Asake, Burna Boy & the trend of anthemic choruses across Nigerian Pop
One of 2022's longstanding highlights
You might have observed a recent trend in Nigerian music: the anthemic chorus. Backed by several singers who sound like they’re in the studio, musicians have created energetic bops which, more or less, have ruled mainstream Pop this year. If we have to trace an initial point of prominence, we’d have to return to the earlier months of 2022, when Olamide, again, pulled a masterstroke of business to bring Asake to YBNL.
Asake has been at it for a while, most notably with his propulsive street-pop hit “Mr Money,” a moniker he would go on to adopt as a way of pre-empting his superstardom. But the immediate appeal of his renewed sound, largely responsible for his mainstream breakout, was the pairing of his caption-ready writing with choral elements, how finely that blended into the rippling percussions he was adapting in his sound. With this he made “Omo Ope,” calling on his legendary boss who reaffirms that it’s Asake time. Across the country, the song caught on like wildfire. It went on to spend several weeks at No. 1 on Turntable Top 50 weekly chart.
His eponymous EP ‘Ololade Asake’ was released not long after, and all its four songs had a similar style, featuring chanted choruses with stacked vocals. “Sungba” soon became a fan favourite, and its cult classic status was only elevated when Burna Boy got on the remix. That collaboration birthed an assortment of quotables (“My problem is I too sabi” being the most popular), moving into the magnetic pull of its chanting chorus.
If Asake has been getting any slack on how frequently he’s drawing from this particular well of sound, it’s worth knowing he isn’t the only one with the understanding of where Nigerian pop currently is. The continued success of “Palazzo” can be considered a cheeky rebuttal to those suggestions that the vibe might have been too stretched. And the potency of the hit records that’s been lined up after “Omo Ope” prove this fact as well: no one knows what’s likely to blow. If it bangs, it bangs.
At this moment in musical history, social media undisputedly influences the consumption of music. Not long ago American musicians got on their personal handles to complain that they’re being pressured by label executives to trend on TikTok. It’s quite obvious how forcing art into ephemeral boxes of mass attention isn’t a sustainable plan, especially if the artist has strong intentions about the presentation of their art. Yet, TikTok moves even more extensively into the music industry, bringing down barriers between audio and visual, and reshaping our perceptions about what a record label looks like. For musicians who haven’t had the biggest budgets, there’s an unquestionable appeal towards TikTok.
After playing a prominent role in the hit status of “Love Nwantiti” and “Essence”, its pathway as a viable means to international acclaim was immediately gleaned. It was, however, Pheelz who brought the chants into the space of TikTok, and in so doing highlighted the innate relationship between the two phenomena. Being a social space, the allure of TikTok hinges on the blossoming of its community, the ability to avail its users the sensation of being part of something that extends beyond whichever room you are, wherever in the world. Then you hear a song full of happy voices screaming lyrics which you can’t help but agree with, no matter how absurdist or extreme it sounds.
I’m sure there’s a number of songs you know which draw from said style. It’s ingenious, but one thing it is not is novel. Again, we go back to Asake, whose exciting artistry has elicited the opinions of several music heads I respect. Among the lot of them, the consensus is that Asake is influenced by Fuji and Juju music, incorporating some of its classical practices into his sound. His usage of Yoruba is only the lyrical aspect, he also follows the flagrant rhythms, interchanging melodies within tight spaces to create an ultimately cathartic effect. The chanting chorus can also be heard in several songs in those genres, using backup singers to amplify the often groovy message of the lead musician.
Those genres in no small part influenced the foundational sound of Nigerian Pop in the 2000s, especially in regards to the utilisation of elements besides the musician’s voice. Adlibs were an important part of this era, a time when Street Hop was beginning to exert the influence it would continue to demonstrate two decades later. Still, the background chants improved the overall feeling of Timaya’s “Dem Mama“, X Project’s “Lori Le”, and Junglist Boys’ “Tell Them Say”, sounds which peeled into entire demographics on the mainland and revealed their biggest motivations: to live an enjoyable life and that one day its shining lights—the musicians—would go into the world and do great things, with the streets solidly behind them.
There’s probably a more nuanced conversation to be had in actuality, but it’s easily understandable why Nigerian listeners would seek themselves in these records. Emotional relatability remains a huge part of why certain songs do well and others don’t; the most natural response to a lyric you’re familiar with is to sing along, and it is this facet of humane connection the trend feeds into.
It’s typical for Afropop to look back at its past, to seek new ways to interpret their sonics. For some musicians like Burna Boy and Dice Ailes who I recently interviewed, it’s an hitch-free entry into the idiosyncrasies of a generation different from yours, in the process unlocking a sweet spot of nostalgia the listener might not even be aware of. If anything evolves in its application, it is the specific details across the distinct eras, the references which timestamp the revealing space in our collective memories between then and now.
Another prominent angle is the position of Nigerian pop in the world. It might very well be created and inspired by the internal happenings of the country, but there are far broader stakeholders influencing its trajectory at this very moment. Not far into the distance, summer looms and hits must be made. I imagine the label execs on the phone to the A&Rs, the artist listening on with a glass of whiskey by the side.
There’s no greater PR for a trend than when big artists jump on it. Asides the natural increase in listeners, it’s considered with more heft–either apprehension, or appeal. I wasn’t online when Wani called this trend “the new format” but I eagerly followed the conversation after. The opinions were as divisive as you’d expect, some rightly stating that chants have always been a part of African culture; others thought it was merely a rush inspired by commercial prospects and nothing more.
It now makes sense to introduce the two biggest artists who’ve taken to the trend. Coming from ‘A Better Time’, Davido has mostly taken the route of features to showcase his unique understanding of Afropop, giving career-high verses with every song from “Champion Sound” to “High.” When he shared the trailer to his first song of the year, it was with overtones of a changing sound, a slight shift from the pomp he’s more associated with.
His latest song “Stand Strong” features the Sunday Service Choir, the famous collaborators of Kanye West, who has himself been recently incorporating African American gospels into his smattering 808s. This was the immediate reference for a lot of people when they saw the trailer, but Davido’s song bears strong trademarks of the startling vulnerability he’s shown across his discography. At a time when he’s more engrossed in his father duties, he’s also caught in the tangles of social media communications.
It’s a field he’s commandeered considerably well for a long time, doing no long term damage to his image while he often colours the obvious charm of his personality. He’s the perfect person to inspire you. When the choir enters, it’s a throwback into the gospel mornings so many of us had, which was somehow playing in the background as long as our parents controlled the playlist. The overall effect of the chants are therefore of artistic merit, and the record undoubtedly one of the year’s better releases.
“Last Last” might have premiered at the Madison Square Garden, but its success still exceeds expectations. It’s the kind of record that’s so unapologetically Nigerian it can become anything else. Having been touted by Spotify as one of the songs likely to become the song of the summer, it’s been elevated into the rare pantheon of hit songs that become classics almost immediately on release.
The song had the combination of all that makes Burna Boy one of the most exciting artists in the world right now: humour, vulnerability, groove and deliberation. Sampling Toni Braxton’s classic “He Wasn’t Man Enough” was a fine undertone to his account of a breakup, and when the “I need Igbo and shayo” chant comes on, it’s as natural as a guy hanging out with his friends, pouring his heart out.
I guess the new format is to have niggas chanting on the chorus
— WANI (@WANIWONDER) June 9, 2022
While this trend might be viewed with scepticism, what really can’t be denied is its usefulness right now. In light of all the festivals happening around the summer, it helps to have that line in that song which people can scream back at you. Which all points to the fact that more musicians will be featuring chants in their choruses. At this very moment, Ladé is primed to become another sensation who deftly worked the trend into poignant and relatable social material on “Adulthood Anthem”. I think it’s telling that even as a music journalist constantly on the prowl for new music, the first couple of times I heard the song was on the WhatsApp status of some friends.
And perhaps that’s the point: that at this moment in time, we seek anything that brings us warmth, and if it’s tens of voices screaming into a microphone from a studio we don’t know, and if the song is good, then we’ll sing along. There should be no fear of slithering into monotony. The scope of Nigerian music, after all, recedes far from the focus of mainstream attention. There’s a bit of everything everywhere, for those who take the time to search.
ICYMI: WHY NIGERIAN POP LEFT THE STREETS
Fido Wants To Leave A Mark
Building on the momentum of hits like “Awolowo" and “Joy Is Coming,” ‘Olayemi’ marks a pivotal...
Confidence is a rare trait that eludes many, but Fido, born Olayemi Josiah Awosika, wields it like a maestro conducting a symphony. Growing up between Lagos and Matogun in Ogun State, locales where hope and grind intertwine, Fido describes his childhood as amazing. “I was born in Lagos, but my parents are from Ondo State,” he tells The NATIVE. “I don’t have much to say about it, but I had a great childhood with the best parents in the world. They supported me, and I’m grateful for that.”
Unlike other artists who inherited their passion for music from family, Fido’s interest came about by self-discovery. “My music came from within me,” he says. “No one in my family is a musician or into music professionally. I discovered this talent in me, and it just felt natural to pursue it.” That realization hit at age 14, igniting a zeal that propelled him toward the industry. “That’s when the zeal to pursue music hit me,” he recalls. “I knew I wanted to make a name for myself in the industry.”
Inspired by Afrobeat legend Fela Anikulapo-Kuti, Juju great King Sunny Adé, and Fuji icon K1 De Ultimate, Fido developed his unique style, drawing on the soulful storytelling style and infectious energy of the trio’s music. “Their music had soul and told stories that connected with people,” he explains. “That energy and authenticity pushed me to create my sound.”
Fido’s breakout single, “Awolowo,” released in 2024, became a defining moment for him, blending melodic Afropop grooves with streetwise lyricism, the song elevated him to the top of the genre. “It’s a ganja vibe, you know?” he says, laughing. “When I heard the beat, the inspiration just flowed naturally. It was divine, like the music came straight from my soul.” Navigating fame has been a learning curve, but Fido has embraced it with gratitude. “It’s been great, but it’s also a learning process,” he admits. “Fame comes with new responsibilities, and I’m figuring out how to grow and develop myself.”
For Fido, timing is crucial, yet the singer believes there’s no such thing as a perfect moment to share his music. His debut EP, ‘Olayemi,’ was released on August 1, 2025, marking a vibrant, new chapter in a journey ignited by self-discovery all those years ago. “There’s no perfect time, you know?” he says with a grin. “My fans kept asking, ‘Fido, when’s the project dropping?’ So, I worked with my team, and we decided it was time to put it out.”
Building on the momentum of hits like “Awolowo“ and “Joy Is Coming,” ‘Olayemi’ marks a pivotal milestone for the singer. With a title taken from his birth name, the EP is a deeply personal reflection of his upbringing and journey. “The project is about me, my culture, my upbringing, and my roots,” Fido explains. “It’s about letting people know who Mr. Fido is.” The eight-track project, curated from a vault of recordings spanning years, balances introspection with infectious energy. “I’ve been recording for years,” Fido notes. “For ‘Olayemi,’ I picked songs that felt right for my fans and aligned with my story.”
Across its tracks, ‘Olayemi’ captures Mr. Fido’s remarkable journey from the quiet streets of Matogun, a border town in Ogun State, to the global music stage. The EP traces his path from a struggling unknown to a rising artist on the cusp of stardom, weaving tales of hardship, hope, and triumph. Songs like “Lungu” and “Boko” lay bare the weight of his past struggles, while “Money Moves” channels a buoyant resolve and “Dollarpor” blends Yoruba and English to manifest future success.
Fido’s creative process is a masterclass in effortlessness, a quality he proudly owns. “It’s always easy for Mr. Fido,” he declares with a laugh, a mantra that defines his approach to music-making. “I get in the studio with my producer, he plays the beat, and I vibe. Sometimes I write, sometimes the inspiration hits right there. It’s natural. When asked about challenges in the studio, he doubles down on his confidence, “Nah, it’s always easy for Mr. Fido.”
That ease shines through on ‘Olayemi,’ seeing the singer blend Fuji and contemporary pop influences to create a sound that feels both nostalgic and fresh. His ability to let the music flow without forcing it has become a hallmark of his artistry, setting him apart in an industry often marked by overproduction.
In all, the release of ‘Olayemi’ is a defining moment for Fido, who describes it as “a huge milestone and a step toward greatness.” He’s thrilled with the response from his fans, who have embraced the project with enthusiasm. “The reception has been amazing, fans are streaming it, and they love it,” he shares, his excitement palpable. “When you listen to the EP, you hear my story, my upbringing, and where I come from. It’s personal, and I’m thrilled that people connect with it.”
As he looks to the future, Fido is focused on taking his music to new heights. “Expect more greatness,” he declares. “I’m aiming to take my sound international, representing us on a global stage. I want to be a good example for the genre, both locally and worldwide.”
Listen to ‘Olayemi‘ here.
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Best New Music: Luwa.Mp4 Lays Bare The Anxieties Of A Non-Conformist Lifestyle On “pEEP MY RIDE”
On "pEEP MY RIDE,” Luwa.Mp4 is able to force a confrontation with the misunderstanding that accompanies a...
Luwa.Mp4 has always committed to the part right from the start. The rising singer and rapper presented himself early on as a musical chameleon who embodied the Punk ethos of non-conformity and a do-it-yourself ethic. If his fluid songs which mostly fused Hip-Hop with elements of Rock didn’t convey his message adequately, his outlandish fashion choices drove home the point.
His signature mohawk and audacious fits earned him the “alté Balotelli” moniker as he also channelled some of the football maverick’s mercurial spirit. He’s kept that unwavering commitment to this artistic vision alive on his recently released debut album ‘punKstA*,’ a definitive and concise body of work that helps solidify his creative identity.
Across the album’s 12 songs, Luwa.Mp4 expands on his auto-tune-drenched, sing-rap melodramatic multiverse, displaying the remarkable dynamism that has established him as one of the most unique and daring acts around. On the pounding album opener, he declares himself a “staR” rapping, ‘Apart from the fact that you ain’t got my teflon, nigga I’m the best and no one’s reaching me I swear,’ with the confidence and arrogance of a certain American controversial rapper-producer phenom.
He goes on to back up this claim through the album’s 25-minute runtime, fusing genres like Punk Rock, Afropop, Hyperpop, and Rap with a breezy nonchalance while also making frequent excursions into Electronic music terrain. Arguably, the album’s strongest offering comes in the form of “pEEP My RIDE,” one of the few downtempo cuts that appear in the project’s second half.
Produced by JTRN, “pEEP My RIDE” is an instant feel-good record that evokes some of the nostalgia of the MTV television series that its title slyly references. It’s the kind of music you want to drive around town with the top down to. “This is the Lagos living, ooh? (Ooh) / Yes, I’m driving in a Lexus, down Bourdillon Road,” he sings coolly in the record’s opening seconds.
The first verse, however, gives a depressing glimpse into the shared reality of many young Nigerians, but more peculiarly, one that he faces due to his lifestyle and creative choices. “First stop I see police but they won’t stop me / Coz me and cyk riding in a big body / Only thing they could ask me for is a lil’ money / But they won’t tell me, “Get down,” they think I’m somebody’s son,” he sings.
The follow-up lines paint a more frightening picture: “If I was in an Uber, it wouldn’t be fun / They always say I’m a scammer or I have a gun / Acting like I’m Jeffrey Dahmer but I’m not on the run.” It’s relatable and distressing, but like many great artists, Luwa.Mp4 manages to turn some of his most morbid experiences and moments into something truly compelling.
After crossing the first metaphorical checkpoint, the rest of the ride/record feels more celebratory and less anxiety-laden. The song eventually transitions into the more boisterous “pAPARAZZI,” as he resumes making bold artistic choices and claims that deliver on the album’s title. However, through the sticky melodies and ambience of “pEEP MY RIDE,” he’s able to reflect on the price of choosing and living a non-conformist lifestyle, forcing a confrontation with the solitude and misunderstanding that accompany a path less traveled.
Listen to ‘punKstA*’ here.
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DEELA Teases Forthcoming Mixtape ‘Wicked’ With Unapologetic “Slide”
“Slide,” which was produced by frequent collaborator Genio Bambino and Dera, features more unapologetic...
Rising rapper DEELA has shared a new single titled “Slide.” The latest release comes as her third official single of the year, as she continues to build anticipation amongst her growing fanbase for ‘Wicked,’ a new forthcoming mixtape that she has been teasing for a few weeks now. The mixtape, which is set for release imminently, will arrive a few months shy of a year since her last project.
After kicking off 2025 with a couple of producer edits of “Kryptonite,” one of her standout releases from last year, DEELA released the bouncy “HEATER,” her first official single of the year, which featured Genio Bambino and American rapper and producer Vayda. A few weeks later, she released the fiery “Supreme Dee,” a self-assured bop where she declared herself, ‘The one, the truth Supreme Dee.’
“Slide,” which was produced by frequent collaborator Genio Bambino and Dera, features more unapologetic shit talking in usual DEELA fashion. The pace here is a lot quicker than her earlier releases from the year, as she mouths off about the jewellery on her wrist and her dislike for hypocrites over pulsating drums and swirling synths. ‘Used to be shy, so meek / Bro fuck that, I want the whole world now,’ she raps confidently with the same brazen swagger that continues to earn her a growing audience.
The forthcoming ‘Wicked,’ will come as the follow to 2024’s ‘Good Girl No Dey Pay.’ Shortly before the release of “Slide,” the rapper appeared on Foundation.fm, a female-led community station where she revealed that the new mixtape will feature 8 tracks, a couple of fun features and different sounds.
Listen to “Slide” here.
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