Perhaps in a bid to create a timeless, organic piece of art, an LP unencumbered by external factors and approved solely by her, Tiwa Savage has restrained the possibilities of her newest release by forbearing the idea of including artists within the R&B space she essentially explores on her new album ‘This One is Personal‘. While this opinion may seem rather premature, it’s evident that numerous tracks across the 15-song album could have benefitted from the presence of a few R&B titans. But it’s not clear whether Tiwa Savage is bullish on her abilities and what she has to say on the LP, or simply too bullish on her R&B tendencies to feel the need to capitalize on collaborations.
The album’s title, ‘This One is Personal’, reads like a statement from Tiwa Savage, implying that there will be little to no pandering on her fourth studio project and her most vulnerable yet. This change in direction could stem from several reasons: the growing disconnect between her craft and her core fans back home in recent times, or other unconfirmed reasons that prompted her choice of a more natural musical expression that speaks to her essence as an artist—R&B. This writer holds no grievance with Tiwa Savage’s conspicuous change in sonic direction and near-total rebrand following her announcement of a fourth studio album. In fact, it was a refreshing and much-needed chapter in her artistic journey.
When Tiwa Savage began her professional career, she was a backup singer in London, notably for the late English pop icon George Michael and the queen of soul/R&B, Mary J. Blige. Eventually, she decided to return to Nigeria to pursue a solo career. Signed under Mavin Records, she released her debut project ‘Once Upon A Time’ a year later. The album opens with a Disney-esque melody on the titular track before flowing through an Afrobeats/R&B pipeline in both delivery and production, as heard on “Middle Passage”, hinting at the calibre of artist Tiwa Savage is: a culturally curious one with a strong R&B impulse.
By her sophomore LP ‘R.E.D’, she had taken full form as an Afrobeats artist and was crowned the leading female pop figure in Nigeria and across Africa by popular consensus. Beyond that status, she became the preferred artist for mainstream street-pop remixes. And in a male-dominated industry, Tiwa defied the odds, sustaining an undisputed decade-long run, armed with the cultural curiosity she brought back from the UK in 2012.
However, in today’s fickle, oversaturated music landscape, where new-generation artists are rising with ambitions of becoming the pop queen of their era, Tiwa has struggled to fully connect with her core fans with each single release. This isn’t necessarily the fault of the fans, who have evolved alongside her, however, time has eroded the bond they once effortlessly shared. Add to that the creative strain of sustaining a decade-long dominance, coupled with the anxiety from not achieving desired results in recent times, and it becomes clear why creative passiveness may have crept in. In December 2024, Tiwa Savage shared a telling Instagram story: “This might be my last studio album. I’m tired, I don try”
Five years after her last studio album, Tiwa Savage, amidst reflective episodes, announced what she claims to be her last and most personal project: ‘This One is Personal’.
Debuting a short pixie cut, a hairstyle she has embraced at various points in her career, ‘This One is Personal’ was shaping into a “period” at the end of an epic career. She reaches deep for her essence on this LP, defiantly but lovingly offering herself and her fans one last dance before the curtain drops: a vulnerably expressive 15-song R&B exploration centred on love and fleshly narratives. Here, Tiwa is at her most vulnerable, willfully unpacking sensitive and personal experiences about the complexities of adult intimacy.
Opening with the KMKD-produced “I’m Done”, ‘This One is Personal’ dives straight into the heart of things. Tiwa frees herself from an unhealthy relationship scarred by unfaithfulness. Her vocals glide over soft piano notes before crescendoing into the theme of “finality.” While “I’m Done” functions as the opening track, it hastily identifies as a climax point, though the album promises—and delivers—more.
The LP continues in its R&B glory with “Angel Dust”, where a smitten Tiwa metaphorically likens love to the recreational drug known for its hallucinatory effects. On the sultry pop track, she slips in innuendos: “My appetite get higher when I’m on the loose, Better stay away or else I’m onto you/ I’m fiesty like a tiger it’s a different move”
‘This One is Personal’ then slides into the Tamia-sampled “You4Me” the album’s lead single released in April. Produced by Mystrsugar, Tiwa reimagines Tamia’s 1998 R&B classic ‘So Into You’, tying into the feminine urge of fantasizing about a man she’s smitten by. This transitions seamlessly into “On The Low” featuring Skepta. Four tracks in, Tiwa already affirms that R&B isn’t a borrowed sound for her but an innate language. “On The Low”, the album’s second and final lead release, explores discreet romance, the thrill of secrecy mingled with the sadness of the world’s ignorance. Tiwa and Skepta’s chemistry is undeniable, making the track an earworm and a justified single. Producer Rymez adds an almost perfect UK Afro-fusion-R&B twang to the two-minute gem.
Across the album, Tiwa Savage navigates love, heartbreak, and fleeting entanglements. “Holding It Down” paints a no-strings-attached arrangement over a production that identically simmers with the lyric’s sexual tension. “10%”, however, is the crown jewel of the emotionally detached, sex-charged songs. With live-band soul textures, Tiwa recounts leaving the studio for a “sex-date” with her phone battery at 10%. Though the arrangement might appear shallow, her delivery suggests otherwise, that genuine emotions seeped in at some point.
“Twisted” produced by ZONE and Gabriel Eric Augustin, leans heavily into contemporary toxic R&B, evoking artists like Brent Faiyaz, Dvsn, and Blxst. Unlike earlier tracks where Tiwa seemed at the mercy of men, here she flips the script, becoming the toxic one. Soon after, she softens with “Scared to Love” and “Pray No More” soothing ballads that segue into one another, chronicling her transition from fear to hopeful optimism
As the album grows lush and dreamy, on the standout track “Addicted,” featuring rising Nigerian act Taves, Tiwa Savage creates space for the emerging new-gen artist, inviting him on a familiar pop-funk production where he shines effortlessly with a delivery that is glossily sweet. On the titular track, Tiwa processes heartbreak through the stages of grief. “Will I Run Again” follows with raw vulnerability as she questions her patterns of self-blame in love. On soft guitar licks, Tiwa Savage confesses in brief lyrics how much she committed to a relationship now on the verge of ending, she questions herself on what they shared with heavy disappointment calling herself “foolish” as she chorus: “Never learn if I run away/ If I learn, will I learn if I run away?/If I run, I never learn, and I never run away. If I learn, if I learn, will I run again?”
“For One Night” detours into Afro-R&B with TSB’s production, though placed too deep in the tracklist, it feels like unnecessary filler than a track with flavour. Tiwa redeems the flow with the stripped-down “You’re Not the First, You’re the Worst”, a haunting ballad that immortalizes the sting of her most painful heartbreak.
The outro, “Change,” brings African percussion into play with the talking drum and features a duet with American artist James Fauntleroy. Resolute and self-aware, Tiwa closes the album with a promise of accountability and growth.
At 15 tracks, This One is Personal doesn’t suffer a drab moment. Tiwa Savage could have added even more songs without diminishing its replay value. R&B suits her like second nature, and perhaps should have been unveiled earlier. Still, even when it arrives this late in her career, she hesitates to fully embrace the genre’s collaborative spirit. Inviting fellow R&B voices could have made the album more robust, layered and widened its reach.
Yet, her restraint is understandable. Going by the title and direction, this album was meant to be intimate, unfiltered, and hers alone. Perhaps a deluxe version, enriched with R&B guest features, would be the perfect way for Tiwa Savage to bow out of an undisputedly epic career.
RATING: 8/10
STREAM THE FULL ALBUM – THIS ONE IS PERSONAL
