“Bandito” is not a song of denial but a recognition of one’s personality and flaws. It illuminates the humanity in all of us—the wish to escape our problems even as we face them, and the longing to cease being while still existing.
By Nwanne Agwu
When someone wears rings, their hands become like a bird’s wings—fluttering up and down, restlessly flapping, releasing beauty into the world. A young man’s talent is wearing rings and bracelets. It has become restless, and we must acknowledge the beauty it bears. The young man himself is like a bird at the break of dawn, singing brightness into a yet uncertain day. Do not ask of the species, for the voice is not a chirp. Though I cannot specify, there is a tremor close to the vibration of vulnerability. Dre Foryoursoul is an unusual artiste with an unusual offering of music.
Before his latest single, “Bandito”, he released “Down” back in April. “Down” was crafted for those who belong in the sea, for those who can breathe with their heads underwater. Dre Foryoursoul wove the waves into a sound that resonated with spirits and the spiritual—a sound for someone sitting beneath the pattering and pelting strokes of the rain, someone inebriated by cold, washed sinless by grief.
The single didn’t ask what we did as children, but what we do now as adults—what love drives us to do, and how we mourn in its absence, in its death. Punctuated by a choral interpolation, it flowed like liquid whirling down a funnel into a container.
Before “Down” was his 2023 single, “Night Time”, a song for the night, the kind you would play at a party and not feel your soul running for safety, and your ears tingling for peace. It had the power to hold you, to stroke the hairs down the nape of your neck, to cuddle you as you gazed at a lover. It was like a lamp sitting in the midst of a group, quietly listening to their voices as they conversed near a coppice.
But with “Bandito”, Dre Foryoursoul introduced something different. It’s his first track to extend beyond 2:30 minutes. “Bandito” is the music of the shores, the melody of a lover bidding farewell to their beloved. It’s the song of a man standing in a dock. Give this song to Socrates, and he wouldn’t need to defend himself before the Athenian courts.
“Bandito” has a way of making me think about standing by the waterside. It evokes images of worshippers in white gowns, performing a ritual on a beach; a woman holds a tambourine, sending chimes into the air, while a man, overcome by emotion, drums as he gazes into the sea. The waves approach and retreat, washing the sand and creating a rhythm. It brings to mind a voice calling things that are not yet into existence.
But “Bandito” is also a voice of reason. As a Spanish word, ‘Bandito’ refers to both a criminal and an outlaw—attributes that are generally undesirable. It could also describe a charismatic deviant, whether masked or unmasked, smiling or serious, yet always with calculated movements and clear execution of motives. It also closely aligns with ‘bandit’, a term that troubles me because of its connotations in Nigeria. In my country, the government often uses banditry to euphemise terrorism.
To Dre Foryoursoul, “Bandito” reflects his persona as an antihero—an outsider in a world where conformity is expected. Emile Durkheim, the French sociologist, might describe this as anomie. In the song, Dre sings, “Instead that I should lose myself, then I’d rather not have it at all”. This line serves as a gentle reminder of his self-awareness and commitment to staying true to himself. It echoes the scriptural question: “What profit is it for a man to gain the whole world and lose his soul?” Dre Foryoursoul’s journey is one of self-realisation, avoiding entanglement in society’s expectations.
In another verse, he begins: “Running away, running away from my problems body don tire” The subsequent lyrics are somewhat unclear due to the slurred delivery, but this part powerfully underscores the artiste’s antiheroism. It captures his desire to distance himself from life’s chaos, to abandon his problems at the door and seek refuge in a false exit. Yet, the notion of escape seems to mirror the end of existence itself, highlighting the existential struggle within the artiste.
In line with the emotive undertone of the song, a line goes: “Olly, I just hope you’re feeling fine.” Dre expressed a sense of accomplishment, noting that he feels a deep satisfaction now that he has shared this story with the world.
This could be in reference to Oluchi, a now deceased friend to whom he had first talked about the song, sending her the original version of “Bandito” but retreating when she appreciated the artistry and asked him to release it then. The song, now released, sends Dre Foryoursoul to reminisce on times with Oluchi, to savour memories, and watch the nostalgic scars etched on his soul.All through the song, a thread of voices runs like a susurration. This choral backing is in Esan, Dre Foryoursoul’s mother tongue. It brings sonority to the song in slow, soft chants.
If a depressed friend played “Bandito” more than once, I’d fear for their safety. But if someone else played it, especially at dawn or by noon, I’d see it as a part of their journey toward self-realisation and acceptance.
Dre has crafted another anthem for those on the margins, a reflection of his own place on the sidelines. Here, he is seated, making the periphery his centre, living as he knows, not as he is expected to. With his voice, he beckons, “Come, dear one, let’s brew magic and build castles out of this wet coastal sand”. On the margins, a centre can be formed if we stop striving for the centre and realise we are the centre.
“Bandito” is not a song of denial but a recognition of one’s personality and flaws. It illuminates the humanity in all of us—the wish to escape our problems even as we face them, and the longing to cease being while still existing.
Dre Foryoursoul brings nature into music. He has made tunes for those by a coppice and beneath the water, and now captures the essence of those by the shores. His artistry remains deeply introspective and emotionally resonant. With his minimalist productions, he also distinguishes himself from his peers. While the future remains uncertain, one thing is clear: the spotlight is seeking Dre. As Donald Trump might put it, I hope it finds him “immediately, if not sooner”.
Nwanne Agwu is from Ọkpọsị, Nigeria. He has twice been longlisted for the Commonwealth Short Story Prize. He was also shortlisted for The Isele Nonfiction Prize. Nwanne has been or will be published in Bending Genres, The Revolution, Rigorous, Southword Magazine, The Isele Magazine, The Mukana Anthology of African Writing and elsewhere. On X (Twitter), he is @NwanneAgwu