Asake Wants To Bring His Lungu To The World
Asake understands the scale of what his people are up against and what it means to be a dreamer
Since the very start of his mainstream ascension, there has been very little doubt in Ahmed Ololade’s mind about who he is, what he represents, and how he should be regarded. On a verse off his 2022 hit,“Peace Be Unto You,” he famously affirmed, “I just blow but, omo, I know my set.” It’s a brag that points directly to a level of self-assuredness that’s rooted in Asake’s personal conviction about his status and a calmness about the journey that has landed him at the cutting edge of Afropop after years of toiling in the underground.
In many ways, the most distinctive factor about Asake’s music from 2022 till now, is how unabashedly reflective it is of his origins and where he comes from. No one can come away from listening to songs like “Sungba,” “PALAZZO” or “2:30” and think that Asake is anything but a Street-pop star forged in the crucible of Lagos Island for a global audience. Many times across his debut album, ‘Mr Money With The Vibe,’ Asake is leaning into Lagos-specific street slang and idioms that function both as a narrational tool and quasi-homage to the people that understand the weight of the topics he’s tackling and reflecting on. 2023’s ‘Work Of Art’ was more euphoric but no less instructive to understanding Asake’s id and how he’s engaging with the world as a kid from inner city Lagos that has seen his music garner a worldwide audience.
While the specifics might differ, there is a common thread woven through the lived experience of people in inner cities across the globe. Too often, they’re the most vulnerable, relegated to society’s lower rungs with little to no access to adequate healthcare, education, and social infrastructure needed to make their lives easier. In lieu of government-led interventions that can easily improve their conditions and help them escape the cycles of poverty that are endemic to these places, what most people have is dreams; using them as an escape from the collapse and rot that surrounds them.
With seemingly few other pathways to success, many inner city kids dream of blowing up as footballers or musicians. And having no help in sight, they often cling to the hope that they can will themselves and their loved ones into better circumstances off the backs of their skills on the pitch or in the studio. It’s the same story from the hoods on Lagos’ mainland, to the favelas of Rio De Janeiro – the goal is to blow up fast and escape systemic poverty.
Born and raised in Lagos Island, Asake understands the scale of what his people are up against and what it means to be a dreamer. On “Nzaza,” off ‘Mr Money With The Vibe,’ he famously sang, “I show them pepper kin to sanle,” which translates to an admission that he was mischievous before he ran away from home. In an interview with GQ, Asake shared that he got his stage name tattooed on him during a period of self-doubt, in order to essentially lock himself into his musical dream and spur him to go harder.
Per American psychologist Abraham Maslow’s hierarchy of needs, the highest level of personal achievement is self-actualisation. It’s the level at which one has conquered elemental concerns for safety and sustenance, as well as attained both self-understanding and freedom. In the less than three years since Asake and Olamide originally collaborated on a remix of “Omo Ope,” Asake has worked his way up Maslow’s pyramid, channeling joy and satisfaction every step of the way. Just 12 days into 2024, he released a new single, “Only Me,” that distilled his feelings about his new station in life into two minutes and 39 seconds of a maximum bragging about his class ascent and the perks of being rich, all while demanding applause from his audience.
Just weeks later, he kept up with his documentation of the good times, collaborating with Zlatan on “Bust Down,” a triumphant luxuriation in the success that their work has afforded them. It stands in stark contrast to the hopeful tenor of Asake’s hook on “Peace Be Unto You” from just two years ago where he sang, “Je ka won padi mi ma biza, thank you,” beseeching a supreme being to look positively on him and his friends as they put the work in. Still, as Asake prepares for a new era, it hasn’t been all parties and jet setting from him; there’s also been moments of reflection, with him recounting the cost of his success and the path that has led him on to being a global force. It’s evident on “BROTHER,” his stirring collaboration with long-time friend and confidant, Ashidapo. “The pain that you feel when food no dey / Na im go make you ginger properly,” Asake soulfully sings on the song’s first verse.
By the time he guested on Victony’s “Stubborn” in May, it was all too clear that Asake was gearing up for a monumental release later in the year. On his verse, he was hinting at the rougher edges of stardom and increased pressure, channeling the same melancholic energy that birthed “Lonely At The Top,” a ‘Work Of Art’ favourite that’s noted for its stripped down approach, vulnerability, and candour. Definitive confirmation of Asake’s third album came last month with the announcement of his “Lungu Boy” tour that takes its name from the album’s title, and means a hood boy or someone that maintains a close familiarity with the streets.
By tapping into a variety of emotions and sharing how he’s feeling with his audience ahead of his third album in three years, Asake is letting everyone know that he’s standing on the precipice of the highest step in Maslow’s hierarchy of needs: self-actualisation. A constant theme in Pop music is returning to – or reclaiming – one’s roots to seek fresh impetus for a forward vaunt, and it’s what Asake is potentially looking to do with ‘Lungu Boy.’ After the swashbuckling breakthrough of ‘Mr Money With The Vibe’ and the mythos-setting ‘Work Of Art,’ Asake is using his music as a tool of connection to the labyrinthine streets of Lagos Island and its propulsive energy, while finding new lanes of expression in Street-pop and helping to codify the sub-genre’s tenets. On a personal level, one can tell that the singer is in a new place as he looks to ring in ‘Lungu Boy’: gone are the colourful dreads and artsy grills that provided a visual accompaniment to his blistering come-up; in their place are smart twists and a liking for sport streetwear fits that accentuate his lean frame.
View this post on Instagram
In June, Asake released “Wave,” the lead single off ‘Lungu Boy’ and it’s an instructive look at what the album might offer. Produced by close creative partner, Magicsticks, there are visible elements of Amapiano’s distinctive shakers and log drums as Asake sings about living up the good life and never backing away from a challenge. With a video shot in Lagos and referencing the iconic Afrikan Shrine, Asake is paying homage to one of the city’s most iconic cultural landmarks while his lyrics say that he doesn’t want to be stressed. Joined by British rapper, Central Cee, it’s the sort of groovy summer-ready song that Asake has made a stock-in-trade since his breakthrough in 2022.
In conversation for his 2022 NATIVE print cover story, Asake noted that his artistry is heavily influenced by Fuji, a mainstay in Lagos Island during his early years. “Omo, me I be Fuji artist o,” he said, proudly declaring his allegiance to the storied Yoruba oral genre that has produced legends like Barrister, KWAM 1, Saheed Osupa, Pasuma, and Adewale Ayuba. In fact, “Raise The Roof,” an Adewale Ayuba and Jazzman Olofin song is sampled on “Active,” the Travis Scott collaboration that’s sure to be a highlight on ‘Lungu Boy.’
As both he and his music travel the world, Asake has continued to find ways to infuse Fuji in his sets. Tour videos have shown him enjoying an instrumental performance of K1 De Ultimate’s “Aluji Mi” and vibing to Fuji jam sessions on stage. Per the album’s tracklist, “Fuji Bonus” will be a bonus track but it’s already one of the most eagerly-anticipated songs on the album due to some pre-release promotion that has seen snippets of it go viral on social media. Originally, many thought that the song would be titled “Fuji Extravaganza.” It was first recorded as a cover of Olamide’s 2017’s hit “Wo!!” but has now been reimagined as the latest evolution of Asake’s relationship with Fuji as he continues to pay homage to the iconic genre and bring it to more mainstream audiences.
An important part of the ‘Lungu Boy’ universe has been the visuals that have propped up the world Asake is building. Some of his tour stops have featured memorabilia that proudly celebrates the streets of Lagos Island as the singer leans into his heritage. Places like Adeniji Adele, Freedom Park, and Marina are referenced and brought to life from stop to stop and will be a key part of the ‘Lungu Boy’ tour going forward. Whatever happens next, one thing is certain: now more than ever, Asake knows who he is and where he’s headed and he’s determined to bring his hood on the ride with him.
Rema Has Another Banger With Explosive “Kelebu”
The Rave Lorde has kept to his word to deliver a summer hit.
Rema has released his highly anticipated new single “Kelebu.” Early last month, the Benin-born star took to social media to promise an incoming summer release. ‘Still owe y’all that summer Banger,’ he tweeted. Weeks later, he gave more insight about the direction of his forthcoming release, tweeting, ‘Ok.. I want y’all to DANCE this summer!’
After much anticipation, the singer posted a snippet of “Kelebu” in usual fashion, promising $10k for whoever comes up with an easy dance challenge and raising excitement for what is probably about to become a dancefloor staple quickly.
The self-proclaimed Rave Lorde seemed to have favoured a more tempered approach in the last few months, opting for the sheen and soulfulness of R&B on his first two releases of the year. “Baby (Is it a Crime),” which had already taken on a life of its own even before its official release, gives Sade’s 1985 classic “Is It A Crime” an Afropop and R&B facelift, while “Bout U” sounds like it was picked out of a 2004 Marion Winans release.
With the release of “Kelebu,” Rema returns to the familiar chaos of 2024’s ‘HEIS,’ borrowing from an array of genres to create what is, without a doubt, one of his most exhilarating releases to date. Teaming up with close collaborator London and the German-born Ambezza, “Kelebu” takes inspiration from a host of regional genres like Dominica’s Bouyon and Mara, the new Street-Pop subgenre that’s recently come into prominence. There’s also strong Makossa and Coupé-Décalé influences across the track as Rema tears through the riotous beat with breakneck pace.
Whether “Kelebu” fits into a bigger picture or is the start of something new remains to be seen. You can never be too sure with Rema. He could be teasing several Trap-inspired songs one minute, and then go ahead to release a sensual R&B record the next. The Mavin star is somewhat unpredictable, and that’s part of his huge appeal. You’re not certain what comes next, but you’re seated for the ride regardless.
Listen to “Kelebu” here.
Keep reading...
The Locales That Shaped Our Favourite Afropop Stars
Markers of those places inevitably show up in the music of our favorite stars, enriching our soundscape and...
The concept of origin and heritage has never been more important in Afropop than right now. As the edges of the sound broaden and influences spring forth from all over, artists are increasingly taking on ambassadorial roles that see them represent the people, attitude, and ideals of where they hail from. Whether by birth or upbringing, artists are intrinsically tied to and influenced by these places where they have spent significant time socialising and soaking up influences. The markers of those places inevitably show up in their music, enriching our soundscape and furthering our collective cultural memory.
Whether it is Olamide putting on for Bariga on “Oga Nla 1” in tandem with Alhaji Wasiu Alabi Pasuma and Lil Kesh or Burna Boy beautifying Port Harcourt on “City Vibration,” we get a glimpse into these places beyond run-of-the-mill news that doesn’t offer a rounded perspective on the inner workings of the community. We are at once witnesses to communal struggles and pain via these artists’ perspectives, as well as willful participants in their ascension to musical superstardom while doing their best to hold on to their communities.
We compiled a list of some artists whose rise and continued success pay homage to the communities that raised them.
Wizkid, Ojuelegba, Surulere
It’s pretty befitting that the quintessential Wizkid song is “Ojuelegba,” a cut from his 2014 sophomore studio album, ‘Ayo’. While the singer has paid homage to his birthplace on a few previous occasions, no song venerates the Lagos suburb quite like “Ojuelegba.” Even as he made the smooth transition from national hero to global superstar shortly after the release of ‘Ayo,’ the album’s standout track continued to serve as a melodious autobiography that helps establish his roots for those unfamiliar. The song’s accompanying music video also captures the suburb’s bustling energy, as well as the unforgiving conditions that produced him. – B.A
Burna Boy, Port Harcourt
One of the many things that Burna Boy speaks with pride about is his native Port Harcourt. He constantly ensures that his city is at the forefront of his craft, dedicating songs that either narrate his experiences in the Garden City or highlight some of the social and political issues plaguing his home city. Songs like “Where I’m From” and “Ph City Vibration,” highlights from his third studio album ‘Outside,’ double as sturdy deep cuts and brief history lessons about Port Harcourt. In late 2022, the pop star also released a short documentary for “Whiskey,” detailing the environmental crisis in his birthplace. – B.A
Olamide, Bariga
No Nigerian artist is as representative of mainland Lagos as Olamide Baddo. Still, even the mainland is not a monolith, as different areas have their quirks and unique colorations. Bariga, Olamide’s neck of the woods, has been an ever-present in his music from the very beginning of his career, providing inspiration and grounding for the street-pop juggernaut who references the lessons learned and tales handed down in his hood. “Money,” the opening track from his sophomore album, ‘YBNL,’ features a bus conductor calling out for passengers to Ladilak, Bariga, forever immortalising the Lagos hood on wax. On “Rep Adugbo” from his incendiary ‘Baddest Guy Ever Liveth,’ he’s similarly unabashed about his dedication to Bariga, its inhabitants, and authority figures. Even superstardom hasn’t dulled those representative instincts: on “Supplier,” from his 2023 album, ‘Unruly,’ he’s keen to remind anyone listening that he carries Bariga with him everywhere he goes. – W.O
Asake, Lagos Island
Asake could only have emerged from the crucible of Lagos Island. There’s something about his carriage that undoubtedly suggests an upbringing in the oldest part of Lagos, and even though he doesn’t always directly reference Lagos Island, the seeds of its influence are in the margin of his work. The back and forth between Islamic and Christian motifs in his work is a legacy of the religiously tolerant culture of Lagos Island, and his slang usage reflects a stint living in the ocean-side community. Perhaps the clearest sign of his connection to Lagos Island came on his third studio album, ‘Lungu Boy,’ a detailing of his come-up story from Lagos Island hopeful to global superstar. On “Uhh Yeahh,” he sings, “Beere mi ni Kakawa,” directly shouting out the popular street in Lagos Island. Visual elements of his tour dates from 2024 also heavily featured and celebrated the streets of Lagos Island as the singer leaned into his heritage. Places like Adeniji Adele, Freedom Park, and Marina were featured, letting the world know that Asake has not forgotten his roots. – W.O
Zlatan, Ikorodu
Zlatan Ibile takes great pride in giving game to ambitious young hustlers looking to move beyond the current situation of their lives. His rise from Ikorodu hoodrat to Nigerian Hip-Hop royalty is the stuff of legend, but the stories of his woes, troubles, and sufferings in Ikorodu keenly display the relentlessness and dogged determination that saw Zlatan make a name for himself. He’s keen to reminisce on those days from time to time. On “Elevated,” off SuperWozzy’s 2021 ‘Light Of The Trenches,’ he sings, “Won fe k’enu mi gbe seh, biti church rat/ Mo moyan pupo n’Ikorodu ton ti te Shoprite,” reflecting on the lack that plagues huge swathes of Ikorodu. It’s a similar impulse that births his verse on Ajebo Hustlers’ “Dreams II,” which features a reference to his mischievous streak growing in Ikorodu. – W.O
Rema, Ekenhuan Road, Benin
If the syrupy trap-adjacent flow Rema employed on his introductory project or his incursions into diverse genres on several occasions since then have fooled you, his 2023 album, ‘HEIS,’ was a defiant reclamation of his identity as a Benin boy. To be fair, ‘HEIS’ didn’t just drop out of the blues; the Mavin singer had been preparing his audience for that home-leaning lurch since he stepped on stage adorned in a replica of the iconic mask of storied Benin royal, Queen Idia, during his first sold-out concert at the O2 Arena in London.
Reminding his audience of the painful history of British incursion in Benin, Rema set the stage for ‘HEIS,’ an album steeped in Benin-specific lore and acts of remembrance. “BENIN BOYS,” his blockbuster collaboration with Shallipopi, could not have passed the message of his origin better. Featuring a shoutout to his old neighbourhood, Ekenhuan Road, and an urge to the Oba to award him a medal, “BENIN BOYS” is a larger-than-life celebration of his city. Taken together with the rage-inducing “OZEBA,” it was a spiritual return home for one of Benin’s most iconic sons that showcased his identity for the world to see. – W.O
Seyi Vibez, Ikorodu
No one puts on for Ikorodu quite like Seyi Vibez. While the singer was originally born in Ketu, it’s in Ikorodu that he honed his craft as a skilled musician. He’s referenced his upbringing and Ikorodu specifically in a lot of his earlier interviews and songs, and it’s in that same administrative division that he put together his first show that pulled a crowd of about 200 people. The singer returned in 2023 for a free homecoming concert as a way to celebrate and give back to the community that helped kickstart and support his musical journey. He’s continued to rep Ikorodu even in recent times, most notably on his hit record “Shaolin.” – B.A
Mohbad, Ikorodu
Mohbad was one of Ikorodu’s crown jewels. In August 2023, just about a month before his passing, the singer posted a video of himself on Instagram visiting his old neighbourhood in Ikorodu. He went around distributing gifts and reconciling with longtime friends without any security, interacting organically with a community that regarded him as one of their own. He put on for his community just as much as they did for him. After his unfortunate passing, the youth rallies that were organised in Ikorodu to commemorate and demand justice for his death highlighted just how important he was to one of Lagos’s most populous hubs. – B.A
Shallipopi, Sapele Road, Benin
Even if his golden drawl and sonorous pidgin didn’t betray his Benin heritage, Shallipopi wouldn’t pretend to be from anywhere else but his hometown. That Benin heritage is in how Shallipopi perceives the world, the way he talks, and, particularly, how he approaches his music. “Obapluto,” the standout on his debut project, ‘Planet Pluto,’ features a prominent sample of Pa Monday Edo’s “Ogbaisi,” an homage to the Oba of Benin. It’s a trick he repeated on “ASAP,” off his sophomore album, ‘Shakespopi,’ sampling Alhaji Waziri Oshomah’s “Ikwekiame Nedumhe.” The chorus of his 2025 hit single is almost entirely sung in Bini, displaying the reverence that Shallipopi has for Benin – W.O.
Omah Lay, Port Harcourt
On the opener of Omah Lay’s critically acclaimed debut album ‘Boy Alone,’ he’s unequivocal about where he’s from. ‘All of the way from Port Harcourt/Water Side,’ he sings proudly, emphasising the city that shaped his music and creative voice. Throughout the album, he makes multiple other references to his background, whether it’s singing in his native Ikweere language or name-dropping neighbourhoods like the Marine Base area. In a Hypebeast interview from 2022, the singer spoke about his city with similar pride. “Port Harcourt is different from the rest of Nigeria in the way that we talk, eat– everything. It’s really different. All of that definitely influenced my music so much because it was really tough growing up in Port Harcourt, but that experience made me who I am today. I’ll never forget that or stop repping my city.” – B.A
Keep reading...
Best New Music: Ayra Starr Turns Youthful Swagger Into Sensual Elegance On “Hot Body”
On “Hot Body,” Ayra Starr sings with the relaxed certitude of a woman in command of her sexuality and...
All year, Ayra Starr’s music, visual aesthetic, and social media presence have shown us a new version of her. She seems to be outgrowing the teenager we met in 2021, and molding her grown woman identity right in our presence. In the video for “Gimme Dat,” her second single of the year, featuring Wizkid, we see the red convertible that featured on the cover for her 2024 album, ‘TYIT21,’ and extensively across music videos from that era being blown up into a crisp. It seemingly symbolised the end of one era and the birth of “Hot Body” and everything it represents.
When Ayra was introduced, her music explored themes tied to youth and the emotional fragility that comes with navigating that period of your life. The ‘19 and Dangerous’ era showed us a self-confident teenager who was sure of who she wanted to be. However, “Hot Body” signals something entirely different. Produced by Ragee with additional input from The Elements, it’s crystal clear from the first listen that Ayra is owning her allure and agency.
Employing a rhythm that feels retro-made for a cross between GRWM prep with the girls and sweaty dancefloor shifts, her vocal delivery feels almost like an incantation. It’s seductive. She’s fully in control of your gaze and even dictates what you do with it. On “Hot Body,” Ayra Starr sings with the relaxed certitude of a woman in command of her sexuality and space.
Her performance here is rife with context. Having graduated from teenage histrionics on ‘19 & Dangerous’ to the introspective, emotional maturity of her 2024 sophomore album, ‘The Year I Turned 21,’ Ayra Starr has grown not only in voice, but in message and presence. ‘The Year I Turned 21’ charted at No. 1 across DSPs in Nigeria and cracked the US Billboard 200, making her the first Nigerian female artist to enter that chart. This is a clear marker of her ascension into adulthood, and we can hear it in the music and see it in its visual accompaniment.
“Hot Body” feels like the logical next step after ‘The Year I Turned 21.’ Where that record explored vulnerability, grief, ambition, and identity, “Hot Body” distills the confidence born from that journey into a potent, sensual exhale. She’s no longer defining herself against the world; instead, she’s defining how the world should perceive her.
Lyrically, “Hot Body” is playful but bold, with just enough suggestion to feel grown and sexy without losing the thrill of young self‑discovery. Sonically, it’s sleek and minimalist, yet it’s brimming with the palpable charm of some of the best music of the 2000s–think Beyoncé and Sean Paul’s “Baby Boy” or Rihanna’s “Rehab.”
The rollout for the song matched its effortless energy. A snippet on TikTok and Instagram teased an accompanying dance to the song, and fans responded instantly, turning the anticipation into instant engagement. Capped at two minutes, it’s a release primed for our era of bite‑size virality: short, immediate, and boasting insane replay value.
Yet, what distinguishes “Hot Body” from many viral tracks is the assuredness of Ayra’s journey. She stormed charts with “Rush,” became the youngest Nigerian woman to surpass 100 million YouTube views, and earned a Grammy nomination for it–a badge of early achievement and youthful potential.
That youth is now transfigured. On “Hot Body,” Ayra embodies her new identity. What once sounded like a prophecy has become her reality: global collaborations, awards, stadium stages, modeling runways, and a major film role all fit into a broader canvas that her early self prayed for. “Hot Body” sits at the convergence of Ayra’s journey. It’s youthful swagger that has mutated into deliberate elegance; curious vulnerability solidified into mastery; and ambition shaped into ownership.
“Hot Body” is made for the dancefloor, but when you’re alone, it’s the perfect backdrop for the walk of recognition in a well-lit room as you give yourself flowers. Ayra tells us in this song that she knows who she is, what she looks like, and that’s enough.
Listen to “Hot Body” here.
Keep reading...
