Ruger has built an entire persona around being the bad boy of Afropop, and at this point, it’s second nature. He is always one step ahead of his own myth, playing the part of the volatile rogue, an archetype which he has molded himself to so well, sometimes even to a fault. But still, few in the new generation embody the heartbreaker archetype quite like him; the smooth-talking pirate who steals girls’ hearts, leaves them shattered, and keeps moving, completely unbothered. He’s one of the most naturally gifted artists of his generation, and that’s what makes it all work.

Taken from his sophomore album BlownBoy RU, Ruger’s first major release since leaving Jonzing World to launch his own label, ”Toro” is him at his best: smooth, intoxicating, deceptively soft-spoken music laced with an undercurrent of ego and toxicity. He’s always had a way of bending melodies to his will, stretching words until they melt into the beat and “Toro” is a prime example. On the record, he plays the villain, but he plays it well. “Call me a devil, there’s no angel in this world,” he sings, fully embracing his reputation while simultaneously trying to soften the blow. He flirts with regret but never fully embraces it. Ruger knows he’s done damage, but rather than atoning, he makes a case for why leaving him would be even worse. The song is a plea, a confession, at the  same time an attempt at redemption but it never quite sounds remorseful. Yes, he’s broken hearts, yes, he might even break a few more, but leaving him? That’s not an option.