Ruger’s BlownBoy RU arrives as a polished continuation of his signature style. The question is, will we tire of hearing him perfect his winning formula? Read our in-depth album review.
It’s always been there—the confidence with which he sings. His self-assurance is undeniable, making it almost impossible to believe that his career only took off during the COVID era. But that’s the essence of Ruger—his music carries a brash confidence that seamlessly extends to his persona.
When D’Prince signed him to Jonzing World after launching Rema’s career, it didn’t take long for the pink-haired, eye-patch-wearing artist to prove he was more than just an industry experiment. The quiet confidence he introduced himself with has only grown louder. Now, more than ever, he embodies the self-belief he has always exuded.
But confidence alone isn’t what makes him stand out. His music—bold, infectious, and laced with an unmistakable edge—sets him apart. His ability to chronicle his adventures through melodies, often balancing charm and outright toxicity, gives his sound a distinct identity. Despite its unfiltered braggadocio, his music resonates deeply. He makes music for himself, and in doing so, he has built a cult-like audience that hangs on every note.
His sophomore album, BlownBoy RU, is a natural progression from the EP series Pandemic and The Second Wave, which he released during the COVID era in the lead-up to his debut, RU The World. The gap between his debut and sophomore albums was highlighted by his notable collaboration with BNXN on their joint EP, RNB, which earned both artists a spot on our list of 10 African Music Beefs That Ended on a Positive Note. While the first album declared his global ambitions, the second solidifies them— the young star is no longer just RU The World; he is BlownBoy RU. And while one might have expected his sophomore project to explore new themes, he remains true to his formula, refining rather than reinventing.
There’s a clear parallel between RU The World and BlownBoy RU—both albums revolve around themes of women, indulgence, confidence, and self-love, all delivered with the Afro-dancehall cadence that defines his sound. While some artists use their sophomore projects to explore new narratives, he doubles down on what he knows best. This isn’t reinvention; it’s a refined iteration of his signature style.
The album kicks off with REIntroduction, a thunderous opener drenched in bass and chaotic energy that somehow aligns with his signature composure. It’s a reintroduction in name but a continuation in spirit, reaffirming that he has always known he was destined for this. The track closes with a symbolic nod to Northern culture, incorporating elements of Northern language and music.
Muah (Soulmates) shifts the tempo with a beat that initially suggests romance, but true to his nature, the lyrics tell a different story. He urges a love interest to embrace the idea of multiple soulmates, echoing the age-old Nigerian joke about women not letting their boyfriends keep them from finding “the one.” It’s clever, amusing, and entirely in line with Ruger’s usual playbook.
Then comes Giveaway, featuring Zlatan, where the two revel in their wealth and self-assurance. The track revolves around the phrase “Money na water,” a Nigerian saying popularized by Cubana Chief Priest, which likens money to a fleeting resource. He takes it a step further with the self-loving admission, “I’m obsessed, I’m so in love with myself,” cementing his status as the poster child for unapologetic self-admiration.
If there were any doubt about Ruger’s commitment to his persona, Jay Jay swiftly erases it. Drawing inspiration from football legend Jay-Jay Okocha, Ruger likens his effortless romantic conquests to Okocha’s legendary dribbling skills. “I Dey ball like Jay Jay,” he boasts, making it clear that attachment is not part of his game plan.
While Ruger has built his brand on individual dominance, BlownBoy RU features carefully chosen collaborations that add depth to the project. Dudu, featuring Kranium, is a steamy, slow-burning, patois-infused track where both artists bring their A-game. Ruger positions himself as a rare gem, singing, “You’ll never find me twice / ‘Cause me a rare type.” Kranium, known for his sultry delivery, seamlessly complements Ruger’s rawness, making this one of the album’s standout tracks.
On Rub Minds, Ruger leans into his directness, requesting his love interest’s location over a log-drum-heavy beat. It’s simple yet infectious, a testament to his ability to craft catchy, no-frills mid-tempo records.
With Toma Toma, featuring Tiwa Savage, Ruger steps outside his comfort zone, dabbling in Spanish—or at least attempting to. His pronunciation wavers between intentional and experimental, blending Yoruba influences into the mix. While not the smoothest linguistic transition, it’s an endearing attempt at expanding his sound.
Wish You Well, featuring Jamaican artist Valiant, marks a shift in tone. Ruger plays the “good guy,” offering parting words to an ex, while Valiant injects a more detached perspective. The contrast creates an intriguing dynamic, showcasing Ruger’s ability to pivot between vulnerability and indifference.
From his recent Colors Show debut, Toro showcases Ruger at his most introspective. Wrapped in melodies, he croons, “I’m okay being the devil, ‘cause angels don’t exist,” offering a rare glimpse into his philosophical side. But just as he teeters on vulnerability, he swiftly reverts to his signature bravado with 99, a track that samples Sean Tizzle’s Sho Lee. Here, Ruger reaffirms his dominance, proving that while he may pause for reflection, he never strays from his core identity.
One can’t help but wonder if Ruger’s experiences with love have left him jaded. The theme of emotional detachment continues on Hell Cat and Runaway, featuring Haile. On the latter, Ruger seamlessly blends into Haile’s world, their vocal tones nearly indistinguishable at times, making for an immersive listening experience.
Closing the album is BlownBoy Anthem, an outro that serves as both a self-affirmation and a parting shot. Backed by unconventional drum patterns, Ruger cements his status as the “blown boy” he has always claimed to be. The track doesn’t stray from his usual themes but instead reinforces them, making for a fitting conclusion to the project.
BlownBoy RU is a refined continuation of RU The World, not a reinvention. Thematically, both projects share the same DNA—self-confidence, women, luxury, and an unshakable sense of self-worth. While some might argue that Ruger’s themes are becoming repetitive, the counterpoint is that he has perfected his lane. Rather than forcing reinvention, he fine-tunes what already works.
This album doesn’t aim to surprise—it aims to reaffirm. Ruger no longer has anything to prove; he has already done that. Now, he basks in the glory of his success, delivering music that stays true to who he has always been.
While BlownBoy RU doesn’t necessarily break new ground, it solidifies Ruger’s place in the industry. His ability to balance catchy melodies with audacious lyricism ensures that, even when his themes remain familiar, his music never feels stale. He is, after all, the BlownBoy.
And if there’s one thing BlownBoy RU makes clear, it’s that Ruger has no intention of changing for anyone.
