After nearly a decade of delivering hit after hit, Mayorkun returns with his third studio album, Still The Mayor — a title that suggests dominance, authority, and evolution. But instead of breaking new ground, the singer leans into a familiar template that, while enjoyable, does little to stretch his artistry beyond his well-established comfort zone.

The project, more of a recap than a revolution, revisits the terrain Mayorkun has charted since his 2016 breakthrough. From the upbeat bounces to mid-tempo R&B blends and lyrical charm anchored in Afropop wit, he reminds fans of his skill — but offers little evidence that he’s growing beyond it.

The opener, ‘Keep On Rockin’, rides high on nostalgia with its sample of Yinka Ayefele and Sean Kingston, but lacks the boldness expected of a reintroduction. Similarly, ‘Diamond’ featuring Fireboy DML coasts on sensuality and smooth production, yet never pushes into second gear.

‘3:45’ with Rotimi is Afropop by the numbers: catchy, light, and tailored for good times. But like much of the album, it feels like a song you've heard before — perhaps because you have, in one form or another, elsewhere in Mayorkun's catalogue.

The album hits a brief creative high on ‘Konko Below’, where he cleverly samples Lagbaja to infuse fuji melodies into the mix — a refreshing detour. Likewise, ‘Reason 2 Japa’ earns praise for its socially conscious theme, confronting the realities of youth migration and the fading hopes of Nigerian youth — a rare moment of vulnerability and reflection in a largely carefree album.

There are marquee features, from Davido on ‘Blessings on Blessings’ to King Promise and Olivetheboy on ‘Hold Body’ and ‘Would You’ respectively. Yet none of these collaborations manage to ignite fresh energy or bring out new dimensions in Mayorkun. The chemistry with Davido, once explosive, now feels like a forced reunion — more of a victory lap than a statement.

On ‘Woman’, Mayorkun taps into his emotional side, delivering vocals reminiscent of ‘Mama’ — the 2017 hit that solidified his romantic appeal. It’s tender, well-executed, but also familiar to the point of predictability.

He revisits his hip-hop roots on ‘Industry Girl’, a posse cut that features Dremo, The Flowolf, and Michii. The song is laced with braggadocio and typical “groupie tales,” but lacks introspection or fresh perspective — coming off more like studio banter than intentional storytelling.

The biggest critique of Still The Mayor is not that it sounds bad — it’s that it sounds too safe. There’s little risk, little stretch, and no defining moment that elevates the album into something more than just a familiar listen. It feels like an obligation — one to fans, or perhaps to contracts — not a passion project.

There’s swagger, yes. There’s polish, absolutely. But there’s also a hollowness beneath the surface — a sense that Mayorkun is relying on the legacy of past hits rather than attempting to expand his sonic or emotional range.

Mayorkun still has the juice, the melodies, and the voice — but Still The Mayor doesn’t carry the weight of its title. It’s a collection of songs that remind us of his brilliance, but do little to reassert his authority in a rapidly evolving Afrobeats landscape. If he’s still the mayor, it’s for work done years ago — not because this album campaigns for his crown.

WafricNews Rating: 6.0/10 – A soft victory for a star who’s capable of much more.


By Wafricnews Desk.