Ayra Starr's The Year I Turned 21: A Spectacular Sophomore Album

Ayra Starr crafts a second album that matches her ambition of global superstardom

Sabi - Nigerian street slang to describe someone skilful in a particular field or endeavour. 

Ayra Starr's sophomore effort, 'The Year I Turned 21,' showcases the chanteuse's innate understanding of how to trapeze from Nigeria's it-girl to an international pop act with ambitions of ruling the world in the manner and mould of her idols - Beyonce and Rihanna.

As a veritable talent minted in Nigeria, Ayra Starr starts her LP on the right contextual note with the London-produced opener 'Birds Sing of Money.' A Fuji praise singer briefly eulogises her before Bridgerton-inspired violins pierce the atmosphere, and then London finally unveils his hand with a threatening dancehall instrumental.

In her boss bitch mode, Ayra Starr quickly sets the tone of independence and the mistress of her fate when she lets off, "I run up shots, I run 'em myself." 

The themes of agency, autonomy, independence and financial empowerment are sprayed all over the album like a body mist. 

On 'Goodbye (Warm Up), Ayra Starr kicks her ex to the curb. Over the P2J instrumental, the Mavin act frees herself from a love unworthy of her commitment. With Asake's impressive verse, this song will be a mainstay at cosy house parties.

Economic independence and freedom are strong motifs in this body of work. On the Ragee-produced, streamer-pleaser 'Woman Commando,' featuring Coco Jones and Anitta, Ayra Starr not only calls the shots but buys the shots for her posse of sabi girls.

Ragee, who produced Davido's summer smash 'Unavailable, constructs an Amapiano club song for Ayra Starr. Thankfully, it is refreshing enough to stand out from the pack of lazy interpretations of amapiano records by Nigerian producers.

In her duet with Giveon, 'Last Heartbreak Song,' Ayra Starr pulls the plug on a relationship gone bad. When she sings, "I'll be better on my own," it's a moment of self-worth rather than a teary realisation that this love has gone cold.

On 'Control,' she interpolates another global pop star, Shakira, and is willing to yield control (no pun intended) to a potential love interest that seems to have more rizz than effort. "It's something that you are, it's nothing that you say, it's just the way you say it, I'm giving you a way in," beckons Ayra Starr.

The nocturnal affair leads to a happy relationship for our heroine in 'Lagos Love Story.' It is a joyful and exhilarating number, with Ayra Starr basking in the glow of newfound love. She shifts her position of being trapped by marriage in 'Goodbye (Warm Up) to being willing to have kids in this song. 

'Lagos Love Story' is a savvy song bound to utilise the viral capabilities of social media - especially TikTok - to turn it into an inescapable mushy love anthem.

The fact that Ayra Starr centres her love story in Lagos speaks volumes on how much she is grounded and committed to portraying herself as a homegrown star and not decoupling herself from Afrobeats. 

On the cathartic 'Orun', Ayra Starr pleads to God for rain to wash her pains and sin away. Singing in English and Yoruba, she stretches the length of her lines to absorb her heartfelt emotions. Loudaaa lets the gospel-esque song breathe before peppering it with sweet vintage guitar licks reminiscent of Nigeria's golden Highlife era. 

After her slight nod to Nigeria's best musical decade, she pays homage to the most influential producer post-1999 on 'Jazzy's Song.' Loudaaa interpolates the Wande Coal classic 'U Bad' featuring D'banj on the hook. The length of her bars now shrinks to fit into the lamba scale of contemporary Nigerian pop music. 

"You go hear the gbedu for the koro. It's a vibe anytime that we turn up," delivers Ayra on the record. It is a fitting record for her, not because she flexes her ability to use minimal writing to evoke joy and escapism, but because she flips a classic pop single that celebrates both thick and slim women.

As a champion of the itty bitty committee and composer of 'Skinny Girl Anthem' on the deluxe version of her debut '19 & Dangerous,' forking a piece out of Wande Coal's opus is a contextual masterpiece - accidental or not.

On 'The Year I Turned 21,' it is evident Ayra Starr has sacrificed her poignant, diary-like style to craft hot pop tunes. While some might baulk at the lack of intimacy on her sophomore, she has a trifecta of tunes to satisfy the thirst of those who want something more intimate.

The statement ballad '21,' produced by Fwdslxsh, KillSept, and Mike Hector, is an R&B coming-of-age song where she admits she does not know what it feels to be her new age. While recollecting her accomplishments, she paints a picture of a woman who wonders what's next for her. 

 Ayra Starr does not forget her family. She teams up with her brother/songwriter Milar in '1942.' The siblings admit that with all of their recent wins, they are scared that they might lose it all.

The album befittingly ends with the tear-jerker, 'The Kids Are Alright.' The song, dedicated to her late father, features vocals from Ayra Starr's mum (who encourages her to bask in the glory of her recent success) and her siblings, who send voice notes to their dad.

"Hope no clouds are blocking the view. Hope you can see what I turned into. Hope I'm out here making you proud. Hope God doesn't judge you by your sins," sings Ayra Starr with a twinge of regret. 

This emotion-laden closer seemingly ties into her album cover, where she looks up at the sky. One can imagine that she isn't only looking at the stars but her father.

'TYIT21' is a sophomore that hits the mark of what a Nigerian pop album should sound like in 2024, confidence and a full display of mastery. 

Ayra Starr carries the weight of being this generation's leading lady with appropriate sass, sex appeal and savvy without as much as a sweat. She can rumble with the boys and come out immaculate with her pure, raw hair unruffled.

Her second album confidently states that she is in control of her body, her career, her love life and finances. While these are individual declarations, they support young women to attack life without fear and conquer.

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