Zayn - Konnakol

The fifth studio album from ZAYN continues his streak of flat, uninspired, and occasionally clumsy releases.

ZAYN seems determined to remind listeners that life hasn’t been easy for him — an idea often reinforced by the “bad boy” persona he’s leaned into for years. His fifth record, KONNAKOL, was initially presented as a return to his cultural roots, but the end result feels unfocused, pieced together from ideas that sound like leftover radio trends from a decade ago.

The album does open with a sense of promise, though. “Nusrat”, a mantra-like introduction, finds ZAYN almost hypnotic as he draws the listener in. Named after the legendary Nusrat Fateh Ali Khan, the track plays like a spiritual adress — ZAYN’s reaching out for answers to the questions weighing on him. Here, and across much of the album, he reflects on a darker chapter in his life and its impact on his relationships.

However, this atmosphere quickly fades. One of the more enjoyable cuts, “Betting Folk”, leans on familiar alternative R&B textures, with ZAYN reworking the idea that lightning never strikes the same place twice — only for heartbreak to prove him wrong. The following “Used to Be Blues” sounds pleasant on the surface but lacks the development needed to stay engaging, ultimately feeling static. Meanwhile, “Sideways”, centered on toxic romance, begins as a laid-back downtempo track before collapsing into a cheap, dated trap chorus — something that wouldn’t feel out of place on a The Chainsmokers release circa 2016.

At times, it feels like ZAYN himself is lost within the sonic landscape, unsure of what direction to pursue. “5th Element” revisits the country influences hinted at on his previous album, but sticks out awkwardly among the surrounding tracks. There’s also a noticeable emotional distance: even when he touches on themes of confusion and isolation, as on “Prayers”, he rarely digs deeper. “Side Effects”, meanwhile, could have easily appeared on his debut album from ten years ago — something that might have impressed in 2016, but feels redundant now, especially when tracks like “Pillowtalk” still exist as stronger reference points.

But there are occasional highlights. “Like I Have You” is sleek and well-executed, one of the few moments where Zayn sounds confident and convincing. Its hook is memorable, the production restrained, and his vocals carry a gentle sincerity as he promises unmatched devotion. “Loving the Way I Do” also stands out: its alternative R&B palette may feel somewhat disconnected from the rest of the album, but it at least brings a sense of freshness largely missing from the first half.

Still, at its lowest points, KONNAKOL becomes difficult to sit through. On “Met Tonight”, lines like “The way you fucking me, loving me, need your body, like no lie, no lie” are paired with production that recalls the most generic tropical house of 2017 — a sound that had already worn thin back then. “Fatal” doesn’t fare much better, offering dated club beats while Zayn half-heartedly invites a lover to “live their best life”, even as he admits to feeling off lately. “Take Turns” leans into a shallow macho persona, reducing relationships to tired clichés — it comes across like a message from a random Tinder match two minutes into a conversation. Meanwhile, the supposed lead single “Die For Me” sounds equally outdated: a bland pop-soul track that could have easily landed on a Fifty Shades of Grey soundtrack or a Teddy Swims album.

In the end, the promised return to roots introduced at the beginning never truly materializes. Instead, KONNAKOL comes across as a generic record, stuck in a sound that feels ten years out of date. Most of its songs aren’t outright bad, but that doesn’t solve the core issue: it’s simply a dull album with little to distinguish it. Zayn remains a genuinely talented vocalist, yet his artistic choices often lead him back into repetition. Perhaps, for him, that’s enough.

5.6/10