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[7.38]
Iain Mew: The riff that bubbles through “Bobo” is like bright crystallised light. Olamide’s gruff vocal initially seems a strange match, but by the time he makes electro-filtered hiccups work, it’s clear that it’s his invention that’s keeping it a party rather than a session of blissing out on the spot.
[8]
Anthony Easton: I keep loving the hip hop that’s coming out of Lagos these days. The percussion of this, even before the vocals start, is a dense thicket of sounds, none of them competing against each other. The voices start, those sibilant sounds introducing the chorus, which rests on a rising and popping vocal, the whole thing is effervescent as hell.
[9]
Micha Cavaseno: At certain points, the twitchy quality of the production and the way it seems impossible to pinpoint is either impressive or irritating, and likewise for Olamide’s baritone slur within the Autotuned piping of the song. I have to admit, sometimes I can have everything I usually want in a track, and still end up coming out feeling cold. I blame the “Stand by Me” strings.
[5]
Thomas Inskeep: Great, bumping Nigerian hip-hop with a beat that never stops (courtesy of Young John, “The Wicked Producer”), while Olamide takes down his haters with aplomb.
[6]
Megan Harrington: Young John’s production is bright, colorful, and bubbly, and Olamide matches it, cheerful and upbeat throughout “Bobo.” The song’s general sound (happy) and the celebration of hometown and community in the music video have me wondering if he might be to Lagos what Chance the Rapper is to Chicago. “Bobo” has Olamide’s fans in thrall, praising his good looks and spot on instincts. Here, he’s triumphant, basking in the glow from the top.
[8]
Scott Mildenhall: It’s about working hard to be able to play hard, but it’s so ebullient that it sounds effortless. It swirls, bounces and rocks back and forth, all while continually pushing forward; it’s as if Olamide is dancing on conveyor belts. Everything, from the cowbell rattle to the melodic intricacy to the sort-of retching noises, is of a composite joy.
[8]
Rebecca A. Gowns: This is made of components that are fairly familiar, but I’m enjoying what Olamide is doing with them here. The polyrhythms make it a constant balancing act, and the stylized autotune includes call-and-response harmonies within the Autotune.
[8]
Patrick St. Michel: On the one hand, I can’t think of anything to say about this song other than it sounds extremely warm, like holding a dance party on a nice summer day near a beach. On the other, I’ve been listening to it for an hour straight so it is doing something right.
[7]