Worthy Challenger ultimately proves to be a somewhat uneven project. Still, what emerges most clearly is an artiste unwilling to coast on past successes, instead continuing to test new ideas and push beyond his comfort zone.
By Yinoluwa Olowofoyeku
Few artistes from the mid-2010s Afro-Pop boom have enjoyed the kind of sustained relevance that Reekado Banks continues to command. Born Ayoleyi Hanniel Solomon, the singer first rose to prominence after winning Mavin Records’ talent search in 2014, quickly becoming one of the label’s standout stars through his effortless melodic instincts and youthful vocal charm.
Across hits such as “Katapot”, “Oluwa Ni”, and “Rora”, Reekado steadily built a reputation as one of Nigerian pop’s most dependable hitmakers, balancing infectious songwriting with a versatility that allowed him to move comfortably between Afro-Pop, Afro-Fusion, R&B and Dancehall. Since leaving Mavin Records to pursue an independent career, that versatility has remained central to his evolution, with projects like Off The Record (2020) revealing an artiste increasingly willing to experiment while continuing to refine the melodic sensibilities that first made him a household name.
More recently, Reekado has also spoken candidly about how leaving Mavin when he did proved “premature”, reflecting on the lessons in accountability, growth and self-reliance that have shaped this current chapter of his career.
That broader trajectory provides useful context for Worthy Challenger. Arriving just a year after The Game Needs You, the concise five-track EP feels like a reaffirmation of Reekado Banks’ enduring strengths as both vocalist and songwriter.
The title Worthy Challenger also arrives with significant historical baggage. It recalls a widely discussed exchange from 2020, when Burna Boy declared on social media that he was willing to face any “worthy challenger” in a Verzuz-style battle, “lyrically, musically and physically”. Reekado Banks publicly accepted the invitation, only for Burna Boy to dismiss him with the now-infamous retort, “Didn’t you see when I said ‘worthy challenger’?”, a moment many interpreted as questioning Reekado’s standing among Nigeria’s musical elite.
The exchange appeared to linger beyond social media, with listeners later interpreting lyrics from Reekado’s 2021 single “Ozumba Mbadiwe”, “Well if you think say you be giant, you be giant for your pocket/ If you only fight for your pocket…”, as a subtle jab at Burna Boy’s self-styled “African Giant” moniker.
Whether intentional or not, naming this EP Worthy Challenger inevitably reopens that conversation six years later, framing the project as more than just another release. It presents itself as an opportunity for Reekado Banks to reaffirm both his artistic credentials and his place within an increasingly competitive Afrobeats landscape.
“Samankwe” wastes no time establishing the easy-going groove of Worthy Challenger. Clacking Afro percussion, rattling shakers and layered drum rolls arrive immediately, while a reverberating vocal sample floats above an agile sub-bassline anchored by a weighty 808 kick. Reversed guitar samples outline a simple two-chord progression, decorated with light piano and guitar accents that leave the arrangement feeling spacious despite its rhythmic density.
Reekado Banks settles comfortably into the pocket with a laid-back delivery, his melodies supported by airy female backing vocals in a playful call-and-response arrangement. The songwriting remains intentionally light, revolving around admiration and flirtation through lines such as, “African babe, fine face/ Baby wey sabi, action babe/ First class grade ”, where the song’s simple melodic phrases and rhythmic cadences become the primary drivers of its appeal. More than anything, “Samankwe” succeeds through the seamless interaction between Reekado’s vocal performance and the instrumental’s infectious syncopation, before a lively trumpet solo provides an elegant close to a strong opening statement.
“She Is Mine” continues Worthy Challenger’s romantic streak, introducing textured guitar samples, manipulated vocal chops and a growling synth bass over smooth Afro-Swing drums driven by sizzling hi-hats and another understated two-chord progression. Reekado leans further into his R&B sensibilities here, delivering flowing melodies and sustained sung passages that emphasise tenderness over rhythmic urgency.
The song revolves around bold declarations of affection and possessiveness, reflected in sentiments such as “She’s mine, not yours/ I’m the son of my father, I get jealous/ I’m obsessed with you baby, I dey jealous”, with his expressive vocal delivery carrying much of the emotional weight. A bright laser-like synth line cuts through the hook, adding another melodic layer, although its piercing tone occasionally unsettles the otherwise warm instrumental palette. Whether intentional or not, that imbalance prevents some of the production’s elements from sitting together as naturally as they might have.
A far moodier atmosphere emerges on “Mathematician”, where sombre piano chords and ghostly pads establish an unexpectedly melancholic backdrop before Dancehall-inspired drums introduce a steady rhythmic pulse. Reekado approaches the song with clipped, staccato phrasing, balancing confident financial flexes with flashes of humour and witty wordplay centred around mathematical references. “Quadratic, Pythagoras, me I no know Statistics, Further Maths/ The ting wey I sabi na to count dollar-lars/ One million, gazillion”, he quips, allowing the playful writing to contrast sharply with the instrumental’s brooding disposition.
That same contrast extends into the memorable chorus, where an unconventional falsetto melody is reinforced by a trilling high flute line that gives the hook its distinctive identity. The sombre production and carefree lyricism do not always point in the same emotional direction, but the tension between both elements creates an intriguing dynamic, further elevated by a tasteful electric guitar solo that closes the song.
“Mercy” shifts the EP towards Afrohouse, combining syncopated shakers, steady downbeat kick drums and steadily expanding percussion with sombre piano arpeggios, wailing strings, subtle rhythm guitar phrases and a deep, rumbling bassline. As the arrangement gradually builds, Reekado responds with one of his most emotionally committed vocal performances on Worthy Challenger, frequently stretching into his upper register with melodies that sound deliberately strained, mirroring the weight carried by the instrumental.
His self-assured lyricism, touching on success, celebration and confidence through lines such as “We don dey ball like Leo Messi/ And the money’s getting plenty/ Dem dey show love many many/ And the gyal dem getting thirsty”, is softened by expressive female backing vocals and carefully layered ad-libs that lend warmth to the performance. An extended instrumental outro allows the Afro-House groove to fully unfold, ending the track in an immersive rhythmic climax.
Closing track “Nobody” brings Worthy Challenger to a satisfying conclusion through a bright, melodic Afrobeats arrangement led by warm saxophone phrases, shimmering keys, lively bass guitar, rattling shakers, rhythmic guitar lines and crisp triplet percussion. Reekado delivers perhaps his most complete vocal performance on the project, comfortably navigating his full range while moving between relaxed Afro-inspired cadences, soaring pre-chorus passages and a soft, melodic chorus. “I know I don’t ever wanna lose you to no-one/ Nobody (no-one)/ Nobody (no-one)”, he sings before Cameroonian singer-songwriter Libianca enters with the same gentle conviction that has made her one of contemporary African music’s most distinctive vocalists.
Her sweet, emotionally rich delivery blends naturally with Reekado’s in a series of layered harmonies and romantic exchanges that reinforce the song’s status as a heartfelt love anthem. It is a graceful, well-executed finale that rounds off the EP on one of its strongest notes.
Worthy Challenger ultimately proves to be a somewhat uneven project. There is a degree of sonic cohesion running through the EP, but thematically it never quite finds the same sense of unity. Despite its evocative title, the idea of a “worthy challenger” is rarely explored within the songs themselves.
Perhaps the title exists as a broader statement beyond the music, a response to conversations surrounding Reekado Banks’ place within the contemporary Afrobeats landscape and his credentials as a challenger to the genre’s upper echelon. Even viewed through that lens, however, the concept remains largely external to the songs themselves.
Individually, the tracks also vary in effectiveness. The opener and closer stand comfortably as the project’s strongest moments, showcasing infectious rhythmic construction and commanding vocal performances respectively, while the songs in between often intrigue through bold ideas and unusual creative decisions. There is an unmistakable willingness to experiment, to step outside familiar formulas and test new directions, but those ideas do not always land with the consistency their ambition deserves.
One of Worthy Challenger’s greatest strengths lies in its production, much of it handled by Trizzybeatx. Across the EP, the instrumentals demonstrate a sophisticated understanding of rhythm, layering textured percussion and syncopated grooves beneath relatively simple melodic frameworks that are enriched through thoughtful sampling and tasteful sonic detailing.
Whether establishing melancholy, romance or dancefloor energy, the productions consistently create the appropriate atmosphere while leaving enough space for Reekado’s performances to breathe. They remain rhythmic enough to encourage his characteristic bounce and melodic enough to guide his vocal phrasing without becoming intrusive.
Where the project occasionally falters is in its engineering. Certain songs feel unevenly balanced, with moments where instrumental layers fail to cohere as naturally as they could, leaving sections that feel oddly sparse or frequencies that seem insufficiently occupied. Whether those choices are deliberate artistic decisions or technical shortcomings is difficult to determine, but they nevertheless leave portions of the EP feeling less polished than the quality of the production itself suggests.
Reekado Banks, however, remains consistently enjoyable throughout Worthy Challenger. His vocal performances carry much of the project’s appeal, reaffirming the melodic instincts that have long defined his artistry. He continues to demonstrate an intuitive understanding of Afro-Pop cadence, catchy melodic construction and rhythmic bounce, while his growth as a singer is particularly evident. His fully sung passages feel stronger, clearer and more assured than ever; his bright upper register is handled confidently, and his harmonies remain beautifully layered throughout.
He also deserves credit for embracing experimentation, whether through the unconventional falsetto on “Mathematician” or the more pronounced R&B inflections heard on “She Is Mine”. While those creative risks do not always produce flawless results, they never detract from the listening experience. Instead, they hint at an artiste actively expanding his repertoire and adding new dimensions to an already well-established vocal toolkit. Libianca’s appearance on “Nobody” raises the bar further, delivering a memorable guest performance while Reekado matches her emotional conviction every step of the way.
Where Worthy Challenger feels less convincing is in its lyricism. Across much of the EP, the writing often appears secondary to melody and vocal performance, despite the fact that both could comfortably coexist. “Samankwe” thrives on rhythm, cadence and infectious vocal layering, but offers relatively little beyond its immediate catchiness.
Most of the songs follow a similar pattern. “Mathematician” introduces flashes of humour and inventive braggadocio through its mathematical references, while “Mercy” carries a similarly confident swagger, yet neither fully develops those ideas into more substantial narratives or thematic throughlines.
Too often, the songs feel like collections of clever lines designed to flow smoothly over the beat rather than fully realised lyrical statements. It is not a fatal flaw, as the writing remains consistently serviceable and rarely detracts from the music, but it does prevent several songs from reaching greater emotional or conceptual depth.
That tension ultimately makes Worthy Challenger a fascinating project to evaluate. On one hand, Reekado Banks demonstrates a genuine willingness to explore new creative territory, supported by confident vocal performances, noticeably improved singing and production that consistently provides engaging foundations.
On the other, lighter lyricism, uneven engineering and occasional mismatches between ambitious ideas and their execution leave the EP feeling as though it falls just short of fully realising its potential. If the title is intended as a declaration that Reekado remains a worthy challenger within the contemporary Afrobeats landscape, the music only partially substantiates that claim.
Still, what emerges most clearly is an artiste unwilling to coast on past successes, instead continuing to test new ideas and push beyond his comfort zone. With a little more polish, stronger technical execution and a bit more time for those ideas to fully mature, his next attempt at making that statement could prove considerably more convincing.
Lyricism – 1.3
Tracklisting – 1.4
Sound Engineering – 1.3
Vocalisation – 1.5
Listening Experience – 1.4
Rating – 6.9/10
Yinoluwa “Yinoluu” Olowofoyeku is a multi-disciplinary artist and creative who finds expression in various media. His music can be found across all platforms and he welcomes interaction on his social media @Yinoluu.