Across his hits-laden four-year stint with the Don Jazzy-led African music powerhouse Mavins Records, Reekado Banks powered himself into the top tier of Nigerian music. With hits like Katapot, Sugar Baby, Celebrity Girlfriend with Falz, Oluwa Ni, Standard, Easy (Jeje), Like with Tiwa Savage, Problem and Move with Vanessa Mdee, Blessings on Me, as well as his evergreen 2016 debut album Spotlight, he established himself as one of Nigeria’s brightest talents at the time and one who could go on to be one of the greatest acts of his generation.
His exit from Mavins Records slowed down his momentum. At some point, he seemed to be floundering in the mainstream, with his place leaning more towards uncertain rather than established. You see, Reekado is elite. His talent is top-tier, and he is gifted in the art of crafting infectious records. Music executive Motolani Alake described him in 2020 as “one of the prime talents that Nigerian music has seen in the last 10 years.”
Despite his supreme talent, he barely played a role in the Afrobeats to the world movement as Afrobeats found its footing in international markets and became a global sensation. While Afrobeats was taking the world by storm, Reekado was operating more under the radar, rather than being a leading figure in the movement as many, this writer included, would have expected. Being publicly disrespected by peers like Burna Boy and Wizkid also didn’t do him any good.
But Reekado Banks never stopped putting out great records. In 2019, he released the continental hit record Rora and followed with the sleeper hit Put In Pressure. In 2020, he released the stellar Options with Parker Ighile, the Afroswing anthem Need More with Kida Kudz and EO, before closing the year with the pretty forgettable Off The Record EP.
In 2021, he released the smash hit Ozumba Mbadiwe and the incredible Off The Record Volume 2, which could have produced another smash hit with the electrifying Amapiano record Lupita Nyongo. The record inexplicably sailed under the radar, but the EP was a timely reminder of Reekado Banks’ musical brilliance. He delivered a stellar performance on Spinall’s 2022 record, Top Mama, alongside Phyno and Ntosh Gazi, but failed to consolidate the momentum from the previous year, with records like Jeun To Da and Holla Me failing to crack the mainstream.
The infectious earworm Feel Different, featuring Adekunle Gold and Maleek Berry, would begin a resurgence of some sort. Followed by fine records like Fakosi, Supa, Visa, and Solo, Reekado Banks has been on a fine run of form; the audience just hasn’t been locked in as they should. In April, he put out Mukutu as the build towards his sophomore album began in earnest. Glamorous, featuring Mayorkun, was the second pre-released single.
On the back of the record, he presents his sophomore album, The Game Needs You. A clear, no-frills statement as Reekado Banks attempts to assert his presence in Afrobeats. At a time where many suggest that the culture may be experiencing a recession, as indicated by its failure to mint new stars and deliver emphatic smash hits in 2025, The Game Needs You is Reekado stepping into the narrative with intentions of breathing new life into the game.
He opens the album with the swaggering, party-starting jam, Freestyle. Reekado Banks effortlessly glides over the log drum-powered energetic instrumental with pop rap flows and lyrics that paint party-centric imagery. “Wanna see all the ladies on the floor / It’s summertime so we dey on tour,” he sings as he calls on beautiful women to let loose. “Say me bad, I know / Nobody harder than I know,” he sings, reminding listeners he’s still him. It’s an emphatic opener to the album which pitches itself as a fun time.
The album covers a range of universal themes but never veers too far away from its party-centric ethos. Even when Reekado introspects on a reflective record like Maami, anchored by memories and wisdom of his late mother, the record employs a dancefloor-ready instrumental powered by booming drums. The Winny-assisted 2WFL (Too Wise For Lies) employs Middle Eastern melodies carried by Mariachi trumpets and Amapiano bounce. Winny’s hook relies heavily on her captivating vocals but doesn’t communicate much lyrically. The song revolves around trust, betrayal, and loyalty as Reekado delivers street wisdom. “Many green snakes in the grass / Look out for that / Some are sweetness camouflaged,” he sings before advising his listeners to “activate discernment.”
He teams up with Terry Apala on the culturally grounded, Slique-produced Oroma, which blends Apala with hip-hop and Afropop sensibilities. The result is an electrifying, party-ready anthem that is guaranteed to rock Owambe’s across the South West if marketed properly. Jawo featuring Kashcoming is Amapiano with street-hop essence. Unlike Oroma, the record lacks the urgency and vibrancy to truly move the streets, and the hook leaves much to be desired.
The album then goes on a stellar four-song run where his vocals and lyrical ability take center stage, starting with the Don Jazzy-produced R&B number December (So Beautiful), a song that’s as beautiful as the title indicates. The record features Reekado’s best bit of songwriting on this album -simple and articulate – as he whispers sweet nothings to his love interest, promising to love her from January to December over Don Jazzy’s nostalgic production. This song was calling for Oxlade. On Dangerous, he articulates the risks involved in loving her. “She’s not one to be played with, rara,” he sings. He is aware of the dangers involved, but he doesn’t care, as he likens her to his guilty pleasure on the Fizzybeats-produced Afropop cut.
The relationship takes a sour turn with Katalina, where he passionately beckons her to communicate what the issue is. He is remorseful even though he isn’t sure what he’s done wrong, a situation most men would relate to. He credits her with turning him into a new man on the Phyno-assisted My Woman, a love song that celebrates finding someone special and being completely devoted to them. Phyno delivers an exceptional rap verse that conveys the feeling and overall theme of the song. He is the best featured act on the song by a distance.
The Amapiano-driven Ogini featuring Skibii stands out as this album’s attempt at a smash hit alongside records like Mukutu, Oroma, Omo x100, Jawo and Biliki. Biliki is a forgettable record from the two top contenders for the coveted Next Rated award at the 2015 Headies Awards.
Mayorkun hits a home run on the penultimate record, Glamorous, delivering a memorable performance on the record, which suffers a very weak hook. The album closes on an appreciative note with Bro Bro.
Ultimately, The Game Needs You is a commendable offering from Reekado Banks. The album houses some of Reekado’s strongest records in recent times and is a timely reminder of his brilliance as an artist. The album conveys a sense of thematic clarity, with Reekado articulating his feelings and thoughts with simple and resonant songwriting. The production, built around Amapiano and Afropop sensibilities, is tailor-made to satisfy the demands of this album. This writer would have, however, loved to see Reekado take more creative risks on this album. He doesn’t do anything we’ve not seen him do before or anything we didn’t know he could do. This album is supposed to reassert his imprint on a Nigerian music scene that many believe needs a spark. Rather than provide that spark, it settles into the same familiar groove that has defined many Afropop albums in 2025 and offers little in the way of sonic progression. Even though the music is undoubtedly good, it doesn’t feel forward-pushing, so the album doesn’t necessarily validate his claims that the game needs him. Because you can’t claim the game needs you and then proceed to do the same thing everyone else is doing.
What the album does spectacularly is offer listeners a fresh listening experience that showcases Reekado at his best in a long time. It’s a smooth, enjoyable, and cohesive listening experience. Now he needs a hit.
