The Reality of Nepotism in Nigerian Music 

Posted on by Abdulmuqsit Idowu 

Power has always moved in circles. From politics to sports, media to film, influence tends to pass between the same hands. Favoritism sits at the center of this dynamic, and that is usually where conversations about nepotism begin. The line, however, is thinner than we admit. You don’t need to be a mogul to favor those close to you; humans are hardwired to help their own, yet music is often imagined as different. In the collective imagination, music is the great equalizer—a pure meritocracy where talent is the only currency that matters. If we are being honest, however, that is rarely how it plays out.

Considering the sheer density of the Nigerian music market, thousands of songs are uploaded to streaming platforms every week; too often, the volume of the noise is deafening. In such a saturated ecosystem, talent is merely the baseline requirement. Visibility is the real asset. So, when an artist emerges with obvious access, backed by deep pockets, high-level connections, or proximity to power, it immediately triggers a conversation. It’s not that talent is absent; it’s that access decides who gets the microphone in the first place. This is where the Nigerian conversation gets steamy: Is nepotism really the enemy, or have we fetishized “the struggle” as the only proof of legitimacy?

The music industry has never been a level playing field, but Nigerian audiences often demand hardship as a prerequisite for respect. We love a “grass-to-grace” story; the struggling narrative serving as a moral certificate. Consequently, an artist’s background becomes a litmus test. For artists from wealthy or well-connected homes, this skepticism is a heavy ceiling. They are constantly interrogated: Are they real? Did they buy their way onto the playlist? Are they using writers and PR machines to manufacture cool? 

 

Ironically, these are industry-standard tools used by everyone, from the streets of Ojuelegba to the leafy mansions of Banana Island. But for the privileged, the use of these tools is viewed as cheating. Part of the problem is our lazy lexicon. We use the term “nepo baby” as a catch-all slur, lumping together the wealthy, the privileged, and the connected as if they are the same. They are not. To understand the current landscape, we have to view privilege as a spectrum.

There are so many types of nepotism, for example, legacy nepotism. This is being born into a name that carries heavy cultural weight. The Kuti family, Femi, Seun, and Made, operate from this end of the spectrum. They inherited not just a name, but a responsibility and a sound. Secondly, there is industry proximity. This is where the door isn’t just unlocked; the parents hold the keys. Take Mayorkun for example, his mother is the veteran actress Toyin Adewale. While she isn’t a musician, her decades in the entertainment industry provided Mayorkun with an intrinsic understanding of how the machinery works—contracts, public image, and networking. The door was closer for him, but he still had to walk through it. 

Then, there is access privilege, which causes the most friction today. Artists like Mavo fall here. They aren’t necessarily industry heirs, but they are financially positioned to bypass the early gatekeepers. Studio time, high-end visuals, and marketing budgets, barriers that necessarily delay the actualization of the dreams of others are mere formalities for them. Finally, there is network privilege. In the Nigerian music industry, speed is everything. Breaking through requires brand relationships, performance slots, and festival placements. Privilege shortens this journey. It buys you time to experiment, and more importantly, it buys you room to make mistakes without starving.

To understand where we are going, we must look at where we started. The comparison between Davido and B-Red remains the ultimate case study in how privilege interacts with talent. Both entered the game under the colossal shadow of the Adeleke name. But Davido didn’t just accept his background; he weaponized it. On “Dami Duro,” he screamed Omo Baba Olowo (Son of a Rich Man) at the top of his lungs. He didn’t cosplay poverty to appeal to the streets; he sold the fantasy of wealth with such charisma that the streets bought into it anyway. He backed the flash with an insane work rate and a hit-making consistency that eventually drowned out the critics.

 

B-Red, despite legitimate talent, struggled to convert that same access into cultural dominance. Their diverging paths prove a vital point: Privilege gets you into the room, and it might even buy you the first round of drinks, but it cannot force the public to dance. Fast forward to 2025, and the rules of engagement are shifting again with Mavo and a loose collective of artists being tagged with the moniker “Nepopiano.” Mavo represents a generational shift. He doesn’t dodge the label; he plays with it. When he drops lines like “No more way for poor people,” it cuts through because it is blunt, provocative, and self-aware. 

Instead of apologizing for his background, he acknowledges it and pivots to the music. His run as one of the most featured artist of 2025 wasn’t just about money; it was about positioning. Up-and-coming artists like No11, Siraheem, and Ayjay are moving with similar intentionality. This isn’t just about individual rich kids making beats; it’s about community. Just as lower-income artists have their crews, these artists have theirs.

We have seen precedents for this phenomenon before: Davido built his foundation at Babcock University, Cruel Santino and BOJ cultivated the Alté scene, and more recently, Mavo has leveraged the ABUAD (Afe Babalola University) connection. These artists understood that being legitimately tethered to scenes comes before stardom. They are building an ecosystem that values aesthetics, high-quality production, and a specific lifestyle brand that appeals to a Gen Z audience less obsessed with the struggle and more obsessed with the “steeze.”

 

Whether “Nepopiano” becomes a lasting sub-genre or remains a fleeting social media tag is unclear. What is clear, however, is that Nigerian music is entering a phase where privilege is no longer something to be hidden. It is being acknowledged, debated, and, often,turned into art. Perhaps the conversation is finally maturing as we move away from asking “Where did you come from?” and start to ask “How hard can you move now that you’re here? 

Access will often decide who gets the head start. Money will always buy the best cameras and the loudest PR. But in the end, consistency is the only thing that decides who stays. You can buy the airtime, but you cannot buy the replay value. The audience still holds the ultimate power. And as history shows, they always make the final call.

Review: ‘REAL, Vol 1.’ by Wizkid and Asake

Recently, fans of Asake unearthed the singer’s old X account, which he used under his former stage name, Medoo. Among the flurry of old posts, his last tweet on the account stood out as an inspiring piece of digital artefact. “One Artist I would love to work with is Wizkid,” he tweeted in 2015 while promoting the first iteration of his hit single “Joha.”

That level of optimism from the ex-YBNL star is unsurprising, as collaborating or achieving success on the level of Wizkid, the established gold standard for African musical success, would have been the prevailing aspiration for many emerging artists at that time. What makes the narrative particularly compelling is Asake’s storied, meteoric rise and the eventual realisation of a monumental artistic vision. 

An iconic run that began with the release of the infectious, Olamide-assisted “Omo Ope” in early 2022 catapulted the Isale Eko-born singer to unimaginable heights in record time. He released an impressive trio of albums in as many years, showcasing an exemplary level of dedication and skill and becoming an inspiring symbol of success in the process, echoing the trajectory of a similar iconic figure from Ojuelegba who he once tweeted about years ago. 

 

A decade later, the two are sharing inside jokes on an episode of Instagram’s Close Friends Only series, one of the few press appearances they made to promote their new collaborative EP, ‘REAL, Vol 1.’ Their bromance began about a year prior, when Wizkid appeared on Asake’s third studio album ‘Lungu Boy,’ featuring on the standout “MMS.” Since then, the two have been vocal about their mutual admiration for each other, culminating in this new low-stakes, and potentially high-reward, EP that feels more like a commemoration of their bond rather than a statement of creative intent. 

Despite the strong camaraderie that has clearly developed between the two Afropop titans, this palpable personal chemistry has not fully resulted in a resonant musical synergy. “Jogodo,” the EP’s lead single, which arrived a week ago, is a passable tune that fits neatly into the current Afropop soundscape but lacks any distinctive cutting edge. The pair settles into a comfortable, mid-tempo groove over Magicsticks’ slick, although familiar, production, with neither really pushing the other, or the music itself, into a new or unique direction. 

 

This is mostly true for the EP’s other tracks. The opener “Turbulence,” led by Asake, who opens up the song with his soothing vocal inflection and philosophical aphorisms, coasts pleasantly but ultimately lacks any real bite. The more upbeat closer “Alaye” also offers little in the way of innovation but packs enough propulsive energy to get a crowd going. The project’s most interesting offering comes in the form of “Iskolodo,” a groovy, Calypso-influenced cut that features the duo’s strongest performance across the EP’s limited runtime. 

History suggests superstar team-ups almost always seem better in theory, and ‘REAL, Vol. 1’ does little to challenge that precedent. Yet, there’s significant upside to the EP. These two iconic figures, who represent different eras of Afropop’s rich history, coming together for a project like this feels like a satisfying cross-generational dialogue that’s indisputably authentic to the genre, if not necessarily ambitious. Also for Wizkid, it helps keep his impressive collaboration streak going, positioning him favorably for another solid year while it serves as an appetizer for fans of Asake who patiently await the release of his highly anticipated fourth studio album ‘M$ney.’

Northern Nigerian Musicians Are Rewriting The Playbook

Posted on by Melony Akpoghene

Contrary to what many might assume, a buzzing scene of new-gen Northern Afropop artists in Nigeria is very much alive—thriving even—though it exists, admittedly, at a slight tangent to the country’s mainstream music industry. Long insulated from the hyper-globalised churn of Nigerian popular culture, the Northern Nigerian creative ecosystem has endured in relative quiet. Yet the region’s artistic output, from Kannywood’s cinematic ambitions to its niche but resilient musical expressions, has persisted as a substantial, if chronically under-acknowledged, thread in Nigeria’s cultural fabric.

Historically, musical expression in the North has leaned towards traditional forms: devotional idioms, folk cadences, and religious genres have historically dominated the sonic terrain. This inclination is often attributed to cultural conservatism and sociopolitical realities that either keep Pop music at bay or relegate it to the margins when it does appear. Still, over the past few years, the North has begun carving out space on the national radar, and the current wave of artists is proving that its contributions are not only culturally resonant but commercially viable.

In 2023, FirstKlaz emerged as one of the few visible members of a new generation Northern Afropop acts to successfully breach the mainstream, triggering a recalibration thanks to his collaboration with the folk music group, Iliya Entertainment Music. His debut single, “Tonight,” braided Fuji and R&B into a fluid, unforced fusion. But it was his 2024 breakout trilogy—“Gen-Z Fuji,” “Gen-Z Faaji,” and “Gen-Z Arewa”—that sealed his reputation as a visionary and a sonic cartographer mapping terrains that felt unfamiliar but necessary.

 

The North historically boasts a deep musical archive, stretching from the courtly Hausa songs of the Sokoto Caliphate to the Islamic devotional traditions of Kano and Katsina, which offers a vast tonal and rhythmic vocabulary ripe for contemporary experimentation. What makes FirstKlaz especially electrifying is his intuitive precision: the careful placement of traditional Hausa instrumentation, such as the kalangu (talking drum) and the goje (two-stringed fiddle), within sleek pop architectures.

On tracks like “Gen-Z Arewa,” he folds the hypnotic pulse of the kalangu and plaintive, folk-leaning vocals into polished, forward-leaning beats. His lyrical nods to Hausa culture, presented with breezy insouciance, situate his work within a broader, transnational story, yielding a sound that feels rooted and futuristic. His seven-track debut EP, ‘Dejavu,’ released last year housing gems like “Soyaiya,” “Maria,” and “Lili,” further secured his footing as an essential innovator.

 

The buzz has been building, and it’s no longer just FirstKlaz drawing mainstream attention. By now, you’ve almost certainly heard OG Abbah’s viral “Wayyo Allah Na.” Though released in February 2025, the record detonated across social media later in the year, propelled by a video stitched together from vignettes of him cruising through his neighbourhood, visibly turnt, flanked by his crew. The bubbly, head-knocking production hits hard, shoving the track squarely into the banger zone it was made for. It’s not every day you encounter a Hausa rapper going that hard, but it’s also not without precedent.

 

Earlier pioneering collectives like SWAT ROOT, home to future heavyweights such as Mode 9 and Terry tha Rapman, laid critical groundwork. Their influence peaked through the uncompromising releases from the Payback Tyme Records stable, specifically with the 2001 release of Six Foot Plus’ ‘Millennium Buggin’ and the eventual arrival of Terry tha Rapman’s seminal debut, ‘Tha Rapmanifestation.’ Terry tha Rapman went on to release other landmark projects such as his 2007 debut studio album ‘Tha Rapman Beginz,’ which featured tracks like “Na Beanz.” Mode 9, who is often cited as the crew’s technical lynchpin, spent these formative years refining a style that would eventually earn him a record-breaking seven “Lyricist on the Roll” awards at the Headies. 

While his earliest Payback Tyme recordings for the unreleased ‘IX Files’ (circa 2001) became the stuff of underground legend, it was the 2004 release of ‘Malcolm IX – The Lost Sessions’ that officially announced his arrival as a dominant force in Nigerian Hip-Hop. This project, along with the subsequent 2006 mixtape ‘Pentium IX,’ essentially functioned as a manifesto for lyrically dense Nigerian rap, housing Boom-Bap classics like “Elbow Room” and “419 State of Mind” that proved the Northern scene could produce lyricism capable of standing shoulder-to-shoulder with the best of Nigerian Hip-Hop’s Golden Era.

eLDee of the Trybesmen also cut his teeth in the Kaduna scene, exporting that Northern-honed grit southward to help shape the late-’90s Pop soundscape. Then came the late-2000s wave of M.I Abaga, Ice Prince, and Jesse Jagz who gave the region a formidable, visible representation, imbuing Nigerian pop with a decidedly Northern sensibility and perspective. Magnito followed closely behind. 

 

Still, there’s something especially thrilling about the newer cohort: DJ AB, Classiq, Morell, Dap Boy, Deezell, and now OG Abbah, whose commitment to performing almost exclusively in Hausa feels unbending and forward-pushing in ways earlier generations did not fully attempt.

The sharp-tongued Rumerh has also emerged as one of the most arresting new forces, proving she can rap circles around just about anyone. Known as the “Queen Kong” of Kaduna, the Fulani artist has evolved from viral TikTok moments into a central figure in the Arewa Hip-Hop scene. For a long time, women’s names were conspicuously absent from conversations about music—especially Hip-Hop—but that absence is no longer tenable. Today’s women in music are hungry, unrelenting, and simply impossible to ignore. They are working twice as hard to cement their presence and are succeeding at it.

Rumerh first caught public attention in 2022 through open-verse challenges that showcased a flow far more seasoned than her years might suggest, as she leaned into an aggressive, modern aesthetic. “Streibullet” went viral last year, thanks to its ferocious and untamed energy. The rapper lunged at the beat with venom, hurling bars with zero hesitation and no interest in restraint. On “Beauty Sleep,” her slick flow glides across buoyant production, her bars razor-edged and breathtaking as she code-switches effortlessly between Hausa and English; her bite remains lethal regardless of the language. The remix featuring Magnito serves as a definitive co-sign from one of the scene’s established talents. Ice Prince has also lent his veteran credibility, putting his own stamp on the renaissance with a cover of OG Abbah’s “Wayyo Allah Na.”

 

Then there’s Princess Mufeeda, who raps in a clipped, weighty cadence guided by a no-frills, all-bars philosophy. Raised in Maiduguri, her career took shape after moving to Abuja, where she began balancing life as a recording artist and television actress. To many, she is Salma—her character on the popular series ‘Kwana Casa’in’—but in the booth, she steps into a far more forceful persona. Tracks like “Our Tears,” “Rising Star,” and “Ji Mana” rest on confrontational, drill-adjacent foundations, and she wields her voice like a calibrated instrument, delivering heavy punches packed with internal rhyme, technical sharpness, and pointed social insight.

Beyond the headliners lies a long bench of Arewa talent: Auta Waziri, Msquare Nahh, Boyskido, Feezy, Namenj—artists who are working within a self-sustaining economy and have cultivated loyal fanbases and thriving micro-scenes across the North, even as their reach remains largely niche. They champion their homeland’s sound freely, stubbornly, and relatively unbothered by mainstream expectations. They form a web of community, building careers through regional circuits, street-level credibility, and deep cultural fluency, sustaining communal scenes that continue to be influential.

 

The ascent of these artists signals a broader hunger within Nigeria’s music ecosystem. Beyond the unmistakable cool of OG Abbah’s “Wayyo Allah Na” visuals and the song’s sticky hook, the fervour with which it was received revealed how starved listeners were for something different. Last year, debates abounded around the idea that while the industry continues to churn out technically assured, chart-friendly records, Afropop may be eating its own tail—its spontaneity dulled, its experimental joy thinned, and its imagination running low. 

Hence, the enthusiasm surrounding these Northern acts exposed a curious overlap of frustration and desire: a craving for something different, risky, and genuinely interesting again. The clamour for the new reflected a subconscious longing for a disruptive style capable of delivering the jolts of excitement that new sounds or breakout acts usually bring, and though there were sparks that eased that drag, the appetite was never fully fed and will be carried into the new year. However, for many of these Northern acts, there are harder questions about sustainability.

Nevertheless, the sense remains that the tide is irreversible. Visibility and collaboration will definitely determine how far this wave travels. But it’s not all doom and gloom; the infrastructure is stirring, with DSPs like Spotify and Audiomack seemingly always willing to lend a hand. Expanding access to digital platforms and social media has thinned the walls that long hemmed this scene in, allowing sounds, stories, and identities to circulate freely across borders. Taken together, the experimental courage and cultural grounding of these artists suggest that Northern Nigeria’s creative ecosystem is no flash-in-the-pan. It is a scene with depth and breadth just waiting to take off. 

How 3-Step Became The Definitive Sound Of The Moment

Posted on by Temple Egemasi

With Contributions from Lerato Motaung and Sera Etta

 

Over the last three decades, South Africa’s vibrant Electronic music scene has proven itself a constant wellspring of global genres. In recent times, it has once again produced a new rhythmically complex sound that’s taking the world by storm. Dubbed 3-Step, a name that mirrors its sound, the most immediately recognisable feature of the sub-genre is the three-kick drum per bar, an intentional departure from the ubiquitous four-four or four-on-the-floor beat that characterises House music. 

By removing one of the four kicks per bar, an elastic groove is created, and a bounce that is both grounded and unpredictable. This emerging subgenre is rapidly gaining global traction, championed by a new generation of producers while sparking debate among industry veterans. It’s a subgenre defined by what’s present and the power of what’s intentionally left out.

The tempo of this emerging sound typically falls within the 113-120 BPM range, which is slightly slower than many Afro-House tracks. But it’s not just about rhythm. The production layers are quite textured, featuring log drums and basslines familiar from Amapiano, sharp percussive hits from Afro-Tech, wide pads that lend breath and air, and soft stabs of horn or synth. In other words, each component matters, and the spaces between matter even more. The groove feels like a conversation between drums, melody, and the silence that surrounds them.

PIONEERING THE SOUND

Johannesburg’s Thakzin, born Thabang Mathebula, has emerged as one of the central figures behind the rise of 3‑Step. In multiple interviews, he describes 3-Step not simply as a new sound but as a mindset; an approach to rhythm and culture, rooted in South Africa’s dance-floor traditions, yet open to mutation and experimentation. In a discussion with Spotify, Thakzin outlines 3-Step as more than just a stylistic approach, invoking spirituality, ancestral rhythm, and a sensibility of “healing” through music, drawing on imagery of sangoma drumming and trance states.

Before crystallising the 3-Step sound, Thakzin (then known as DJ Thak’zin) established himself in the Afro-Tech niche of House music. His discography before 3-Step’s rise includes tracks like “Bona,”  “No Fear,” “OK Dance,” and his ‘Kakapel‘ EP that was released in 2020.  The COVID-19 lockdown era provided him enough time to start searching for novelty, as it was quite easy to get bored with so little to do at the time. 

 

Thakzin spent much of the COVID-19 lockdown era on his YouTube channel, documenting his experiments with the sound that would go on to be 3-Step. Almost a year after the world was back outside, Thakzin released the track widely cited as the breakout moment for the sound, “The Magnificent Dance,” which helped crystallise the rhythm and brought wider attention to the genre. While the fetish for “origin” may always be contested, Thakzin’s role in shaping and naming the 3-Step movement is firmly recognised. He released “Possessed” in mid-2023 and “Burning Bush,” a joint effort with Morda, later in September, and both tracks have gone on to be genre classics to this day.

In 2023, Thakzin was featured on DJ Kent’s “Horns In The Sun” and Oscar Mbo’s “Yes God,” two ever-present tracks on every fundamental 3-Step playlist. In just a few short years, Thakzin has moved from quiet experimentation to becoming one of the most decisive architects of South Africa’s newest Electronic pulse. 

DISPUTE, ADOPTION, AND ACCEPTANCE

Every emergent genre comes with debates, and 3-Step  is no exception. There was a high-profile dispute between Heavy K (Mkhululi Siqula) and Prince Kaybee (Kabelo Motsamai) in August 2025 over who “invented” the genre. Although Thakzin remains formally recognised for the subgenre popularisation, 3-Step has some of its earliest roots in unofficial DJ mixes and live sets, blasting at grooves or from the subwoofer in the taxi on the way to school. 

While Heavy K’s acclaim stems from his substantial market share of early unofficial 3-Step DJ mixes, Prince Kaybee released “Ebabayo” on digital platforms in 2021, one of the first official records in close sonic proximity to what we recognise as 3-Step today. This spat reflects how 3-Step is now big enough to attract legacy claims and, by extension, cultural currency. Institutionally, award ceremonies and streaming platforms are now recognising artists operating within 3-Step, further cementing its place on the scene. While Thakzin may be the lodestar, 3-Step has found multiple outlets and offshoots through other DJs and producers.

One such ambassador of the sound is Dlala Thukzin. His background in Gqom and Amapiano means his 3-Step production traces those roots: driving percussive rhythms, log drums, and bounce. Dlala’s 3-Step offerings usually feature sonorous vocals, vivid synths, and dancefloor urgency as seen in “VAR” with Goldmax, “Ama Gear” with Funky QLA and Zee Nxumalo, and “iPlan” with Zaba and Sykes.

 

Atmos Blaq, fondly referred to as the “Lastborn of Afro-Tech,” opened his catalogue with a House remix of Afro Pupo’s “Venus” in 2019. From 2019 to date, he has racked up an impressive catalogue that features an array of Thakzin features and a culturally-important breakthrough single. This single, “Kwa Mama,” achieved two important things: it gave the sound significant visibility, as he was already an established DJ and producer before his first 3-Step track, and it established the start of his 3-Step legacy with an instant banger. His contribution to “Ubuntu Groove” cemented that ascent, weaving 3-Step’s percussive, swung style into his sets and production work. Despite being barely 24, Atmos Blaq has already secured high-profile cosigns from industry heavyweights like Black Coffee, Shimza, and Keinemusik, and his compositions have been featured on primetime South African television.

MÖRDA and Oscar Mbo are also very important contributors to the subgenre, featured as co-contributors on “Mohigan Sun” and “Yes God,” two all-time tracks within the subgenre. Also within this legacy bracket are “Burning Bush” by MÖRDA and “Vuka” by Oscar Mbo, JAZZWRLD, and Thukuthela. Other stars like Jnr SA, Dankie Boy, CIZA, Argento Dust, Zeh McGeba, Musa Keys, and DJ Kent are other prominent names who have made important contributions to the growth of this once-niche sound. Thus, the adoption of 3-Step by these DJs is not merely a case of riding a trend; each brings their own history, influence, and regional context into the genre, shaping its diversity and adaptability.

 

A CROSS-CONTINENTAL GROOVE

As with every global sound, 3-Step has found its way to Lagos. You could describe Lagos as the continent’s dancefloor, and you’d not be wrong at all. The Nigerian EDM scene is currently experiencing its biggest bloom, and this growth has been exemplified by an increasing spotlight on subgenres like 3-Step and DrumNBass in the country. Other indicators of this growth include the development and proliferation of parties focused on 3-Step and similar sounds, as well as the presence of both international and homegrown 3-Step DJs on the lineups of some of the country’s biggest raves.

Since movements like Sweat It Out broke out, more EDM and Afro-House outfits have sprung up, and two of them, Monochroma and Group Therapy, have been notable for consistently platforming 3-Step at their editions. Apart from the presence of 3-Step on the set plan for almost every edition of these raves, internationally renowned 3-Step DJs have been featured on several editions. Thakzin headlined Monochroma in February of 2025 in what many remember as one of the best nights of the rave scene as he spun original and unreleased 3-Step music for hours, while the Lagos crowd simply defied the pouring rain and took it all in. 

Since its inception in 2024, Monochroma has also hosted JNR SA, Dankie Boi, Goldmax, CIZA, Drumetic Boyz, Zulu Mageba, and, very recently, DJ Vitoto. Group Therapy’s 2025 roster of headliners also included 3-Step heavyweights like Dlala Thukzin, Atmos Blaq, Prince KayBee, Funky QLA, and Argento Dust. This robust mix of the old guard and contemporary trailblazers ensures that Lagos has access to a diverse range of this subgenre’s flavours, and seeing that excess is the city’s defining character, Lagos went on to host Desiree, MÖRDA, Oscar Mbo, Dlala Thukzin, Distruction Boyz, and JNR SA alongside Blak Dave, Aniko, and Proton in December. 

 

Since its continental breakthrough, every major name in 3-Step has gotten on a flight to spin a set in Lagos, and this is impressive considering the context within which they’re making this happen: a new emerging sound, four-and-a-half thousand kilometres from its birthplace, crazy economic realities, in a country that frowns at the queer communities that have kept EDM alive. 

The current appeal for 3-Step music in the global Afropop capital is the byproduct of an interesting coincidence: the elastic groove of  3-Step’s setup fits perfectly when transposed onto popular Nigerian genres. Lagos-grown selectors who have hacked this technicality have consistently delivered electric sets while balancing the sound’s originality with its appeal to the audience. Some of these memorable 3-step sets include Blak Dave and Proton’s B2B at Monochroma in September 2025, Aniko’s Monochroma set in November 2024, Proton and Sigag Lauren’s B2B and Blak Dave’s headliner set at “Blak Dave and Friends” in July. 

As a consequence of largely positive feedback from the early 3-Step sets in 2024 that were experimental at the time, a rapid proselytising of this sound happened, with a “3-Step remix” catalogue of Afropop bangers developing. Prominent examples of this include the “Oblee 3-Step Remix” by KEVIN LNDN and Abiodun, Jesse Alordiah’s “Escaladizzy 3-Step Remix,” and “Fokasibe” by Naija Housa Mafia.

 

WHO ARE THE BUILDERS?

This novel subgenre currently has a small catalogue of original compositions by Nigerian DJs, and David Olubaji owns a large share of that cake. His first EP, ‘The Third Step,’ was the first 3-Step project by a Nigerian DJ and was released under his moniker, Blak Dave. “Igoke,” one of the standout tracks on the EP, is currently a crowd favourite and is well on its way to becoming a defining tune for the subgenre in the Nigerian space. 

Blak Dave transitioned to music after a decade in the tech world, and has since become a leading purveyor of Afro-House and 3-Step in Nigeria. In addition to his aforementioned contributions to the sound and co-running Monochroma with his friend Proton, he owns the Blak Dave And Friends brand. This rave almost exclusively features 3-Step headliner sets. To put his behind-the-scenes contribution into perspective, he executed a Thakzin headliner for Monochroma in February, then delivered a JNR SA headliner for another Monochroma edition in April, and another JNR SA headliner for Blak Dave and Friends. 

 

 

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An interesting decision Blak Dave has made is to make his discography serve as the backbone of the scene he is building. After his EP, he has released two more 3-Step singles: “Keshi” with SoundsOfAce in November 2025, and a feature on “Attack” with DJ Six7even in December. Another important contributor to this subgenre is Jamie Black, who displayed his dexterity on “Fokasibe” as part of the Naija House Mafia group and “Ogba” from the “Flow” EP. Other very notable mentions are KEVIN LNDN, who made the “Hot Body 3-Step Remix,” the “Hey Jago 3-Step Remix,” and collaborated with Blak Dave on the entirety of his ‘The Third Step‘ EP.

According to Blak Dave, 3-Step’s amorphous structure is crucial to the positive reception of the sound in Nigeria: “The bounce, the omitted fourth kick gives it a bounce that Naija melodies can flow smoothly with,” he explains. “That way our DJs have found a way to mash up and spin off 3-Step remixes of hot jams.” He is not wrong. Aniko and Adeyi shared a set at Group Therapy Abuja, and one of the highest points of the night was when they spun the “Escaladizzy 3-Step Remix,” sending the crowd into a frenzy.

 

 

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MORE STEPS

Though rooted in Johannesburg townships, 3-Step has begun to travel: London DJs, continental African markets like Nigeria, Kenya, and Uganda, as well as streaming playlists, are all pointing to its growth. The fact that the rhythmic novelty lends itself to dance-floor delirium, and that its hybrid nature draws from Amapiano, Afro-Tech, and Deep House, means it has crossover potential globally. 

While 3-Step is still relatively fresh, there are several notable instances where the subgenre has been showcased on significant stages. Thakzin’s inclusion on Beatport’s Next Class of 2025, and on lineups like Montreaux Jazz Festival and Ultra South Africa, hints at club and festival circuits recognising his sound and, by extension, 3-Step. According to public streaming data reports like Spotify’s Wrapped, Apple Music’s Replay, and YouTube’s Recap, 3-Step tracks like CIZA’s “Isaka II” with Tems and Omah Lay, and “iPlan” by Dlala Thukzin have become continental hits, thanks to streaming success and social media-driven exposure. In less than five years, 3-Step has moved beyond intimate township or club sets, now being featured within large-scale DJ performances, festivals, and cross-continental streaming moments.

Ultimately, the emergence of 3-Step marks another evolution in the rich lineage of Dance music, and at its core is Thakzin’s structural innovation, his desire to blend cultural inheritance with industrial club energy, and a rhythm that feels both fresh and grounded. As the rhythm spreads from Johannesburg to Lagos, London, Nairobi, and beyond, its acceptance is no longer niche; it is being embraced, cosigned, contested, and celebrated.

Bugwu Aneto-Okeke Joins The MERLIN Board

Posted on by The Native

Merlin, the digital music licensing partner for the world’s leading independent labels and distributors, kicks off 2026 by announcing its new Board, bringing together leaders from the independent music industry in 12 different countries across Africa, Asia, Europe, Latin America, North America, and Oceania. The Merlin Board is elected from and by its membership, which represents tens of thousands of independent record labels, distributors, and rightsholders from around the world.

Merlin is the digital music licensing partner for the world’s leading independent labels and distributors. Merlin has negotiated premium deals with Apple, Canva, ElevenLabs, Meta, Spotify, YouTube, and 40 other innovative platforms around the world. Our global membership is from 70+ countries around the world, representing 15% of the global recorded music market.

Merlin operates for the benefit of its members, without investors looking for an exit, and is funded entirely by our low 1.5% admin fee. Merlin helps the world’s leading independent music companies to own their digital business through world-class deals and a range of member benefits.

The Board members bring a wealth of experience to guide the organisation in its mission to enable and support its members’ independence. They offer the deeply informed global perspective of a range of leaders with hands-on experience navigating markets across the world.

The Board includes a mix of new and returning members. Newly elected to the Board are: Bugwu Aneto-Okeke, Measurable Accurate Digital Solutions (Nigeria); Charles Caldas, Exceleration (Portugal); Manami Ogawa, STARBASE (Japan); Rachel Buswell, Domino (UK); and Sascha Lazimbat, Zebralution (Germany).

“We are delighted to welcome our new Board Members, each of whom brings a unique and high value perspective to Merlin,” said Charlie Lexton, CEO, Merlin. “Merlin’s dedication to delivering unique benefits and best-in-class deals is at the heart of our mission. As the digital landscape continues to evolve, our Board’s experience across markets and business types is an invaluable resource in ensuring we continue to deliver premium value to our members around the world.”

In addition to the elected members, Merlin has appointed Dan Waite, Better Noise (UK), and Verónica Rojas, Casete (Mexico) as Board Observers. Re-elected to the Merlin Board and continuing their service are: Carlos Mills, Mills Records (Brazil); Chris Maund, Mushroom (Australia); Darius Van Arman, Secretly Group (US); Golda Bitterli, Revelator (Israel); Justin West, Secret City Records (Canada); Louis Posen, Hopeless Records (US); Marie Clausen, Ninja Tune (US); Megan Jasper, Sub Pop (US); Pascal Bittard, IDOL (France); and Tom Deakin, AudioSalad (UK).  

Beggars Group and Merlin founder Martin Mills will continue to serve as a Director of Merlin Network, the organisation’s parent entity, alongside Darius Van Arman, who continues as Merlin Chairperson, and Merlin CEO, Charlie Lexton.

Merlin would like to extend its appreciation to all of its outgoing Board Members. Merlin thanks Eniko Gallasz (WMMusicDistribution), Fer Isella (limbo music), Jeffrey Chiang (Fluxus), Jennifer Newman Sharpe (Exceleration), Michael Ugwu (Freeme Digital), and Simon Wheeler (Beggars) for their service and contributions to the organisation.

10 Artists To Watch Out For In 2026

Posted on by The Native

The bulk of the work we do at NATIVE Mag revolves around music and its capacity for inspiring the best of us. However, the journey to being a music star has never been more fraught with uncertainty and structural barriers. Whether it’s a Nigerian Indie Pop star at the beginning of her career or a South African vocal prodigy, the need to get behind the acts we love has never been more urgent or felt as right as it does in 2026. With that in mind, we are sharing a list of some of the stars we believe will be big draws over the coming months.

tg.blk

 

Nairobi’s alternative scene may have found its most compelling export in tg.blk. Recently inducted into Apple Music’s Africa Rising Class of 2026, she has built momentum through her fearless delivery of lo-fi, emotionally resonant tracks, earning a loyal, cult-like following across East Africa. With a debut album teased for later this year, tg.blk is poised to expand her genre-blurring sound while solidifying her place as one of the region’s most exciting emerging voices. – Melony Akpoghene

Igwe Aka

 

Igwe Aka is starting the year on the front foot, exploring heavily-stylised Igbo Hip-Hop and Trap music with the release of “Kapow.” This builds on the already established acceptance for his distinct artistry. With his current momentum, 2026 is potentially the year for a mainstream star turn accompanied by a widespread inclusion in pop culture conversations. – Michelle Ejiro

MaWhoo

 

A KwaZulu-Natal native, MaWhoo has evolved from a “hook killer” for giants like Kabza De Small into the undisputed golden voice of 3-Step and Amapiano. Her sound is defined by rich, spiritual Zulu lyricism layered over electronic dance beats. With her defining solo project, ‘Amazwi Okubonga,’ released last year and featuring tracks like “Bengicela” and “Umona,” she cemented her ability to carry hits on her own. As 3-Step itself showed significant promise last year, it is compelling to watch how MaWhoo grows alongside the genre, while also hinting at a reach that extends beyond it. – M.A

Elsy Wameyo

 

A producer, rapper, and singer born in Nairobi and now based in Adelaide, Elsy Wameyo is a self-sufficient artist who writes, produces, and directs her own work. Her music draws on choral Gospel elements and moves fluidly between Hip-Hop, Soul and alt-R&B, weaving in themes of identity and belonging shaped by her African heritage. Over time, her sound has grown more confident and focused. On the self-titled EP she released last year, ‘WAMEYO,’ she sharpens that approach, pairing tightly controlled flows with an assertive delivery that highlights her technical skill and sense of command. – M.A

Rico Ace

 

EsDeeKid, the hottest thing out of the UK at the moment, has generated massive buzz thanks to the release of his 11-track LP ‘Rebel,’ which hit No. 4 on the US Billboard’s Rap Albums chart. A couple of its biggest songs, “Phantom” and “LV Sandals,” both feature another exciting British rapper named Rico Ace. While a lot of the rising star’s work has been in collaboration with EsDeeKid, 2026 could be the year he steps out of the Scouser’s shadow. – Boluwatife Adeyemi 

Danpapa GTA

 

The viral success of the snippet of Dan Papa GTA’s latest single, “Ikeja (No Go Thief),” meant 2026 was going to be a pivotal year for the promising up-and-comer. He’d been digging away at his eccentric style for a couple of years, experimenting with his production choices, lyrical content, and long-winded intros. It’s finally begun to pay dividends, and the coming months could be really exciting for the singer and his growing fanbase. – B.A

Valentino Rose 

Valentino Rose might only just be at the start of her career, but the singer’s powerful voice and mastery of messaging stand her out, whether she’s leaning into predestination on “Higher” or going toe to toe with ODUMODUBLVCK on “TOY GIRL.” 2025 was an eventful year for the rising act who showed her range across several features and collaborations, 2026 could be the year that she claims her place at the top tables of Afropop – Wale Oloworekende

Monochrome

 

Monochrome’s delivery of his verse on the buzzing single, “How Far,” sets precedence for a takeoff as the year progresses. It follows his slow and steady growth from following releases like “SUPA-SEHski” and ‘+SWAGU’, which essentially showcase his range, ability, and readiness to set bodies moving. – B.A

Kkeda

 

Kkeda might just be Afropop’s biggest open secret. From hypnotic sensual cuts like “No Words” to declarative Pan-African collaborations like “Queen Africa,” the Accra-based singer has built a reputation for glidng across soundscapes with profound clarity and purpose. If her suites of releases from 2025 showed anything, it is that the singer is inching ever closer to a breakthrough moment. – W.O

WAVE$TAR

 

2024 was the year WAVE$TAR officially debuted, showing promise on his fiery mixtape, ‘STARLIFE.’  The project served as a strong manifesto for what was to come, funnelling his fears, lofty ambitions, and hedonistic tendencies into fun music. He built on that promise in 2025, thanks to the success of “Escaladizzy,” and the late-year release of “PRADA BBY” and “TRAP.” As the calendar turns, 2026 feels poised to be a monumental year for the rising rapper. – B.A 

NATIVE Mag’s Best Albums Of 2025

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Halfway into the 2020s, the album as a format still remains the standard of musical execution. Over the years, that claim has been propped up by the success of a variety of African albums that straddle the divide between tradition and innovation. Our list of best albums from 2025 pays homage to that ideal, balancing the tightrope between madcap innovation and genre-furthering exploration.

Whether it was Moonchild Sanelly making light work of supposed boundaries between South African House variants or The Cavemen. broadening the scope of Highlife as ever, we have been invigorated over and over by the albums on this list. Even when the aim has not been euphoric escapism, other albums have faithfully captured the contradiction at the heart of the human experience like Boj’s ‘Duplicity.’ All in all, the albums on this list had us genuinely enthralled, representing all that keeps us hopeful about the present and future of music.

20. ‘FUJI’ – Adekunle Gold 

For his sixth LP album, ‘FUJI,’ Adekunle Gold doubled down on his approach of co-opting Yoruba music into his contemporary brand of Afropop. Gold appeals to his grassroots followers this time, slightly dropping his urbane campaign a notch. The result is an even album that borrows as much from past Nigerian music genres as it does from R&B standards administered with a contemporary American Hip-Hop sensibility. ‘FUJI’ is lush and smooth, considered and thoughtful. It’s filled with enough biographical details for us to see that there is a father, a husband, a son, and a sickle cell survivor here willing to show off his vulnerabilities and his victories. With standout tracks like the Yinka Aiyefele-assisted “Many People,” 6LACK-conscripted “Love is An Action” and the star-studded “Bobo,” ‘FUJI’ is Adekunle Gold’s best album since ‘AfroPop Vol. 1.’ – Dami Ajayi. 

 

19. ‘Full Moon’ – Moonchild Sanelly

‘Full Moon’ captures Moonchild Sanelly at her most imaginative. She’s in command of all her powers, swinging wildly between Kwaito, Amapiano, Gqom, Afro-Punk, and Electro-Pop. She lets her playful wit carry songs about bodily autonomy, desire, and self-actualisation, as the elastic rhythms provide structure. The album is fun, light on its feet, and very thoughtfully composed, providing a solid beam for Moonchild to stretch her sonic universe without losing the exuberance and unpredictability that make her enjoyably unique. – Melony Akpoghene. 

 

18. ‘Juvie’ – Joshua Baraka

2025 was a fruitful year for East African R&B, but Joshua Baraka pushes the boundaries of the style in a way that feels wholly unique without losing the emotive cognition of it all. He took that ability to task across his debut album, ‘Juvie,’ released in November 2025. A coming-of-age epistle, ‘Juvie’ contends with guilt, gratitude, and romance without losing sight of the human heart that is responsible for its creation. It’s that recognition of needing to parse emotions through different formats that makes the 12 songs of ‘Juvie’ fascinating, whether Baraka is launching into a stirring rap flow on “Morocco” or deconstructing the parameters of a romance on “Wrong Places” over a percussion-led instrumental by JAE5. – Wale Oloworekende

 

17. ‘Bab’motha’ – Kabza De Small

Ever perceptive of how South African House continues to evolve and find new form, Kabza De Small has kept his sound lithe and nimble over two decades into his career. On ‘Bad’Motha,’ the king of Amapiano finds himself at the cutting edge of the sound that he helped to break to an international audience. There is a link-up with 3-Step innovator Dlala Thukzin on “Ngyozama,” a rip-roaring declaration of gratitude on “Siyabonga” with Nontokozo Mkhize and Mthunzi. In a year of many highs for South African House music,  ‘Bad’Motha’ offered a timely reminder of Kabza’s curatorial prowess and the abiding brilliance that has made him one of Africa’s foremost musical minds. – W.O

 

16. ‘Duplicity’ – Boj

With six solo projects under his belt, Boj continues to demonstrate an impressive work rate and a capacity for keeping his sound and artistic vision fresh. His latest album, ‘Duplicity,’ released just a couple of weeks ago, is a testament to his continuous evolution as the singer fully leans into the exploration of a dual personality, showcasing both his rogue, assertive side as well as his softer and introspective persona. Thanks to the varied and stellar production work from Genio, he can achieve the intricate balance required for a concept album of this nature. – Boluwatife Adeyemi

 

15. ‘Cavy in the City’ – The Cavemen.

Ever since they emerged, The Cavemen. have served as a vessel for the timelessness of Highlife, and on ‘Cavy in the City,’ that vessel is confidently steered into international waters. The duo’s latest effort is a sumptuous expansion of their mandate, leaning further into globalism than ever and weaving their warm guitar lines and sunny polyrhythms across the album’s cosmopolitan fabric, with contributions from Pa Salieu and Angélique Kidjo. – M.A

 

14. ‘catharsis’ – Fola

Fola’s Afropop ancestry is tricky. He is collegial with Kizz Daniel and mentored by Bella Shmurda, but the strongest influence on his style is post-‘Made In Lagos’ Wizkid. Fola sits within that slow tempo, psychedelic-invoking Afropop that melds American R&B mood with the unadorned realities of Nigerian Street-Pop. On the first listen, ‘catharsis’ feels like an understated statement album. On the umpteenth listen, it is an incurable earworm where the track-listed songs meld into each other, achieving a spool of dramatised traumatic experiences. – D.A

 

13. ‘Less Trouble’ – Shekhinah

‘Less Trouble’ finds Shekhinah doing what she’s always done: laying her heart bare with so much depth that it knocks the wind out of you. She’s an exacting lyricist whose reliance on mood and scene-setting broadens her music’s scope to cover the full spectrum of longing, love, and loss. On this album, she traces the bruised contours of her emotional world and pushes further in, singing plainly from places that still ache. The music transports you somewhere beyond words and tears open whatever vulnerability you’ve tried to tuck away. Whether she’s singing wistfully about letting go of a ne’er-do-well lover on “Bare Minimum” or belting out passionate lines of devotion—“I put your love on, boy, I wear it”—on “Steady Pt. 2,” ‘Less Trouble’ is filled with vignettes of a self-aware yearner determined to keep trying, no matter how many attempts it takes. – M.A

 

12. ‘The Summer That Saved Me’ – Odeal

Odeal has been on an incredible run for the past 18 months, releasing a succession of well-received singles and projects that have earned him a reputation as one of the leading figures operating at the intersection of Afropop and R&B. A highlight of this recent run is ‘The Summer That Saved Me,’ the first instalment of his two-part project, which arrived earlier this year. He’s as dynamic as he’s ever been on here, moving from a tranquil acoustic affair with R&B sensation Leon Thomas to the bounce and buoyancy of “London Summers,” without losing his soothing flair. – B.A

 

11. ‘punKstA*’ – Luwa.Mp4 

Luwa.Mp4’s standout quality is his freewheeling Punk-Rock spirit; a constant desire to experiment, merging a kaleidoscope of influences to create a unique, nostalgic, and instantly recognisable sound. ‘punKstA*,’ his official debut album, is the ultimate showcase of this riotous, non-conformist energy. He dismantles convention across the project’s 12 tracks, morphing elements from Afropop, Grunge, Hyper-pop, R&B, and Rap into a cohesive yet delightfully chaotic whole. – B.A

 

10. ‘Very Stubborn’ – Victony

Victony’s eight-track EP, ‘Very Stubborn,’ is an  addendum to his exquisite 2024 LP album, ‘Stubborn.’ A sonic rebound of lush production, it boasts smooth lyrical excursions drawing from his rough working-class background in Lagos suburb Ojo. Victony juggles several experiences, including his ongoing survival guilt, which follows his remarkable success. Adjusting to the demands of his newfound fame, particularly the attention and affection of niceties, including beautiful women, Victony lends his falsetto to songs that glean joy from an edgy biography of precarious Nigerian youth. However, he doesn’t walk alone; he pulls heavy hitters like Don Jazzy on “E Go Be,” second-generation Afrobeats legend Terry G on “Tanko,” and Afropop royalty Olamide on “Skido,” easily the album’s standout dance track. – D.A

 

9. ‘INDUSTRY MACHINE’ – ODUMODUBLVCK

Fans of ODUMODUBLVCK would not believe their luck after getting two full-length projects from the rapper in 2025, but it is on the long-anticipated ‘INDUSTRY MACHINE’ that he unfurled the full range of his ability. Clocking in with 23 songs, ‘INDUSTRY MACHINE’ runs through influences from Highlife, House, Afrobeat, and Trap with aplomb. It was all held together by ODUMODUBLVCK’s signature grit and charisma. There is an edge to his flow on “UNAWARE,” “LAYI WASABI,” and “IF YOU LIKE GYM,” but for the most part, he’s keen to assure his lover that he has her best interests in mind with highlights like “DO YANGA,” “CANDY MUSIC,” and “MY ANGEL” showing a sentimental side to the rapper. – W.O

 

8. ‘Sogolo’ – Witch 

WITCH (We Intend to Cause Havoc), a renowned Zambian band, have been around for about five decades, pioneering a legacy of Zamrock and Native Zambian music from the inception of their 1977 debut ‘WITCH.’ ‘Sogolo’ follows their 2023 project ‘Zango,’ and it is just as  multifaceted as the latter, exploring a psychedelic approach on “Nadi, ” Rock inspiration on  “Kamusale,” Alternative R&B on  “Set Free,” and tilting towards spirituality and worship on “Totally Devoted.” Across 39 minutes, WITCH creates a listening experience that feels nostalgic thanks to its retention of their ’70s approach, but also refreshing enough to make a difference in a year like 2025. – Michelle Ejiro

 

7. ‘The Godmother’ – Dbn GoGo

Dbn GoGo understands more than anyone that referring to oneself as the godmother requires a level of sophistication that significantly permeates the music and aura to accompany said claim. She has been at the forefront of Amapiano’s global rise, and ‘The Godmother’ solidifies her stance. With production credits across all tracks, she employed extra vocals from some of South Africa’s renowned voices, including Scotts Maphuma on “DLALA GOGO” and Moonchild Sanelly on “THE BOY IS MINE.” With ‘The Godmother,’  Dbn GoGo establishes herself deeper as a game lover and, particularly, a player who understands the intricacies of staying afloat. – M.E

 

6. ‘031 Studio Camp 2.0’ – Dlala Thukzin 

The nature of South Africa’s vibrant Dance music scene is such that there’s perpetually a new talent emerging to captivate audiences, alongside a broader, developing subgenre that is simultaneously sweeping the nation. Durban’s Dlala Thukzin has recently emerged as one of the country’s most compelling names thanks to his exploratory and collaborative spirit. The 2025 instalment of his running series, ‘031 Studio Camp 2.0,’  is already proving to be an essential catalyst for the evolution of South African music, bringing together some of the country’s finest musical talents to creatively explore Afro-House and its burgeoning offshoot Afro-Tech. – B.A

 

5. ‘Captain’ – Bnxn

Easily Bnxn’s most experimental and widely acclaimed body of work yet, he evolves from his signature ballady style to a heavily influenced Afropop style. The change had been set in motion with the release of  “Phenomena” and the Rema-supported  “Fi Kan We Kan” in 2024. ‘Captain’ being his sophomore album, was an incredible showreel of his growth from the melancholy of ‘Sincerely, Benson,’ and even though he still retained a core of his rhythmic style on songs like  “I Alone,” “In Jesus Name,” and “5hrs Till Nairobi,” his bolder nuance shines on “Jies” and “Cutesy,” which shaped a versatile body of work. – M.E

 

4. ‘Thato Ya Modimo’ – Kelvin Momo

A leading figure in the private school iteration of Amapiano, Kelvin Momo has forged a unique path with songs that gently build up into grand treatises on the human condition and life’s vicissitudes. Much like all that has come before it in Momo’s oeuvre, ‘Thato Ya Modimo’ is a soothing tribute to destiny, culture, and family. Inspired by the producer’s name, the title translates to ‘God’s Will,’ signifying a sense of surrender that’s explored on songs like “Take Me to the River,” “Modimo,” and “Bring Me Back to Life.” As one of the foremost Amapiano acts of his generation, Momo’s work on  ‘Thato Ya Modimo’ is both a promise and demonstration that amapiano will never abandon its soulful origins come what may. – W.O

 

3. ‘Paradise Now’ – Obongjayar

Listening to an Obongjayar project can best be likened to being on a Ferris wheel, going round and round, adrenaline pumping through one’s veins. ‘Paradise Now’  imitates an exotic ride. Songs like the  solemn album opener, “It’s Time,” and the tearjerkers, “Born In This Body” and “Happy Head,” were emotionally gripping, while the album’s upbeat gems, “Holy Mountain” and “Just My Luck,” gave rise to a revving energy.  In sum, listening to ‘Paradise Now’ is not a linear experience, and Obongjayar’s sonorous, heartfelt vocals accentuate its perfection.  – M.E

 

2. ‘BLACK STAR’ – Amaraee

Amaarae is always tugging the dancefloor toward some brighter, stranger place. Her glorious third album, ‘BLACK STAR,’ is a full-throttle commitment to the hedonistic lifestyle she has spent much of her career projecting. The album is one of this year’s most exhilarating global Pop statements, collapsing different forms of Black dance music into a sensual, pleasure-soaked soundworld. Amaarae sings with disarming directness about sex, drugs, and more sex. But even in its bawdiest moments, the album never loses its composure, each beat slotted precisely where the body wants it. It’s a record that banks on joy, pleasure, and freedom—and wins because it takes none of those things for granted. – M.A 

 

1. ‘then 1t g0T crazy’ – Zaylevlten

It’s remarkable how much can change in just 12 months. Near the end of 2024, Zaylevelten released a ruminative tape titled ‘before 1t g0t crazy,’ tunnelling into his interests, motivations, and quirks across a thrilling 15-song dispatch from the heart of Yaba, a densely populated student area on the mainland of Lagos. One year later, the ambitions of ‘before 1t g0t crazy’ are more or less realised on ‘then 1t g0t crazy,’ a madcap exploration of just how wildly one’s dreams can mutate when long-held hopes become a reality. An empathic tome from the depths of the Nigerian underground in a year when the scene has revitalised Afropop, ‘then 1t g0t crazy’ cackles with invention and  an insouciant brilliance, whether Zay is flexing his financial muscle on “Guide Pass” or detailing how much his listener base has expanded on “Isa Lot.” Things get wild across the original and deluxe version of ‘then 1t g0t crazy,’ but you get the sense that Zaylevelten is just having a blast, whatever comes. – W.O

NATIVE Mag’s Best Songs Of 2025 

Posted on by The Native

It was the renowned musician, Fela Anikulapo-Kuti, who described music as a weapon all those years ago. Decades later, music remains a profound weapon for a variety of reasons. For Fela, music was an instrument against post-colonial repression and institutional corruption. For a new generation of Africans and Black diasporans, music is a tool to deal with ennui, emotional imbalance, and the socio-economic landscape of the 21st century.  2025 has not proved to be an exception in that regard, thanks to the inspired work of several talented musicians who continue to forge new pathways for our music. This year has seen a further uptick in the proliferation of Dance music from Southern Africa, while the Nigerian underground has also made a spirited comeback. It all set the stage for some thrilling music that never let the groove stop throughout 2025. 

20. “Bengicela” – GL_Ceejay, MaWhoo, and Thukuthela

Collaborations are powerful, and when voices meld in deep-seated alchemy, the result is a layered, tranquil experience that is gracefully depicted on MaWhoo’s  “Bengicela.” Assisted by South African heavyweights GL_Ceejay, Thukuthela, and JAZZWRLD, “Bengicela” is divinely inclined, subtly translating to a vulnerable call to be saved amidst life tribulations. It is lyrically despondent but simultaneously uplifting. – Michelle Ejiro 

 

19. “99” – Olamide ft. Asake, Young Jonn, Seyi Vibez & Daecolm

The Yung Willis-produced “99” is the standout tune on Olamide’s self-titled eleventh LP with good reason. It features a cast of Afrobeats heavy hitters and the South-African born Zimbabwean Daecolm. Despite the all-star lineup, the star wattage doesn’t burst the fusion of smooth Electronic Dance and retro Hip-Hop sensibilities the song invokes. It is the Afropop lingua that gives it away as local production. “99” packs a global feel with its elevated but understated production values. – Dami Ajayi

 

18. “Shaolin” –  Seyi Vibez

2025 was a somewhat muted year for Seyi Vibez, but that said, the larrylanes-produced tune “Shaolin” is a standout record from this year. With an incantatory verse delivered in spirited cadence full of vibrant street slang, the TG-Omori-directed music video adds visual colour, Kung Fu-inspired scenes, and Nigerian-life-inspired dance choreography into this less than three-minute-long song, fusing ambient oriental music with relentless African percussion. – D.A

 

17. “One Condition” – DJ Tunez, Wizkid, FOLA 

DJ Tunez and Wizkid were arguably as active this year as they’ve ever been. The duo was on a noteworthy run all year, strategically embracing a new wave of Afropop talents to skillfully blend their signature, Dance-inspired soundscape with fresh, innovative perspectives. This strategy worked a treat, especially on the hypnotic “One Condition,” a buoyant, Ozedikus-produced number that pairs FOLA’s soothing vocals with Wizkid’s laid-back charm. The result is an irresistible track equally suited for the fervor of an energetic dancefloor and the solitude of a quiet bedroom. – Boluwatife Adeyemi

 

16. “Cough Syrup” – Bnxn

Originally owned by Victony, but astutely complemented by Bnxn, it’s a delight that they were both convinced it fit better on ‘Captain’, and quite frankly, it’s one of the songs that gave life to the album. It is arguably one of the unrivalled written Afropop records of 2025 with spellbinding vocal delivery from both artists. – M.E

 

15. “Mali” – Dlala Thuzkin, Zee Nxumalo, Sykes

Coming off Dlala Thuzkin’s second edition of ‘031 Studio Camp,’ an album that features the best South African voices operating at the moment, Zee Nxumalo and Sykes complement Dlala’s inventive production on “Mali,” heralding a song that has travelled far across the continent, satiating the increasing demand for House music at raves. Within the year, Dlala Thuzkin has gradually become a staple name at parties, thanks to the propelling moment “Mali” earned post-release of the album. – M.E

 

14. “2:02 PM IN LONDON” – ODUMODUBLVCK

The timestamp record is a time-honoured staple of Hip-Hop music, giving birth to some of the genre’s most cathartic music. ODUMODUBLVCK’s  “2:02 PM IN LONDON” is no less exorcising than some of the most scathing records in that fashion, finding the Abuja rapper channelling the most menacing interpretation of his Okporoko sound this year. Spitting molten bars about his position as a Hip-Hop dynamo, he brought listeners up to date with his thoughts on vacationing with his girlfriend and keeping Afropop stars on their toes despite, operating primarily as a rapper. All while ramping up anticipation for his long-expected album, ‘Industry Machine.’ – Wale Oloworekende

 

13. Ayra Starr – “Hot Body”

From the moment that Ayra Starr teased a snippet of her latest single, “Hot Body,” it sounded ready-made for revelry and summer thrills. Always a keen advocate for the girlies turning up and appreciating themselves, Ayra Starr takes things up a notch with “Hot Body,” helming an hypnotic anthem about all the things that a hot body can conceivably do. Produced by Ragee and The Elements, it also marked an evolution in Ayra Starr’s career as she leans into themes directly tied to the pleasures and freedom of being a young woman at the pinnacle of Afropop. – W.O

 

12. “Emhlabeni” – Kelvin Momo, Da Muziqal Chef, Thatohatsi, and Tracy

“Emhlabeni,” the lynchpin of Kelvin Momo’s evocative album, ‘Thato Ya Modimo,’ arrives just six songs into the 29-song album, but it packs a punch. Peeling back the layers of betrayal and divine redemption, Thatohatsi and Tracy help steer a proclamation of self-autonomy that coasts along over a spirited mix of drums and groovy shakers. – W.O

 

11. “Laho” – Shallipopi

When Shallipopi teased a snippet of “Laho” in February 2025, many listeners were sure that it would go on to be one of the most definitive songs of 2025. Months on from its release, that assertion has proven to be true. The laid-back style of Shallipopi’s delivery and infusion of Bini language have orchestrated a hit that has resonated with listeners worldwide. It has also spawned numerous versions and unofficial remixes, easily becoming one of the biggest Afropop songs of the year while ensuring that Shallipopi retains his position at the forefront of popular music from West Africa.  – W.O

 

10. “Shakabulizzy” – Mavo

In the wake of the success of “Escaladizzy,” fans were curious to see what Mavo would get up to next, and there was no better way to answer those questions than with “Shakabulizzy,” a heat rock of gigantic proportions that took off upon release. Cut from the same cloth as his breakout hit, “Shakabulizzy” features more of the quotables, soundbites, and inventive lingo that have made the 21-year-old the breakout act of the year. It also helps that he was proposing to take his lover on an epic shopping spree once his money clears; there was no universe where Shakabulizzy” wasn’t taking off.  – W.O

 

9. “Money Constant” -Wizkid, DJ Tunez, DJ Maphorisa, Mavo 

This song is a complete transmission from someplace more euphoric and rapturous than our world. Mavo opens with smooth bars and tasteful lamba that lock into every pocket of the beat, before Wizkid slides in to take the baton and carry it forward with equal competence. It’s a seamless handoff over a DJ Tunez and DJ Maphorisa–led production that truly bangs. – Melony Akpoghene

 

8. “Shake It To The Max”-  MOLIY, Shensea, Skillibeng 

Moliy was hard at work in late 2024, building momentum behind what quickly became her biggest single yet and one of the biggest songs from the continent this year. An uncomplicated viral dance challenge helped the original release become a regional hit, but it was the Shenseea and Skillibeng remix from earlier in the year that took the song to the next level. The remix topped several charts across the globe and had everyone from Cardi B to Manchester United’s Bryan Mbeumo shaking it to the max. – B.A

 

7. “Uzizwa Kanjan” – Jazzworx, MaWhoo, Thukuthela &GL_Ceejay 

Johannesburg production duo Jazzworx and Thukuthela are, without a doubt, one of the year’s most exciting and innovative acts. The duo manage to capture the current pulse of South African House music on singles like “Uzizwa Kanjan,” one of the few hits they’ve been responsible for this year. The single fuses the throbbing kick drums of 3-step with MaWhoo’s soulful vocals, creating a track that is incredibly soothing, melodic and deeply rooted in South African musical heritage. – B.A

 

 

6. Guide Pass” – Zaylevelten 

“Guide Pass,” the runaway hit from Zaylevelten’s breakout mixtape, ‘then 1t g0t crazy,’ is essentially all you need for an introduction to the rapper and his work. The self-produced beat is a masterclass in minimalist complexity, built on a deeply resonant bassline and unexpected percussive elements that provide perfect backdrop for his infinite stack of flows and multiple quotable lines. It’s a track that demands repeat listens, each one pressing home what the hype surrounding this rap prodigy is all about. – B.A

 

5. “Chanel” – Tyla

“Chanel” is a dazzling song, confident in its breeziness and full of feeling. Tyla has had a strong 2025, and the track feels like the climax of her run this year. She is already earning a solid reputation as a hitmaker, and here she harnesses one of her greatest gifts: bright energy, slick hooks, and a charming ability to turn every line into a moment you want to sing back.- M.A

 

4.“B2B” – Amaarae

A standout cut from ‘BLACK STAR,’ “B2B” finds Amaarae seething with an insatiable fire. She expresses a fervent desire to sustain the blurred boundaries of a complicated, steamy affair, oscillating between sweet demands and wounded longing. Produced by Kyu Steed and Ape Drums, the track pairs Amaarae’s spectral vocals with mesmeric Deep House rhythms that abruptly dissolve into delicate Spanish guitar, resulting in an utterly hypnotic listen. – M.A

 

3. CIZA, Tems, Omah Lay – “Isaka II”

The ascent of CIZA’s “Isaka (6 am)” is a textbook example of a modern-day breakout hit. Propelled by a viral TikTok challenge from earlier in the year, the original single became practically inescapable on the internet and subsequently dancefloors. The explosive success of the single launched CIZA into the mainstream limelight, establishing him as a significant new voice on the continent. A high-profile remix featuring Omah Lay and Tems followed months after the original, boosting the song’s popularity and highlighting the synergy between SA’s infectious Dance rhythms and the global reach of West African Pop music. – B.A 

 

2. “Baby (Is It A Crime)” – Rema

The rule of thumb expects that a sampled classic should outdo the original or, at the very least, match the already existing quality. When Rema first shared a snippet of his reimagination of Sade’s 1985 “Is It a Crime,” the sole brilliance brewed heated anticipation for its release and his ability to make gold off a stellar record shone when it finally dropped. “Baby (Is It A Crime)” is as soulful as the original and its infusion in making the Afropop hit calls for passionate romance.. – M.E

 

1. Davido & Omah Lay – “With You”

If there are two things Davido has unarguably mastered, they’re how to craft fit-for-purpose Afropop hits and selecting ideal collaborators. Both Davido and Omah Lay spoke highly of this collaboration a few times before its official release, but I imagine neither the pair might have envisioned how rapidly it took off. Those opening guitar licks were enough to cause delirium in functions across the continent, and its nomination for Best African Music Performance at the 2026 Grammy Awards speaks to its status not just as a fleeting hit but as a significant piece of contemporary African music that resonates on the highest international platforms. – B.A 

CupidSZN’s Journey to ‘MYTH-ERA’ is a Tale of Consistency 

Posted on by Michelle Ejiro

If you ask a lot of artists when they realised they wanted to make music, they usually answer that they had always known, that it was the ultimate goal, the dream they coddled and nurtured, pining for the day the world would declare them superstars, but CupidSZN is different.  Even though he’s primed to grow into one of the emerging voices with the potential to usher in a new Afropop era, music wasn’t his first passion. “Football was my first love,” he says.  “I didn’t think or ever dream I would do music while growing up. It wasn’t something I had at the top of my head.”

His ambition changed on a random day in 2018. While watching music videos for entertainment, he stumbled upon a Juice WRLD song that changed the trajectory of his life. “His melodies and different approach to trap music made me want to do what he was doing, and that motivated me to start recording myself,” he shares. That moment would prove pivotal in shaping the journey of the 21-year-old artist, whose career is just beginning to take shape in public perception since he was only unveiled by Mavins Records a few weeks ago. 

Unbeknownst to them, it had taken years of sacrifices like defying the laid-out educational guidelines of a typical Nigerian kid to attain a university degree before pursuing a creative career, which, of course, was initially met with a bit of resistance from his parents, who eventually became his bedrock.  “I had fear of the unknown, but I knew I had this sense of purpose,” he says. “I told my parents I wanted to do music full-time, but I also had to work to show them I was serious. The results I was getting were proof. My parents supported me 100%.”

 

The support of his parents made them decide to give up the normalcy of their life in Port Harcourt to help CupidSZN achieve his dream of becoming a superstar in Lagos, the tumultuous hub that continues to mould global creativity. Since his move, things have fallen in place, one step after the other, circumstances pushing him closer to his ambition of superstardom. 

In 2023,  a cover of “Jaga Jaga” by Victony and Babyboy AV that CupidSZN shared on TikTok went viral, earning him recognition from Ozedikus,  the revered music producer admired for his collaborations with emerging artists. Cupid’s eyes brighten, and his smile widens as he recounts the events leading up to his Ozedikus collab, “Ifeoma,” currently sitting at over 20 million Spotify streams. “He reached out to me and said, ‘Yo kid, you are fire, let’s work,’” he starts,  “In my head, I was like, ‘It’s Ozedikus, Ozedikus Nwanne.’” But his initial excitement was short-lived after recording over the 16 beats Ozedikus sent him and not getting a single piece of feedback. “I thought he did not like any of the songs because he kept saying he was busy.”

The outcome didn’t deter him in any way, and he remained steadfast in his goals, independently releasing his first single, “Finito.” A reconnection with Ozedikus weeks after releasing his debut single birthed their first collaboration.“I saw he posted a beat on TikTok, I liked it and recorded over it to get his attention again,” he explains. “I believed so much in the song that I had my people leak it on WhatsApp because it wasn’t proper to promote a cover immediately after my first single.  The song did crazy numbers on TikTok, and we decided to release it. Ever since, we’ve had a very amazing relationship; he’s like a big brother and mentor.”

 

When Ozedikus called him last year to inquire why he hadn’t responded to his DMs from Vaedar, a Mavin A&R, he was so astonished at the content of the message that he had misunderstood the most important part. “Vaedar said they were curious about my craft and wanted to meet,” he recounts. “At first, I thought they wanted me to write for someone on the label, but then it clicked when I sat in a room with Tega, Rima and the entire team that they were offering me a spot in the Mavin family.”

That opportunity became the turning point, offering a chance to benefit from the institutional framework of the famed Mavin Academy.  “ It’s a big switch working with a whole team, not just writing alone, but collaborating, learning patience and character,” he says. “The process has taught me a lot about my craft and who I am, and I’ve learned from people who’ve already been in the industry.”

‘MYTH- ERA’  is the result of a year-long training process that prepared him for the world of celebrity and long-term artistry.  Across five tracks, CupidSZN melliflously glides on the Afro-pop records meticulously selected to mark his introduction. “From the second you press play, it’s meant to make you move and take your mind off your problems,” CupidSZN says of his debut.“That’s the essence I wanted to capture with it.”

He was mostly tense while making  “Tuka Tuka,” because it was the first recorded song after joining Mavin Records,  and he didn’t want to falter. However, he shared an incredible synergy with the producer, Prestige, making the song dear to his heart. “I really love ‘Tuka Tuka‘ because it’s a perfect Afropop song, and I spoke about a love interest the Nigerian way,” he explains. “’Tuka Tuka‘ means don’t go back and forth. If you want me, say it. It’s relatable.”

Another song,“Otula,” is the result of a song recorded to outdo expectations on the Rage-produced beat that was previously shared with Rema before Cupid landed it. ”Throughout ‘MYTH- ERA,’ CupidSZN was keen  on tilting away from his usual mid-tempo approach, tapping into an explosive bounce on the vociferous “Zesty Money,” produced by his friend Kamal Momoh, whom he previously worked with on songs like “I Want More” and  “Service.”  

Ever perceptive of the sacrifices that have brought him to his present position, “Famous” is the culmination of CupidSZN’s journey so far, and he expresses gratitude for the circumstances and people that have catalysed his career from his independent era up until ‘MYTH-ERA.’ Still, he’s eager to enjoy the moment while dealing with the pressure of a new beginning. “I want to make my mark in the industry with this newfound opportunity and put my footprint on the wall.”

Emo Grae Offers Romantic Assurance On BNXN Collab, “Your Type”

Posted on by Michelle Ejiro

Five years after releasing their first song together, Emo Grae and Bnxn rekindle their sonic chemistry on their latest single, “Your Type.” A snippet of Bnxn’s verse first went viral in November 2024 with fans anticipating the release around the same time, but it has taken a year, and now feels like the right moment. 

Before this release, they collaborated on the alternative classic, “0903,” which was sung around a tale of two men connected by the tactics of a deceitful woman playing both sides. The 2020 record built a solid reception of their sounds, and many have been on the lookout for a glimpse of that union ever since. “Your Type” is an extension of their synergy, but functions as an evolved version of their artistry. 

 

Emo Grae’s vocals sound grown as he assures his muse of a love that defies reason while Bnxn acknowledges the struggles of finding love in Lagos, complementing Grae’s yearning for his love interest. Together, they sing passionately on the Afropop song that accurately upholds the expectations of a 5-year-long anticipation.

“Your Type” is set to be a heartwarming song for lovers this December and beyond. And for core fans, the melody and lyricism is reminiscent of how an Emo Grae song can be exciting to a comforting degree for its vulnerability and relatability. 

Listen to “Your Type” here. 

Olufemi Oguntamu Wants To Take African digital Creators On Global Tours

Posted on by The Native

For Olufemi Oguntamu, the founder and CEO of Penzaarville Africa, the global stage is not just an aspiration for African digital creators, it is an economic and professional necessity. As the manager behind some of Africa’s most influential digital creators, Olufemi is on a mission to strategically convert Africa’s viral digital influence into a scalable, highly professional, and global touring enterprise. His ambition is simple: to make African content creators global citizens.

“It’s good to be big online, but it’s even better to also have a very great offline presence,” Olufemi states. The offline presence is what allows a creator to graduate from just being an online sensation to a “family brand” or “offline brand” too, providing the crucial, bankable stability needed to fund an increasingly sophisticated and demanding career.

Olufemi, a renowned media strategist and talent manager with over a decade of experience, first built his reputation as a leading figure in the influencer marketing space. His company, Penzaarville Africa, was the go-to agency for influencer engagements, leading campaigns for global powerhouses like Google, Microsoft, and Bolt.

He understands that a successful tour requires more than just a famous face. It requires a viable, high-quality product. “What are you bringing to the table? Touring means that you’ve done it somewhere and you want to replicate it in other places,” he explains. His mandate is executed through his company, Penzaarville Africa, which is home to a roster of Nigeria’s top digital exports, including the renowned comedian Broda Shaggi, AMVCA winner Layi Wasabi, and creative technologist, Malik Afegbua

His hypothesis is rooted in a meticulously tested template, which began with the first self-funded tour with Broda Shaggi in 2021. Recognizing the strength of the comedy scene in markets like Kenya, Olufemi saw a natural fit for the creator’s character. “I realized that the character Broda Shaggi was playing would also resonate with them,” he noted. 

The initial journey to Kenya was a calculated risk, driven by the need to create a tangible, replicable model. Their strategy focused on a heavy media tour to “propagate the gospel” of the Nigerian star and was complemented by collaborations with Kenyan creators and brands. This groundwork paid off almost immediately. Olufemi recalls the instant validation: “When we came back to Nigeria, do you know that we went back to Kenya like two times after that period, that year, for paid shows?” This success allowed Olufemi to quickly expand Shaggi’s global footprint, which now includes a successful tour across the United States and Canada.The same template was applied to an even greater effect in Sierra Leone, where Broda Shaggi hosted a concert that drew over 10,000 people. 

Olufemi has replicated this success for other creators, orchestrating the media-focused UK tour for Layi Wasabi, a multi-city tour for Sabinus, African tour for Brain Jotter and shows for Kenny Blaq, among others. He has also facilitated international visibility for Malik Afegbua, whose AI art series has gained global recognition and led to international exhibitions and programs, including appearances in Europe. “I’ve come to realize that it’s a working formula,” he explains. “As long as you know what to do, you know how to go about it, you have the resources, and I can promise you that people are ready to collaborate. It’s just for you to know what you want to do.” 

Despite this proven success, he is fighting for a fundamental shift in industry perception, starting with the biggest challenge: the industry’s failure to accord content creators the same logistical and financial respect as Afrobeats musicians.

“Creators are not seen like, or treated like musical artists,” he states. While musicians command business class flights, full crews, and sorted riders, some creators are often booked with economy layovers, minimal crew, and subpar accommodation. “You book Uber for them. At times nobody is coming to the airport to receive them. There’s no protocol, there’s nothing,” he says. 

While he is not asking for equal pay, he is fighting for equal treatment and structure. “I think what would work is the structure you have to put in place,” he notes. “When you go through proper channels, when you have conversations and you see the level of structure,it informs how you engage the creators.” He also describes a frustrating double standard in tour negotiations: “Most of the challenges we’ve had is that people just believe that creators are just meant to be on the screen. Offline, they have no value.” 

Another challenge to global touring stems from the talent themselves. According to Olufemi, many creators are quick to “start demanding.” They want to start with ridiculous fees and often insist on targeting major, saturated markets like the US. “Before you can do anything called a tour, there has to be a demand. It is the demand first and then supply.” The real work, he suggests, lies in realizing “what do I do to make people demand me in that area?”

The final piece of the puzzle is educating the talent themselves, who are often very emotional and willing to bypass their managers and team for immediate, yet subpar, deals. They need to understand that the business side must be left to business professionals to ensure rights and welfare are protected.

Looking to the near future, Olufemi is determined to be the institutional plug for African creativity globally. “What I want to do… I want to be that plug between creators in Africa and global platforms,” he affirms. “I want to ensure that there is a voice for creators in the touring industry.” By formalizing the touring circuit and setting high industry standards, he plans to create a clear professional channel that transforms the fleeting fame of the digital space into a sustainable, respectable, and highly profitable export industry, guaranteeing that African creative influence is bankable everywhere it is seen.

Seyi G. Explores The Motions Of Resilience On ‘Who Needed That Therapist Anyways’

Posted on by Wale Oloworekende

It’s a bold statement to release a debut album less than two years into your career, but Seyi G. is keen to show the world the variety of emotions that have ushered him to his present place in life. Last Friday, he released ‘Who Needed That Therapist Anyways,’  a meditative eight-song project that explored themes of pressure, defiance, love, and lust all wrapped in the singer’s blend of Afro-swing and soulful storytelling. 

‘W.N.T.T.A’  arrives a little over a year after Seyi G. caught mainstream attention with “FAMILY + TRIGGA,” a wispy two-pack release that captured the depth of his sound. On his full-length debut, he continues to prove to be as inventive as always, working through his influences and aspirations with precision. The project opens with “On My Way,” a smooth rap-sung collab with Mojo AF that sets the tone for the project. 

 

Other highlights abound across the project, particularly “Melo,” a high-energy track that Seyi has teased across social media for months. This celebratory anthem captures Seyi’s journey from adversity to triumph, carrying the standout line: “shout out to my haters, I have scattered their agenda.” Its infectious bounce and confident tone make it the perfect entry point into the world that Seyi G. imagined for his listeners. 

As a rising artist stepping out with his first full-length body of work, Seyi G. uses ‘W.N.T.T.A’  to introduce not just his sound, but his story.  The eight songs of the album function like a narrative — therapy sessions, introspection, moments of darkness, perseverance, and eventual celebration — all sewn together through Seyi G.’s singular perspective. 

Listen to ‘Who Needed That Therapist Anyways’ here.

How Afropop Comes Alive For Detty December

Posted on by Boluwatife Adeyemi

Very few things speak to the pulse of a metropolitan city quite like its music. Very often, the sonic landscape of a city reflects its cultural heritage, social dynamics, and prevailing moods. Take Chicago, for example, the home of House music, an energetic genre that evolved from the remnants of Disco in the early 1980s. The genre’s pulsating rhythms reflect Chicago’s industrious spirit and the desire of marginalised communities for an ecstatic, unifying form of escape. Or Hip-Hop, which is inextricably linked to New York’s identity, mirroring the cadence of its street chatter and the ambition of its towering skyline. In this way, the music a city produces and embraces becomes a crucial lens through which to understand its social architecture. 

Similarly, Lagos, the de facto home of Afropop, embodies the genre’s vibrant energy and vice versa. Over the years, this creative synergy between Lagos and Afropop has developed into a reciprocal relationship. The city provides the raw materials: vibrant nightlife, a blend of traditional and contemporary influences, and a high concentration of creative talent, while the music captures and processes these elements into globally consumable art. This equally beneficial dynamic has played a key role in fueling one of the city’s glitzier phenomena in recent years: Detty December, a seasonal spectacle that has evolved into a significant cultural and economic engine. 

 

While Detty December is characterised by a packed schedule of social events and celebrations, coinciding with the return of Nigerians in the diaspora, these month-long festivities crucially thrive on the vibrant energy supplied by Afropop’s most spirited music. Over the last few years, as the year-end festivities have grown to attract considerable attention, Afropop stars have also responded to this shift, strategically releasing songs during this period to capture the zeitgeist. This recent practice is driven by the hope of securing the now coveted “Detty December Anthem,” which translates directly into high streaming numbers, widespread radio airplay and enhanced cultural relevance.

In a move that pre-empted the broader return to post-pandemic social and nightlife, Ghanaian producer Nektunez and Goya Menor collaborated in mid-2021 on “Ameno Amapiano (Remix),” a buoyant club banger that would become inescapable by the end of that year. Multiple remixes from Dance heavyweights like legendary French DJ David Guetta and popular American House remixer Todd Terry helped the single gain even more global renown, making it the unofficial anthem of 2021’s Detty December. 

Another relatively unknown name at the time, Portable, also got his big break with the Poco Lee and Olamide-assisted “ZaZoo Zeh,” another lively anthem that took over festivities in late 2021. The viral sensation quickly became Afropop’s chief disruptor, releasing a truckload of music, many of which showcased his raw but undeniable talent, in a short period of time, while simultaneously landing in a string of endless controversies. His freewheeling spirit has helped sustain his relevance, securing a milestone Billboard entry when he featured on Skepta’s “Tony Montana.”

 

The following year, Asake’s whirlwind entrance onto the scene ensured that listeners were enthralled throughout the year, and specifically during the festivities, thanks to the timely release of his party-ready debut album, ‘Mr Money With The Vibe,’ which arrived in September of 2022, providing the perfect soundtrack and high-octane energy for a season defined by non-stop parties and concerts. In line with his tradition of late releases, the lead single for Wizkid’s fourth studio album, “Bad To Me,” also arrived just in time for the festivities, signalling a play for extended social currency during Detty December. 

As Asake continued his dominant run throughout the year, another remarkable street-pop alchemist, Seyi Vibez, was making a parallel ascent. After years of building a solid underground following, the release of his debut album, ‘Billion Dollar Baby,’ in early December proved to be a watershed moment in his career. “Chance Na (Ham),” the album’s centrepiece, quickly generated buzz and comparisons to Asake. However, the track became significant in its own right, proving to be a critical launchpad that solidified his unique space in Afropop’s expansive landscape. 

While some of the genre’s mainstays dominated the airwaves, a relatively unknown Kashcoming, at least at the time, also made a play for the season with “Vibes on Vibes,” an energetic, late-year release that gained some traction but ultimately failed to achieve widespread popularity. He came swinging the following year with “How Low,” a fun, bubbly cut from his debut project ‘On A Low.’ A cross continental remix with Zlatan and Rayvanny ensured the single properly simmered till the end of the year, peaking during the Detty December festivities. 

By 2024, Kashcoming had honed an Amapiano-influenced style perfectly suited for the fervour and exuberance of the Detty December season. He cemented his successful year-end run with another hit, “All My Money,” a standout energetic track from his end-of-year project, ‘More Kaschoming Vol. 2 (Deluxe).’ His growing star power and sensibility for December hits were further underscored by his feature on DJ YK Mule’s “Oblee (Remix),” which became the defining anthem of that season.

 

This year, the singer has already made another play for the festive season with his recent release “Hello Hello.” It’s, however, the featured artist, Mavo, who is likely to be this year’s main attraction for Detty December. The 23-year-old rising star has experienced a meteoric rise over the last couple of months, resulting in numerous collaborations, many of which have the potential to become THE song of this Detty December. There’s “MONEY CONSTANT,” his recent collaboration with Wizkid, which seems destined to be the anthem of the season, barring any surprise last-minute drops. Ckay’s “Body (Danz),” which currently sits at number No.1 on the official Turntable Top 100 chart, also stands a chance, but it appears to be more of a viral online hit rather than a genuine party starter. 

Davido also tapped in with the young singer, featuring on the remix of his hit single “Shakabulizzy.” The song already had significant momentum, and on paper, a feature from a pop titan like Davido should push the song further into mainstream consciousness; however, the 30BG huncho’s contribution to the single will likely not redefine the song’s trajectory. Burna Boy likes to play to his own tune, but even he hasn’t completely resisted the temptation to secure a December hit. 

A few months after the release of his seventh studio album, ‘I Told Them..,’ he featured on the remix of Phyno’s “Do I,” giving extra firepower to what quickly became a festive hit. “Bundle by Bundle,” the high-energy lead single from his most recent album ‘No Sign Of Weakness,’ also came smack in the middle of December 2024, just in time for the holiday season’s extravaganza. While nothing currently indicates that the 11-time Grammy nominee is releasing new music for this year’s festivities, precedent suggests that one can never say never. 

 

Several other artists will likely join the fray, adding to the already competitive landscape of the festive season. There are rumours of new music from Asake, and if that arrives before the end of the year, his track record suggests it could become an immediate sensation. Seyi Vibez, who has consistently become a fixture of Detty December since his breakthrough, has turned in another late-year release titled ‘FUJI MOTO,’ which could also potentially soundtrack the holiday season. 

The sheer volume of these strategic late-year releases proves the evolving landscape of Afropop and how it sometimes responds directly to the specific needs, energy, and heightened demand of the city that predominantly houses it. It also highlights a critical intersection between artistic output and seasonal cultural economics within the Afropop scene. Unlike Americans and Europeans who crave the bliss of summertime, with their artists providing the soundtrack for this period of sun-drenched relaxation, Afropop’s peak season has proven to be much further into the year, and the genre’s stars also now duly oblige, providing rife, party-ready tunes that give the season immense spark and colour. 

HOMECOMING™ and AlphaTheta Complete Start From Scratch Workshops in Lagos For 2025

Posted on by Wale Oloworekende

HOMECOMING™ is celebrating a standout year for Start From Scratch in Lagos, marking the first time the global DJ education programme has been delivered on the continent in partnership with AlphaTheta. The 2025 Lagos workshops were met with unprecedented demand, establishing a new blueprint for accessible music education in Africa and setting the stage for an expanded and more ambitious programme in 2026.

Start From Scratch has travelled through major cultural capitals including London, Berlin, Paris and Amsterdam. Its arrival in Lagos marked a significant moment for both organisations, anchored by the newly opened HOMECOMING™ space and supported by AlphaTheta’s world-leading DJ technology. The Lagos debut launched with a fully booked first class in September and continued with additional sessions through the end of the year, each one oversubscribed and energised by a new wave of aspiring DJs across the city.

The programme introduces complete beginners to the theory, tools and creative thinking behind DJing. Participants explored everything from beatmatching and blends to storytelling, identity and building a personal sound. The Lagos editions featured a powerful lineup of mentors who reflect the innovation and diversity of contemporary African music, including Dope Caesar, Weareallchemicals, Honeeay and the collectives Dencity, Floss and Femme Africa. Their guidance created an environment defined by openness, confidence and community, giving new DJs the space to learn directly from artists who are shaping the future of the sound.

Across Europe and Africa, HOMECOMING™ has collaborated with mentors such as Major League DJz, DJ Spinall, Gina Jeanz, Donnie Sunshine, Dare Balogun and Kitty Amor. The success of the Lagos programme strengthens this global network while deepening HOMECOMING’s commitment to talent development on the continent.

What has emerged in Lagos is more than a series of workshops. It is the beginning of a long-term investment in DJ culture, infrastructure and creative ecosystems in Africa. With AlphaTheta’s support, Start From Scratch is becoming a platform that opens doors, builds skills and creates pathways for new voices.

Following the impact of the 2025 editions, HOMECOMING™ and AlphaTheta are now developing an expanded programme for 2026. More cities, more sessions and a deeper educational offering will build on the momentum created in Lagos, ensuring that access and opportunity continue to grow for the next generation of DJs.

Elestee Is Ready Now

Posted on by Folake Ajao

The journey from underground cipher to major label unveiling is rarely linear. For Elestee, the years between opening for LADIPOE in 2018 and her official introduction under Mavin Records in 2023 weren’t a detour. They were the foundation for her becoming.  When asked what that stretch of time taught her, her answer arrives without hesitation. “If you know me well, you know patience is everything for me.”

She speaks about patience not as passive waiting but as active cultivation. As a female rapper and singer operating in a landscape that doesn’t always know what to do with genre fluidity, she learned early that visibility required more than talent. Stars don’t materialize from nowhere; they emerge from years of refining craft, building community, and creating music that satisfies both personal truth and public appetite. Her stint at the Mavin Academy allowed her to expand beyond the pure Hip-Hop foundation she’d built. She began making complete songs, experimenting with Afropop, stretching into sonic territories that felt freeing rather than compromising. That development took time, and she gave it that time willingly.

Her debut EP arrived under the name ‘Lifesize Teddy,‘ a moniker that felt like both armor and announcement. The project was unapologetically alternative, sidestepping Afropop’s conventions in favor of something more niche. It was a statement of identity at a moment when identity itself was still forming. The name shift to Elestee isn’t the philosophical pivot it might seem. “Honestly, it’s not that deep,” she explains. LST was always the abbreviation. She simply spelled it out phonetically rather than leaving it as initials. The two names coexist without conflict. You can still call her Lifesize Teddy in the street; the essence hasn’t changed.

What has changed is the sound. After the alternative textures of her debut EP, the ‘Poison EP’  leaned harder into Afropop. She wanted to test herself in that arena, to prove she could fuse rap sensibilities with melodic hooks that reached beyond her initial audience. The first project was niche by design. The second was about expansion. Then came “Selina” with Major AJ, followed by continued experimentation across producers and moods. She describes the process as exploration without a fixed map, trying things simply because they feel fun. That spirit of exploration led directly to her latest project, ‘Mentally, I’m Here,’ which drops with a surprise element even she seems slightly amused by.

There’s a Pop record on the EP featuring Ayra Starr, one of the continent’s most beloved voices. For someone whose foundation is in rap and alternative production, Pop felt like foreign territory. Ayra didn’t just suggest the collaboration; she insisted. “She basically encouraged, almost bullied me into doing it,” Elestee recalls with evident affection. Ayra sent the demo from America with a simple directive. Teddy, I think you should jump on this. The response was immediate. Elestee recorded her part, sent it back, and received enthusiastic affirmation in return. The process involved multiple takes, refining until the version felt perfect. But beyond the technical execution, what stands out in her retelling is the support. Ayra made the song and thought of her immediately. That generosity of spirit meant something.

 

The title ‘Mentally, I’m Here’ signals introspection. It’s a project about being present in the middle of transformation, about navigating your mid-20s while the world watches. Elestee describes it as the sound of a young woman figuring out life in real time: shifting perspectives, messy love, constant re-identification, the effort required just to stay sane. Some songs affirm who she is. “On the Road” and “Designer Baby” plant flags. Others interrogate relationships from her current vantage point as both a rising artist and a regular person trying to make sense of intimacy. 

She wants listeners to relate, but she also needs to express these things for herself. The assumption is that she’s not alone in this. Other young people are building careers, dealing with love in complicated ways, trying to figure out who they are within a generation that refuses easy categorization. The project offers permission to be firm about your identity, to make space for yourself even when that space isn’t automatically granted. One moment you’re affirming your worth. The next time you’re ready to explode. The tonal shifts aren’t inconsistent. 

“Company” was the first song recorded, followed closely by “Liar Liar.” But the sequencing wasn’t chronological. Elestee enjoys building projects like maps, where each track leads into the next with purpose. “I like a bit of a story,” she says. “Company” first establishes context for the frustration that eventually boils over in “Liar Liar.” The journey between those two points matters. Understanding why someone reaches their breaking point requires knowing what they tolerated before they snapped. 

 

The Pop song with Ayra pushed her furthest outside her comfort zone, not because of the genre but because of what it demanded physically. “I don’t dance,” she states plainly. “I really don’t know how to dance.” But Ayra somehow coaxed movement out of her, and now she’s coming for everybody. There’s humor in the declaration, but also real confidence. She tried something that scared her and survived. That tends to make the next scary thing feel less impossible.

The version of herself she’s stepping into next is unapologetic and very immovable. She describes this future self as someone who stands up without hesitation, who knows exactly who she is, who can move mountains without visible effort. The phrasing suggests not arrogance but clarity. She’s done with the version of herself that second-guesses or softens edges to make others comfortable. That version served its purpose. This new one has different priorities.

Her hopes for the project are split between the measurable and the meaningful. Of course, she wants numbers and stats. She’s not pretending commercial success doesn’t matter. But beyond that, she wants the music to function as a safe space. Somewhere listeners can retreat when they need to feel seen, when they need confirmation that what they’re experiencing isn’t irrational or isolated. “When your music bangs in the clubs, it’s amazing,” she says. “But when someone plays it alone, and it helps them, that’s everything.” 

 

The final question arrives with the weight of inevitability. Women in this industry work three times as hard as their male counterparts. How does she handle that pressure? Her response is measured but pointed. “At this point, it is what it is,” she says simply. “We’re just better than them. That’s all I’m going to say.” 

Elestee now stands at a threshold, no longer emerging but fully present. ‘Mentally, I’m Here’ documents where she is in this exact moment, but it also points toward where she’s headed. The girl who waited patiently, who refined her craft in relative obscurity, who learned to blend genre sensibilities into something that feels singular, is ready now. 

Understanding The Overlooked Legacy Of Vinyls In African Music

Posted on by Thelma Ideozu

In Africa, the vinyl record has always had its place, much like the well-travelled and eccentric village elder whom not everyone understands, but everyone respects. Once thought to be on the brink of death —as rapid technological advancements diminished its popularity in the 90s and 2000s—vinyl records have made a remarkable comeback, with sales rising steadily over the last 15 years. 

According to Cognitive Market Research, the Middle East and Africa had a vinyl record market share of around 2% of the global revenue, with an estimated market size of USD 45.08 million in 2024. It is projected to grow at a compound annual growth rate (CAGR) of 10.3% from 2024 to 2031. Such consistent growth in one of the world’s most volatile industries is really quite impressive. But, to borrow music producer Marco Sebastiano Alessi’s words, “trying to represent such a complex ecosystem simply with numbers means offering a partial perspective on one of the few niches in the music industry that’s thriving, both in terms of numbers and cultural impact.”

Across Sub-Saharan Africa, demand for vinyl records is also on the rise, thanks to the rise of cultural hubs, vibrant online communities, interactive vinyl festivals, and immersive listening sessions. Existing independent record stores like Mabu Records in Cape Town and Torobee Distribution in Dakar that once struggled to stay in business are now gaining traction, while new stores like Ritual (Accra) and Broken Records (Windhoek) open in cities around the continent, selling pre-owned and reissued copies of legendary records by beloved African artists like Ladysmith Black Mambazo, Ebo Taylor, and the Lijadu Sisters. 

But what’s the real secret behind the vinyl record’s longevity? How did it retain its cultural foothold in Africa? And, as we advance further into the age of AI, what does the future hold for this beloved form of music?

 

Vinyl As A Journey Through Time  

When major international labels like His Master’s Voice (HMV) began releasing commercial recordings of East African musicians in the 1920s and 1930s, most of the records were pressed internationally and then shipped back to Africa for sale. It wasn’t until 1952, as Kenya’s independence struggle gathered momentum, that the first physical vinyl pressing plant (East African Records Limited) opened its doors, transforming Nairobi into a vital musical hub for African artists. 

Today, Kenya’s lush vinyl history is kept alive by custodians like James ‘Jimmy’ Rugami, whose treasured record shop in Kenyatta Market houses one of the country’s rarest vinyl collections. Pheello ‘PJ’ Makosholo—South African music lover, vinyl aficionado, and founder of the Collectors’ Collective Record Bar in Johannesburg—describes such dedicated vinyl collectors as “living museums,” likening the crate-digging process to important archaeological work. “The role of the collector should never be understated because when record companies stopped valuing our music, the collector still found it important and listened,” he says. 

South Africa’s history with vinyl began between the 1940s and 50s, with major pressing plants like Trutone, Gallo, and EMI emerging in Johannesburg to meet growing demands. By the 1970s and 1980s, the LP vinyl had cemented its place in the country’s music scene, expanding to include local genres like Maskandi, Kwaito, and Kwela, with luminaries like Miriam Makeba and Hugh Masekela gaining more global recognition.

“The records in my collection that are from the SABC archive [some of which were censored during the Apartheid regime], or those stamped records from Ray Nkwe’s collection, are really special. He was the go-to for finding international Jazz records, as well as a prolific producer of legendary South African Jazz and Soul albums such as ‘Inhlupeko: Distress by the Soul Jazzmen,’” says sound selector and multidisciplinary artist AK Jenkins, whose newly opened vinyl store, Play The Crates, serves as a sonic bridge between the past and the present.

Over in West Africa, Ghana’s rich vinyl history began around 1928 with the recording of Highlife music by colonial companies like Zonophone. This brought the genre and beloved artists such as the Kumasi Trio into the limelight. In 1948, Decca Records opened West Africa’s first recording studio in Accra, which led to the production of numerous classic Highlife songs through the 1950s and ‘60s. The vinyl industry blossomed after independence, with the establishment of the state-owned Ghana Film Industry Corporation (GFIC) in 1964, and private companies like Philips Records all contributing to its growth.

 

“There are so many elders today who have extensive vinyl collections that they don’t know hold great value,” says Ghanaian writer, cultural researcher and DJ, Kobby Ankomah Graham. “Without vinyl, Ghana would be in the musical dark. It’s also worth noting that Hip-Hop has a massive impact on modern Ghanaian music. Vinyl DJing is the first of the four elements of Hip-Hop, without which that genre would not exist, so modern Ghanaian music owes a lot to vinyl.”

Of course, no conversation about West Africa’s vinyl history would be complete without mentioning Nigeria, where Josiah Jesse Ransome-Kuti is often credited as being the first artist to release a gramophone record of Yoruba hymns in 1925. Decades later, Lagos became an epicentre for music innovation and production, with international companies like EMI setting up studios through the 1950s to 1970s.  This “golden age” saw the rise of Highlife and the emergence of Afrobeat, with many groundbreaking albums released on vinyl by the likes of Fela Kuti and the SJOB Movement. By the late-70s, world-renowned record labels like Afrodisia Limited took the Nigerian music market by storm, ushering in a new era of Nigerian-owned enterprise. 

Sadly, as the 1980s gave way to the ‘90s, vinyl lost its prominence in Africa (as it did globally), as cassette tapes and CDs offered listeners greater convenience and portability. 

Vinyl As Legacy

When newer music formats started taking over in the late 1980s, local and global vinyl pressing plants began to close down. Today, there are no active large-scale vinyl pressing plants in Africa. In fact, the continent’s last known major pressing plant, a sprawling facility located in Harare, Zimbabwe, was sold to international bidders for about £160,000 in 2015. Owned by the now-defunct South African label Gallo Record, and once part of a flourishing network of African vinyl factories churning out homegrown classics, the plant ceased operations in the early 1990s, laying dormant (but well-equipped) for several years. 

Makosholo mourns this loss, calling the sale a miscalculated and short-sighted move: “The saddest thing about the vinyl world right now is that we’re once again dealing with the colonisation of African music, which is taken out to Europe, and then sold back to us at exorbitant prices.”

Although this is a highly contentious and nuanced issue, it would be tone-deaf not to mention it. The fact is: Africa’s most cherished sounds, particularly those from overlooked regions, regularly sell for four figures on record-collecting sites like Discogs. Devoted crate-diggers like Makosholo want to reclaim this lost heritage. “A lot of these international platforms don’t care about our culture or the legacies of the artists,” he laments. “It’s about money and ego. They only make African music inaccessible to Africans.”

While a handful of local companies (such as South Africa’s SAMP Records) provide vinyl pressing services, these are often smaller-scale operations that outsource their manufacturing to international plants. This makes it difficult and expensive for African artists to release their music on vinyl, which is partly why so many don’t. “I think local music, outside of jazz, doesn’t have a strong vinyl culture,” Jenkins says. “It’s still driven by clubs, DJs, and radio mixes. Amapiano, Gqom and Afro-House, for example, don’t see vinyl releases equal to their influence in the music scene.” 

Moreover, the contemporary African music market has a strong digital and singles-driven culture. So even though award-winning artists like Burna Boy, Rema, and Tyla have limited vinyl editions of their albums for sale, the vinyl format (and its growing popularity in the global merch industry) remains relatively untapped. 

So how exactly does the African vinyl culture continue to survive? 

Tokunbo Culture: A Secondhand Love Story 

Translated literally, the Yoruba word “tokunbo” means “returned from overseas”. In the context of calls for the return of Africa’s priceless vinyl heritage, the word takes on a new meaning. However, the term also has significant cultural and economic roots in Nigeria, where informal “tokunbo” markets have long provided accessible and affordable options for several goods, including music. Across the continent, beloved record stores— like the one in Nairobi’s Kenyatta market—serve as sacred sanctuaries for rare and secondhand vinyls. 

For many collectors, old vinyl records are a portal into Africa’s vast musical history. Several records from past eras were not reissued in other formats, making the original pressings the only true way to experience that music. This is particularly true for rare Afro-Funk, Highlife, and other classic recordings from the ‘70s and ‘80s, eras often praised for chronicling diverse musical genres and iconic cultural moments. Now that importing new records is a complex logistical process, the true value of pre-loved vinyl lies in the thrill of rediscovering nostalgic musical treasures. 

“Nostalgia is one hell of a drug, and vinyl comes prepackaged with that,” Graham affirms. “But I do wonder what will happen when my generation—the last to buy records in record stores en masse—dies out. I’m comforted by the rise of vinyl bars everywhere, from Japan to right here in Accra, where people can pick classic vinyl and listen for themselves.” 

Indeed, a pulsing ecosystem of music establishments is springing up across African cities like Dakar, Cairo, and Abidjan, fuelled by enthusiasts and artists keen to celebrate the continent’s musical legacy. In addition to functioning as a record bar and vinyl retail space, the Collector’s Collective hosts vinyl DJ nights, album launches, and showcases for both new and old artists. Online vinyl shops like Play The Crates curate events, access to music-related archives, merch, and quality vinyl. Other South Africa-based companies, such as Mr. Vinyl, specialise in both new and used records, offering cleaning services and equipment repair. Meanwhile, thoughtfully curated experiences like Egwú Vinyl Festival are reintroducing the timeless magic of vinyl to a new generation of Nigerian music lovers.

Africa’s vinyl landscape is uniquely defined by a deep cultural heritage, an absence of local pressing plants, and the rise of a global reissue market. It creates an environment where preservation is key, rather than the mundane pleasure of just enjoying the latest releases. Ours is a vinyl culture rooted in the pre-loved and forgotten gems passed down from generation to generation. 

Vinyl As Inheritance 

When I ask my friend, a budding music producer named Chidi Okorie, about Africa’s history with vinyl, he insists that I speak to his aunt. Walking into Madam Grace’s home a few days later, the first thing I notice is the old but well-kept gramophone sitting on a wooden side table. She is wearing a vivacious green dress and holding a generous stack of vinyl records in her 72-year-old lap. Like all serious collectors, she’s eager to show off her records, lifting each one gently with a dimpled smile. 

She names her favourite artists (Chief Osita Osadebe, Onyeka Onwenu, and Nina Simone), shares her favourite stories, and when asked about the vinyl’s modern resurrection, she replies: “It never died. During the Biafra War, the radio kept us updated on the news, but my records kept me connected to my heart and those around me. This ability to foster connection in a tangible and meaningful way is why vinyl will never truly go out of style.” 

Realising that almost an hour has passed without her offering me any refreshments, she calls for her granddaughter, Uju, to bring me a cold drink. As a first-time visitor, declining is simply not an option: hospitality has always been a serious affair in most African cultures. Later, Uju offers to show me her newly purchased record player. Just 20-year-old, she is extremely proud of her baby blue suitcase player. 

Critics have had a lot to say about these “new age” turntables, claiming that the renewed interest in them is more about aesthetics than a genuine love for music. Uju disagrees, intelligently pointing out that music and aesthetics often go hand-in-hand, as many old record players and album covers were also eye-catching. “One day, I’ll inherit my grandmom’s vinyl records, and maybe one day my children will inherit them from me,” she says. “My love for music is in my blood. Aesthetics are just a way to express that love.”

Answering The Pressing Questions 

There’s been a lot of talk about why vinyl records are making a comeback in the digital age. The more sceptical theorists claim that the vinyl revival is just a passing trend that will fade just as quickly as it started. In response, vinyl enthusiasts have highlighted the Lindy Effect, which states that the longer something has been around, the more value it has and the longer it is likely to last into the future.

Some researchers say the resurgence is simply a matter of ownership. In an age of temporary subscriptions and ephemeral digital footprints, tangible goods provide a sense of permanence. But for many, the vinyl’s appeal is simply in the warmth of its sound. “Vinyl is especially resonant for genres with live instrumentation; think Jazz, Funk, and Soul,” Graham says. “It’s something about the process of pressing those sounds to vinyl. That analogue fuzzy sound that you hear when you touch the needle to the record before the music kicks in. Spotify could never.” 

More than just an aural experience, vinyl offers a sensory encounter too. The listener holds the vinyl record in their hands, perhaps pausing to appreciate the album art or read the liner notes; then gently eases the record from its sleeve, placing it on the turntable before carefully dropping the needle on a specific microgroove. 

Every step is intentional, and perhaps this, above all else, is what truly makes vinyl so special. Makosholo believes that the ritual of the turntable encourages active listening, creating a connection between the artist and the listener, while Jenkins believes that it invites respect and demands patience. “Unless you want to get up every second, you are more inclined to listen to a track end-to-end,” she says. “So you get the artist’s full intention of the album versus a playlist, where you only experience the curation of an algorithm.”

Can Vinyl Outlive AI?

Artificial intelligence is a topic that has been on everyone’s lips in recent years. In terms of the music industry, AI seemingly offers new tools for production, composition, and personalised discovery, while also presenting undeniable ethical, environmental and economic challenges. But what about its impact on physical forms of music? Jenkins thinks that vinyl has already outlasted AI.“Vinyl has surged as a result of AI,” she notes. “I think vinyl purchases are a bit of an unconscious revolt against consuming music digitally on streaming platforms, and even more digestible forms like the sound clips on social media. I think AI will have a bigger impact, in the short term, on how music is made. I’m more  interested in seeing these [AI] tools used by individuals with inclusive politics so we can really assess what the detriments and opportunities will be.”

Madam Grace smirks enigmatically, shaking her head as she responds: “Vinyl records have survived civil wars, cultural genocides, the birth of cassette tapes and CDs, and the continuous threat of piracy. What is AI?”

There’s a popular African proverb that states,  “When the music changes, so does the dance.” It’s a reminder to stay flexible in times of great change. Africa’s vinyl journey and its enduring cultural impact offer us countless lessons on the power of adaptability and resilience. Artificial Intelligence might very well bring an end to the world as we know it today. But what has been done cannot be undone, and not even AI can undo vinyl’s legacy. 

Davido, ODUMODUBLVCK, and More Headline 2025 Spotify Wrapped

Posted on by Boluwatife Adeyemi

Since Spotify rolled out its Wrapped feature in 2016, the viral marketing campaign has quickly become a year-end cultural phenomenon, providing individual users with a personalised retrospective of their listening habits and broader regional statistics that illuminate the year’s musical landscape.  The Wrapped statistics are calculated by logging user data from January 1st to November 15th each year, covering a comprehensive ten-and-a-half-month period of listening activity.

This year’s Spotify Wrapped data for Nigeria was released on December 3rd, revealing a memorable musical year marked by the emergence of exciting new talent alongside the enduring dominance of established stars. Davido and Omah Lay’s smash hit “With You,” unsurprisingly, takes top spot on the Most Streamed Song list. But more interestingly, four newcomers—FOLA (“Lost”), Kunmie (“Arike”), Faceless (“Venus”) and Fido (“Joy Is Coming”)—take up space in the Top 10 list. 

 

Wizkid has been enjoying a remarkably active period, starting with the late 2024 release of ‘Morayo’ and continuing throughout 2025. Ending the year as the Most Streamed Artist, his productive run over the past year is clearly reflected in the Wrapped data. His album ‘Morayo’ takes the crown for Most Streamed Album, while its second single “Kese (Dance)” also appears in the Most Streamed Songs list, underscoring the project’s remarkable shelf life.

ODUMODUBLVCK has also enjoyed a great last twelve months, ending the year as the fifth Most Streamed Artist. His hit single “PITY THIS BOY” also comes in fifth on the Most Streamed Song list, while his album ‘INDUSTRY MACHINE’ appears on the Most Streamed Album list. Even though Asake had a relatively quiet 2025, his three albums fill out the Most Streamed Album list, showing just how much his music resonates locally. 

 

Ayra Starr’s significant local and international appeal is evident, as she leads the list for Most Streamed Female Artist and also appears on the Most Exported Artist list. Following closely is Tems, who secures the second spot on both rankings. The Most Streamed Female Artist list is filled out by other names, including Smur Lee, who capitalised on the momentum of her breakout year, Qing Madi, Tiwa Savage, Darkoo, and international stars like SZA and Billie Eilish.

More broadly, in-depth data revealed that local music consumption rose by 82% while Afrobeats’ upward trajectory continues, growing by 22% globally. This dual growth highlights a dynamic and vibrant music ecosystem where local engagement is soaring alongside a continual integration into mainstream global music. Spotify’s Head of Music for Sub-Saharan Africa, Phiona Okumu, agrees with this sentiment, stating that ‘Nigeria’s 2025 Wrapped paints a picture of a music scene that is absolutely thriving,’ in a recent press release. 

LOVN Is Just Getting Started

Posted on by Wale Oloworekende

It’s not every day that Mavin Records does one of its famed artist activations, and it’s even less usual for a new act on the label’s book to debut with just a single, but LOVN has always had to navigate a different pathway for much of his career. Born Akinloye Charles Temidayo, LOVN has had a long trudge to signing with Mavin, growing up in different cities across south-western Nigeria. 

LOVN’s earliest foundation in music was shaped by a mix of the Yoruba oral music he heard growing up and his experience growing up in his local church. In 2022, LOVN released his debut project, ‘This Is LOVN,’  an introductory five-track extended play that introduced his sound-bending style to the world, seeing him meld age-old and neo-African sonics, Fuji, and salsa music, as well as his wealth of experiences across beauty and fashion. 

In his new iteration with Mavin, LOVN has stepped out with a new single, “Sorry I’m Busy,” that captures the quest for motion that’s propelling him forward. Produced by Altims, “Sorry I’m Busy” is a groovy piece that lays bare the motivations for LOVN’s grind with his Fuji intonations adding a distinctive feel to the song’s layered composition. The single is taken from a debut album, ‘Soundbender,’ that’s due to arrive in March 2026. 

We caught up with LOVN to check in on how he’s feeling after his Mavin debut. 

 

What inspired your stage name?

It came after several reiterations from a friend suggesting ‘Loving Charz’ to me. I changed from ‘Loving Charz’ after I found out what ‘Loven’ meant, and adapting it. Then I thought to remove the ‘e,’ and here we are with LOVN

What do you hope to achieve in your career from here? What’s the big goal?

The legends are already doing it. My goal now is to be a notable part of the movement in making Afrobeats more recognized. I want to inspire young Nigerians and let them know they can do whatever they put their minds to.

What inspired “Sorry I’m busy?”

“Sorry I’m Busy” is inspired by my hustling spirit. I’ve picked up so many skills across my career. Apart from being a musician, I’m a makeup artist, stylist, and fashion designer. I was even a cleaner at some point. I’m very intentional about making money and making sure my family and I are comfortable. 

What does this moment mean for you?

The unveiling means a lot to me. Being a Mavin-activated artist has been a dream of mine, and it feels so great to see it come to life. Thankful to God, Don Jazzy, and the Mavin Team.

Listen to “Sorry I’m Busy” here.

uNder: Best New Artists (November, 2025)

Posted on by The Native

The conversations that keep coming up during our daily newsroom more often than not revolve around platforming the music we love and the communities that surround its wider culture. Very regularly, the music that excites our team reflects The NATIVE’s vision of being a bastion of music from parts of Africa and the Black diaspora. There are exciting acts from the ever-evolving Nigerian music underground, rising stars experimenting with Soul and Hip-Hop from across the Maghreb, as well as emotive singers from East Africa doing innovative work with R&B. 

Discovering these acts, being blown away by their skills, and informing our community about them continues to excite us more than three years after we conceived this column as a platform to spotlight talents that represent all that’s exciting about African music. In a world where marketing budgets, ad spends, and PR placements continue to reshape the music landscape, uNder is still our way of raging against the system and spotlighting deserving acts whose works are vital to sustaining the creative spirit that makes African music indispensable. For our November entry, we have Soulja, Egertton, Akeine, and Tageel. We hope you enjoy discovering them half as much as we enjoyed listening to their music and writing about them. 

Egertton

For Fans of: Rema, Cruel Santino, and Olamide.

In a sense, Nigeria’s underground scene set the tone for the country’s musical direction in 2025, with a series of stars rising to the fore for their genre-blurring music that localised western-originating styles and displayed the ingenuity that has come to be per course for the scene. Benin-born singer and songwriter, Egertton, exemplifies the freewheeling expressionism and madcap innovation that light up the scene, constantly imbuing his Hip-Hop-inflected sound with influences from Punk, Rock, and Soul without inhibitions. It has set the stage for an ascent that’s making him one of the most highly-regarded acts in the underground barely two years after he launched his career. 

Egertton came up in the labyrinthine halls of social media, figuring out his direction with a series of freestyles that spotlighted his intuitive knack for riding beats and finding unique pockets to operate within. He took things further with the release of singles like “SMOKING ON THIS SHIT FREESTYLE” and “FACTORY RESET” on SoundCloud, tracking his evolution in real-time. He made a definitive start with the release of January 2024’s “Dawn (Interlude),” a spoken word track that set the stage for the arrival of “Dawn” two months later.  Merging Hip-Hop and Punk, “Dawn” introduced the singer’s innovative take on Afropop while working as an astute opening gambit. 

In July 2024, he released another single cut from his Hip-Hop-Punk style in “Werey,” before teaming up with another rising act, Maradona XYZ, on the Drill-adjacent “Step II,” in December 2024. 2025 has seen Egertton maintain a consistent level of prolificity, starting with the release of his debut project, ‘KARNAGE,’ in May.  Housing previous releases like “Dawn” and “Werey,” the project expanded on Egertton’s rage vision with biting lyrics and even more attention-demanding instrumentation. Songs like “RAGE,” “CRAZE,” and “SHOW WORKING” are high-octane anthems built on the singer’s relentless drive. 

Less than three weeks after the release of  ‘KARNAGE,’ Egertton returned with a new single, “Oh Benita,” that found him incorporating more Afropop influences in his work. It’s a trend that has continued with the release of singles like “Diamondss” and “Issokayy.” The latter, featuring Hebronola, particularly represents a key juncture in his blossoming career, demonstrating an appreciation for slowed-down melodies that operate at the cutting edge of Afropop. His recent collab with scottyolorin, “MOLADE,” further brings that capacity into focus, hinting at the framework for a run and style that has the potential to take Afropop by storm.

 

Tageel

For Fans of: Bas, Flippter, and Rotation.

The masked Sudanese rapper Tageel has quickly become a major talking point in Sudan’s burgeoning Hip-Hop scene following the release of his critically acclaimed debut album, ‘Kitab,’ last year. In an interview shortly after the release of the album, when asked what musical era he would like to be part of if he could go back in time, he replied, “I actually do not prefer to go back in time. With music, it’s always the future I’m curious about.” This succinct answer gives insight into Tageel’s artistic ethos. Even though he’s inspired by the works of Sudanese icons like Mustafa Seed Ahmed and Mohammed Wardi, his take on music, Hip-Hop specifically, is mostly progressive, using Sudan’s rich cultural and musical heritage as a springboard for creating new sonic and lyrical landscapes.

The Riyadh-based lyricist released his first single, “Bl3ks,” in late 2020, introducing himself to a growing audience who buy into his rich tapestry of styles and sharp lyrical prowess. He went MIA for almost two years before resurfacing with the introspective “Game Over,” showcasing more of his lyrical ability and an ear for sturdy beats. A couple of successive singles, “Langa” and “Logha,” further established his renown before his 2024 debut album confirmed him as one of Sudan’s most promising Rap acts at the moment. The 2-disc LP merges his intricate raps, which detail some of his inner struggles as well as his relationship with love and spirituality, with varied production ranging from invigorating Drill beats to sombre piano chords. 

‘Kitab’ yielded a couple of tracks like “Najma,” which features MaMan and frequent collaborator Mvndila, “Faradi,” and “Loop,” all of which found relative success and received strong critical reception. Shortly after the release of the album, the rapper went on another hiatus, returning earlier in the year with a 5-track peace offering titled ‘SORRY 4 THE WEIGHT.’ Produced largely by hamadboi, Tageel experiments with Rage-Rap beats, laying his sleek, introspective bars over peppy, bass-heavy production. Three months after the EP’s release, he followed up with ‘Zoal Sakit,’ another 5-tracker that represented a stylistic shift away from the abrasive energy of its predecessor. Here, he embraces a more sombre style, showcasing his dynamism and his desire to continually push the boundaries of his music. 

 

Akeine

For Fans of: Joshua Baraka, Agaba Banjo, and Vanessa Mdee.

Akeine’s voice is a melting pot of influences that allows her to float between genres while exuding a unique delivery across songs that prick the ears and nudge listeners down a rabbit hole of aural curiosity. It is to be expected from the Ugandan singer who began exploring her affinity for music as early as age 10 and is currently navigating a career that is resiliently pushing her further since the inception of her debut single, “Wanted,” which explores the intricacies of a desire to dance untamed in response to a debilitating heartbreak.

In an Instagram Q&A, Akeine shared that music is her human diary, serving as a respiratory for all her emotions while providing a template to express similar feelings. Songs like “Untold,” “One Thang,” and “Better” capture the essence of those searing emotions, especially those involving a love interest, which is the prominent themes across her songs. Her only single for 2025, “MUKENE,” sees her in the romantic headspace, but this time she’s wooing her muse over a Dancehall-influenced instrumental. 

Akeine’s ability to harmoniously collaborate beyond a solo comfort zone further proves her ascendancy. Her most-streamed songs include “Saving the Love” with Koheen Jaycee,  the Chxf Barry-produced “Oasis” with mau from nowhere, and a full-fledged project with Axon, one of Uganda’s top producers. The EP ‘Niwe Akeine” houses another fan favourite,  “Tingatsiga,” and the Ugandan star boy, Joshua Baraka-assisted “Carry On.” Since Akeine’s debut in 2020, she’s moved with the gait of a woman who had waited for the right time to introduce herself to the world, setting the stage for the gradual growth that has been unfolding over the years. Her dedication to creating euphonious music indicates a natural aptitude for evolution, and with a little more attention, she is ready to walk into Uganda’s world of stardom.

 

Soulja

For Fans of: HUSAYN, Rod Wave, and Gucci Mane.

Usama “Soulja” Ashraf spent his early years in Omdurman before moving with his family to Malaysia, then Saudi Arabia. Those relocations shaped him more profoundly than he realised at the time. Rap began as a casual experiment in his teenage years, but the perpetual motion of his life honed his ear for cadence and rhythm. By the time he settled in Cairo in 2021, music had become the one part of his life that didn’t shift beneath him.

Like a lot of artists bubbling up from the greater North African circuit, Soulja found early footing online. His core directive remains rapping almost exclusively in his native Sudanese Arabic dialect, a choice that found viral resonance with the 2021 track “Charleston.” The song detonated online by mashing 1920s swing loops against the streetwise vernacular of Khartoum. But when Sudan’s crisis escalated in 2023, Soulja’s music followed suit, becoming more reflective and more insistent on bearing witness. That shift became fully realised with his debut album, ‘Deja Vu.’ 

Released in 2024, the project functions as a deep-set journal of a turbulent three-year period marked by war and displacement. It is preoccupied with absence and haunted by the pain that comes with watching a place you love go through violence while you live elsewhere. On “Hageega,” Soulja wrestles with survivor’s guilt as he laments seeing his home country fracture from a distance. He stylistically maintains a technical clarity that never dulls the emotional impact, sounding equally commanding over abrasive, distorted trap beats as he does within the sparse, haunted production that defines his more contemplative tracks.

Soulja has kept pushing forward with striking consistency, refusing to let displacement paralyze his output. His creative frequency remains startlingly high. In late 2024, he released ‘SUITS,’ a collaborative EP with Montiyago and producer 77, bristling with gritty, trap‑leaning tracks. Last month saw the release of the shadowy, beat‑leaden “Location,” delivered through an interactive video-game format. Armed with a sharp voice, a sharper flow, and a relentless sense of direction, Soulja is now actively campaigning for pole position in the evolving tier of MENA Hip-Hop.

The Cavemen. Are Still Evolving

Posted on by Patrick Ezema

During the Cavemen.’s show at the Koko Camden two years ago—their favourite performance to date—Kingsley Okorie, one of two brothers who make up the band, was moved to tears. It is his younger sibling, Benjamin, who tells me this, but what they both share is an awe for a night when they performed in front of a thousand Londoners and heard them scream back their lyrics. As the Cavemen. continue to make new music, expand their fanbase and tour the world, moments like these have become more common, but no less humbling.

Over Google Meets, the Highlife duo are telling me about the genre at the center of their music, and their latest album, ‘Cavy In The City.’ It builds on Highlife as a foundation while incorporating a spectrum of other African and Western sounds, making for their most experimental and sonically ambitious solo album yet. Benjamin is under the weather and so is only in and out of the interview, leaving the more reserved Kingsley to furnish me with most of the details of their upbringing, and how an early exposure to Highlife—from a father who was a major fan of the genre, and a driver that played Oliver De Coque on school trips—shaped the course of their lives.

 

They eventually became a formal band just after completing tertiary education: Kingsley, after earning a bachelor’s degree in law and finishing the Nigerian Law School; Benjamin, after studies at the Peter King College of Music, Badagry, Lagos. Their debut album, ‘Roots,’ simultaneously introduced them as auteurs of a much-overlooked genre and pioneers of a new iteration of Highlife that still held all the important identifiers. It is rooted in percussion, mostly driven by Benjamin on drums, giving the music an urgent pull to the dance floor. Kingsley’s bass lines supply a sonorous, soulful undercurrent to what is largely easygoing music.

Subsequent albums, ‘Love and Highlife,’ and particularly the brand new ‘Cavy In The City’ are more exploratory, incorporating a lot more Afrobeat, Funk and Jazz woven seamlessly on a base of Highlife. But Kingsley does not see this project as any more experimental than their debut. “We’re always experimenting. To me, when that first album came out, it was an experiment as well. So it’s interesting.” Benjamin later expands on this: “People don’t realize that we also played other styles of music before we became The Cavemen.. So we’re always doing different types of music, we’re experimenting a lot.”

A few of these experiments make ‘Cavy In The City’ the multifaceted, forward-facing album it is. “General” and “Agada” are a pair of songs placed at the heart of the album, stretching its scope. The Angelique Kidjo-featuring “Keep On Moving” is decidedly more African, but it draws equally from Afrofunk as it does from Highlife.

In some ways, The Cavemen. were born into their current path. Kingsley and Benjamin recall playing musical instruments since they were four and two years old, improvising with tables, wooden chairs and generally anything that would make a beat. At the time, the brothers were naturally inclined to the drums, but Kingsley would grow to learn strings as well and become the band’s bass player. They talk about how novel the experience is working as co-captains of the band and being joint conductors of their music. “It’s a unique circumstance,” says Kingsley. “But one thing is that we believe in each other. When somebody says, ‘Ok, this is what I’m thinking,’ the other person leans into it. Sometimes we find ourselves in a situation where we come up with the ideas at the same time.”

 

Critically, the brothers are becoming more open to collaborating with other artists. ‘Cavy In The City’ features Beninese powerhouse Angelique Kidjo and British-Gambian rapper Pa Salieu. “We were on the PJ Morton Tour in 2024, and during the tour, the song kept coming to my head,” Kingsley says about “Keep On Moving,” which features Kidjo. “Meanwhile, earlier in 2024, we did some sessions with Angelique Kidjo, and they went so well. We recorded “Keep On Moving” in November last year. We thought it needed an extra kick. We just thought, ‘Okay, let’s send it to Mama, let’s see if she likes it.’ She sent it back to us in four days, and it was perfect.”

Before they made this song, both acts had appeared on Davido’s “NA MONEY,” off his 2023 album ‘Timeless’—a song whose Highlife-leaning direction they undoubtedly engineered. The brothers tell me this is deliberate, the way nearly every guest appearance by The Cavemen. sounds like a song right out of their album. Kingsley says they’re keen “to influence the sound, not just feature,” and spread their musical doctrine wherever they go. 

In recent times, this has also included Asa’s latest album ‘V,’ a feature he describes as a dream come true. “I feel like we are doing it because she did it, we’re artists because she was an artist. So I feel like that collaboration kind of started when we heard her for the first time, in 2009 or so. Fast forward to 2020, we met in person and had a glorious time, we’ve all been very close since then.”

Last year’s joint album with Show Dem Camp, ‘No Love In Lagos,’ is perhaps the clearest expression of The Cavemen.’s vision for collaboration. The synergy between the two duos gives all four acts enough room to express themselves, with The Cavemen.’s choruses intersecting neatly with SDC’s classic Lagos Big Boy rap. “We always love to break records,” Kingsley remarks on the LP. “We always love to extend what is obtainable. And you never just see two duos coming together to do a project.”

For music fans, something about live performances feels ethereal and even transformative; it is for this indescribable feeling that they part with large sums of money to hear songs they already have. The Cavemen. admit that this feeling is the same for them, the performers. “It liberates us when we play in front of people,” Benjamin says. “It amplifies everything. People can really see your true emotions as to why you wrote the song and how the song makes you feel.” 

 

Seven years after taking music seriously as a profession, it still amazes Benjamin to see audiences sway to their music, especially abroad. “You go to the most random place, and somebody is now saying, ‘E nwere ezigbo nwanyi’, and I’m like, ‘How do you know ‘E nwere ezigbo nwanyi?’” he says with a laugh. “It’s incredible to see, especially Igbo music, travel that far to these tiny little corners in London or Amsterdam or Finland.”

The brothers are aware of their position as ambassadors for Highlife, a role they do not shirk from but also don’t particularly glamorize. Kingsley enjoys the niche they occupy and how it sharply demarcates them from what is currently obtained in Nigerian music.” Nothing beats having your own island,” he says, and what makes them particularly fulfilled is being able to guide a younger generation towards the genre and artists that shaped their own upbringing, becoming vessels for Highlife’s continued legacy. 

‘Cavy In The City’ showcases their talent and range, presenting a collection of songs that reflect on love, life, and relationships while drawing listeners into their effortless, joyful world. The Cavemen. chose their name to reflect the purity and primitiveness of their music, but this band of brothers continues to evolve.

Listen to ‘Cavy In The City’ here. 

CAF Is Bringing The AFCON Trophy To Europe On A Diaspora Tour

Posted on by Wale Oloworekende

The Confédération Africaine de Football (CAF) is set to launch the TotalEnergies CAF Africa Cup of Nations (AFCON) Morocco 2025: Diaspora Tour. More than a tour, it showcases the spirit of African football with triumphant stops in London on November 28th and Paris on December 4th, 

This tour aims to forge an unbreakable bridge between the African continent, its premier continental showpiece, and the diaspora that champions them. Imagined as a powerful celebration of a shared identity, the continent’s rhythm will resonate with its global children.

The presence of the TotalEnergies CAF Africa Cup of Nations trophy will headline the diaspora tour. Its journey to London and Paris is a symbol that the ultimate prize of African football belongs to all Africans across the globe, wherever they may be; from Casablanca to Paris, Lagos to London.  

The London stop of the Diaspora Tour will feature musical performances from African superstars ODUMODUBLVCK and Stonebwoy, as well as engaging roundtable discussions with the biggest names in football & culture. The event will also feature a trophy reveal moment of the TotalEnergies CAF Africa Cup of Nations trophy. 

 

The 35th edition of the Africa Cup of Nations will kick off on the 21st of December, as 24 countries battle to replace Ivory Coast as the champions of Africa. 

The presence of the TotalEnergies CAF Africa Cup of Nations trophy will headline the diaspora tour. Its journey to London and Paris is a symbol that the ultimate prize of African football belongs to all Africans across the globe, wherever they may be; from Casablanca to Paris, Lagos to London.  

The London stop of the Diaspora Tour will feature musical performances from African superstars ODUMODUBLVCK and Stonebwoy, as well as engaging roundtable discussions with the biggest names in football & culture. The event will also feature a trophy reveal moment of the TotalEnergies CAF Africa Cup of Nations trophy. 

The 35th edition of the Africa Cup of Nations will kick off on the 21st of December, as 24 countries battle to replace Ivory Coast as the champions of Africa.