Protect Sarz At All Costs, his long-awaited debut, is an album that should bring to life the full range of Sarz’s sonic imagination, but as a full-length project, it rarely surprises or ignites the kind of thrill that makes the listening experience truly unforgettable.
By Abioye Damilare Samson
The growth and recognition of Afro-Pop as a global behemoth has been driven by a constellation of talents, both celebrated and unsung. Among the latter are producers, the behind-the-scenes architects of sound whose genius, unlike the artiste’s, rarely courts public attention yet defines the soundscape of an entire generation. For decades, these sonic visionaries have shaped the rhythms that define African pop culture, creating the foundations upon which artistes build their melodies and messages.
Few embody this creative spirit as completely as Osabuohien Osaretin, better known as Sarz. In many ways, the Benin-born producer hardly needs an introduction. Across a career spanning more than fifteen years, Sarz has remained one of Afro-Pop’s most influential architects, crafting a sound that bridges eras and redefines collaboration, an ethos captured vividly on his new album, Protect Sarz At All Costs.
From his harmonious chemistry with Wizkid, one of the genre’s finest artiste-producer pairings, to his experimental synergy with WurlD on I Love Girls with Trobul (2019) and his sensual collaboration with Lojay on LV N ATTN (2021), Sarz has consistently elevated those he works with by drawing out new dimensions of artistry.
Since the release of his solo instrumental project, Sarz Is Not Your Mate in 2019, he has continued to deepen his legendary status as a producer, crafting hit records that have dominated dance floors, charts, and streaming playlists alike, while reaffirming his place as one of Afro-Pop’s most inventive sonic architects.
Beyond his expansive and hit-stacked catalogue, he has become a custodian of Afro-Pop’s next wave, nurturing a new generation of brilliant beatmakers like Tempoe, P.Priime, and others who now carry fragments of his sonic DNA through his training hub, The Sarz Academy. It is against this backdrop that his new album, Protect Sarz At All Costs, arrives, with a bold title that feels self-referential and doubles as a conscious declaration to preserve him as one of Afro-Pop’s most essential architects.
The album assembles a star-studded lineup of Afro-Pop luminaries and global collaborators—Wizkid, Asake, Lojay, Odumodublvck, Fireboy DML, Byron Messia, Skilli Beng, Zeina, and others—with each bringing a different shade of Sarz’s world into focus.
The opening track, “Grateful”, sets a reflective tone. Over soft acoustic guitar chords, WurlD’s ethereal voice unfurls gratitude in poetic bursts: “I have keys to a home, I am loved/ I have things to unlock and maybe this is the key I am grateful for this knowing”. The song swells beautifully with the Ndlovu Youth Choir’s symphonic harmonies, which gives the intro an almost cinematic depth.
The pre-released “Happiness” featuring Asake and Gunna glides on a buoyant log-drum groove, its bouncy rhythm carries Asake’s effortlessly melodic hook: “Happiness, e ri finesse/ My life no stress”. It’s quintessential Sarz, clean, layered, and hypnotic, proof of his ability to make the dancefloor feel alive with emotion.
On “Getting Paid”, which samples the lush kora melodies from Toumani Diabaté’s 1988 classic “Jarabi”, Sarz unites Asake, Wizkid, and Jamaican star, Skillibeng, for a sleek, genre-fluid collaboration driven by bouncy percussion and shimmering guitar loops. The chemistry is undeniable; each artiste inhabits the rhythm like a playground and blends Yoruba cadences with Skillbeng’s Caribbean patois in a dazzling display of cross-Atlantic synergy.
That cross-pollination reaches a radiant peak on “Mademoiselles”, featuring Odumodublvck, Shallipopi, French Congolese star singer, Theodora, and Canadian pop act, Zeina. The mid-tempo dancehall bounce serves as neutral ground for the artistes’ wildly distinct energies. Odumodublvck’s gruff charisma, Shallipopi’s playful French flow, and Theodora’s airy melodies fuse into an unexpectedly cohesive groove.
“BMF”, a sultry, 90s R&B-inspired duet between Fireboy DML and Byron Messia, brims with intimacy and polish. The song’s slinky basslines and lush synth pads cushion Fireboy’s velvety vocals and give the record a sensual pull that feels nostalgic yet contemporary. Joeboy injects bright, kinetic energy into “Body”, a groove-driven track tailor-made for summer parties, while Qing Madi’s crystalline voice elevates the amapiano-infused “In A Mustang” into an ethereal anthem.
WurlD returns for “Nice n’ Slow”, one of the album’s most intoxicating moments. Laced with silky saxophone riffs, log drums, and ambient pads, the track radiates sensuality. WurlD’s hedonistic lyrics, “Me I be a criminal, me I be a prisona / For your, for your pussycat…”, glide with a slow, deliberate tension, layered over Sarz’s precise, mood-soaked production.
The Log-drum-powered “Loved Me Then” finds Lojay in familiar territory, gliding over crisp guitar licks and amapiano percussion as he laments a love gone cold. The production recalls the allure of their previous hit, “Monalisa”, yet feels more restrained and introspective. On “African Barbie”, Teni and Libianca step into commanding roles and blend confidence and sensuality over a dancehall rhythm. “Omo, ki lo fe gan gan?” Teni teases, while Libianca counters with defiant wit: “I know you want me to give up punani / Unfortunately I do celibacy”.
Sarz closes the album with two high-energy entries: “Up”, a house-leaning EDM cut where Victony delivers a euphoric performance that feels designed for midnight raves, and “Billion”, a reworked version of his 2024 single with Lojay. And even though it’s remixed, it retains the percussive depth and log-drum finesse that make Sarz’s sound instantly recognisable.
Across the 34-minute runtime of Protect Sarz At All Costs, Sarz constructs a palette of sound that moves fluidly between Dancehall, Afro-Pop, Amapiano, House, and EDM. The production quality, as expected, is immaculate: crisp percussion, layered synths, and textural precision that reflect his ear for sonic detail.
However, despite its technical perfection, Protect Sarz At All Costs doesn’t entirely hold together as a cohesive statement. It dazzles in fragments with moments of brilliance across the project: “Getting Paid” gleams with its Kora-infused melody and cross-continental chemistry; “Happiness” radiates effortless joy through Asake’s melodic cadence; and “BMF” seduces with its lush R&B sensuality.
Sarz’s greatest strength has always been his ability to make innovation sound effortless. Yet on this 12-track album, that very ease sometimes works against him. Protect Sarz At All Costs, his long-awaited debut, is an album that should bring to life the full range of Sarz’s sonic imagination, but as a full-length project, it rarely surprises or ignites the kind of thrill that makes the listening experience truly unforgettable.
Lyricism – 1.4
Tracklisting – 1.2
Sound Engineering – 1.5
Vocalisation – 1.4
Listening Experience – 1.4
Rating – 6.9/10
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, Culture Custodian, 49th Street, and more. Connect with him on Twitter and IG: @Dreyschronicle