Goodgirl LA’s New EP Is a Bold Invitation to Women Who Want More... Goodgirl LA EP review

GoodGirl EP

Now she just needs to stay consistent and claim the pop stardom she’s always teased.

By the time Goodgirl LA’s voice re-enters the airwaves this year, it feels like a lover returning after a long period of ghosting, seductive, reformed, and unapologetically intentional. But if you’ve followed her journey since 2018’s “Faraway,” you’ll know this isn’t her first comeback. Or even her second.

The Lagos-born singer has never quite followed the script of consistency. After catching some buzz with 2019’s viral “Bless Me” and her debut EP LA Confidential (which didn’t quite hit the mark), she faded from the scene. A feature on Vector’s “Early Momo” in 2021 nudged her back into the conversation then silence again.

But in Goodgirl (her new six-track EP, titled after herself), she returns with something clearer than a rebrand: a manifesto. One written for women who want, who desire, who are done hiding their hunger for sex, for power, for freedom.

This is not the same Goodgirl LA that quietly whispered her way into the industry. This is a woman standing tall, hips swinging, voice laced with heat, and lyrics dripping with carnal confidence. And she’s talking to the girls, not just about them.

A Safe Space for Desire

Right from the opening track, “Goodgirl,” she lets you know: the rules have changed. “I no be good girl again,” she declares, mocking the very expectations society has long shackled women with — especially Nigerian women. This is no longer about modesty or martyrdom. its about indulgence. Rebellion. Power.

The standout track “Buss It” sounds like it was written in the soft neon light of a women only salon — not one for hair or nails, but for pleasure. “Shawty gon’ say my name / She never had love like this,” LA sings, inviting women into an intimate space where their desire is not shameful, but sacred. The kind that heals. The kind that finishes you.

Lines like “It’s a waterfall when I slide through her love / She can’t even walk when I’m done,” are no longer veiled metaphors. They are full declarations.

In a country where even the word vagina is censored in most mother tongues, LA sings boldly of orgasms. Female pleasure as protest. It’s a theme long familiar to feminist writers like bell hooks and Audre Lorde, and here it is, breathing in auto-tune and Lagos humidity.

Lorde once wrote, “The erotic is a source of power, as our unexpressed or unrecognized feeling.” Goodgirl LA recognizes it. Fully.

A Women’s Anthem for the Lagos Streets

If “Buss It” and “Goodgirl” are for the late-night craving and quiet rebellion, “Gbesoun” is the party where all that desire gets danced out. It’s a pulsating call to “omoges with big bumbum,” daring enough to set HERtitude (Nigeria’s biggest women-only party) on fire. Sexy, playful, and driven by the bassline of freedom, it’s a Lagos club anthem waiting to explode.

Even her lyrics are laced with this energy: “She don’t wanna be with nobody else / Anytime I leave she go dey cry.” The emotional vulnerability is real, but so is the domination.

And yet, this project is not just a sonic sex diary. There’s introspection here, too.

From Bedroom to Boardroom: Claiming Stardom

On “Giga,” she swaps sensuality for self-belief. “Nobody believe in me / But I believe in me because I bad,” she sings, half-rapping her way through a track that swells into a prayer: “Gbemi de be” — “Take me to a higher level.”

It’s the transition track, the bridge from sexual liberation to spiritual ascension. Here, LA sounds like someone who’s taken stock of her journey: from industry neglect and being “shenked” by her circle (as she revealed on X), to finally betting on herself.

“B.O.B” — an acronym for Based on Belief — keeps the momentum going, letting us peek into the shadows she’s climbed out from. Even without naming names, the pain is present. But more importantly, so is the perseverance.

The Consistency Conundrum

For longtime fans, Goodgirl is both thrilling and frustrating. Thrilling because it’s the most cohesive, audacious, and empowered version of Goodgirl LA we’ve ever gotten.

Frustrating because we’ve been here before: blown away by her potential, only to be met with silence.

This time might be different. The EP was released under a new deal with Andre Vibez’s

VMF (Vibez Music Factory), signaling the kind of structure and support her talent has long deserved. And with tracks like “Buss It” and “Goodgirl” already creating small waves, there’s a chance this could become a tide.

Final Verdict

Goodgirl LA is selling something real — desire without shame, pleasure without

permission, confidence without compromise. She’s not just writing love songs. She’s writing freedom songs for Nigerian women ready to say yes to themselves.

Now, all she has to do is stay.

If she keeps showing up like this, the crown might just find her head.

Goodgirl LA EP review.

Writing Credits : Emmanuel Umahi