In an industry where music projects are released in abundance, joint projects are often held in reverence. And with two of the biggest names from contemporary Nigerian pop music deciding to make a joint project, the expectations and anticipation become higher than ever. This is the feeling BNXN and Sarz served listeners with when they announced their joint EP The Game Needs Us through their creative short-film rollout—the project’s titular expression asserting their undying relevance in the ever-evolving scene.

Given that neither act is new to such collaborations in their careers, from BNXN rivalry-turned-bromance EP R&B with Ruger to Sarz’s notable joint projects. Yet the concept of BNXN and Sarz working on an extended play serves as a moment when a veteran producer can seamlessly insert himself into the world of another brilliant singer-songwriter.

Their lead single, “Back Outside”, certifies this confidence upon the arrival of the project. The track, carried by a children’s choral backdrop that interpolated the 1990 song “Ko Neye Mounka Allah La” by the legendary Malian Afro-pop duo Amadou & Mariam, felt like nothing the industry had ever seen.

Yet across the 5-track EP, driven by themes of assertion and a choice between vulnerability and pleasure, the project leaves a lingering sense of expectation. Beneath Sarz’s masterful production, cut across Afrobeats and rhythmic African elements, and BNXN’s signature vocals, the project modestly holds up to its name.

“Fi ibadi yẹn ṣe mi leṣe / Soro ah dob uno / I dey go through things it’s complicated / You’re the one for me o.” There’s something about BNXN’s writing that doesn’t hide his vulnerability, no matter how deeply introspective, confident, guilty or seductive he chooses to write from. On the mellow intro, “Rum & Soda,” BNXN tries to equate the intense connection of pleasure between his muse and Rum and Soda. The track’s dreamy guitar motif, layered over the catchy chorus, finds BNXN emotionally bruised by an intimacy he yearned for. It’s a moment that meets a man on his fifth drink at the corner of a bar while sadly watching another whisk his mistress away in romance.

“Back Outside” follows immediately, raising the cadence slightly, as Sarz’s ingenious production takes the highlight of the record. With a blend of gentle choral backups, fluttering flute arrangements layered over crisp percussion, the track carries a breath of fresh air and instant catchiness.

On this track, BNXN confidently and effortlessly glides with a laid-back, melodic flow that matches Sarz’s impeccable, rhythm-forward production, capturing the project’s theme. “Are y’all kidding me? / My gbedu no go finish oo-oo,” he croons on the second verse. Despite acknowledging his intentional delay from the spotlight, he remains boastful, reminding listeners that his hit days are yet to end.

Not as striking as the previous track, “Already” still stands as another highlight, with BNXN’s assertive lyricism coming through again. The track carries a sense of ease that permeates between BNXN’s lightweight verse-chorus and Sarz’s ace production of mid-tempo percussion and soft rhythmic bounce. “This rodeo ain’t for you niggas, o yẹ ke ti dá mi mo, I be top player / The game fucking needs us / Na me go do the work, I can’t fuck this up”. Reflecting the project’s central theme, BNXN reinforces its stance in the industry.

“Emotional High”, as the title suggests, appears as a track ready to immerse you in BNXN’s world of emotions. While it sits between vulnerability and sensuality throughout its melodies, this writer feels BNXN doesn’t do enough to convey the emotional nakedness and clarity of its lyricism. Still, from the opener until the percussion hits, BNXN finds a way to capture the euphoria of an intense emotional rush and the attachment he wants his muse to remember.

The track closes with “Frank Sinatra,” a nod to the late, legendary American singer, known for his emotionally expressive delivery and timeless romantic ballads. BNXN draws from the same well, where he questions the inconsistency of an invested relationship. “It happens every week,” a line he repeatedly sings, acknowledging the continuous cycle of misunderstandings. “It don’t make sense / is this worth all the effort I gave?” he continues. Underneath his miss for pleasure, his strongest suit is found in being openly expressive about his emotions, especially one driven by emotional exhaustion.

Built around soft melodies, rhythmic African bounces and percussion that carries an effortless chemistry between skilful acts, The Game Needs Us is an excellent delivery that reminds us why the duo remain at the top of contemporary Nigerian pop music. BNXN’s signature sound, driven by vulnerable yet assertive lyricism, is maintained. And Sarz’s unmatched production, which preserves a sonic identity, remains uncontested.

Yet, the project doesn’t offer an expansive sonic experience as the title suggests. While tracks like “Back Outside” and “Already” will remain standouts, the project leaves listeners who are aware of the duo’s unwavering legacy in the game wanting more. The Game Needs Us is a brilliant project, but at best, it may be notably remembered for the iconic weight of a collaboration between two generational music talents.