By Sam George Mac

Kizz Daniel has always been conscious of unfavorable criticisms of his intentional craftsmanship and his somewhat reclusive personality. A younger version of the acclaimed underrated singer lamented people's perception of his monotony of instrumentals on Sugar Boy assisted Raba in 2015 — "Na so dem fire me for Twitter, say I too dey mess with the same sound," the then Kiss Daniel cried out.

Even though Kizz Daniel is much older now, Maverick, his new body of work, proves that such criticisms of his art remain an indelible nightmare in his consciousness. And this, alongside several other industry practices that bruise his ego form the background of Maverick.

A certain conspiracy holds that this ego influences his withdrawal from forming blocs and alliances over the years, others on the horizon think it's his reserved nature. While this has never been a debacle in his collaborative efforts, Kizz Daniel hardly relates with the vast array of colleagues in the industry.

This did not change until about four months ago when a host of finest of Afrobeats artistes stormed Asgard, his studio. The likes of Seyi Vibez, BNXN, Chike, Reward Beats, Young Jonn, Teni, Bella Shmurda, Joeboy, Oxlade, Ckay and Blaise Beatz were seen at the studio in a couple of clips published on the internet.

This mass assembly seemed to have produced Gwagwalada with BNXN and Seyi Vibez and Joeboy's Woman with Oxlade.

Over the years, many excuses have been made for him, but it's almost two years since Kizz Daniel lamented the nature of the Afrobeats industry and likened it to a cabal — December, 2021.

A part of the project entitled Maverick veers towards that knowledge of the industry — "no escape, molten magma," "predict all their movements," "bypass gatekeepers; Barnabas" "I can't search for anyone, I don't know how to keep friends"; these are lyrics that open Kizz Daniel's Maverick.

Kizz Daniel briefly highlights his drop in form around 2020 before he returned with the Barnabas EP in 2021 — he likens the comeback to bypassing "the gatekeepers" (the cabal). And that short project was all he needed to be back on his feet after the third album, King of Love, left much to be desired.

Of course, Johnny Drille was first unveiled as the session musician behind Shuperu weeks ago; his vocals fight for dominance on Red and Green too.

With the exhumation of the forgotten finger-pointing at the cabalistic industry, the sense of the album title is justified — Maverick; one who does not abide by rules, one who does not follow the status quo, one who is independent in thoughts and action; solitary maybe. In Kizz Daniel's words on the album, one who can't be controlled or censored by the "gatekeepers" — THE MAVERICK.

Kizz Daniel compares his thrive in the industry to the magma that cannot be avoided, and with My G, he is on a vendetta to air his displeasure at the condemnation of his music. Kizz Daniel sarcastically serves trolls a taste of their own medicine.

Vado's message should be received with equal hostility used to judge his artistry. Kizz Daniel properly addresses his nature on Anchovy with claims that comparisons stress him: "I'm just being me," hence the basis for his not living up to the society's expectations of what he should sound like or act like.

Kizz Daniel's Maverick witnesses its first twist in sound and theme on Feran You Two as the father of three accommodates the remnants of his triplets, Jalil and Jelani, with a fatherly piece of affection.

With Chike and Johnny Drille respectively providing accompaniment on Feran Mi and Easy To Love, Kizz Daniel drives his listeners through the realm of modern Highlife as he did with Oshe ft. The Cavemen, Yeba, Woju, Laye etc, in his days of yore.

While Pour struggles with monotony synonymous to Hook, off his King of Love album, Anchovy directly taps a similar melody with Cough on this same Maverick. Feran Mi interpolates 2Shotz' Carry Am Go, off the 2004 EP, Pirated Copy. However, Never, Show You Off, Buga, Shuperu, Red and Green and Feran You Two remarkably stand out as the best of the 20-track project.

At the end of this project, listeners must absorb Kizz' message; he does what he wants and no amount of pressure or hate will make him change — that's a Maverick mindset.

And in the back and forth through comments stating that Kizz Daniel is worn and shows no novelty on this project, the theme of Maverick is justified because it doesn't meet up people's idea of what a Kizz Daniel's album should sound like.

This is the Maverick. This is Kizz Daniel's record of highs and lows. This is Kizz Daniel finding the luxury to finally address his personal psychological struggles. This is Kizz Daniel's fifth project revering God. And what more? This is Kizz Daniel's unveiling of his new signee, Pryme; and this is DJ Coublon's fifth contribution to a Kizz Daniel's project, out of five.

Ratings: 7/10