On the 21st of June, 2024, singer-songwriter and producer, 6uff, real name – Okwudili Okoli – released his second solo project, the ten-track Menace To Society EP. 6uff – pronounced ‘buff’- began his musical journey at the age of 14, and transitioned to production at 19, with the aim to develop a unique sound that “blends contemporary beats with traditional Nigerian rhythms”. His first single, Selfish, was released in 2021, and served as his official entrance to the industry as a recording artist. 

The Menace To Society EP from the Anambra-born act, his most ambitious in his decade-plus of being in the industry. The project’s cover art mirrors Logic’s YSIV, which is itself a remake of Frank Sinatra’s famous 1938 mugshot. In this review, we’ll take a track-by-track analysis of the project, examining its themes, high points, and overall quality.  

Champagne Boy 

The EP opens with the line, “You go contemplate if you want fight“, setting the tone and informing listeners of the nature of the project they’re about to listen to. It’s clash music, confirmed by the time 6uff sings, “My eye no dey see all the jargons, ’cause I wear my Raybans/Still you no fit play me a fast one, I’ve been wise since I was a child“. On my first listen, the similarity in vocal texture to Burna Boy and Prettyboy DO jumped out almost immediately, but what differentiates 6uff is the upward tilt of melodies. 

Producer, Saint Giaco, bridges the third verse with a sample of Jon Jones’ comments to Daniel Cormier following their infamous brawl at the MGM Grand, Las Vegas, ahead of their UFC 178 match; a much-appreciated touch of flair. And on the verse, 6uff flexes with a rhythmic patois pocket from 1:46 to 2:02. It’s a song about rugged living and defeating the ops. And while not the most energetic opener, the Afropop bop is enough to build anticipation for the rest of the tape. 

Well$ Fargo 

Upon seeing this title, I expected an Afro-Adura adjacent track or at least a record about bombing and the post-pandemic scams. It also made me interested in 6uff’s upbringing, a subject he would touch on in later songs. Well$ Fargo turned out to be milder, though. A short first verse about stream farming combined with a second on jealousy and a cliche braggadocio chorus for one of the few lulls on the tape. Mellow production, as well. For some reason, this track reminds me of Solidstar. 

Slogodo (Para is Paramount) 

The production on this track is something you’d expect about five songs into a Burna Boy album: minimalistic drums with a looped piano as the focal point. It’s beautiful, beautiful Afrobeats. (Someone tell Laime to step back. This is how you sound alike and still stand out) 6uff fuses songwriting about coping with rejection with belief in his skill and rising above it all; a central theme on the EP. It’s a catchy chorus, “Trouble dey knock for door, so me I no fit to slogodo/Para is paramount, eh (2x)”, perfect for house parties with the guys after a long week. The coinage of “Para is paramount“, in particular, is special. If Menace To Society were a 5km marathon, Slogodo is where the star runners separate themselves from the rest of the pack. The synths on the outro were an excellent touch from Darozi. 

Commander II (feat. Monaky)

This song’s existence is proof that music is divinely inspired. It’s the remix to Commander, which 6uff released in March this year; a jam of its own. But man is II a step above. 

The haunting violins at the beginning are one thing (I desperately need this trend of strings on Nigerian records to continue). Monaky’s gruff delivery of “I chook hand, but he get otumokpo/ For machete wey don moton/Cut plantain, use am wipe oesophagus/I admit nobody like me” to begin the first verse are another. It’s the spirit of PH made flesh. His sometimes off-beat verse ends with a menacing hum, segueing into the chorus and then 6uff’s verse. “I hold am for their neck and choke their tonsils/I wanted war they’re asking for peace“. At no point on this track does it feel like war isn’t inevitable. And yet some say Afrobeats can’t soundtrack a revolution like we didn’t sing along to Davido’s FEM in October 2020.

Commander II might be the fourth track here, but its quality makes it one of the year’s best records so far. Telz’s production must also be appreciated, with drums interjecting and filling the empty spaces, every inch perfect. 

Tsunami 

It is another Telz-produced jam, but Amapiano this time. Its message is simple: 6uff is a stallion in the bedroom who makes it rain. Execution, however, leaves much to be desired. “As I drill am for hole, e be like tsunami oh“. That summarises it. What Tsunami lacks in writing, it makes up for with production. 

Van Dijk 

Another masterclass in using strings — staccato violins — on the opener, think Asake’s Remember. To be fair, I also anticipated “Yo Dibs” afterwards, so it’s not just a Magicsticks affair. (Loseyi, what have you done to me?)

Van Dijk was the first single off the tape and is surprisingly introspective — albeit briefly — as 6uff talks about his two extra years in Babcock. ‘I was born with a silver spoon but still I hustle to find my plate’. Similar parallels to artists like Davido and Prettyboy DO and how privilege might give leverage but doesn’t guarantee it all. In previous interviews, 6uff has spoken about the cost of finding his place in the industry and the role his upbringing played. His love for music has seen him through despite not precisely being mainstream.

It’s one of those songs perfect for closing a 15-minute set. (PS. The video for this track was shot in Ghana, not particularly relevant anyway).  

Denge (feat. Yaw Tog)

The second track on the second half of the EP is another high point. Producer, Anelworlwide, samples what I assume to be a Francophone artist. 6uff utilises a staggered flow on his verse, with lines like “For my side anybody wey guck, Ọlọ́run, he go run, forget/ When I’m shooting my shot, I swear, my guy, e go burst your net” and the simple chorus repeating “Why man no go denge?” flipping it on anyone who might question his lifestyle. On his part, Yaw Tog, shows how much his voice has matured since early features like Sika Abia Fe, shuttling between a high-pitched delivery and a gruffer Twi-Pidgin closer. Like so many others on the project, my gripe with this song is its length. It’s begging for a back-and-forth third verse so bad. 

Born $inner 

On Born $inner, 6uff acknowledges the existence of his ops but restates how he won’t fall. It also features one of the few pop-culture dumps on the project as he references Dracula, Tony Montana, and a Lamborgini Beamer, on the chorus, attempts a Gongo Aso interpolation — similar to Burna on 23 — and compares himself to Dr. Dre in the 80s. It’s a menacing grime track linked by a fine guitar solo. In the video for Born $inner, a fish-eye lens accompanies 6uff and a companion on a drive that spans night and day, fitting for the subject of the record.

Public Enemy 

This track feels like it could have been so much more. 6uff starts with “I was like five, I was young when I learnt that my old man kicked the bucket/Too many pains that I felt through the years and it’s hard to forget”, but does little else on the track to tie the listener to this life experience. Even worse, the second verse is a weird transition to descriptions of sex, supported by Odumodu-styled ad-libs. And then there’s the mixing; one can barely make out 6uff’s voice on this dancehall record, making it a lull. Thankfully, it’s another exhibition of string mastery, and we have Darozi to thank for that. 

Redbull 

The final song on the EP — Spakee-produced — incorporates highlife elements. 6uff speaks of flying with wings like Redbull.  “I’ve been through hell, and I’m back oh/I had a dance with the devil, I no dey fear any bastard/’Cos I wine and dine with the devil” on the chorus makes an interesting choice. It’s a closer emphasising who 6uff is. Not a survivor, a victor. A daring victor, if you may. 

Overall

What 6uff lacks in astute songwriting, he makes up for with moments, picking pockets and flexing different vocal techniques across the 24-minute span of Menace To Society. Similar themes crisscross through most of the tracks: struggle, survival, and braggadocio, but not enough to coalesce as a concept. Production-wise, it’s a beautiful effort, leaning into the current Afrobeats soundscape, with standout moments like Commander II and Denge. There’s social commentary but not in the manner of a Falz or – again – Burna. It’s more of a street-hustler playlist. The length of tracks also leaves much to be desired, but this is remedied by the tracklisting. 

As his third project, Menace To Society, 6uff shows growth and comfort in who he is as an artist, limits notwithstanding. But maybe, there’s more he could tap into. More exposition on records, for one. The music needs a soul. It requires more of who he is outside the persona. If he can do this, we might witness a higher level of artistry. For now, we’ll take 6uff, the victor. 

Score: 6.5/10