On his third project, Kaizen—named for the Japanese philosophy of continuous improvement—Lagos-born singer BhadBoi OML asks what happens when highlife meets trap, when talking drums converse with 808s, when Yoruba yearning gets Auto-Tuned. Across six Yoruba-language tracks, the singer shows that emotion transcends language, communicating through tone, texture, phrasing, and more besides. This is clearest in his reimagining of classics. On “Child’s Play,” he transforms Tony Tetuila’s 1999 Afrobeat hit into a slow-burning trap lament, adding snares and plaintive organs. On “Jah,” where a sun-dappled, one-note piano motif supports treated, Auto-Tuned vocals, English and Yoruba braid seamlessly—a linguistic layering mirroring the musical. The highlife influence returns vividly on “Oversability,” which opens with talking drums and bass guitar. The title—an extension of the Nigerian Pidgin word “sabi” (“to know”)—signals playful linguistic invention. OML sings with the timbral, textured elasticity of fújì and jùjú, daringly comparing himself to stalwarts like Musiliu Ishola and Haruna Ishola. Across Kaizen, OML demonstrates that tradition doesn’t fossilize—it invigorates. By slowing Afrobeat to trap tempos, treating vocals like instruments, and making guitars speak like talking drums, he confirms reverence and reinvention are partners.