Something about Ayra Starr’s ascent has always felt inevitable. She has come a long way from the teenager who captivated listeners with her breakout hit single “Away”, but one never loses that initial sense of wonder, the unmistakable feeling of witnessing history in the making. Her third studio album “Starrgirl” speaks to years of consistent artistic evolution, as well as a commitment to staying true to the girl who once dreamed of being the “Black Hannah Montana”. The project features a star-studded lineup of artists, including Zayn, Kwn, Wizkid, Rema and French-Congolese singer Theodora.
Ayra Starr certainly knows how to make an entrance, and Starrgirl’s opening track “Dangerous” may be her best one yet. This number features all the markings of a true daughter of the soil: a hair-raising oriki, a Wande Coal sample and background vocals from Afrobeats veteran Terry Apala. It is these subtle but consistent acts of homage that have made her such an endearing representative of one of Nigeria’s greatest exports. It also underlines the reason she will always be a national fan favourite despite the heavy incorporation of foreign influences into her work. “Starrgirl” is arguably her most pop–forward album yet, but her roots as an Afrobeats artist remain an integral part of the music.
Her instinctive creative genius and protean artistic DNA are amplified on this project–it is immediately apparent that her ability to hold multitudes within her sound has only sharpened since the days of “19 & Dangerous”. “Midnight in New York” feels like the lovechild of a Lagos rave and a night out in New York, while “Ms Paper (feat. Theodora)” blends percussion–heavy Dominican bouyon with the chic vocal stylings of French pop. In contrast, “Dance” is a psychedelic mix of EDM and Afrobeats. Older tracks like “Where Do We Go”, “Hot Body” and “Who’s Dat Girl (feat. Rema)” sit comfortably within this genre–fluid lineup, contributing to the project’s overall cohesiveness.
At the center of it all is the radiant persona of Ayra Starr, multifaceted and fleshed out with intention. Each track is imbued with the energy of one who is surefooted and never in doubt of her place within the music. She is the girl everyone wants to party with on “Dance”, a relentless go-getter on “Ms. Paper” and a hopeful lovergirl on “Letter to God”. “Starrgirl” positions her as a seasoned artist without the superficial gloss, ever banking on the raw relatability that has earned her a cult following.
The last quarter of the record is a satisfying come down from the high of the previous tracks, cushioned by dulcet vocals and more reflective lyricism. “Misunderstood” carries the dreamy, nostalgic quality of a Disney Channel original, demonstrating Starr’s comfortability in the realm of full-blown pop. “Heaven’s Baby (feat. ZAYN)” takes the form of a transcendent ballad, while “Treasure” is rife with the familiar harmonies that have become an Ayra Starr album staple. It is a poetic outro, one that signifies an internal compass that always points due north.
A stunning display of range and unquestionable star power, “Starrgirl” plays like the third act of a self-fulfilling prophecy, cementing Ayra Starr as the indisputable voice of new-gen Afropop.
