zinoleesky's gen z: the street-pop star sticks to his script in a generation's spotlight

Zinoleesky, born Oniyide Azeez, isn’t exactly a new name on the streets. From his freestyle videos that lit up Instagram in the late 2010s to turning down Davido’s DMW offer before eventually joining Naira Marley’s Marlian Records, Zino has built his journey on a blend of raw talent, calculated moves, and a quiet confidence that speaks louder than he does.

Since his breakout hits “Ma Pariwo” and “Kilofeshe,” Zinoleesky has carved out a lane where Afro-adura melodies meet street-hop soul. His debut album, Grit & Lust, earned him a Billboard World Albums chart spot and solidified his voice in the crowded Afropop space. So, when he announced his follow-up, Gen Z, expectations were high. Would he elevate? Experiment? Expand?

Instead, Gen Z lands somewhere between a sequel and a safe bet—more a consolidation of style than a leap forward.

The album opens with “Gifted,” a vulnerable, almost prayer-like track that sets an introspective tone. Over delicate acoustic guitars and sparse basslines, Zinoleesky questions his own path: “Feel like I need save me from myself / Now look at me saving someone else.” It’s one of the rare moments on the album where emotional fragility isn’t just implied—it’s clear, unguarded.

Then comes the familiar. “Most Wanted,” already a radio darling, is classic Zino: log drums, hypnotic cadence, and that street-pop charm that’s earned him legions of fans. He moves with a quiet arrogance, rapping like a man who’s already won, even when the lyrics lean more on mood than message.

“Movie” attempts to break that mold with a more confrontational delivery, but the production clutters. Its string synths and spoken-word phrasing compete instead of complement. The emotional tension is there—it just doesn’t always land.

When Zino taps into nostalgia, as on “2Baba Flex,” aligning himself with the icons of Nigerian pop—Wizkid, Davido, Naira Marley—there’s potential for cultural commentary. But the song only flirts with the idea, never digging deep enough to make the homage feel earned.

Yet not everything stays on autopilot. “Suit & Tie,” featuring American rapper Toosii, brings an uptick in energy and openness. The track’s amapiano-tinged bounce and sweet declarations of love feel tailor-made for wedding playlists and late-night drives. Similarly, “Abanikanda” takes a detour into dancehall rhythms, giving Zinoleesky’s vocals space to breathe. Naira Marley’s guest verse may not be groundbreaking, but his signature drawl adds grit to the track’s smooth undertone.

“Doctor” sees Zino fully embrace Amapiano’s darker textures, but it’s Donae’o’s feature that steals the show. His high-pitched vocals inject a dance-ready energy that lifts the song beyond Zinoleesky’s sometimes-too-safe delivery.

By mid-album, the formula starts to show. Songs like “Ayamase” and “Jollof” suffer from repetition—same drum patterns, same vocal patterns, same themes. But when the features arrive—especially Ms Banks on “Ayamase”—the album finds its spark again. Her swaggering verse and clever interpolations bring contrast, proving that sometimes, Zino benefits from being pushed.

The surprise gem comes late: “Steph Curry.” Built on jazzy piano chords and funky sax licks, it’s the most sonically daring song on the album—and Zino rises to the occasion. He stretches his melody, drops some thoughtful lines, and finally sounds like he’s enjoying the art, not just maintaining the brand.

“Mandela” and “On Go” carry enough bounce and bilingual flair (thanks to UK duo Young T & Bugsey and Ivorian star Didi B, respectively) to keep things interesting, but they don’t redefine the project. They entertain, but don’t transform.

And that, in many ways, is the story of Gen Z.

It’s not a bad album. In fact, it's consistent, clean, and well-produced. But consistency, while admirable, isn’t always compelling—especially from an artist whose origin story is rooted in risk and spontaneity. Zinoleesky doesn’t misstep here; he just doesn’t reach.

Gen Z captures a young artist caught between the comfort of what works and the call of what’s next. For now, Zinoleesky is still dancing on familiar ground. Whether he’ll leap forward on the next project remains to be seen.