After two long years, Omah Lay finally delivered his highly anticipated sophomore album “Clarity Of Mind.”
There was a lot of expectations on Omah’s shoulders going into this album after his debut EP, 2020’s “Get Layd,” and debut album, “2022’s “Boy Alone,” were both labeled instant classics by fans and critics alike.
Amidst all the delays and gimmicks, two questions remained prevalent in music spaces, “which direction was he going to take for his sophomore offering, and “can he beat the notorious sophomore slump?”
This album came to public knowledge in 2023 after a video Omah Lay shared on his social media promoting the smash-hit “Holy Ghost” released in late 2023.
After Omah Lay revealed on Twitter that someone stole the idea for the album which led to scrapping the album and starting all over, the album would be delayed for almost two years.
This made fans even more eager to hear the new sonic direction for the album, since rumours were flying that Rema was the culprit who stole Omah’s idea for his “HEIS” album.
After about a dozen and a half hairstyles, mental breakdowns, heartbreak and a Grammy nomination, the album was finally ours.
Immediately you enter the album you realize the core themes of isolation and self reflection that make up the bulk of Omah’s discography has remained present. This thematic identity has been referred to by fans as “Afro-Depression” since the “Boy Alone” era.
But there’s a core difference, going into this album. From the first track “ARTIFICIAL HAPPINESS,” one can notice a difference in sonic direction, where “Clarity Of Mind” trades “Boy Alone’s” sonic minimalism and clear isolated vocals for a more rich, lush and atmospheric production style.
The David Hart, Orlandoh & Tempoe produced opener wraps Omah’s attempt at dealing with his mental breakdowns with the herb—in a banquet of grand cinematic opening makes way for bold drums and ends with some of the most lush synths ever.
The background-vocals are more present, in the midst of stacked main vocals that transport Omah’s beautiful writing to the listener.
Thematically, Omah is attempting to fix his mental health by smoking away his problems, but “Igbo is telling on him,” he only arrives at artificial, temporary happiness.
Omah made some bold claims during the press run for this album, including saying he would end up being one of greatest African artists of all time, and the wealthiest, that new found confidence has spilled into the music, as he allowed his voice shine more on the album, took risks and experimented more than he’s ever done in his career.
The second track “ONLY JAH JAH KNOWS,” sees Omah’s vocals going toe-to-toe with the soft-percussions, want synths that make this spiritual Afrofusion chant-heavy bop.
The “CANADA BREEZE” takes similar melodic routes as his past works & is heavily carried by the electric guitar chops and atmospheric feel.
It doesn’t stick out too much, almost as if clearing the path for one of the real gems of the first half of this tape; “WATER SPIRIT.”
Padded drums, loud chants and prevalent synths that has characterized every track so far remains constant, but the standout of the song is Omah experimenting with his vocal delivery on the choppy verses, as he declares how much of a picky lover he is. A picky lover who tries to heal his pain with a lot of sex. A lot of sex, but not with just anybody, at least.
“I like my girls a little petite,” is a standout lyric from an artist who is just infamously in a relationship with his manager who is as full-figured as full-figured can be. A little disingenuous maybe, but that’s what has earned him a reputation as a smooth-talking ladies’ man.
“DON’T LOVE ME” is closer to the more traditional, solemn, “Boy Alone” sound, with more isolated vocals. The song sounds and feels like when the party is over, and everybody goes home leaving Omah alone with his thoughts, between Tempoe’s minimal production, Omah’s soft vocals & poetic brooding, he contemplates if he deserves love or not.
The song paints a picture of a man who tries to buy love, to fix his inherent lack of self-love. The song has some of the album’s most beautiful and honest writing, with lyrics like “kissing fire to see if it burns.”
“COPING MECHANISM” introduces us to the melancholic vocals of Elmah; a cover artist getting her debut mainstream moment.
Her hook sets the tone for another poetic, brooding-anthem and one of the best songs on the album. The song contemplates forced smiles and the rigours of tour life.
“JULIA” is one of the most upbeat songs about loneliness you’ll ever hear. Lyrics like “I book a table for 20 people how do I end up so alone,” highlights Omah going between partying all night but still ending the night alone.
The song ends the part of this album that deals with “numbness” ironically on a high note. The production is probably the most experimental on the album, with its Old Western guitar riff, heavy percussion and grandiose big band outro.
On “WAIST” Omah is back to relying on women for therapy. The hums on the hook sound a little too much like Alpha P’s 2024 hit “W,” and with the awareness that he’s making wrong decisions and might end up like Samson from the Bible. The writing is full of quotables and anecdotes that make the song memorable.
“MARY GO ROUND,” a triple entendre about rotating Marijuana (Mary) and women, is a sombre confession about the hypocrisy of judging others but fully indulging his vices.
On “I AM,” Omah seems to find his voice, literally and sonically— This is the most confident he has been on the whole album, and vocally he charges into his higher register on the bridge, like he had tried doing several times on the album, and finally gets it right. The song serves like an upbeat “I” from “Boy Alone.” The criticisms of his vocals on the Tiny Desk performance didn’t go unnoticed after all.
The album could have benefited both thematically and sonically from the scrapped “Moving,” but ending the album with “HOLY GHOST” and “AMEN” is still a banging closing statement. The two LEKAA BEATZ produced songs see Omah finally look up to a higher power for solace, with a little help from the herb.
Both are top 5 songs on the album alongside “Mary Go Round,” “Artificial Happiness,” and “Coping Mechanism.”
The thematic trajectory of this album shows that healing is never a linear journey, most times it’s a zig-zag affair, maybe this is why the album took so long to finish.
He gets credit for trying very brave experimentation in vocals and production styles, where Boy Alone stayed in safe, familiar zones, “C.O.M” takes bold risks