In usual NATIVE Mag fashion, we are collating opinions from our newsroom about 'Protect Sarz At All Cost.'

The protracted wait for ‘Protect Sarz At All Costs’ has, at times, been long and arduous. For at least two years, fans have been hanging on the promise of Sarz’s debut album, with fans eager to know what direction the producer could be heading towards on a solo project after several collaborative extended plays. ‘Protect Sarz At All Costs’ was all set to be released last year until a last-minute announcement that it was being postponed indefinitely. In truth, this album has probably been a decade-plus in the making, a map of the timespan when Sarz has been a fixture of Afropop. In the period, he has gone through several eras and epochs without losing the far-ranging vision that has made him one of the most respected producers in the genre.

In recent weeks, he has been sharing videos hinting at the belated arrival of the album, with speculation building among fans and listeners about what guests to look out for on the album. The visual teasers have been theatrical and engaging, further proof of the high standards that Sarz holds himself to. With just a few hours to the release of the album, he shared a snippet of a collaboration with Wizkid, Asake, and Skillibeng that’s sure to be a beloved track, ramping up expectations for the album. In usual NATIVE Mag fashion, we are collating opinions from our newsroom about the album. Enjoy!

WHAT WERE YOUR EXPECTATIONS GOING INTO THIS ALBUM?

Kemnachi: Given his track record, I expected an album with genre-bending innovation to highlight his versatility, while pairing that sound with star-studded collaborations. What made the anticipation even sweeter were the playful skit-like videos he dropped in the lead-up, which gave the rollout character and increased my eagerness to experience how he’d flip his signature sound with fresh perspectives.

Kofoworola: I expected nothing less than a masterclass in production, to be very honest. Sarz kind of has this way of making every release feel like a moment, so for his official debut album, I was looking forward to something bold. I didn’t want just good music; I wanted it to be a real statement, and that’s exactly what this felt like.

Boluwatife: I’d imagine the same as most people: pretty high expectations. Since he began making a name for himself many years ago, Sarz has gone on to become arguably the most respected and influential producer in the Afropop sphere. His illustrious catalogue speaks for itself, so I had even higher expectations going into this one, seeing as it’s his official debut album.

WHAT SONGS STOOD OUT ON THE FIRST LISTEN?

Wale: Very easy answer. “Getting Paid” and “BMF.” I saw a tweet where someone said what a disaster it was that Sarz and Wizkid stopped working closely together for so long. I’m probably exaggerating the tweet slightly, but Wizkid and Sarz are responsible for some of the most iconic moments in Afropop in the last 15 years, and it’s just great to hear them together again–and that Asake opener is just superb, what a guy. I also really enjoyed “BMF” because Fireboy DML and Byron Messia put on a masterclass. Fireboy DML gets a lot of slander online, but I think people forget that he has an insane capacity for melodies, and that just shines through on this song. He sets up Messia perfectly for his verse.

Daniel Akins: “In A Mustang,” with Qing Mad and “African Barbie,” with Teni and Libianca, are real standouts on the project.

HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?

Daniel Banjoko: A Sarz project just isn’t complete without guest features, and he never misses! Every collaboration feels so well-crafted, like he handpicks the exact sound each artist was born to ride. With Sarz, it can never go wrong.

Wale: The guests are the heart of ‘Protect Sarz At All Costs.’ I don’t think people are going to expect what they get on “Mademoiselle” because it’s just so inconceivable to put Shallipopi and ODUMODUBLVCK next to Theodora and Zeina. Sarz has always excelled at urging his collaborators to a higher level, but he manages to outdo himself on ‘Protect Sarz At All Costs.’ It’s very interesting to hear all the guests glide across different moods and settings here, great choices.

WHAT SONG IS THE BIGGEST SKIP?

Kofoworola: I’m not gonna lie, I think the album is solid from front to back with almost no skips. But “Happiness” with Asake and Gunna. Yeah, that one has just never synced with me, but I’ve also accepted that I’m never the one vibing to the so-called “bangers.”

Wale: It’s hard to decide on this, but I’m going to go for “Billions.” The new beat is just not working for me at all; it feels like a tweak gone too far. The genius of the original version was how certain parts of the instrumental felt spartan, allowing Lojay’s voice to soar, but that’s not the case on the album version, where it feels clogged up. I will only be returning to the single version.

WHAT SONG HAS THE BIGGEST HIT POTENTIAL?

Boluwatife: I guess the obvious answer is the star-studded “Getting Paid.” A Wizkid and Sarz collaboration is almost guaranteed to be a hit, as their extensive working history suggests. Add Asake to the mix and a killer verse from Skillibeng, and this is one of those songs that would probably become inescapable in a few weeks.

Daniel Banjoko: I’m already adding “Getting Paid” to every Afrobeats playlist I own. It’s a certified hit, and every verse is straight A+. You just know there’s no escaping this track come December.

Kemnachi: “Getting Paid” with Wizkid definitely has the biggest hit potential on the album, undeniably.

OVERALL FIRST IMPRESSIONS

Wale: I love what Sarz has created. It’s a bold vision of the future of Afropop told with contributions from across the Black diaspora. A lot of people will understandably be hooked on “Getting Paid,” but there are a lot of gems to be discovered, like “In A Mustang,” “Grateful,” and “African Barbie.” I would have loved to see Sarz tap in with Reminisce, another of his OG collaborators, but it’s a balanced album, and he deserves this moment.

Daniel A: Sarz is my GOAT, the GOAT even, that’s undeniable. But ‘PSAAC’ feels more like a safe effort than a standout moment. The production is solid across the album, but it lacks a bit of the risk-taking I’ve come to expect from Sarz.

Listen to ‘Protect Sarz At All Costs’ here.