Sorry I’m Late EP review.

Sorry I’m Late EP review.

Buju’s career has more or less been defined by the social media and the internet. He has risen on the wings of the internet to emerge unto the spotlight as one of the brightest talents to emerge from the continent. However his transition from being a potential great artist to a bonafide superstar has had it’s fair share of hurdles. His first major breakout was getting a feature with Zlatan, which was a social media boosted achievement. He has since then endured a love-hate relationship with the social media. Twitter is probably the foremost platform on which this war is fought. They range from digging up old tweets to normal Ng banter.

Career wise, Buju has struggled to retain attained heights, his tumultuous stay at spaceship as well as a tendency to vanish unto the shadows are his biggest Achilles heels. Understanding this puts “Sorry I’m late ” into perspective, it mirrors an artist who has undergone various phases and stages on his journey to greatness.

His talent is undeniable, His tendencies to meander and sift through languages demonstrate his high level of linguistic dexterity. His craft is deeply addictive however his off the mic antics have had adverse effects on the narratives surrounding the brilliance of Buju.

SORRY I’M LATE, a statement of apology that suggests Appointment and delay. For Buju ,it seemingly encapsulates his present state: engulfed in the battle of expectation, desire, reality and dissapointment, His inconsistency ( which may not neccessarily be his fault), coupled with his falling out with fans and the need to be recognized amongst the greats of modern day Africa music. However his recent upward trajectory and streak cannot be overlooked. His delivery on “Feeling” and “Outside” also create an ambience of stability and balance.

SORRY I’M LATE is a myriad of emotions, get switches between sentiment, pride, confidence, his struggle story as well as dependence on an external factor.He also shouts out to members of the Entertainment Industry with metaphors and similes. Timi Jay’s produced eponymous Daniel Benson open the show as an heartfelt track in a relaxed but fiery tone. A mini autobiography vaguely describing his struggled and it’s effect on his listeners.

E ma Jo bi MICHAEL Jackson.

The Next song put a Capital “C” on change. The pace and intensity softens in Never stopped. His silky songwriting is evidenced as the words seamlessly lead into each other. He recants his ever defying, never dying and never ceasing mentality to his listeners . However as the song progresses Buju seems to be having a “mirror, mirror on the wall” moment strengthening himself.

The last thing Buju needs now is stopping or having no reason to continue which then ushers in Kilometer.

However the drums cease and resume at very random places creating a couple of shaky moments that throw you off balance a little.

Kilometer kicks off with a higher tempo and brings a different vibe with it. The chords offer a platform for a different unveiling. Buju leaves the sentimentality of the initial songs and goes into full Odogwu mode . He demands what is his and details why he deserves his.

When I dey on speed, mo ja kilometer

In this song, he randomly switches between Yoruba and English, without hesitation or stammer. It then gives off a single language vide due his smooth glide while code mixing and switching.

Something sweet. One for the Romantics. A song of love, desire and need for reassurance to a certain love interest Sade.

On Ogechukwu with the CAVEMEEEEN (check last music review to get the excitement) Buju attempts highlife.

Vibe dey body, e no dey finish

And that’s on “periodt” this song is embossed with vibes. It turns the essence of the album into a traditional one. It kicks of with the local drums popular not Eastern Nigeria. The percussion mixed with the modern day instruments of drums, bass and the keyboard is post colonial African music at its peak; embodying the raw natural sounds of the African soil and overlays from foreign sounds..


The vocalizing by the duo sets the foundation on which Buju begins the song on. The cavemen however should have been given more time to properly deliver on that beat. There are a few seconds where the natural raw texture of the cavemen weirdly mix with Buju’s tender and sentimental sound. However it’s still came out beautiful, we need more features guys. Ogechukwu (Igbo) means God’s time, for Buju his fame, talent and unending vibes are down to Ogechukwu and nothing can stop him.

The only feature on the album.

For here, alongside Ogechukwu does not cross the 3 minute point however the tenderness of Buju’s voice and emotions leave you desiring more.

Ps: it has no relation with the comrade sticker.

I DO, is a sign of what is to come from Buju. The R&B took me out at first listen but he nailed it. The probability of more R& B’s from Buju make us giddy.

Buju didn’t relent on this, he followed up with “Italy” another brilliant single.

He’s not playing this time around and hopefully we see Buju transcends to different heights.

The Whitelion.

Oche Echioda

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