For all of its lofty framing and self-assurance, The Game Needs Us is a well-executed joint project that, ultimately, does not expand beyond what is already known.
By Abioye Damilare Samson
No one could have imagined a collaborative project between BNXN and Ruger in 2024, especially after their intense online feud in 2022, which had fans of both camps trading insults. But it happened anyway, resulting in a cohesive seven-track EP that reveals BNXN’s rare ability to slip into another artiste’s sonic universe without losing his own shape. It is this remarkable fluid adaptability that once earned him the dismissive tag “feature merchant” for how effortlessly he bends across collaborations.
Given that track record, it is perhaps for this reason that when BNXN and Sarz hinted at a new joint EP, The Game Needs Us, the immediate expectation was that the project would deliver an expansive body of work, particularly given that it comes from two longtime collaborators whose chemistry has repeatedly shaped moments in contemporary Nigerian Pop music. More importantly, by its very wording, the title, The Game Needs Us, is a first-person assertion of relevance that presents the duo as artistes who see themselves as central to the current direction and vitality of the scene.
In many ways, the pre-release track “Back Outside” served as evidence of the confidence embedded in its title. The melodic record feels like a breath of fresh air, as it opens with drum rolls and sun-soaked guitar licks followed by the gentle choral vocals of children that interpolate Amadou & Mariam’s 1990 classic, “Ko Neye Mounka Allah La”. Driven by crisp percussion, fluid melodies, fluttering flute arrangements, and BNXN’s honeyed vocals, the song carries an effortless warmth and catchiness that immediately sticks.
The mellow guitar progression that opens the introductory track, “Rum & Soda”, ushers in BNXN’s signature nasal vocals. “Fi ibadi yẹn ṣe mi leṣe / Soro ah dob uno / I dey go through things it’s complicated / You’re the one for me o,” he croons. The lines sound seductive on the surface, but underneath lies emotional bruising, and what makes it effective is the way BNXN moves between vulnerability and pleasure without fully separating the two. It is the strength of his songwriting and, perhaps even more importantly, the distinctiveness of his vocals.
The brilliance of Sarz’s production remains uncontested, and once one presses play on “Already”, that reality becomes even more apparent. The song’s mid-tempo percussion and soft rhythmic bounce are layered with delicate piano chords and a restrained but confident delivery from BNXN, who glides through both the verse and chorus with ease. Perhaps more central to the album’s thematic confidence is the closing stretch where he sings, “This rodeo ain’t for you niggas, o yẹ ke ti dá mi mo, I be top player / The game fucking needs us / Na me go do the work, I can’t fuck this up”. It is a moment that reinforces the project’s underlying assertion of indispensability.
On “Emotional High”, the extended sombre introduction allows BNXN to fully display the elasticity of his vocal range. He moves from sensuality into emotional nakedness, particularly on the line, “And in this moment, you cut me open, bleeding out”, where the imagery suggests a lover accessing deeply guarded emotions. The writing captures the emotional rush and overwhelming vulnerability that comes with intense romantic attachment, but the song becomes even more immersive once the percussion enters, lifting the track from confession into melodic euphoria.
The outro track title, “Frank Sinatra”, pays homage to the late legendary American singer Frank Sinatra, whose music became iconic for its smooth phrasing, emotionally expressive delivery, and timeless romantic ballads. Much like Sinatra’s music often explored the full spectrum of human emotion, especially the highs and lows of romance and heartbreak beneath elegant instrumentation, BNXN uses Frank Sinatra as a vulnerable closer that strips away the sensual confidence heard across much of the project and replaces it with emotional exhaustion from a failing relationship.
Built around soft melodies and emotionally conversational writing, the song captures two lovers trapped in a repetitive cycle of misunderstandings and emotional inconsistency. BNXN repeatedly sings, “It happens every week”, immediately establishing the relationship as one defined by recurring conflict.
Naturally, there was never any real doubt that BNXN and Sarz, working together on The Game Needs Us, would deliver a compelling body of work. BNXN remains one of the most gifted singer-songwriters of his generation, while Sarz’s status as a generational producer is already sealed. Even more, the richness of Sarz’s collaborative catalogue—spanning projects with WurlD, Lojay, and Obongjayar—speaks to a producer who understands how to construct full-bodied sonic palettes for joint projects without losing identity.
Across The Game Needs Us EP, that chemistry is consistently on display. BNXN’s songwriting continues to shine with emotional clarity and melodic precision that have defined his rise, while Sarz’s production remains impeccably clean and textured. On the pre-release “Back Outside”, the record already signals hit potential, carried by its warm instrumentation and buoyant percussion, while “Already” sharpens the project’s sense of confidence with its crisp arrangement and addictive flow.
Yet, throughout the EP’s runtime, there is a lingering sense of anticipation for something more disruptive that pushes BNXN beyond familiar emotional territory. Instead, the project often leans into the very strengths that have already defined him. For all of its lofty framing and self-assurance, The Game Needs Us is a well-executed joint project that, ultimately, does not expand beyond what is already known.
Lyricism – 1.7
Tracklisting – 1.5
Sound Engineering – 1.7
Vocalisation – 1.5
Listening Experience – 1.6
Rating – 8/10
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