T’Bellz may be new to many listeners, but Back On Track doesn’t move like a debut. This compact five-track EP comes after a four-year hiatus, and you can feel that pause in the music. There’s a sense of intention here, like someone who stepped back, took stock, and returned with a clearer idea of who they want to be heard as. At just 13 minutes, it’s lean and deliberate, with no obvious filler.
For those encountering T’Bellz for the first time, here’s what to expect: his voice, reminiscent of Terry Apala’s distinctive gravelly texture and measured delivery, gives the project an kind of familiarity. However, this isn’t the super-polished, festival-ready Afrobeats dominating playlists right now. It’s more textured, more interested in storytelling and sustained vibe than immediate ‘blowing’.
Across four producers (Phyl, Zaki Amujei, Badman, and Bazement), the EP could have easily felt scattered. Instead, it holds together surprisingly well. There’s an intimacy running through the project, as if T’Bellz is speaking to a small circle rather than performing for an audience he hasn’t fully met yet. That restraint works in his favour, giving the songs room to breathe.
“I’ll Wait”, featuring Playtimi, is the clear standout. As the only collaboration on the EP, it benefits from the creative sync between two voices and perspectives. Playtimi’s contribution creates textural contrast against T’Bellz’s earthier vocals. The outro, “Cheers 2 Life,” refuses the bombast that usually closes Afrobeats projects. Instead, it offers something more reflective: a toast to survival and to persistence. Produced by Phyl (who also handles the opener “Jo”), it bookends the EP with what sounds like intentional framing rather than random sequencing.
Back On Track arrives at an interesting moment for Afrobeats. While the genre’s global ascendance continues with artists like the Big 3 (or 4 or 5 or 6, depending on who you ask) commanding international stages, there’s still room for artists who aren’t chasing crossover appeal with every bar. With this EP, T’Bellz seems aware of this, which gives the project a maturity you don’t always find in emerging artists.
That said, the project isn’t without its limitations. At 13 minutes, Back On Track prefaces a mood it doesn’t fully explore. A few tracks feel like they could have gone further, whether through bolder production choices or more vocal risk-taking from T’Bellz himself. The brevity reads as focused intent, but it also leaves you wanting more proof of range. And while the Terry Apala-adjacent vocal style gives him a recognisable entry point, there are moments where pushing beyond influence into something more distinctly his own would have strengthened his identity.
Still, Back On Track succeeds where it matters most: as a statement of return. It shows an artist coming back with sharper instincts and a clearer sense of direction. There’s an understanding here that not every project needs to shout to make an impression. For listeners drawn to an Afrobeats style that prioritisesgroove and storytelling over algorithmic optimisation, T’Bellz offers something genuinely refreshing. This is music for the everyday hustle, not the triumph of already-arrived superstars.
Whether this positions T’Bellz for breakthrough success remains to be seen. What it does accomplish is this: it announces the return of an artist who understands that the journey matters as much as the destination, and that sometimes the most important thing you can do is pause, regroup, and come back stronger.
T’Bellz’s “Back On Track” is available now on all major streaming platforms.
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