Renowned footballer Alex Iwobi has built a solid professional career on the pitch. At 29, he has surpassed 300 Premier League appearances since breaking through at Arsenal in 2015, then moving to Everton in 2019 and later joining Fulham in 2023. Internationally, he has earned close to 100 caps for Nigeria, representing the Super Eagles at the 2018 FIFA World Cup, and multiple Africa Cup of Nations (AFCON) tournaments. However, his football career has not been without scrutiny. After Nigeria’s 2023 Africa Cup of Nations final defeat to Ivory Coast in February 2024, Iwobi faced fan criticism. Sections of supporters singled out his performance in the loss and the backlash quickly spilled online, where he endured sustained abuse and threats that led him to briefly withdraw from social media.
It is not unusual for athletes to take social media breaks during periods of intense public scrutiny, only to return weeks later with vague but pointed captions about ignoring people’s opinions and focusing on themselves. Iwobi’s return to social media was different, after three weeks he resurfaced with a short video teasing his unreleased rap track.
The clip, captioned simply “Lately…,” stitched together highlights from his football journey alongside personal moments, set against a rap instrumental that featured his own voice. With lyrics such as, “Expressive on my socials / I couldn’t give a damn if they treat me like a disposal,” it marked the beginning of a clear sidestep in Iwobi’s career: music as expression. His debut single “Don’t Shoot” and every musical project he’s dropped since have been under the stage name “17,” a reference to his shirt number at Fulham.
There is precedent for this kind of crossover by prominent athletes. NBA player Shaquille O’Neal released rap projects while still active in the league, and Damian Lillard continues to exist as Dame D.O.L.L.A., treating music as a second discipline and not just a hobby. Memphis Depay, too, has tested the waters with rap while still in elite European football. Iwobi also dropped a track with former Arsenal teammate Chuba Akpom (aka Scoli) in June 2024, and is joined by Aston Villa midfielder Amadou Onana (stage name 24AM) on this very EP. So while it is not unheard of for athletes to release music, few do so with enough conviction to justify the attempt.
Iwobi’s More To Life does not break that pattern.
From the outset, the project struggles with definition. Iwobi’s delivery is crisp and confident, showing the same assurance as on the pitch. This is impressive considering it is his debut, however, confidence is no substitute for depth. The lyrics are clearly freestyle, lacking both structure and hooks. Although the overarching theme of the project centers on confidence and defying naysayers, after a few tracks in, the repetition becomes noticeable. The same themes recur with little variation, and halfway through, it feels like we already get the gist. Musically, it sits somewhere between Afrobeats, UK-influenced pop-rap, and laid-back experimental sounds that never fully resolve into a coherent sonic direction. While the production is polished enough, polish is not identity.
At times, the EP almost finds its footing. When it does, Iwobi sounds more assured, leaning into melody and allowing the production to carry him rather than attempting to dominate it. The project features artist collaborations like Fido, Aston Villa midfielder, 24AM, Teniola Time, Gidi, and SPKS. Nigerian singer Fido, British duo SPKS, and rapper Gidi are good collaborators, boosting the quality on the tracks they feature on.
Standout tracks include “Track 0 (Freestyle),” a good enough opening track where he sets the tone as laid-back and forthcoming. “Bussdown,” the best track, is a high-energy confessional about enjoying success, carried by a dreamy piano instrumental, featuring Teniola Time, 24AM, and Gidi. The production is superb, and it has immense replay value. On “Joga Bonito”, Iwobi ties his football roots into the music in a fun, cheeky way, celebrating his creativity both on and off the pitch. “Letter”, the final track, concludes the EP with a deeply personal note. The record is bookended by strong tracks.
However, the middle tracks expose the EP’s flaws. The songs are pleasant, unobtrusive melodies for moments like working or doing chores, but they lack the distinctiveness and depth needed to fully hold a listener’s attention. As a result, the production feels repetitive and quickly becomes forgettable. At its weakest, the project feels more like a playlist than a solid body of work.
What makes More To Life difficult to fully engage with is not just its sound but its purpose. It feels less like an artistic statement but a personal outlet, a branding exercise and a passion project taken too far all at once. The result is not a disaster, but a project that feels unnecessary. It’s somewhat enjoyable for what it is, but does not show great promise. In the end you can’t help but wonder: would listeners and music enthusiasts who did not know “17” was Alex Iwobi of the Super Eagles, enjoy it? Not a sure yes. The album feels like a detour that never quite finds its destination.
Iwobi said in an interview with The Native Mag on the EP release day that it has been a hobby and pastime with his friends to go into the studio booth and talk about their feelings on the mic for over 15 years. Of course, everyone is entitled to hobbies, and there is nothing wrong with athletes exploring life beyond sports. But if he wants to be recognized as a legitimate artist, then his craft needs more refinement. In the meantime, he already has a day job and he should maybe focus on that as we head into next year’s AFCON, where the Super Eagles can hopefully redeem themselves. This “17” music project should perhaps be left to the offseason so he can focus on being the acclaimed number 17 on the pitch. Like TLC sang in Waterfalls, perhaps Iwobi should stop chasing waterfalls and stick to the rivers and the lakes that he is used to.
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