In the last three years, KDDO has been constructing a sound signature, dwelling mainly on the themes of having fun and living an opulent life. Evident on his “Alright” single which featured Wizkid and also his classy, memorable hook on AKA’s “Fela In Versace,” his input on these two songs reflected the lifestyle of a man who’s carefree and wants to be cloaked only in life’s pleasure.
By the time he would usher in “eWallet” in the thick of a thriving pandemic, the idea for his debut project was established. Building off the burgeoning Amapiano sound, Kidominant created a diversion, blending the lightweight drums—serving as the base of the sound—with West African rhythms and melodies. To him, a genre was birthed: South Afrobeats.
His self-made sonic idea would later be the foundation for Too Late Too Lit EP. Tapping long time collaborator Mayorkun for the opening track, KDDO knits one from Amapiano lacing it with glittering piano taps and Mayorkun is the perfect fit especially with his charismatic flow and rhymes. His lambas are present as well, with the singer sneaking in an exciting one: “Let me light up your world like a Mikano generator”.
By the time we’ll get to have a second listen of Beamer Body—after its release two weeks ago—there’s a full understanding of what KDDO is trying to create with Too Late Too Lit. Here are tracks one can groove to. Club-heavy jams and party bangers.
Some tracks show KDDO’s exquisite mastery in production and why he’s one of the best beat smiths around. On “Show Me Love,” he lets the beat wander for a little time before allowing Ferow’s airy vocals to float on it. He doesn’t sing much, repeating his commanding vocals over the lightweight mix of skittering drums and smooth piano taps. “20 Something” with Sho Madjozi sees a return to the prevalent Gqom sound, which is Sho Madjozi’s favorite turf and they both take turns to work their magic on the beat, Sho singing in her native Xitsonga language re-echoing KDDO’s sentiments that “age still doesn’t matter in love and relationships.”
As KDDO clearly demonstrates he’s all about fun and party lifestyle on most songs, he also dilutes the EP’s theme with diverse flirty tales about girls. “Party” reinforces his fancy lifestyle, telling a story about spending time in the club and impressing women in the club. “Party” aside, Holy Ghost Fire also sees a diverse turn from the dominant South Afrobeats Kiddominant has made as his foundation for this project. Borrowing from the mellow, highlife sound of The Cavemen, they both sing melodiously, promising their love interest and issuing out a firm instruction: “Anybody wey touch my Amaka, Holy Ghost Fire”
Overall, Too Late Too Lit is an improvement on KDDO’s sonic abilities: as a producer and as a singer-songwriter. There’s no downside to the two parts, he’s equally as good as a producer and also does well as a singer. It’s a chronicle of what he’s been about since his foray into singing in 2018. But this latest output is a cohesive construct of his lifestyle also, taking bits from his personal life, utilizing it on several tracks across the album. Too Late Too Lit is an enjoyable, delightful project and as long as Amapiano still rings around as the prominent sound across clubs, KDDO’s project holds an enormous relay value.
This article was written by Olabode Otolorin; connect on Instagram with him here