Taking a walk down what I perceive to be his finest days, he delivers a four-track EP titled ‘18’. And, at the core of the short project, Taves showcased immense potential by redefining the music he’s sat with. From that young man, one could hear the multitude of influences in his sound. Bazzi to Trippie Redd, Post Malone, Edsheeran, Asa, amongst others— an artist like that is fairly unstoppable. Unfortunately, this inventiveness is lost  in Taves’ “Are you listening?”. The secret ingredient that made him who he was as an artist is now enveloped by perhaps his sheer admiration for his “musical dad,” Bnxn. 

Before his grand breakthrough, he made covers of music he found interesting. Taves has covered Ayra Star’s “Beggie Beggie,” Psycho YP’s “Maria” featuring Tomi Agape, Tems’ “Found,” and several other tracks. But his major break came in 2022, when he released the cover to Bnxn’s For Days. Bnxn reached out to taves, who then signed to T.Y.E. The contrast between “Karma,” his last indie release, and “Eleyele,” after signing to Bnxn, is shocking. However, it grows a lot more unsettling on “Are you listening?”. As Taves nestles in Bnxn’s sound and even coos like him before beginning to sing.

Charles Caleb Colton’s famous quote, ‘Imitation is the sincerest form of flattery,’ could suggest that while imitation might uplift the imitated, it can ultimately damn the imitator in the long run.

Taves has been vocal about fusing sounds that resonate with him into his music. But on this project, there’s a disconnect between his offering and individuality. From the first track, listeners are intermittently distracted by whether or not they are listening to a Bnxn project. On Bad Romance taves hops on a call for nearly 3 minutes, contending that his desire trumps Sade’s unrequited feelings and their apparent incompatibility. “Tell me Sade if you love me for me ah/Because it drives me crazy when you run from me ah”. Taking in the cadence, the “ah” adlib, and the way he spurts his words, you can’t help but be occupied with thoughts of Bnxn on this taves project. 

The production on Folake by Arieenati and Denzl forces Taves out of the box. He delivers his escapades with a chic called Folake on the mid-tempo, disco-funk-like production. The EP progresses, and producer Semzi and Taves together create Enchanté. A captivating record with melodies that listeners can’t get enough of and will always return to. On A Million Things, it turns out Taves is unwilling to move on from pursuing the Sade from Bad Romance. He’s quite obsessed with her and her unyielding heart. And throughout the project, Taves embodies the traits of a hopeless romantic, a real lover boy.

His neat vocals compliments Bnxn’s rhythmic flow On CWT. And they both agree to ride the delicious riff from the bass guitar and Phantom’s production. So alike yet different, they deliver a gem you want to spin again. Economy is deeply Bnxn-core, making it impossible for taves to beat the allegations. The resemblance in delivery is astounding, as Taves practically took on the singular identity of Bnxn. And understanding the melody that characterizes Bnxn’s sound, a listener is instantly sucked into this one. Taves eventually finds a good thing with some girl on In The City.

With Apology, he has messed up the one decent thing he managed to secure on track 7. Apology is one of the exceptional tracks on the 8-track EP, conveying the emotions a 10 over 10 R&B ballad would elicit in listeners. It showcases taves’ competence to forge a name for himself in the Afro-R&B genre. 

To answer Taves’ rhetoric, yes, we’re listening. And despite the strong influence of Bnxn’s style that permeates the extended play, it remains a Taves creation at its core. Taves’ personal experiences, storytelling knack, and vocal richness compensate for the absence of a fully unique sound and a singular identity. It reinforces the idea, as Voltaire propounds in his quote, “Originality is nothing but judicious imitation.”

Rating: 7

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