Many artistes may tap into his father’s music for inspiration, but Barry Jhay’s Barrystar Vol 1 firmly establishes, beyond a shadow of a doubt, that he is the true scion of Barrister’s legacy.
By Abioye Damilare Samson
Over the past years, Street-Pop, a raw, gritty variant of Nigerian Pop, has rapidly ascended to become one of the defining pillars of Afro-Pop, particularly since the emergence of Zanku, which captured the cultural zeitgeist and electrified crowds in 2018. It was also in that period that Barry Jhay released “Aiye”, the soul-stirring anthem that propelled him into a new stratosphere within the Nigerian music scene.
Two years later, he would consolidate the commercial success of the track with his debut EP, Barry Back. It was a statement of artistic intent, but also, unmistakably, an homage to his late father, Sikiru Ayinde Barrister, the revered progenitor of Fuji music. With Barry Back, Barry Jhay blends the wisdom and vibrancy of Fuji with the modern cadence of street-pop, which resonated deeply with fans.
But like many artistes, Barry Jhay’s journey has not been without challenges. The cloud of controversy that followed the tragic death of his label boss cast a shadow over a career still trying to find its stable footing. It was an unfortunate turn that pushed him out of the spotlight for a while, even though he continued to release spiritually-leaning songs, grounded in the same motivational messages and faith that first made him stand out.
By the time Son of God EP arrived in 2022, fans had begun to describe Barry Jhay’s music as “Afro-Adura”, a distinct strain of Street-Pop shaped by aspirational lyrics, spiritual affirmations in Yoruba, and grounded emotive melodies. It was a style that positioned him, alongside artistes like Seyi Vibez and Mohbad, as the sub-genre’s philosopher-poet, chronicling street struggles while offering hope and prayer through song.
Now, with his long-awaited debut album, Barrystar Vol 1, he arrives at a crucial juncture in his career.
It’s his first full-length project in seven years since his emergence, and one that must both satisfy the hunger of devoted listeners and affirm his voice in a genre that has rapidly evolved. As the son of the late Fuji legend, Sikiru Ayinde Barrister, Barry Jhay leans into legacy by naming the album, “Barrystar”—a title that cleverly plays on both his name and his father’s iconic moniker, while also featuring his Father’s striking image on the cover.
It’s a deeply symbolic move that reflects the persistent presence of his lineage and the ways his father’s influence continues to shape through his sound.
As an artiste whose music is revered for its spiritual inclination and solemn introspection, the intro track, “The Lord’s Prayer”, is his supplication to God for grace and a soul-bared reinterpretation of the foundational prayer in Christianity. The narrative changes shape from the second track, “Eskelebebe”, a log-drum-powered track that reminds us that Barry Jhay is just as capable of commanding dancefloors as he is tugging at heartstrings.
The Dibstunez-produced “Do No Disturb” follows that same cadence—fast-paced and full of bounce. Here, Barry Jhay croons through the rhythm with the conviction that comes from having endured too much to entertain chaos. “Do not, do not disturb my peace, because I no send you if you no send me”, he sings on the intro.
Reggae and Dancehall artiste, Blvck H3ro, makes a memorable appearance on the slow-tempo, motivational track “Never Stop”, and delivers a smooth, melodic verse. Barry Jhay’s smooth cadence drapes gently atop the beat with each line delivered with the ease of a versatile artiste.
On one of Barrystar Vol 1’s most exciting tracks, “Rest”, the airy whistle of an Asian bamboo flute sets the tone before the sampled vocal of his father, the late Fuji icon, Sikiru Ayinde Barrister, drawn from his 1982 classic, “Okun Lolori Omi Medley”, gently surfaces.
What follows is Barry Jhay in complete form, his ethereal vocals layered with swaggering log drums and lush violin strings, delivered with the kind of fiery flow and profound lyricism that have always set him apart.
Centering his emotive take on Street-Pop on the mid-tempo “Same Old Shit”, Barry Jhay leans into weariness like someone who’s grown too familiar with the weight of life’s cycles. Still, he reaches light when he sings “Enough of this touching story, I need something wey go ginger me, more positivity, zero negativity”.
The log-drum-powered, 4Tunez-produced instrumental on “Kilonso” propels him into a thrilling sonic experiment, where his signature Yoruba melodies blend with the punchy bass lines of EDM. It’s a seamless blend, and the result is a dancefloor-ready anthem that still retains his distinct voice. He follows it with “Lost”, a slow-burning, sensual track that finds Barry Jhay surrendering to romance. “The way you do me, e dey make my head turn on its own”, he croons with his soft and syrupy vocals.
On “See Me See God (SMSG)”, he pulls again from the deep well of legacy, where his father’s voice—sampled from “Reality”, the iconic record released in 2004—makes a brief return. The track builds into an Afro-Gospel meditation, with log drums, airy keys, and violin strings dancing around his testimony of faith and divine presence.
Versatility is the quiet engine that powers Barry Jhay’s artistry. It’s a gift that allows him to move fluidly across moods and genres without sounding out of place. He proves he can flow on any instrumental with his smooth delivery on the drill-driven “What A Life”, where he continues to emphasise his need for positive energy and a life of ease.
He closes Barrystar Vol 1 with “Eleduwa”, a track that leans into the oral tradition that has long shaped his artistry. It is a song built on solemn introspection and spiritual reflection, delivered through a series of Yoruba incantations, such as when he sings, “Ayunlo, Ayunbo, lowo n yenu”, which translates to a prayer for ease and to ward off misfortune.
For all the sonic explorations, log drum pulses, and faith-infused meditations that define Barrystar Vol 1, Barry Jhay’s most defining instrument on the album is his ethereal voice. It carries a certain celestial quality, the kind that makes every line feel like a revelation towards something higher. It’s why Barrystar Vol 1 works so well; the kind of music he makes is spiritual, emotive, laced with street wisdom and feels perfectly tailored to that voice.
On this debut album, Barry Jhay demonstrates that, seven years later, he remains capable of crafting a cohesive project that is both profoundly personal and sonically seamless. From the first prayer-filled track to the reflective outro track, Barrystar Vol 1 flows with intention. There are no wasted moments, no filler tracks.
Credit must also go to the album’s sonic architects: TBM, Dibstunez, and others, who build a soundscape expansive enough for Barry Jhay’s meditative style, yet textured enough to hold attention. Lyrically, Barry Jhay remains as sharp and soulful as ever. His writing still carries the essence that made fans fall in love with his music since he released “Aiye”. Even with just one guest appearance across 11 tracks, Barrystar Vol 1 never loses momentum.
The album’s most significant achievement lies in how it pays homage to his father, the legendary Sikiru Ayinde Barrister. Many artistes may tap into his father’s music for inspiration, but Barry Jhay’s Barrystar Vol 1 firmly establishes, beyond a shadow of a doubt, that he is the true scion of Barrister’s legacy.
Lyricism – 2.0
Tracklisting – 1.0
Sound Engineering – 1.5
Vocalisation – 1.5
Listening Experience – 1.7
Rating – 7.7/10
Abioye Damilare 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