The year 2025 was a whirlwind for the Nigerian music industry, marked by a relentless stream of releases from both established superstars and ambitious newcomers. While the volume of music hitting streaming platforms was impressive, not every project managed to capture the magic or meet the lofty expectations set by the artists themselves. The Pulse Nigeria Music Desk has compiled a definitive list of the ten most underwhelming projects released between December 1, 2024, and December 1, 2025.
The Criteria for Disappointment
Our selection is not merely about commercial performance. The list was curated based on specific criteria focusing on artistic merit. We critically examined album quality, which encompasses song composition, track sequencing, thematic depth, and the overall listening experience. Furthermore, we considered the project's impact, or notable lack thereof. It is crucial to note that critical acclaim or award nominations were not shields against inclusion; this evaluation is rooted in the artistic promise versus the final delivery.
The Countdown of Letdowns
Beginning the list at number ten is Lojay's debut LP, 'XOXO'. Released in August 2025, the album was criticized for smoothing over his unique edges in favor of safe, generic R&B templates, seemingly chasing international approval at the cost of his distinctive sound.
At number nine, veteran rapper Olamide delivered a self-titled album that felt more like a disjointed playlist than a cohesive body of work. While his flow remained fluid, the project lacked a clear direction and suffered from poor sequencing.
Seyi Vibez's 'Fuji Moto' landed at number eight. Despite big ambitions and strategic international features, the album struggled to balance his core identity with his global aspirations, resulting in tracks that felt forced and missed the mark with his core audience.
Zlatan's 'Symbol of Hope' takes the seventh spot. The 16-track album, intended to celebrate and motivate, was let down by inconsistent quality, pairing strong songs with noticeably weaker ones, though it was saved by its persistent energy.
In a surprise move, global star Tems dropped the EP 'Love Is A Kingdom', which ranks sixth. The project felt like a collection of unused ideas, with lethargic songwriting and murky production that drowned her exceptional vocals, offering little of the dynamism that made her famous.
Young Jonn's sophomore album, 'Blue Disco', is number five. Its 20 tracks became a test of stamina due to endless repetition of the same cadence and style, making it feel more like an overlong EP than a curated album, despite a few standout songs.
Mayorkun's 'Still The Mayor' claims the fourth position. The album compiled familiar-sounding songs that felt half-hearted, lacking the range and compelling quality suggested by its confident title, possibly motivated more by contractual obligation than artistic vision.
The third biggest letdown is Fido's EP, 'Olayemi'. Leaning entirely on the formula of his breakout hit, the 8-track project showed no growth, relying on repetitive flows and lacking lyrical depth, ultimately wasting a moment that could have solidified his arrival.
The Top Two Disappointments
The runner-up at number two is Burna Boy's 'No Sign of Weakness'. Released in July 2025, the album was paradoxically his biggest sign of weakness in years. Technically proficient and expensively produced, it lacked the soul and inspiration of his past works. Despite featuring global icons and snagging a Grammy nomination, the project felt scatterbrained and failed to deliver the refreshing artistry expected from the African Giant.
Topping the list at number one is Shallipopi's 'Auracles'. The album, packed with 22 songs, signaled little to no artistic growth. It offered a burdensome listening experience dominated by monotonous flows over Amapiano beats, raising questions about his ability to craft a cohesive album beyond catchy street anthems. While it contains a few good tracks, they are too few to salvage the project from being the most underwhelming release of the year.
These projects, while disappointing, do not erase the immense talent of the artists involved. They stand as unfulfilled promises in a year otherwise filled with musical highs, reminding listeners and creators alike that the gap between expectation and execution is often the hardest to bridge.
