In the two years since ODUMODUBLVCK completed his swaggering invasion of the Nigerian music scene with the anthemic Declan Rice, he’s managed to carve out a unique space where hip-hop meets Afropop and highlife sensibilities. While initially dismissed by some as a passing fad, the Abuja-based rapper has risen to become the face of Nigerian hip-hop building a loyal following with his raw, unfiltered approach to storytelling.
The Machine Is Coming arrives at a crucial moment in ODUMODUBLVCK’s career, where expectations are high following his breakout success with the critically and commercially acclaimed Eziokwu and high-profile collaborations. His ascent from niche rapper to the most recognisable voice in Nigerian hip-hop has been swift, and this mixtape feels like both a celebration of that journey and a statement of intent for what’s to come.
Read my one-listen review to see whether our expectations are reflected in the music. This is my first listen of the whole project with no skips or playbacks; this review is just my unfiltered thoughts as I was listening to The Machine Is Coming.
LEGOLAS
Straight out the gate with those inviting chords. Odumodu wastes no time getting into his bag. He’s introspective on this song talking about being played by women when he was broke and he’s new found fame and status. He talks about taking the family responsibility when he’s father passed and becoming his mother’s spouse. He gives a shout-out to the Anti World Gangsters calling them his Galacticos. I love the Real Madrid reference, especially since Modu is a culer. The production is crisp and meacing, exactly what I’ve come to expect from him. This feels like a proper intro track, setting the tone for what’s to come. What’s it with Odumodublvck namedropping random footballers on his songs. He namedropped Ogenyi Onazi on Declan Rice, he namedropped Greek footballer Samaras on this record also. I’m curious to know why he does that.
Early morning
This beat has an almost UK feel to it, with those skippy hi-hats and punchy snares. Odumodu’s flow is getting more intricate with each song; he’s really in his element on this album. I would have loved Reeplay on this song.
TOY GIRL ft. Juno & Valentino Rose
A lady voices over Odumodublvck’s popular Black Sheep for Life intro. That’s a cool touch. This is bouncy and intoxicating! This is not super different from what we’ve heard from Odumodu. The features come through with their distinctive styles, delivering suitable verses that complement Odumodu’s approach. I can already see this one going crazy at parties.
PITY THIS BOY ft Victony
Obviously listened to this over a million times before now and it’s everything I expected an Odumodublvck and Victony collaboration to be. Odumodublvck’s signature gruff delivery combined with Victony’s melodic finesse was always going to be magic. Victony’s voice floating like a ghost over the beat, adding an emotional depth that makes the song hit even harder. The beat creates a platform that accommodates their contrasting styles pairing showcases the dynamism of both artists.
GO REPORT
This beat has an almost UK feel to it, with those skippy hi-hats and punchy snares. Odumodu’s flow is getting more intricate with each song; he’s really in his element on this album. I would have loved Reeplay on this song.
ISAKABA MAN
Menacing. That’s what this song is: menacing. This song is exactly what an Odumodublvck song should be. Scary, swaggering and hard-hitting, this feels like Odumodu’s version of a Scarface tribute, but with his own Nigerian twist. Who is Rondodasosa, and why am I finding out about him now? Dude just delivered one of the hardest verses I’ve heard this year. He says he’s Italian in his verse. I’ve heard good things about Italian rappers, but I’ve never been motivated to actually listen. This guy has made a new fan. He absolutely destroyed this record. What a breathtaking verse.
BALLON D’OR
Odumodublvck has a way with hooks, doesn’t he? He knows how to craft a resonant hook. The hook is simple, but it’s going to be stuck in my head all day. The beat carries highlife melodies and is driven by log drums. Aside from the hook, it doesn’t have too much going on. I love the hook.
KYLIAN
I love how Odumodublvck has different approaches to rap but somehow makes it work perfectly all the time. This song feels atmospheric. The beat is engaging and satisfying. This song arrives at the perfect time also. Kylian Mbappé is in the form of his life, scoring goals left, right, and centre. I enjoyed the instrumental much more than the lyrics. The only thing I remember from the song is a killer like Kylian.
BTC ft. Bobby Igbo, Sabinus & Afro selecta-BBK
I have a lot of good things to say about the production on this album. The production hasn’t missed, and I’ve thoroughly enjoyed the production on this album from the start up until this point. The flute melody is intoxicating. I love it so much. The song is cool. Nothing significantly different from what we’ve come to expect from Big Kala. I will say, the production has really carried this album.
AJEBO HUSTLERS ft Ajebo Hustlers & Dandizzy
Knowledge of Ajebo Hustlers is easily one of the best rappers in Nigeria, and he must be regarded as such. His wordplay and rhyme scheme are quality. Ajebo Hustlers elevate everything they lay their vocals on. What a duo those two are. Dandizzy came in swinging. I think his verse was too cut short. It felt like he had a lot more to say.
BARRISTER TOFO ft. Fatboy E & Falz
I can feel the Ozeba influence on this record. This song is a high-energy, carefree anthem built for the dancefloor. The song bursts with vibrant energy. The production is crisp and upbeat, packed with bouncing percussion, shimmering synths, and a bassline that demands movement. The lyrics are playful, filled with catchy slang and flirtatious lines.
PUSSY NIGGAZ
Right from the first 808 rumble, you know this song a war cry. The beat is heavy and hard hitting, laced with sinister keys and gunshots, setting the perfect backdrop for the big Kala to unleash pure venom. He comes in with raw aggression, his voice dripping with contempt as he addresses his doubters, industry gatekeepers, and fallen stars who couldn’t hold onto the spotlight. Every verse is a direct shot, no subliminals, just straight disrespect for the so-called legends who refuse to acknowledge his reign. He reminds them how they fell off, how their relevance has crumbled, while he stands untouchable, the true face of Nigerian hip-hop. The delivery is unfiltered rage, breathless, and urgent. There’s no room for catchy melodies, just bars meant to rattle the opps.
I love it
JUJU with Smur Lee & Shallipopi
Banger.
That’s all I have to say
RAMADAN KAREEM with Tolibian & BOJ
Congrats to Tolibian. He has a hit that he’ll eat from for years to come. It’s the kind of song that will keep bringing in bookings and streaming revenue long everytime Ramadan season comes around. As for the remix, it’s absolutely unnecessary. Some songs don’t need a second version, and this was one of them. Instead of adding value, the remix feels like an afterthought—more like an industry move than a creative decision. The original had all the magic it needed; sometimes, it’s best to just let a hit breathe.
GASOLINE ft. Vector
Unpopular opinion: Whenever Odumodublvck lines up against other rappers, he gets washed more times than not. Gasoline is no exception—Vector showed him levels on this one. Odumodu attacks the beat with his signature grit, throwing out braggadocious bars and street metaphors, but as soon as Vector steps in, it’s a different ballgame. His delivery is effortless, his pen razor-sharp, and his flow so refined that it makes Odumodu’s verse feel rushed in comparison.
This isn’t to say Odumodu didn’t hold his own. His energy and presence are undeniable. But Vector’s lyricism, polished cadence, and ability to bend words with ease reminds everyone why he’s still one of the greatest Nigerian hip-hop has to offer.
—Final Thoughts
The Machine is Coming” feels like a statement of intent from an artist who knows exactly who he is and what he brings to the table. It’s not trying to chase international trends or water down its content for mass appeal. Instead, it’s proudly Nigerian while still being accessible to a wider audience. The Machine Is Coming lives up to its title – there’s a mechanical precision to his flows and beat selection that feels calculated without losing its raw edge.
Production-wise, the mixtape maintains a high standard throughout, with beats that complement Odumodublvck’s delivery while providing enough variety to keep the listener engaged. The darker, drill-heavy tracks are balanced by more melodic offerings, creating a well-rounded listening experience.
See you at the full review.
