By Rita Okoye

When Zlatan released his Omo Ologo EP in early 2023, it marked a significant departure from his earlier, more boisterous work. The six-track project feels focused and deliberate, a reflection of an artist maturing in both sound and storytelling. Much of that shift can be traced to the songwriting contributions of Omolola Omoniyi, whose lyrical sensibilities lend the EP cohesion and emotional depth.

From the opening bars of the title track Omo Ologo, Omolola’s writing is evident. She infuses local slang and personal affirmation to create a refrain that is equal parts celebration and satire. The phrase “Omo Ologo,” meaning “child of glory,” becomes a lens through which Zlatan reclaims self-belief in the face of hardship. It’s clever without being cryptic, and catchy without losing meaning; a balance that defines the record.

On Oganigwe (featuring Odumodu Blvck and Jeriq), Omolola’s pen takes a sharper turn. Her verse construction gives each artist a distinct space within the track’s layered percussion, allowing flow and message to complement rather than compete. The call-and-response structure, rooted in the Igbo tonal pattern, creates a rhythmic conversation about survival and ambition. It’s a standout moment that demonstrates both technical awareness and cultural literacy.

The EP’s introspective tone continues on Rara, one of Zlatan’s most lyrically grounded performances to date. Here, Omolola uses repetition to build emotional momentum, but the refrain occasionally edges toward predictability, a minor weakness in an otherwise strong composition. Still, the song’s simplicity works to its advantage, offering an unguarded snapshot of the artist beneath the bravado.

Where the project truly shines is in its sequencing. Omolola’s lyrical direction ensures each song feels like a chapter in a larger story. The transitions between Let There Be Light (featuring Seyi Vibez) and Astalavista (featuring Young Jonn) highlight her ability to weave cohesion out of collaboration. A difficult feat on multi-artist projects. The former balances spirituality and swagger, while the latter leans into pop sensibility without losing Afrobeats texture.

From a technical standpoint, Omolola’s writing demonstrates precision. Her use of internal rhyme, tonal pacing, and conversational Yoruba-English phrasing gives Zlatan’s delivery newfound fluidity. At times, her melodies lean on familiar rhythmic tropes, but she redeems them through sharp emotional phrasing particularly in the closing hook of Omo Ologo, where repetition becomes resolution.

Beyond its lyrical craft, Omo Ologo stands as a cultural artefact; a snapshot of Afrobeats’ ongoing evolution. The production by Chech and Niphkeys blends amapiano undertones with traditional Nigerian percussion, while Omolola’s narrative pen binds it all together. The result is an EP that feels rooted yet forward-looking, streetwise yet introspective.

By mid-2023, the project had amassed over 50 million total streams across Audiomack, Spotify, and Apple Music, with significant traction in Nigeria, the United Kingdom, the United States, and Canada. Its success lies not only in Zlatan’s performance but also in the invisible architecture of songwriting; the unseen hand that turns rhythm into story.

In Omo Ologo, Omolola Omoniyi proves that the heartbeat of Afrobeats is often written long before the music hits the stage. Her work on the EP elevates Zlatan’s artistry and signals a new era where songwriting, not just performance, drives the genre’s global identity.