Blaqbonez Drops “No Excuses” Album Amid Ongoing Hip-Hop Feud with Odumodublvck
By Emmanuel Daraloye
Nigerian rapper Blaqbonez, signed to Chocolate City Records, has released his highly anticipated album “No Excuses”, a bold addition to his growing catalogue of projects. The 14-track body of work arrived yesterday, marking another milestone in the rapper’s decade-spanning career and reinforcing his reputation as one of Nigeria’s most consistent and experimental Hip-hop acts.
The release comes at a tense time in the Nigerian rap scene, as Blaqbonez remains locked in a heated feud with fellow rapper Odumodublvck. The rivalry, which has dominated conversations across social media—especially on X (formerly Twitter)—has been more lyrical and personal than musical. Interestingly, both artistes dropped new albums just days apart and share the same collaborators: Pa Salieu, Telz, and Ayo Maff, fueling comparisons and competitive tension.
On “No Excuses,” Blaqbonez confronts the controversy head-on. On the fourth track, “ACL,” he takes direct shots at Odumodublvck, calling him a “50-year-old clout chaser.” The jabs continue subtly across the project, suggesting that the feud has deeply influenced his creative process.
The album, his seventh project since rising to prominence, sees Blaqbonez exploring an array of sounds—from Drill and Dancehall to Afrobeats and R&B—while maintaining his trademark wit and confidence.
The project opens with the high-energy “Everlasting Taker,” where Blaqbonez proclaims his sonic dominance. The song transitions into “Consistency,” a dancehall-infused collaboration with AJ Tracey, as both rappers celebrate their achievements with effortless swagger.
The log drum-heavy “Aura 4 Aura,” featuring Pa Salieu, leans into Drill but suffers slightly from uneven mixing and mastering. On “Bizzy Body,” Blaqbonez merges Dancehall with Afrobeats, featuring Valiant and The Kazez—though the guests outshine him. He quickly regains his footing on the Olamide-assisted “Nati,” a track that bursts with confidence but fades after its strong opening verse.
Themes of hedonism, love, and personal struggles dominate the album. On “Despacito,” rising star Fola brings a velvety R&B tone that complements Blaqbonez’s heartfelt delivery. “Just Hustlin” pays homage to 1990s Hip-hop, reflecting on ambition and the pursuit of wealth, while “Good Time” attempts soulful introspection, though it is marred by poor mastering.
“Mary Mary” tells the story of a woman who trades affection for financial security, while “Go Crazy” and “W for Wetego”—featuring Phyno, Young Jonn, and DJ 808—bring back the bravado. Phyno’s verse stands out as one of the album’s lyrical highlights.
On “California Issues,” Blaqbonez reminisces about fleeting love, while “Prayer Up” fuses Afrobeats with Trap influences. The emotive “Louder,” featuring Ayo Maff and Bella Shmurda, explores ghetto struggles and resilience, offering one of the album’s most poignant moments.
The penultimate track, “Stacks,” featuring Barry Jhay, dives into introspection—touching on religion, the music industry, and self-awareness. The album closes with “Starlife,” featuring Zinoleesky (uncredited on some platforms) and background vocals from Oxlade. The song reflects on the pressure of fame, ending beautifully with a crisp trumpet outro.
Despite occasional flaws—such as inconsistent sound engineering and some seemingly forced collaborations—“No Excuses” stands out as a cohesive and ambitious project. It captures Blaqbonez’s versatility, lyrical bravado, and evolution as an artist who continually pushes the boundaries of Nigerian rap.
With nearly two decades in the industry, Blaqbonez reaffirms on “No Excuses” that his artistry is still evolving—and the best may yet be to come.
Governor Babajide Sanwo-Olu, speaking at the launch, described the initiative as a turning point in Lagos’s transport history. “For generations, Lagos has been defined by water, yet our roads have carried most of the city’s movement. The OMI-EKO Project changes that narrative through focused investment in modern water transport,” he said.
