While he may have come into mainstream prominence on the back of Odumodublvck’s hostile takeover of the Nigerian music industry, Reeplay is not a newcomer. He is a prominent member of the Anti World Gangsters collective, playing a key role in the collective’s success, delivering impressive verses and hooks across multiple projects like the 2019 cult classic ‘Gang Business’, Anti World Gangster (his joint project with Odumodublvck), and singles like ‘Lady Koi Koi’, ‘Ojuju Calabar’, ‘Raini’, ‘Na Now’, ‘Commot for sanko’, and a host of others.
‘Charge it to the game’ is his fifth solo project since his debut in 2019 and a follow-up to 2023’s ‘The Jig Is Up’. On this project, he delivers records that reflect his raw energy and showcase his musicality.
He is insouciant on this project, asking phonies to charge their feelings about him to the game. His mindset is best captured in the fierce opener, ‘The Game’. He fires shots at snoopy sleuths and details his decision to let people accept the consequences of the choices they made. He Raps, ‘‘If you notice i no pay for any services way these niggas been give me/sometimes you gats charge am to the game’’. He repeatedly reiterates the phrase ‘The game is the game’ which conveys a sense of resignation and acceptance of the situation as it is.
He maintains his menacing presence on the Drill Monster Jam ‘No Apology’, where he showcases his ability to deliver a rap hit song. On this unflinching anthem, Reeplay asserts his individuality and declares himself one of one. With unapologetic candor, he dismisses the need to justify himself to anyone. The song honestly captures his desire to break free from the burdens of others’ opinions and live a worry free life.
His musicianship is showcased on pop-leaning records like ‘Bad Girls’ featuring Smada and ‘Steeze Choke’ featuring Fatboy E. On the Afropop cut ‘Bad Girls’, he celebrates the allure of women who embody bold and unbridled sexuality. With explicit lyrics and an infectious beat, Reeplay and Smada pay tribute to the intoxicating appeal of these women. Smada brings a level of quality to his verse that eclipses Reeplay and delivers a performance that is deserving of attention.
Alongside Fatboy E, who delivers a simple hook, Reeplay celebrates his style and swagger, declaring the fact that “the steeze is too much/on God they can’t touch.” Aided by resonant and crisp piano chords, he displays his effortless flow and self-assurance.
His unwavering affection for bad girls is once again displayed on ‘Pop That’ featuring Sgawd, whose smooth flows, wordplay, and infectious energy make her the star of the song.
He delivers a laid-back flow on ‘No gree’. A weak record that creatively explores hip-hop, afropop, and reggae. He attempts to motivate his listeners, urging them to be unapologetic and unyielding in their pursuits.
The previously released ‘Who dey jonze’ takes its place as the closing track. Like its predecessor, it is similarly weak in quality, failing to convey any excitement or energy and feeling like a lackluster conclusion to an otherwise strong project.
Reeplay’s “Charge It to the Game” EP is an enjoyable project. With a mix of menacing Rap tracks and pop leaning cuts, he showcases his range and unwavering confidence. While not all tracks hit the mark, the EP’s strong points – “The Game”, “No Apology”, “Bad Girls”, and “Steeze Choke” – demonstrate Reeplay’s ability to craft infectious, high-energy records that solidify his position as a force to be reckoned with in the Nigerian Rap scene.
