A review of 'Boyahnah' EP by Afrobeats star Bahd Man Niko

His crass approach, vulgar-filled writing, and guttural vocals made for a fierce street leaning.

Since dropping 'OTP', Bahd Man Niko has risen to commercial success driven mainly by a massive acceptance among inner-city listeners with whom his music resonates.

When he performed at Bella Shmurda's annual rave in Ibadan, the crowd thunderously sang along. This was the same reception he received when he thrilled listeners at Seyi Vibez's Eko Hotel concert.

With his music earning him a fast-growing community and his stocks rising even in the mainstream where he's considered one of the next forces to emerge from Street music, Bahd Man Niko returns with a new EP on which he doubles down on the type of music that brought him success.

The 'Boyahnah' EP presents Bahd Man Niko in his original form - an artist proud of his street-shaped realities and in his role as a street ambassador.

He makes music by deploying street slang that forms a big part of inner-city diction. His vocals and delivery carry the phonology of South Western (Yoruba) street language and the Islamic sonics that shape Fuji music.

Bahd Man Niko combines his cultural, societal, and religious influences in making music that gets a defining marker through his guttural vocals.

"Boyahnah" is a word that distinguishes Bahdman Niko's movement and on the EP, he makes the type of music that differentiates him from other Street acts.

On his new EP, Bahd Man Niko retains the same subject matter of his street credibility, hustling drive, and his impeccable virality while also engaging in chest-thumping moments informed by his growing fame.

Street artists like to hold on to the admonition of their parents and Bahdman Niko tows this path as he adds his mother's words in the opening mid-tempo record 'The Street' on which he commits his stepping into the hands of God.

Beneath the street phonology that drives his music and his use of crass detailing, Bahdman Niko understands how to best deploy his vocals, especially when singing and this is one of his most impressive traits. He shows his melody molding ability in the Log drum propelled 'Stubborn' where he deploys Neo-fuji melodies while talking up himself as a happening boy with the money and street cred to hold his own. Like other artists who are influenced by the religious multiplicity of Yoruba land, Bahd Man Niko interpolates Islamic, Christian, and even Traditional religious lyrics into his music.

Bahdman Niko employs a speech-styled delivery similar to that of Street Hop star Shallipopi and it's this style that lets the full weight of his lyrics land on listeners who can easily pick them out, sing along, and even marvel at his lack of concern over the public perception of his occasional vulgarity.

On the party-starting Amapiano joint 'Puff Puff Pass' he rhymes about his soft life while flaunting his bad man status both in the hood and with the ladies through graphic paintings of his sexual escapades.

The reality of his rise isn't lost on Bahdman Niko who boasts about how his music is taking over the inner cities on 'Puff Puff Pass'. He refers to himself as the "Ghetto Gaddafi" and ascribes the titles of notoriously famous street characters of "Dagboru" and "Kos Trobul" (both being characters played by Yoruba movie superstar Odunlade Adekola) on 'Gaddafi' where he reminisces on his rise from relative obscurity to stardom.

Like the quintessential Afrobeats star influenced by both Fuji and Hip Hop, Bahd Man Niko doesn't fail to shade his detractors. on the Konto bounce 'Children of God' he shares some words for those who didn't support his hustle and those still doubting his come-up.

With his music on the tongues of kids on the streets and speakers in barber shops, Bhad Man Niko is on an ascension, and he knows it.

He's doubling down on the type of music that brought him success in an eager embrace of the journey ahead.

• 0-1.9: Flop

• 2.0-3.9: Near fall

• 4.0-5.9: Average

• 6.0-7.9: Victory

• 8.0-10: Champion

Pulse Rating: /10

Album Sequencing: 1.5/2

Songwriting, Themes, and Delivery: 1.4/2

Production: 1.4/2

Enjoyability and Satisfaction: 1.4/2