Why is nobody admitting the concept for Adekunle Gold’s album art is shit?

Adekunle Gold is in the final mile of a journey that leading up to the release of his highly anticipated album. As expected pre-release marketing for the record via interviews, public appearances and photo shoots have been underway. On Monday, Adekunle revealed the album art for his debut album, signaling the completion of a post-production phase that will preclude his promised July roll-out month.


Gold, the album title is thematically channeled through a royalty motif with a golden accent hued against the purple backdrop Adekunle Gold foregrounds. The cover relies heavily on this theme for its lush typography, gold-painted metal shackles draped around Adekunle’s neck and a photography so intricate even his skin is seen seamlessly giving off a golden fluorescence.

The singer released the first look at the proposed art to warm reception by Nigerians who already felt like Adekunle Gold had set another benchmark of creativity. But while we can boldly admit that Adekunle Gold is a fairly talented fellow, there is nothing about his over edited album cover that remotely stands out.

Yes, we get the idea, his name is Adekunle Gold, the album is also unsurprisingly titled Gold and everything on the cover is also literally and thematically tainted with gold. So thank you Adekunle Usain Bolt, we absolutely did not think we would be seeing this much gold in one place until the Olympic games later this year. We get it.


Yet the god-level beautiful cliche the album art is soaked with, merely succeeds at depicting an unexpectedly uninventive side to Adekunle Gold. For a man of art — who dons local Adire attires publicly, has a basic understanding of sculpting, understands the use of vivid colours for music videos and is still Nigeria’s longest reigning king of Photoshop — Adekunle Gold should have enough skill set to create an album art with more than just another overdressed guy’s face slapped with more filters than Instagram and SnapChat have combined.

We have seen this same thing countlessly from mainstream artists. If anything, Adekunle Gold’s conferred ‘alternative artist’ title ought to have been a catalyst for him to stray from the norm instead of doing what clearly looks an idea that strove too hard to be different without incorporating any fresh concepts.

Props must be given to the use of trash metal painted with gold in the principal photography done by Ty Bello. The recurring recycled metal motif is a visual metaphor relating to how Adekunle Gold can turn anything he touches in something of value. This in our opinion, would have been a greater point of detail for the album’s actual content, only Adekunle Gold headed in the other direction for subtlety. For this, we’re both unimpressed and disappointed.



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