◙Consider, for a moment, that Tems’ debut album was positioned for an international market. That the album’s title, Born in the Wild, hints at this intent, and that its careful attempt to portray a broad Afro perspective buttresses these efforts. This way, it comes as little surprise when, a few songs in, Tems diverges from the frankness in For Broken Ears (2020) and the breezy tones of If Orange Was a Place (2021).
As an artist with rising international acclaim, it is understandable that Tems makes a play to consolidate her status as a specific type of artist; one that continues to be exotic to both foreign and local listeners. Tems has spoken about resisting the pressures to conform to the dominant Afrobeats upbeat scene, and her perspective cannot be overstated. But perhaps, it’s all the same the other way around, and Born in the Wild is marred by not finding the much-needed balance.
Tems, born Temitola Openiyi, gained global recognition during the COVID-19 pandemic with her appearance on Wizkid’s single “Essence” and quickly grew a mini fandom, by modeling her style of Afrobeats without the familiar upbeat tempo. She fuses bits of RnB, dancehall, soul, and a laidback reggaeton gyration, which roots, of course, is Carribean (a feel she exudes). Her British-Nigerian background has also shaped her unique sound. She says she takes her influences from the likes of Lauryn Hill, Amy Winehouse, and Beyoncé. You can hear some bits of jazz behind her bop; combined with her expressive contralto vocals, her music offers freshness from a singular-themed market.
Albeit, Tems major brand of music, alté, comes with only one rule: do your thing, deviation is expected. But what is problematic about BITY is its underwhelming approach and poor timing. Most of the newer songs come across as freestyles, which usually works wonders for Tems. In a much longer project, which does not have the luxury of a single theme, like her two previous EPs, these songs stand out sorely and feel like they could be better presented. Also, a debut album from one of Afrobeats’ biggest gems should solidify her standing at home first. It’s akin to writing one’s first letters in a history book, which also means setting the tone of an artist’s career. Think of Fireboy’s Laughter, Tears, And Goosebumps, Asake’s Mr. Money With the Vibe, and Omah Lay’s Boy Alone. Where these projects root these artists as crooners and proponents of signature African tunes, Born in the Wild comes off hasty.
Tems is most comfortable on her newest album in the way she belts her carefree rap, or when she explores multiple genres—from soul (almost filching Nigerian-British Sade Adu to near obsession), pop, and even some reggae. However, this project lags in the creativity and effort needed to make it float. The lyrics maintain Tem’s characteristic frankness, but the sonic depth and character are missing, so the message feels strangely incomplete and the connection with the listener is tenuous.
The album opens with the titular track “Born In The Wild,” which retains Tems’ classic penetrative edge, sounding as though it was recorded in a single take. “Burning” introduces a 90s mellow pop vibe. “Wickedest’’ rekindles famous energetic lines from Premier Gaou, while “Love Me Jeje,” which samples Seyi Sodimu and Shafy Bello’s 1997 hit of the same name, is a beautiful tribute to the art of gentle affection, one of the album’s highlights.“Get it right” with Asake is another exploration of love.
J. Cole is the only other collaborator on Born in the Wild. On “Free Fall,” both singers complement each other seamlessly with Tems singing, “Hopeless, in the moment / I free fall straight into you” and Cole singing, “Soon as you let me in, you start hunting for a locksmith?” Their interplay as lovers attempting to reset their connections is well done. “Forever’’ brings us back to her classic RnB trail, but not for another love song as the title suggests. “Me & U” feels like a summer classic, especially when played over towering speakers, even as Tems sings about her faith.
Many songs attempt to push boundaries in the later part of the album, contra the momentum garnered by the promotional singles released in the buildup to the album. But “Gangsta’’ is fun, and so is “T-Unit.” “Boy O Boy” feels like a third interlude. “Hold On,” “Turn Me Up,” and “You In My Face,” on the other hand, immediately remind listeners that the album is too long. The production, howbeit, remains tight and exciting, with GuiltyBeatz leading the charge and Tems handling one of the interludes herself. And SARZ receives producing credits for the scintillating pump in the Asake feature.
Born in the Wild suffers from what could be considered a sophomore slump, caused perhaps by the extended time it spent in the conception phase. The high expectations set by the momentum of “Essence” doesn’t help the reception either. Tems needs to find the right balance, one that plays to her strengths without pushing her too far out a limb. Yes, there are few flashes of brilliance here and there, but the album’s length and inconsistency overshadow them. For now, it’s diamonds in the rough. Perhaps, with a little remodeling in the shop, a deluxe edition would reinstate Tem’s place as a global superstar.♦
Ayodeji Ajibola is studying for a B.Pharm at Obafemi Awolowo University, Ife, and writes music, poetry, and fiction. He is an intern music writer at Afapinen. 𝕏
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