Lagos Lover Boy is a coherent and thoughtfully constructed body of work. It shows an artiste who knows his strengths and is cautiously beginning to expand his range.
By Yinoluwa Olowofoyeku
Ikechukwu Eric (Ric) Ahiauzu, better known to fans as Ric Hassani, stands as one of Nigeria’s most emotive voices in modern R&B and Afro-Pop. Born in Port Harcourt in 1989 and educated both at Covenant University and the University of Surrey, he first broke through with his smooth debut, The African Gentleman, in 2017 after a smattering of singles and 2015’s The Acoustic EP.
He followed it up with the socially conscious The Prince I Became in 2021, a project that weathered controversy yet earned critical acclaim, as well as the electronic collaborative EP Wish You Were Her(e) and the groove-filled Afro Love in 2023. Along the way, his heartfelt storytelling and soft, crooning tone have earned him nominations at The Headies, AFRIMA, and a growing reputation as a soulful crooner.
Now, Ric Hassani returns with his boldest statement yet: Lagos Lover Boy. Clocking in at 21 tracks and just under an hour of music, Lagos Lover Boy centres its gaze on love, heartbreak, identity, and the complex emotional reputation of Lagos men, enlisting a wide array of collaborators such as Nonso Amadi, Ne-Yo, Joeboy, Odumodublvck, Phyno, Portable, and DOTTi The Deity for the journey. At once earnest and tongue-in-cheek, Lagos Lover Boy satirises the familiar tropes and contradictions of urban loving, interrogating the very myths that often define it.
The album opens with a cinematic intro ushered in by warm synth pads, scattered percussion, and Ric’s voice emerging in sombre song. He gives way to a spoken word performance that sets the narrative framework, casting Lagos as both setting and symbol, the chaotic, romantic city that shapes the Lagos lover boy archetype the album explores. The tone is cinematic and self-aware, immediately pulling listeners into the story.
“Wickedness” is a standout for its thematic clarity. Ric critiques the moral climate of society over punchy bass guitars, subtle claps, and steady kicks. The lyrics are delivered plainly but land with weight: “Too many times I wonder if na me wey get problem at all / Cuz people no want truth, they want make you lie for them / So guy man ee want to guy guy man no akuko”. The groove is tight but understated, letting the songwriting lead.
“Moving Train” shifts the energy with upbeat percussion, talking drums, and bright guitars, joined occasionally by brass stabs. It’s an ode to relentless love, captured in the line: “They can say what they wanna say/ Say love is a losing game/ Still, I’m on a moving train to you”. Ric’s performance is solid, with tight harmonies and lively group vocals that lift the chorus and give it a folk-leaning texture.
“Love of My Life (Interlude)” brings in Dotti the Deity for a humorous, sung skit over a rhythm of talking drums. It’s lighthearted and brief, serving as a comedic breather that still stays within the world Lagos Lover Boy is building.
“You Too Dey Lie” leans into Ric Hassani’s flair for conversational songwriting. Over a fun, amapiano-tinged production with log drums and animated backing vocals, he plays the betrayed lover confronting constant dishonesty. “Your 1 plus 1 no be 2, na 22/ E dey your body like tattoo/ You too dey lie, too dey lie, too dey lie lie o.” The delivery is witty and theatrical, adding to the song’s viral, memeable appeal.
“Moving On” sees Ric Hassani in his ballad bag, and it’s a strong showing. The acoustic guitar, soft percussion, and sparkly keys create a warm backdrop for his emotionally controlled vocals. “They say if I chase, you go be mine/ I don chase taya/ It was a waste of my time”. He makes a clever callback to 2021 song, “Thunder Fire You”, but the overall tone is more bittersweet than bitter. Choral harmonies and a well-timed key change round it out with elegance.
“Falling”, featuring Odumodublvck, tries something different. The soundscape is atmospheric and drenched in reverb, with Ric’s airy vocals floating above a bed of subtle drums. Odumodublvck’s verse adds presence, but the direction of the track feels a bit muddled. The mood is evocative, but the cohesion is questionable.
“Adamma, Asanwa, Asampete” falls into more familiar territory. Clattering Afrobeats percussion, a deep bass groove, and a melodic whistle synth provide the frame for lyrics that don’t quite rise above cliché: “The way I love you, if you be mineral I go drink you and chop the bottle/ If you give me your heart I go handle am softly like hottie kettle.” Phyno brings energy and confidence to his verse, lifting an otherwise average track.
“Holy Matrimony” is clearly angled at the wedding playlist. The rhythm section is bright and danceable, with log drums layered into the chorus. “See as we fine together like Beyonce and Jay Baby/ Like Simi and AG Baby/ You know we’ll make cute babies”. It’s light and polished, with a clean arrangement that hits its mark even if it plays it safe.
“My Cherry” pulls things back, allowing Ric Hassani’s voice and pen to take centre stage. Sparse guitars and light percussion leave space for falsetto lines, delicate harmonies, and intimate lyricism. “I no go leave you/ Na you be the reason I dey carry first for everything that I do/ My cherry, it is my obligation to benefit you”. The spoken outro sees an Igbo man showering his woman with adoration, ending the song on a charming moment.
“4x2x16”, featuring Street-Hop act, Portable, is one of the more experimental moments. The beat is simple and dance-driven, but Ric sounds slightly out of place in this more street-pop space. “3 by 4 by 19 baby go down/ Show me what I’m missing, baby go down/ Come and give me this thing, baby go down/ Dance to my music o”. Portable, on the other hand, sounds right at home and delivers with comfort and ease. The track has energy but lacks finesse and makes Ric feel like a guest on his own track.
“Island Boy” is preceded by a thematic but slightly over-acted interlude skit. Pianos and strummed guitars lead us into another ballad where Ric Hassani contrasts the player island boys with their mainland counterparts. “I know Ikeja nigga wey go ride for you/ Surulere nigga wey go die for you/ oh no, oh no/ But you see these island boys, them no get no joy/ They’ve been playing you for long.” Again, when the instruments step back and Ric Hassani’s pen and voice are given centre stage, the music is at its best.
“Canopy” carries amapiano energy with rattling shakers and synth chords. Ric Hassani takes inspiration from the popular praise song and covers his person with his love: “Omoge I cover you like canopy/ For you I turn lover boy like saint obi/ Oya sare wanbi, finish my money/ Under the canopy of love”. Thumping log drums and call-response group vocals make for a very danceable chorus that carries the song along.
“Sisemi” featuring Tolibian takes an Afro-Swing slant with firm drums and layered chords. Tolibian brings Afro-Adura styling and Street-Hop energy to this song about money and survival. One of the stronger cuts with Ric outside his comfort zone. The reliance on vocal work and lyrics as opposed to vibe means he can hold his own.
“Obara Jesus” sees Ric Hassani’s songwriting return to centre stage on this guitar-based supplication as he implores Jesus to take charge of his search for a partner, praying against certain traits: “Make karashika no see us/ Make enemies no wan press pause/ For every kind thing wey go unite us/ No just cause, Obara Jesus”. The song is packed with relatable lyrics that can be echoed by many.
“Best Of Me” rides on lovely synthetic guitar chords backed by subtle afrobeats drums and a rich bassline as Ric heaps admonition on the head of his lover. Nonso Amadi’s signature voice carries sweet lyrics so beautifully and complements the tone of the song perfectly: “Love the way ya build me like a Lego/ Dance for me let me spray you some ego/ She my queen she my girl, she got a halo”. The duo combine surprisingly well for a smooth and sweet new age love song.
“Love & Romance II” is an R&B-tinged song as Afro-Swing drums combine with velvet piano chords. Bolstered by big vocal performances, it is perhaps the best-sung song on Lagos Lover Boy, especially with Ne-Yo’s feature. “I rejoice when I think about/ You and I riding out/ Sunshine on your skin, no nothing else can compare/ I rejoice when I think of your kiss touching my lips”. Combined with Joeboy, the three singers combine for a heartfelt sequel to Ric’s 2024 “Love & Romance”.
“Lagos Lover Pledge (Interlude)” offers another interlude from DOTTi The Deity, a brief cinematic entry with catchy wit posing as the Lagos lover’s pledge to his partner.
“For You” is built around bright pianos, cinematic strings, and spacious drums framing this sweet ballad. “Girl I would go to the moon and back/ Just to prove my love to you/ I won’t be holding back/ Girl I go give you my all/ Cause it’s you I’ve been searching for”. Big vocals, bold declarations of love, and emotive, expressive singing make this song a high point. Expect lovers to share it with each other.
“Tuale” ends the album with an amapiano-influenced choir-led gospel song. “Lord I lift your name up/ You alone are worthy/ Lord I lift your name on high/ You alone are worthy”. Expect to hear this one in churches shortly. Catchy and definitely infused with the right energy, reverence, and danceability, it has all the ingredients to hit the market it is targeting.
Lagos Lover Boy is a study in commitment. Ric Hassani leans all the way into the concept and the album rewards that dedication. Every song ties back to the central theme, pulling the project into one continuous tale. The skits, interludes, voice notes, poems, and spoken word clips help drive the narrative forward, giving the album momentum and keeping the story alive across its lengthy runtime.
Still, that same runtime occasionally works against the music. Ric explores a wide range of styles, and while that ambition is admirable, it doesn’t always land. He steps out of his comfort zone on several tracks, with mixed results.
On songs like the Portable collaboration, he sounds slightly out of place, but finds a more workable middle ground on tracks like “Sisemi”. Across the board, we get the Ric Hassani staples: the ballads, the folky acoustic cuts, the afrobeats rhythms, the amapiano-leaning grooves, the hopeful wedding anthems. However, there are moments on Lagos Lover Boy that feel like filler, songs that don’t quite justify their presence when another cut on the album does a better job of chasing the same idea.
The songs work best when Ric’s strengths are allowed to shine. His songwriting remains his strongest suit. A quintessential Ric Hassani song is one that is almost comically relatable, with Ric using phrases that seem less like lyrics and more like talking to a friend. He and his co-writers are able to tackle a wide variety of topics with refreshing directness and wit. That looseness sometimes sacrifices rhyme or rhythmic precision, but what it adds in warmth, clarity, and tone more than makes up for it.
Ric is also an established singer and expressive vocalist. The emotion in his delivery is a big part of what makes these songs connect. He doesn’t need to over-sing to make a point, but when the moment calls for a falsetto, a run, a vocal swell, he knows how to deliver.
His choral layering and use of group vocals add a distinct texture, giving some tracks a rich, communal warmth. And his choice of features is largely effective, with Ne-Yo’s contribution standing out as a highlight thanks to his polish and instinct.
Vocally and technically, Lagos Lover Boy is consistently engineered. The production does what it needs to do. There are a few cinematic flourishes here and there, but mostly serviceable backdrops for the writing and vocals to shine. The Afrobeats-oriented material doesn’t reinvent the wheel, but it serves Ric Hassani’s purposes. The collaboration with Odumodublvck is one of the more adventurous production moments on the project and stands out for that reason.
In the end, Lagos Lover Boy is a coherent and thoughtfully constructed body of work. It shows an artiste who knows his strengths and is cautiously beginning to expand his range. There’s enough emotional weight, musical range, and vocal quality to make the album land on first listen, even if not all of it sticks around after that. The songs targeted at weddings, churches, or dancefloors will likely find their audience. Others may fade quicker. But the intent, the craft, and the storytelling? Those will linger.
Lyricism – 1.5
Tracklisting – 1.5
Sound Engineering – 1.4
Vocalisation – 1.5
Listening Experience – 1.3
Rating – 7.2/10
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.