Goodgirl is a body of work that feels deeply enjoyable, highly replayable, and emotionally resonant.
By Yinoluwa Olowofoyeku
Euphemia Runyi Ekumah, known professionally as GoodGirl LA, has steadily carved out a place for herself in Nigeria’s competitive Afro-Pop and R&B landscape. Born and raised in Ajegunle, she began her music journey as a teenager under the alias, Laden, before evolving into the confident, genre-blending artiste she is today.
After attending the University of Calabar, she committed fully to music, releasing her early singles, such as 2018’s “Faraway”, 2019’s “Bless Me” and “Pina”, which introduced listeners to her emotive delivery and fluid songwriting. Her 2019 debut EP, LA Confidential, featured standout tracks like “Jeje” and “Tired”, and she reached broader prominence with 2020’s “D4DM (Die for the Matter)”, a sharp, melodic single that showcased her signature blend of vulnerability and vocal strength.
She followed this up with a string of compelling features, most notably her Headies-nominated 2022 duet with Vector on “Early Momo”, and a standout guest performance on Alpha Ojini’s “Calm Down,” further cementing her reputation as a captivating vocal presence before she briefly stepped away from the spotlight. After a relatively quiet period, she has returned, newly signed to Andre Vibez’s Vibez Music Factory, with the lead single “Goodgirl”, which ushers in her self-titled six-track EP, Goodgirl.
As the project’s lead single, “Goodgirl” effectively recaptures attention and sets the tone for her return. The track reminds us instantly of GoodGirl LA’s rich vocal style and subtly impressive vocal range, soaring above an energetic Afrobeats instrumental that features a strong synth bassline, twinkling keys, and a sparse clap-driven drum arrangement.
Her captivating vocal performance fills the instrumental’s open space effortlessly, while the songwriting stands out for its blend of wit and transformative introspection. She reintroduces herself through the lyrics, letting us know that the version returning has changed, evolved, and grown sharper: “I don’t know where the life go take us / Money got GPS oo, you’ll find me, you’ll find me/ ‘Cos my brain don burst, and my eye don tear you know/ I no be good girl again”. The words resonate with emotional clarity, a declaration of rebirth and reinvention.
“Buss It” pivots boldly into a raunchy, sensual territory, offering a confident and unapologetic exploration of intimate connection with another woman. Its less-than-subtle hints at a non-traditional sexual orientation are made clear in its directness, positioning the song as both liberatory and real. The production is minimal but effective, with bright string elements, sampled soul vocals, straightforward drums, and light melodic touches that allow her voice and lyrics to sit squarely at the forefront.
There’s something disarming about the song’s honesty and delivery. “And it’s so sad he could never make you cum/ I swear down these niggas be so dumb/ Oh why, it’s a waterfall when I slide through her love/ And she can’t even walk when I’m done”. The lyricism doesn’t just shock, but also inserts authenticity in a way that feels unforced.
With “Giga”, we’re brought into a space of quiet defiance and self-assurance. The instrumental features tinkling arpeggios, a rumbling bassline, and a Dancehall-tinged, spacious drum arrangement, with subtle saxophone flourishes adding colour to the background. GoodGirl LA’s delivery here is confident, measured, and unapologetic.
She uses the song to affirm her strength, uniqueness, and conviction, speaking from a place of hard-won confidence: “I be weirdo, I be dark horse/ I be that kid wey dem write off/ Nobody believe in me, but I believe in myself/ Cos I know sey I be bad gan, I dey wear skirt and knicker/ I dey switch up from sexy to gangster/ I Beyonce but I Jigga o, you no read the meter?” She continues this streak of across the song with lines like, “Dreams bigger than the cosmos/ I no dey follow who no know road”, highlighting a strong sense of her own goals, dreams, and direction. The result is a bold and sharply-crafted anthem of individuality.
“B.O.B” continues the themes of self-belief and perseverance with a Dancehall-inspired rhythm built on a thumping synth bass and a simple but effective riddim arrangement. Here, GoodGirl LA reflects on the journey from hardship to fulfilment, turning her story into an anthem of motivation. Her voice rides the beat smoothly as she affirms her survival and her destiny. “Made it outta the trenches, no we’re never going back/ Used to pray for times like this, and now we in real life./ While I’m talking to you, I’m talking to myself/ Cos I’ll be, I’ll be the greatest you ever seen/ Cos I am, I am everything that I need/ And it’s based on belief”. Her writing manages to be deeply personal yet accessible, offering a mirror for others to find their own courage.
On “Gbesoun”, the energy shifts again, this time with agile Baille Funk percussion, a bright and nimble flute melody, and smooth electric piano chords. The signature Brazilian syncopation drives the song’s rhythm while GoodGirl LA delivers one of the most swaggering performances on the EP. It’s a steal-your-girl anthem full of confident flexing, sly seduction, and high-energy delivery.
The chorus grows expansive with a broad bass synth and assertive repetition, creating a big, bold hook that anchors the track. Her flow varies impressively throughout, swinging between gritty rap-tinged verses and melodic hooks with ease and charisma: “Anywhere I dey, money go spray/ I be litty forever, balling out with person omoge…Everyday na holiday/ Girl with a big bumbum, she dey whine, she dey whine / She dey come my side, so I tell her / Gbesoun, gbesoun, gbesoun, gbesoun, gbesoun omoge”. It’s confident, playful, and commanding in equal measure.
Closing the EP is “Back 2 Back,” a triumphant and self-affirming track that combines straight Afrobeats percussion, triplet clacking rhythms and a bumping kick drum, with expressive piano chords and warm bass. It’s an introspective but resolute anthem, as she lifts herself toward future accomplishments and wards off naysayers.
There’s a warmth and vulnerability in her voice here, with some of the project’s sweetest melodies and most angelic harmonies on display. Her vocal range is on full display with high notes and soft textures, and the contrast between the emotive singing and the Dancehall-esque semi-rapped delivery in the second verse is expertly executed.
The songwriting hits home with honest reflection and fierce determination: “If you never dey aligned, omo that one na your concern o/ I’ll never be defined, I will never fall in line/ ‘Cos omo, this year, this year, I go frustrate all my haters oh yeah/ This year omo, this year, I go make sure say dem hear word oh yeah… I go make sure say I’m giving dem/ Giving dem, back to, back to, back to back”. It’s a fitting finale, uniting the project’s self-awareness and honesty with ambition, artistry and flair.
GoodGirl LA earned herself a great deal of credibility with both fans and the industry at the beginning of her career, but this EP may be the one to catapult her to a completely new level. It is a project that encapsulates artistic and personal maturity in every facet, a clear step forward and a strong reintroduction.
The brevity of the EP works to its advantage, allowing for a high level of thematic and stylistic consistency. Each song feels rooted in a singular, cohesive vision, and that vision is largely centred on her personal story: who she is, what she has come through, and where she is going. The songs are not scattered experiments or disconnected showcases. They are tightly woven pieces of a bigger picture, held together by a focused narrative arc. And in telling that story, GoodGirl LA leans heavily into her greatest strength: her storytelling tools.
Her voice has always been a defining part of her appeal. It is recognisable almost instantly, distinct in tone, and textured in a way that makes it stand out among her peers. That voice played a central role in the early momentum of her career. But while she has never been a conventional belter or a straight, run-heavy vocalist, she reminds us throughout this EP that she does, in fact, have the vocal chops when she chooses to use them.
There are moments across the project that serve as proof with high notes, carefully placed harmonies, and expertly arranged vocal layers that reveal the full depth of her technical ability. However, it’s the diversity in her vocal delivery that truly shines. She moves effortlessly from soft, angelic, and emotionally rich singing to something far more gritty, irreverent, and braggadocious.
She plays with tone, posture, and cadence, slipping into Afrobeats phrasing, gliding over Dancehall rhythms, and shifting into half-sung, half-rapped flows with full confidence. No matter the style or tempo, she delivers with intention and flair. The result is a voice that holds attention, communicates emotion, and exudes honesty, all while maintaining a sharp sense of control and versatility.
Still, as good as the vocals are, the real superstar of the project is the songwriting. These songs are not just about vibe or sonic polish. They are vessels for her words, and her pen is in peak form throughout. Given that the central theme of the EP revolves around introspection and self-expression, the lyrics carry a significant responsibility, and they deliver with precision and power.
GoodGirl LA’s lyricism is striking in its honesty. She writes with a rawness that is often disarming, blending wit and humour with moments of emotional vulnerability. Some lines are so direct that they stop you in your tracks. Others are cheeky, carefree, or triumphant. But through it all, the writing feels unfiltered and deeply authentic.
It is this authenticity that gives the songs their staying power, that makes them not just memorable but also personally resonant. Listeners can hear their own stories, their own highs and lows, reflected in her words. There is an openness to the writing that invites people in and allows them to live inside the songs.
What makes the experience even more effective is the way the production understands its place in the overall structure of the project. The beats and arrangements never try to outshine her. Instead, the production creates the atmosphere, sets the rhythm, and then clears the path for her voice and lyrics to take centre stage. The sonic spaces are uncluttered and intentional. Her vocals are treated with care, always clean, always placed at the top of the mix, never buried under effects or heavy instrumentation. Even the drums are featherlight in many places, allowing her cadence to set the pace.
This subtlety in the mix gives her full control of the emotional delivery, and the few moments where harmonies or layered vocals appear are chosen with purpose, used sparingly so they hit harder when they arrive. More often than not, it’s her lead vocal line standing alone, unobstructed, bringing the listener face to face with the heart of the song.
The result is a body of work that feels deeply enjoyable, highly replayable, and emotionally resonant. It is the kind of project that sneaks up on you, draws you in quietly, and then lingers long after. With Goodgirl, GoodGirl LA has not only reminded the world of her talent but also raised the stakes for what comes next.
This EP feels like a line in the sand, a clear declaration that she has arrived at a new level of artistry. It elevates her and positions her among a more elite class of artists, and the hope now is that she will continue to climb, unafraid, unfiltered, and unstoppable.
Lyricism – 1.7
Tracklisting – 1.6
Sound Engineering – 1.5
Vocalisation – 1.7
Listening Experience – 1.6
Rating – 8.1/10
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.