After the introspection of Stubborn and Very Stubborn, Victony sounds less interested in explaining himself on STARLIFE. His 15-track sophomore album is about inhabiting the life he has spent years growing into: louder, richer, sexier and considerably more assured.
There is a sense of arrival here, but not the triumphant kind that demands applause. Victony simply sounds comfortable. The production often wears what can only be described as a sleek, lavish edge, moving between Afrobeats, R&B, hip-hop without losing its central character.
Ozedikus, alongside executive producers Shay “Gideon” Royale and Elochukwu Ububa, gives Victony enough space to let his melodies, layered voices and increasingly confident rap instincts breathe. The album’s personality becomes apparent almost immediately on “Too Lit,” where a sinister bounce creeps underneath Victony’s layered vocals. It is an effective introduction to an album obsessed with atmosphere, and hedonism.
In fact, Victony has seemingly mastered the art of the first few seconds. “Who This” arrives with a guitar-led opening before BNXN joins the party, while “Starlife” quickly establishes itself as one of the album’s most replayable moments. YKB keeps the record moving, but Blaqbonez steals the show with a remarkably animated verse that feels like three different personalities squeezed into under a minute.
That instinct for immediate hooks is one of STARLIFE’s greatest strengths. Even the album’s recurring “Swagalomo” and “Che Che” phrases begin to feel less like throwaway ad-libs and more like part of its melodic vocabulary.
The album operates almost like a day-night cycle. Its sun side is flirtatious, energetic and built for movement. “Pino,” featuring Babyboy AV, rides another beautifully constructed beat, while “Clear” leans fully into rave and moshpit territory.
“2Fresh” feels almost tailor-made for fashion videos and indoor runways, its repeated “lalalalalala” functioning like a strange little sonic runway walk. “Slick,” meanwhile, finds beauty in restraint, with subtle instrumental details adding texture beneath Amma’s voice.
Then the lights go down. The moon side of STARLIFE is more sensual and intimate. “Can Juice” is a slow-burn bedroom record that knows exactly what it wants to be, while “Missing Piece” presents romance through the eyes of a man who has apparently discovered that wealth does not make affection any less complicated.
“Twin,” featuring FOLA, is particularly polished, with impressive vocal layering and a mix that lets both artists occupy their space. Not everything lands with equal force. “Fyne” disrupts the album’s momentum rather than advancing it, while “Amazon” feels more like a decent song looking for a home than an essential part of STARLIFE. They are not terrible records, but on an album this deliberate, their presence is noticeable.
The closing stretch is stronger. Young Jonn brings a different texture to “Armed & Dangerous,” while the production saves one of its most striking moments for the ending. “Typo” closes the album with sweeping strings and a cinematic flourish that briefly recalls the emotional world of Stubborn. It feels less like a conclusion than a curtain call.
What makes STARLIFE work is its refusal to over-explain itself. Victony has already documented struggle. Here, he documents what comes after it: the women, the parties, the money, the desire, the confidence, the contradictions and the occasional quiet moments.
This is Victony discovering that becoming a star is not just about surviving long enough to get there. Sometimes, it is about finally enjoying the view.
Ratings: 9.1/10
