glory, especially drawing attention to the attire he donned. All music producers (TUC, Ozedikus, Edgar Boi, Dre Skull, Magicsticks, Timmy) also delivered their best, making it an all-around excellent and addictive fifty-six minutes work of art.