Greo – Benin 2 London (EP Review)

In today’s review on Music Review World, we shall explore the world of Greo, a Nigerian-born London-based rapper. This identity is unique, cementing itself in the world of the ‘diasporic experience’, filled with metropolitan influences and a desire to connect with one’s culture. In this instance, this feeling has crystallized into an EP, titled ‘Benin 2 London’. It’s intended to be a bold musical exploration of the modern migration experience, without being pigeonholed as just an EP- the tracks all come together to tell a story of cultural fusion, resilience and the sound of two cities meeting in harmony.

Some of the tracks dive into the heart of the migration narrative, capturing the ‘double life’ that many Nigerians live and go through from all walks of life, from Tiwa Savage to even Bobrisky. The tracks are also rooted in the rhythms of Benin City while containing influences from the pulse of London’s urban landscape. The album also features vocals and input from other artists such as Gelna, Mxta Will and Rho, who can all relate to the diasporic journey.

The album starts off with the first track ‘Glory’, with Gelna’s vocals being reminiscent of Simi’s vocals. The presentation and composition of the song is very reminiscent of the Afrobeats scene from 2017-18, which unfortunately can be a double edged sword. It is competent enough to vibe to, giving a downtempo and chill vibe with acoustic trills and melodies and depth added, but it’s also quite dated. Greo’s lyrics follow the theme of the album, alluding to his experiences.

The second track, ‘Wa Do Ghe’, is a bit more unique and upbeat compared to the first track, mixing traditionalism with typical British drill. I have an affinity for the sampled track, as it forms the backbone of the track and also guides some of the lyrical phrasing in the middle of the song, and it explores the fusion by providing a very typical Drill flow and production quirks. I really feel like this song would’ve been bigger if it had been released around the time Black Sherif came on the scene.

The third track, ‘Pray’, starts off quite differently, with a series of chords paving the way for organic percussion, and ad-libs that remind me of some of Burna Boy’s vocalizations. The steady drum beat within this song is actually reminiscent of the original Afrobeat, and this song follows a more ‘classic’ format across the whole board- the classic rap structure and rap style, the types of instruments used within this track, and the execution. I’ll definitely say that Greo has a knack for this style and I think he should expand upon this- it’s like a Naija-fied Digable Planets or A Tribe Called Quest. It’s one of the highlights of the album, sticking true to a traditional sound but also still retaining Western fusion.

The fourth track, ‘Anyhow’, bears the format of the dark-Amapiano esque sound that Afrobeats have adopted for the past two years. I think this track would definitely resonate the most with a Nigerian audience. The delivery of the lyricist reminds me of some of Hip Juju, but the backing track is giving a more stripped-down version of Asake’s typical flair. A standard track with more timbre to expand upon rather than components to break down.

The fifth track,‘Old Soldiers’, expands upon the classic fusion feel that Pray has, this time with a different composition. I’d definitely say this track sounds like a fusion of Burna Boy and Wizkid when you really think about it. The flow and the way the voice sounds remind me of Burna, but the samples used in the background are very reminiscent of ‘Make Love, Less Ego’. Another track that has a lot of aura and distinctiveness to it.

The sixth track, ‘Wait’, sounds the most like current Afrobeats with pads and sounds that go towards a semi-major and inspirational feel. The female vocalist in this has a wonderful voice, and I’d love to hear her more, with a deeper range but a compelling higher range as well. There’s a lot of soul in it. Of course, the log drum is present, but it could definitely be turned up and be a bit more pronounced. The rap sequence also flows very well in this particular track.

Last but not least, the seventh track, ‘Fade’, comes off really unexpected when you’ve listened to the other tracks. It’s a bit of a mixture of Gospel and a bit of mid-2000s pop-rap fusion. This track has commercial potential, to be fair. The vocals and the instrumental definitely complement each other, with a preppy and soulful feel to it.

All in all, I’d say this isn’t a bad album. It’s definitely decent. My only true gripe with it is the lack of innovation or truly distinguishable/distinctive notes within these songs. If you’re not used to Afrobeats and afrobeats fusion, this may be new to you, but as I’ve pointed out in all of the tracks, they have a ‘referential equivalent’. I’m not saying all artists within this genre need to go all out like Rema in ‘Ozeba’, but it would definitely help their artist image and response if they just tweaked something to truly be unique.

In this case, I do think Greo does best when classic, traditional sounds are mixed with classic rap/the ‘Golden Era’ of rap structures because I think that’s what sets him apart. Or perhaps, it’s best to find a way not to sound like every other artist within this diaspora. There’s a lot hidden within the culture itself, and you don’t want to end up on another Spotify playlist; surely you want to cement yourself as an icon. I think it’s possible, though, and I hope to hear more from Greo and all the other artists within this album. Definitely tons of potential here.

SCORE/Good to Excellent: ‘Benin 2 London’ is a decent, standard album that churns out an artistic expression and extension of the experience of being in the Nigerian diaspora. It fits the standard of Afrobeats-influenced music and could serve as a good body of work that is inherently nostalgic, but could benefit from some innovation.

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