“My tears gon fill a cup/ And I would never stop/ It’s lonely at the top/ But I’d rather be at the top (alone),” Flykid’s soothing vocals open up his recent smash single, “On My Way (with Jason)” with a certain finesse that has trailed his catalogue since his 2019 takeoff. With a soothing Arab-style flute melody underpinning his vocals, the record arrives as a melodic, therapeutic and exciting pop fusion within Afrobeats’ corridors.

Since he emerged within the Afrobeats scene with his debut opus, “E Sure For Me,” Flykid, born Komolafe Damilare, has since carved a niche for his emotional storytelling, fluid sonics and witty compositions. In “On My Way”, he revisits his template for evergreen melodies, after a long hiatus following his 2023 hit, “Santorini”, pulsing the record with a distinct airy groove, warm tonal clarity and immersive songwriting.

With the likes of Omah Lay, Llona, Fireboy, among others, Afrobeats’ soundscape has now become a treasure trove of melodies that speak to the heart. Flykid positions himself as a prime player within this niche, especially with “On My Way”, which tells stories of ambition, strife and hustle. He melds Nigerian Pidgin, Yoruba and English into his poetic songwriting, layering his messages with relatability, vulnerability and catharsis

“It’s very complicated and I no dey quick soji/ Plenty motivations and dem say make I no worry!” he alarms in the song, delving into a reality where the average hustler often gets confused at life’s myriad crossroads. He tucks in a certain intimacy that convinces one that his stories are more of lived experiences than fiction. In lines where he talks about struggling with substance use as a coping mechanism: “Be like life wan end/ Wetin I see make my eyes turn red/ So I dey one corner/ I dey on my shayo, make I light my gbana/ And if I don’t see gbana, I dey steady pop my shisha.” He directly confronts a reality very common among ghetto tales of survival. However, for Flykid, the ghetto represents more than just indigent society; it’s a pristine part of every hustler’s evolution — that phase when comfort seems fleeting and challenges are a constant experience.

His counterpart Jason offers a flip-side of the coin in the song’s delivery. He edges the song with soothing backing vocals that tuck in solace and offer a feeling of hope to the melodies. Both singers understand the subject of tonal clarity and lyrical emphasis, evident in how they texture their delivery with repetition, echoes, and intentional pauses. Flykid’s cadence doesn’t shift from the slow-burn pop-soul alto that starts the record, easing it into a cohesive vibe that feels like a heart-to-heart conversation between the singer and listener.

The song’s production and engineering also buffer it with enjoyability. It feels simple, warm, and soothing, spiced with Flykid’s fluctuating tempos. Whenever he delivers an accelerando or pitch-hike, you can instantly feel the emotions resting on the melodies. And when he simmers the pitch, it feels like several pre-climaxes layered into one song. The dramatic drum rolls that segue the song into its suspenseful outro adds the icing on the cake for this record, purging it with catharsis and replay value.

Overall, Flykid’s drift in “On My Way” connects strongly as a very relatable hustler’s capsule. With profound lyricism where he echoes his experiences “riding on my pain and sorrow” and other moments where he declares himself an “Omo Aye (child of the streets)”, he pulls the listener directly into his immersive soundscape where hope and struggle are conjoined like siamese twins. It’s an aspirational record, with a charged delivery that resonates as a very cathartic spin. Packed with shock and replay value, it rings as one of Flykid’s most profound records across his catalogue. It sits at 8/10.