Buju BNXN Bad Since 97 Album Review. Bad Since 97 Solidifies BNXN Reputation As A Sound Connoisseur

Years before Buju, also known as “BNXN” got heralded as an integral part of a new school of Nigerian musicians, the school which includes acts like Rema, Fireboy, and Omah Lay, among others, and also before the success of Lenu featuring Burna Boy; Buju was still in the studio grooming and recording songs as an upcoming artist.

During that period, he previewed a track for his friends who suggested Zlatan on the record. Despite having no access to funding to request such a collaboration, Buju went via social media tag campaign trying to secure a Zlatan verse, since that was the only way he could: Zlatan, marvelled by Buju’s unrelenting doggedness to get his attention, granted his request, and their first ever collaboration, “Spiritual” was borne, which remains one of Buju’s Magnum Opus to date.



Ever since then, the trajectory has been upward, from getting featured on different tracks to scoring hit songs in the country to getting nominated as the next rated with his harmonious vocals.

After the success of his debut EP “Sorry, I’m Late,” which gave him a triumphant entry, he changed his stage name to BNXN because he needed the chance to build his unique digital footprint and end the rather pesky business of name comparisons with the iconic predecessor, Buju Banton.

The sounds are unique and a curious departure from his debut EP “Sorry, I’m Late”. The title “Bad Since 97” was never just a title; he exuded the “I’ve been on top of the game for years” vibes. Perhaps, that’s why his debut EP apologized for arriving late to prove his mettle.

The Afro-fusion and sonorous vocalist once again explores colourful genre fusions in his latest body of work. The 7-track project serves as his second professional studio extended playlist as a solo artist. On “Bad Since 97”, Buju BNXN enlists the help of Afrobeats A-listers and veterans such as Wizkid, Olamide, and Wande Coal, to help give the musical project a Midas touch.

The album kicks off with Denzel produced “Bad Since 97” the title track got BNXN in his well-layered braggadocio mode. There is a very thin line between confidence and arrogance. For BNXN, it is unavoidable and even necessary to occasionally lean into arrogance. The music industry is an unforgivable place, and at times, just being confident in your skills may not be enough.

This track is a reminder of his musical mastery as a pop star and sound connoisseur. With Buju Singing over heavy kicks, guitar loops and the subtle sax tone, The EP opener is a mid-tempo tune and sets it in the right mood.

“Bad Man Wicked” is an R&B goodness, albeit not entirely. It is a rich blend of Western R&B mixed with traditional sounds to give it an alternative feel, with underlying woodwind instruments added for sonic pleasure.

The third track, “Many Ways”, is that love song on “Bad Since 97” featuring Wizkid. The music immediately evokes the same feeling as Wizkid’s “Ojuelegba”, but it holds its own amidst a mid-tempo vibe. BNXN comes through with his habitual trait of belting beautiful melodies under Afrobeats instrumentation, while Wizkid’s soulful verses compliments and confirm the creative energy between both artists. It is one of the best collaboration songs on the project.

“Kenkele” is a straight bop featuring Wande Coal, the sonorous vocalist. It’s the pre-released song on the EP, and it would fit into a dance routine of slow waist moves amidst dim lights. Although, it’s hard to get the theme, from Wande Coal’s admiring woman’s body to BNXN reflecting on his not-so-good days with a sultry tune which proves that Wande Coal & BNXN are great vocalists.

“In My Mind” is a well-written song. One could tell BNXN sat down to craft it well. The Superman and Lois reference was particularly clever. This crooner begins with a non-committal tenor before launching into his trademark alto as he yearns for an old flame, with a sultry falsetto and catchy hook. It’s the best song on the project.



In “Modupe”, he affirms God’s impact in his life and appreciates God for his journey so far, and assisted by the legendary Olamide opts to keep his distance, putting on his old style of rapping: Although there wasn’t anything spectacular about his verse. If you’re not used to Olamide’s old rapping in his native language, this might be a hard pill for you to swallow. The lyrics are honest as well, and the steady tempo works well for BNXN’s verse.

The last song on the EP “Loose Emotions” was probably supposed to be a club banger, a feel-good song people could play on Fridays to let loose and have fun. However, it doesn’t fit. This might’ve been BNXN’s intention since the lyrics supposedly come from a lover boy who’s tired of his emotions, bidding his lover goodbye.

The chant “Lose emotions, Lose emotions, oh, Lose emotions, Lose emotion” accompanied by the mid-tempo makes this song one that people can vibe to, and thankfully the verse is good enough to save it.

Whatever the reactions might be in the interim, one thing is clear — On “Bad Since 97”, BNXN solidifies himself as one of the most gifted songwriters of his generation. Artists and music enthusiasts will look back on it for guidance in lyricism and sonic cohesion.



In terms of sonic and conceptual quality, BNXN succeeded. However, the delivery and production of this EP could be faulted. Secondly, the lyrics could’ve been better. On a surface level, they were okay, but when you compare them to the lyrics on “Sorry, I’m Late”, you realize that BNXN could’ve offered better lyrics.

In conclusion, this EP is not as imposing as its debut, but this dreadlock-spotting, sonorous vocalist knows how to tell stories with his song and give the best sultry hooks.

What are your thoughts about “Bad Since 97?” Can we say BNXN outdid his debut? Is there a way you think the EP could have been fixed? Or perhaps the number of tracks is not enough.

Let’s hear you.