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By Abioye Damilare Samson
“Lagos 2 London” is more than a project, it’s a declaration. A bold continuation of BadBwoy DMF’s mission to translate the grit of Lagos streets into globally resonant Afrobeatnarratives, this EP marks a notable evolution from his previous work, “Anthropophobia.”
“Anthropophobia” (released April 2024) was a darker, introspective work, rooted in themes of distrust, isolation, and trauma, a raw expression of a man navigating paranoia, betrayal, and self-preservation. The tone was claustrophobic and internalized, echoing the experience of an artist trying to find solid ground amidst chaos.
In contrast, “Lagos 2 London” is outward-looking. It channels personal history into ambition, with a newfound confidence and vision. Where Anthropophobia questioned the world, Lagos 2 London is ready to face it.
TRACK-BY-TRACK CRITIQUE
1. Where I’m From
A commanding opener. The production leans gritty and percussive, with heavy 808s and a minor key loop. Lyrically, it’s part testimony, part war cry a self-introduction that doubles as a street manifesto. Compared to “Introvert’s Lament” from Anthropophobia, this track is more declarative and less defensive. DMF has stopped hiding and started claiming.
Standout line: “From where dreams die young but I still deypush my own” gritty yet inspirational.
2. Get Rich or Die Tryin
Arguably the centerpiece of the EP. Sampling the rebellious aura of Fela Kuti (especially with the trumpet licks and Shrine-inspired intro), the track bridges Afrobeat’srevolutionary spirit with UK drill swagger. It represents a hybrid identity: culturally Nigerian, musically diasporic. Unlike the heavy self-doubt that haunted “Trust Issues” on Anthropophobia, this track is fearless, even cocky.
The Afro-drill fusion is daring but well-executed. DMF rides the beat with a punchy flow that evokes the likes of Burna Boy and Abra Cadabra but still retains his own voice.
Weakness: The chorus could use a stronger melodic hook to make it more radio-ready.
3. 2025
This is where vision meets craftsmanship. Easily the most forward-thinking track on the EP, it explores the future of Afrobeat with sleek synths, syncopated rhythms, and reflective bars. It’s spiritual in tone but technical in delivery. The concept of time — both prophetic and personal — contrasts sharply with the present-focused lyrics of Anthropophobia.
Growth indicator: DMF no longer raps just about survival, he raps about legacy.
4. Time Flies
A stripped-down closer that gives room to emotion and vulnerability. The production is ambient, allowing for deep introspection not unlike “Voices in My Head” from Anthropophobia, but with more resolution and peace. There’s a sense that DMF has come to terms with the past and is now learning to let go, grow, and be grateful.
The layered vocals and subtle instrumentation show artistic maturity. It doesn’t end with a bang — it ends with growth.
DMF’s growth between “Anthropophobia” and “Lagos 2 London” is evident in four key areas:
1.Narrative Control: While Anthropophobia was reactive and emotionally raw, Lagos 2 London is composed and strategic narrating not just pain but purpose.
2.Sonic Exploration: The new EP boldly blends Afrobeat with drill, soul, and trap, whereas the previous one stayed mostly within moody, minimalist soundscapes.
3.Confidence: DMF sounds more comfortable in his artistic skin. He’s no longer second-guessing; he’s asserting.
4.Global Intent: Lagos 2 London is a cross-cultural project. It’s not just Nigerian or UK-based, it lives in both places, speaking to immigrant identity, ambition, and adaptability.
“Lagos 2 London” is a solid leap forward for BadBwoy DMF, both conceptually and artistically. While “Anthropophobia” was a necessary emotional purge, this new EP feels like a manifesto. It declares the artist’s intent to bridge two worlds: the Nigerian street and the UK stage.
There’s room to grow particularly in melodic hooks and wider commercial appeal — but the authenticity, lyrical grit, and bold soundscape show an artist evolving into his prime.
