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“The Prince of the Street” Review: Ayo Maff’s Strongly Themed Debut Still Needs More Range to Soar

“The Prince of the Street” Review: Ayo Maff’s Strongly Themed Debut Still Needs More Range to Soar

Prince of the Street

The Prince of the Street is a ground-setting debut positioning Ayo Maff as a leading voice of Street-Pop’s new wave.

By Abioye Damilare Samson

To truly appreciate the rise and evolution of Street-Pop within Nigerian mainstream music since the late 2010s, one must trace its sonic arc from the high-octane energy typified by Olamide’s “Wo” in 2017, to the slow-burning, hymnal emotion of Ayo Maff’s “Jama Jama”, one of the tracks off his two-pack release in 2023. 

As a genre that was once defined by its frenetic pace and party-starting beats, Street-Pop is now birthing a new wave of artistes who wrap their pain, hustle, and hope into melodies laced with prayer and introspective messages that many now call “Afro-Adura”. At the center of this sound shift stands Ayo Maff, one of the new voices reshaping Street-Pop’s possibilities and confident enough to title his debut album, The Prince of the Street.

It’s a fitting setup for the dual symbolism behind the album’s title, Prince of the Street. On one hand, it signals Ayo Maff’s awareness of his role as a torchbearer for the current wave of Street-Pop. On the other hand, it shows reverence. By calling himself a prince, he implicitly acknowledges that there is still a king, a role he openly credits to Olamide, the genre’s undisputed trailblazer.

While Ayo Maff’s emotionally-charged, street-rooted style makes him nearly impossible to overlook in today’s Street-Pop conversation, it was his 2024 collaboration with Fireboy DML on “Dealer” that truly propelled him into wider public consciousness. That song, with its blend of vulnerability and emotional depth, became a defining moment that laid the foundation for the release of his first EP, Maffian, later that same year.

For the most part, Afro-Adura often carries the promise of better days, but its most potent expression lies in its honest portrayal of pain, lack, and longing. Ayo Maff taps into this well with near-devotional intensity. But it’s this very commitment to truth-telling that has drawn criticism. Some believe he leans too heavily into themes of suffering. A popular influencer, Social media content creator, Naijashimadun, once called him out for “singing about suffering too much”. Rather than shy away from the critique, Ayo Maff folds it into his art. 

Prince of the Street
Prince of the Street

On “Beginning”, Prince of the Street’s intro track, he samples that very voice to open the song, before launching into a heartfelt account of his journey: “Why must I say bye bye?/ Ṣo mọ pe o le fun mi?/ If say money dey I for no cry”, he hauntingly sings, holding nothing back as he reflects on a past he refuses to forget. He teams up with Chike on the log drum-inflected “Realness” to reflect on fake friendships and the price of staying true. Chike’s stirring contribution, anchoring the hook and delivering a smooth second verse, elevates the track melodically and adds a layer of soulful clarity to Ayo Maff’s raw expression. 

Ayo Maff leans into that same emotional territory on “Felony”, a soulful heartbreak ballad where he sings about being dumped for a richer man. It’s a candid reflection of modern relationships, where money often takes precedence over love. Yet, for all its emotional weight, the track lacks the spark needed to resonate truly. 

That changes with “Igbalode”, a Magicsticks-produced track that injects bounce into The Prince of the Street. The log drums and tightly engineered kicks breathe new life into the project, while Ayo Maff’s confident hook, “Igbalode la wan fi igbo meditate/ Oh amazing, Talo mo pe omo owo ma joba”, lands with the kind of presence that commands attention. 

As the new generation of Afrobeats artistes continues to honour their musical forebears through tribute songs—Ayra Starr with “Jazzy’s Song,” Fireboy DML with “Wande’s Bop,” and BahdBoi OML with “Wasiu Ayinde—Ayo Maff joins the lineage with “Baddo’s Song”. The track, a thrilling three-step Afro-House number featuring Jazzworx and Thukuthela, is a heartfelt homage to Olamide, the artiste he reveres, and rightfully so, as the king of Street-Pop. 

Beyond the title and energy, Ayo Maff deepens the tribute by sampling Olamide’s early hit “Yemi My Lover”, fusing nostalgia with new-age bounce in a way that bridges eras. 

Ayo Maff taps BNXN for “Oshimiri”, a Galala-inflected track that draws deeply from personal experience. When he sings, “For like six months, I no see money, I call mummy / She say make I no worry”, the vulnerability in his voice is palpable. BNXN rises to the moment on the second verse and delivers his signature soft nasal vocals with emotion. He even interpolates Original Stereoman’s iconic line, “E dey pain me Gaga o”, from the 2006 conscious classic “E Dey Pain Me Gaga”, which adds a touch of nostalgia and continuity to the song’s message of struggle. 

On the pre-released track “Panic”, he lays bare his inner turmoil and sings about the anxiety that shadows his rising fame: “I just start, make them no rush me/ I might be famous but I am somebody too/Yes, I am nothing/ I am working”. Over a production peppered with log drums and tight kicks, he chronicles the struggles he faced on his path to the spotlight. 

Ayo Maff
Ayo Maff

On the feel-good, pre-released track “Hello”, Ayo Maff draws from a mix of cultural references by interpolating Wasiu Ayinde’s line “Orin dowo, orin dola, lo jeun wa dupe” from his 2006 Fuji classic “Orin D’owo”, as well as Shakira’s infectious “Waka waka waka waka / Zamina mina ye ye” from her 2010 FIFA World Cup anthem “Waka Waka (This Time for Africa)”. 

These nods add a playful, familiar energy to the song. Still, despite its upbeat production and nostalgic charm, the song still lacks the kind of gripping verse or lyrical centerpiece that might have elevated it into a true standout. 

That same sense of underwhelming delivery carries into “9 Days” and “Lazy Baby”. Despite their log-drum-powered foundations, both tracks feel sonically flat, offering little in terms of vocal or lyrical spark to justify replay value. 

But the mood shifts dramatically with “Gang”, where Ayo Maff teams up with one of Street-Pop and Afro-Adura’s most commanding voices, Seyi Vibez. Their chemistry is undeniable, as both artistes bring heavy, swagger-filled verses that jolt The Prince of the Street back to life. Mara, a gritty offshoot of Street-Pop, continues to influence mainstream Afro-Pop in noticeable ways. Rema leans into it on “Ozeba”, Seyi Vibez wields it fully on “Shaolin”, and Ayo Maff channels it on “Crazy Kid”. 

He closes The Prince of the Street with the reflective track, “Remind Me”. “Somebody save me from myself/ But if I tell you say I love you no be lie/ If somebody tell you say na lie”, he sings. It’s a fitting end that humanises the voice behind all the struggle, hunger, and ambition that run through the album.

Still, as compelling as the album’s narrative is, The Prince of the Street is not without its flaws. One recurring issue is Ayo Maff’s delivery. Across the project, his vocals often stay locked in the same emotional register even when the songs beg for more range and more texture. That monotony makes certain tracks blur into each other which reveals an artiste still leaning heavily on formula rather than invention.

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Prince of the Street
Prince of the Street tracklist

It’s telling, then, that his 2024 EP Maffian feels more sonically adventurous than this debut album. While The Prince of the Street carries more weight in theme and ambition, Maffian offered sharper production choices and a more cohesive listening experience. 

And yet, for a debut, there’s more promise than missteps. Ayo Maff may not have reinvented Street-Pop sound here, but he’s made a case for why his voice matters in it. The Prince of the Street is a ground-setting debut positioning him as a leading voice of Street-Pop’s new wave, and if he’s willing to expand his range and take more sonic risks, then this might just be the beginning of a reign worth watching.

Lyricism – 1.5

Tracklisting – 1.0

Sound Engineering – 1.2

Vocalisation – 1.5

Listening Experience – 1.4

Rating – 6.6/10

Abioye Damilare Samson is a music journalist and culture writer focused on the African entertainment Industry. Reading new publications and listening to music are two of his favourite pastimes when he is not writing. Connect with him on Twitter and IG: @Dreyschronicle

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