Sabali reinforces Peruzzi’s indispensable position in Afro-Pop as the genre’s melody king and one of its most formidable songwriters.
By Abioye Damilare Samson
Peruzzi’s songwriting prowess has always been his most potent weapon. It’s the tool that propelled him into the mainstream spotlight following his 2018 breakthrough collaboration, “Amaka” with 2baba, and it has continued to power his rise and sustain his relevance ever since.
From Davido’s explosive “FIA” (2017) and global smash hit “Unavailable” (2023) off his fourth album, Timeless, to Larry Gaaga’s “Doe” (2018) and Burna Boy’s “Pull Up”(2019) — the only record Burna Boy has openly admitted seeking outside writing help on — Peruzzi’s pen has been the invisible ink behind major hits and projects. His melodic intuition and skilful lyricism have long made him one of Afro-Pop’s most trusted songwriters and go-to hit-makers.
Four years have passed since Peruzzi’s third and last album, Rum & Boogie, dropped in 2021. The wait for a follow-up has been extended—punctuated by repeated promises throughout 2024 that never materialised —until, finally, in October 2025, Sabali, his fourth album, arrived.
In those four years, the Afro-Pop landscape has shifted dramatically. The genre exploded to unprecedented heights worldwide, penetrating markets and platforms once considered unreachable. New stars emerged with inventive styles and distinct identities, reshaping the soundscape and redefining the conversation around what Nigerian Pop should sound and feel like. And inevitably, during that period of inconsistent music releases, conversations about his relevance began to surface.
There were growing debates about whether the hitmaker had lost his touch, or perhaps whether a new generation of artistes had rendered his style obsolete. Perhaps, to silence the sceptics, and to counter the lingering narrative of his “fall off”, Peruzzi uses Sabali — the album title, drawn from the Bambara word for patience — to reframe his long absence as deliberate recalibration.
Peruzzi confronts the noise head-on with the album’s opener, “Die It”, a track that drips with braggadocio. Over orchestral strings woven into Highlife grooves and anchored by Igbo background vocals that lend the song cultural weight, he reasserts his position.
On the second verse, he reminds detractors of his pedigree: “Me wey give them my anointing/ Me wey don dey burst since 1990 something/ Nigga said I lost my button/ No be small thing I saw everything you could imagine”, he declares, brushing aside any talk of decline with the confidence of someone who has seen the game evolve and still understands where he stands within it.
It’s all guns blazing on “Nuff Respect” featuring Jesse Jagz. Peruzzi charges in immediately: “Enough respect to the one/ Rest of yours get your blessing when you bow before me/ I know the level wey dem plan for me/ I don catch the motherfucker wey dem send for me”. He manages to pay homage to those who came before him while still firing back at naysayers by continuing the thread of defiance established on the opener. Jesse Jagz seals the track with a fiery, razor-sharp verse that elevates the track’s intensity.
The groovy Highlife bounce of “Cooking Pot” is lively and well-produced, which gives Peruzzi space to glide. Teaming up with the rapper, Jeriq, he positions himself metaphorically as the “cooking pot” everyone comes to eat from. It is a playful but pointed nod to his songwriting influence.
On the Irock Classic-produced “Legalize”, Peruzzi taps into Caribbean rhythms as he shares tender emotions about a love interest. At the same time, the reggae-leaning “Ecstasy” pairs him with Jujuboy and Nana Kwabena. Jujuboy’s sultry vocals smooth out the track, elevating its sensual tone. He then joins Kemuel on the R&B-inspired “You”, a romantic cut anchored by thoughtful songwriting and a sonic lane Peruzzi has always excelled in. He reaches into this same emotional pocket on the Cavemen-assisted “Mad Oh”, built on lush Highlife instrumentation, and “Normal Person”, featuring Terri and Bella Shmurda, which leans into a dancehall rhythm.
To ease listeners into the second half of the project, Peruzzi rides seamlessly over the mid-tempo “One Thing”; he sings about everything he adores in a lover and delivers a catchy, memorable hook. The trap-meets-log-drums fusion of “Gazo” showcases his knack for melody; even when he pushes his vocals upward, his control and brilliance as a vocalist shine through. His chemistry with Davido resurfaces on “Apala Drill”, a lively party anthem powered by Tungba, Fuji influences, and talking drums.
The soulful “Time of My Life” features Esoterica, who takes the chorus by the throat with an angelic, soothing voice. Peruzzi switches into rap mode here and reflects on perseverance and focus, but Esoterica’s angelic vocals remain the emotional anchor of the track which adds depth and warmth. The drill-charged “El Sucio Guapo,” featuring Zlatan and The Flowolf, is pure energy. Peruzzi’s chorus holds the centre while Zlatan and The Flowolf deliver street-hardened flows.
Away from the more hard-hitting deliveries, “Mi Crazon” (literally “My Heart”) joins the Sabali’s romantic streak. “Mi corazon/ Look through the windows I’m outside/ Standing alone/ And it’s just me and my guitar”, he croons after a warm guitar intro that sets the mood. He then draws Timaya in for “Night to Remember”, a lively, quintessentially Timaya-styled record. Timaya skillfully interpolates Flavour’s 2010 classic “Oyi (I Dey Catch Cold)”, which gives the track nostalgic resonance.
There’s a mini DMW reunion on “Perfect Situation”, featuring Davido, Peruzzi’s former label boss, alongside his ex-label mates Mayorkun and Dremo. Over a log-drum-heavy Amapiano production, the four artistes bring their A-game for one of Sabali’s standout love songs.
Sabali closes with “Holy Water”, a slow, flute-laced Highlife track where Peruzzi turns to God for protection. “Holy Father/ Shey dem wan disorderly/ Shey dem wan use their own come dey bother me/ Jah Jehovah/ Run am sharply/ Dey my corner, no let them corner me”, he sings, ending the project with a plea for guidance and clarity.
There was never any doubt that Peruzzi would return with a project that asserts his artistry, displays his versatility, and reminds listeners why he remains one of Afro-Pop’s most trusted songwriters. From the unmistakable percussive heartbeat of Afro-Pop to the lilting textures of Highlife, the punchy, beat-driven elements of Hip-Hop, and the hypnotic pulse of Amapiano, Sabali moves effortlessly across genres, exploring the many corners of contemporary African music while asserting a distinct Peruzzi signature.
Sabali also shines a spotlight on Afro-Pop’s rising vocal talents. Esoterica mesmerises on “Time of My Life” with a soulful, commanding voice. At the same time, Kemuel lends tender depth to “You”, demonstrating that Peruzzi’s creative vision extends beyond his own artistry to the cultivation of new voices within the scene. These features, paired with Peruzzi’s own versatility, make Sabali feel expansive.
Through it all, Sabali reinforces Peruzzi’s indispensable position in Afro-Pop as the genre’s melody king and one of its most formidable songwriters. True to its title — Sabali, meaning patience — the album justifies the long wait. It is a triumphant comeback and stands as one of the year’s most compelling Afro-Pop projects.
Lyricism – 1.8
Tracklisting – 1.3
Sound Engineering – 1.4
Vocalisation – 1.5
Listening Experience – 1.7
Rating – 7.7/10
Abioye Damilare Samson is a music journalist and culture writer focused on the African entertainment industry. His works have appeared in Afrocritik, Republic NG, NATIVE Mag, Newlines Magazine, The Nollywood Reporter, Culture Custodian, 49th Street, and more. Connect with him on Twitter and IG: @Dreyschronicle