Exploring the Evolving Relationship Between Afropop and Latin Pop
Off the growing phenomena of Rema's "Calm Down"
Afropop doesn’t care that it’s early in the year. The global movement is picking up pace with each passing moment, and redefining the texture of its sound through its commingling with global genres. In recent years, Afropop’s frontrunners have furthered their global ambition by tapping into different music markets and collaborating with the artists within those spheres to bring their music to new audiences and expand their pool of loyal listeners.
Of the many genres that interact with Afropop, Latin Pop has emerged as a common fixture in the Nigerian Pop scene and sure-fire way of attaining new levels of global success. In addition to the similarities of its shared economic prospects, musicians from this side have led the conversation by fostering creative partnerships. Of the numerous Afropop musicians with interests in Latin music and culture, Rema is right now the most consequential.
Some weeks ago, “Calm Down” became the first African song to peak at #1 on the Billboard Global 200 chart. This means asides in the United States, Rema boasts one of the biggest records in the world. Bring in the Billboard Hot 100 and he’s ranked #35 from last week’s chart. From being played across multi-packed festivals to a stadium belonging to Al-Nassr, the club which houses the biggest football star in the world Cristiano Ronaldo, “Calm Down” has been leaving an indelible mark on popular culture.
Quite frankly, “Calm Down” possessed star quality upon release. Coasting on Andre Vibez’s colourful, visceral production, his neatly written account of young love was as starry-eyed as anything the Benin-born act has ever put out. It was a good record, but not many people would have anticipated its meteoric rise through the skies of popular music. As part of ‘Rave & Roses,’ the song remained as potent as on first listen, propelling the album’s movement in agile style.
When talks of a remix surfaced, it was the one thing many saw coming. The idea was keenly argued, revolving around the archetypical Western coverage that was due to gloss over the contributions of the song’s initial creators and local audience. For many, cultural context had seriously been lacking in previous attempts to take Afropop songs to the world via collaboration. It should also be said that although Justin Bieber had little bearing on the original creative nexus of “Essence,” he offered tremendous commercial value through his feature. This goes the same for Ed Sheeran, whose appearance on the remix of “Peru” skyrocketed Fireboy DML’s profile in the United Kingdom.
Another international-facing remix of an already famous song considerably drew sighs, but Rema’s choice of feature was quite interesting. Unlike many of his contemporaries, the Benin-born didn’t opt for another Drake-esque feature, an artist orbiting the famous world of Hip-Hop and R&B. Instead, he collaborated with an established pop star like Selena Gomez, a TV-star-turned-musician who is long entrenched in American pop culture both in music and cinema. As a musician, she has had a career many would term successful, with a wide-reaching fanbase that follows her every move. There’s also the fact that more particularly Selena’s ethnic multiplicity (being part Mexican) favourably emboldens Rema’s collaborative vision.
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In 2023, the business of music is a multi-billion dollar industry. From Africa down to Europe, corporations are seeking new markets to tap into and new genres to discover for an omnivorous audience. Listeners flock to the heralded sound, wanting to uncover the next cool thing before it becomes popular and old. For all the buzz about such demographics, Afropop and Latin pop are the most cemented, influential across continents and turning the ears of the global audience to their distinct sounds.
To discuss the flagrant set-up of Afropop is to rehash a consideration from last year, and indeed since 2019. An unprecedented number of young superstars are creating music alongside recognised greats, bringing into their presentation influences from as far as emo and as nearby as Fuji. It has shaped the African music scene very excitedly, with global domination being the reasonable trajectory to explore. On its part, Latin pop took an earlier seat at the table. Shakira and Marc Anthony were some of the biggest acts which propelled its nineties movement, recording some records in English and stitching their names into the consciousness of the language’s speakers worldwide.
Over the years, as the global music industry grows, so has Latin pop alongside it. A real game changer has been the streaming era, which for the first time took the listening patterns of the Spanish-speaking world into the crucible of hard data. Released in 2017, Luis Fonsi and Daddy Yankee’s “Despacito” heralded the new era for the movement. Its party-starting groove rendered its sentiments clearly to the world, even (and perhaps especially) to those who didn’t come from its origins.
It’s common knowledge that Bad Bunny is legitimately one of the biggest Pop stars in the world. He’s cornered the sort of Michael Jackson-esque fanbase only a few musicians command globally. With his Trap flows drenched in bouncy Latin sonics, recent anthems like “Dakiti” and “Titi Me Pregunto” continue to establish his musical prowess as much as they demonstrate the potency of Latin pop as a genre. What’s more? He currently has 67 million monthly listeners on Spotify, which is the most widely used music streaming platform in the world. For perspective, Drake has 69 million monthly listeners and Beyonce has 50 million while only Taylor Swift, considerably trumps Bunny’s Spotify listenership with 81 million monthly listeners.
Asides Bad Bunny, the likes of Rosalia, J Balvin and Rauw Alejandro have also made great impact in the mainstream American music scene. Selena Gomez might not outrightly belong in this category, but her Mexican heritage and the obvious origins of her name adds her to artists of this ilk. As much as music remains a creative endeavour, such business decisions fuel the machinery which allows the artist’s best form to shine through. In Rema’s case, “Calm Down” already had Spanish-evoking melodies and a bounce that wouldn’t be out of place on an Ozuna album. On air with Capital Xtra in 2021, he affirmed the intent to take Afrobeats to places it had never been. Illustrating his point, he spoke on the Bollywood-style flow that got him humorous digs when he was starting out, asking, “Why can’t we shut down India?”
Historically, the relationship between African music and its Latin counterpart is well documented. Among scholars and musicologists, it’s an accepted fact that the Latin areas of America and the Caribbean received an influx of Black people from Africa during the slave trade. Once they arrived on unfamiliar shore, these people sought the familiarity of music, emerging at the Cuban clave which sounded like the many percussions back home. Over the years, their efforts at playing were recognisable influences on the popular music of the region.
The relationship went both ways. Upon further research, a Wikipedia page infers that it was “Cuban music, more than any other, that provided the initial template for Afropop.” Known for its contribution to the liquid spontaneity of Highlife, Congo was the first African country to adapt Latin guitar styles into their music. From the 1940’s local bands and musicians, spurred by the urban-focused curation of the influential Radio Congo Belge, began to create music around the trendy Cuban style. Sung in French, the new sound was called rumba, which is now the most popular genre in Congo and other parts of Francophone Africa.
In contemporary Afropop, Rema is hardly the sole artist tapping the rich sonics birthed from Latin culture. Rumba’s most acclaimed purveyor Fally Ipupa continues to hold the French world in awe, his 2022 three-part album ‘Formule 7’ demonstrating impressive mastery over the sound and bending it towards an African perspective. With the forward-facing scope of his projects since ‘Boyfriend,’ CKay also belongs in this conversation. “Jeje de Whine” and “Skoin Skoin” draw explicit inspiration, the former rolling with a Spanish guitar while Brazilian musician Bianca Costa features on the latter. The Warner Music act in interviews has shared that Latin music appeals a lot to his listening taste, and so, it’s no surprise to see certain choices he makes on his projects. His much-heralded debut album ‘Sad Romance’ has its fair share of Latin influences: Cape Verdean musicians Mayra Andrade and Ronisia features on “samson and delilah” and “lose you” respectively, colouring both records with the dramatic flair associated with the sound. If anything, CKay’s trust in the musicians proves there’s potential for French and Portuguese-speaking musicians in the ever-amorphous vision of Afropop.
All around us, the world is brimming with Latin musical influences. And now, because of the massive cultural reach of Spanish, Portuguese and French, there’s a lot of potential new listeners Afropop could be getting, through collaboration. Music scarcely takes a linear shape, and it’s quite fitting that the sounds which left our shores centuries ago are now returning, in the hands of pop stars no less. Last year, Oxlade’s “KU LO SA” sparked off a viral social media trend, its affectionate message instantly endearing many listeners. Many could see the record getting the international remix treatment, but not many would have accurately predicted the choice of feature.
Camilla Cabello isn’t the most obvious choice, and she does come with her allegedly racist history. But she’s a very calculated feature: considering all the nuances and numbers that have since been highlighted, it’s likely that Oxlade has his eyes on the Latin market. On Spotify, Cabello has 42 million monthly listeners, which is very appealing from a streaming perspective. Even though such metrics don’t guarantee an instant smash hit, with the variant promotional tools available to artists and labels today, one wouldn’t want to bet against the song making a return to popular culture this year.
What’s left to safeguard is the currency of history. While collaborations are sometimes tilted to whatever is in vogue, the origin of genres remain rock solid. It would be aghast for a demographic to claim ownership of a sound they didn’t really create, and collaborations, when not done right, can crack the loophole through where misinformation can slip through. Therefore, artists should be intentional about speaking up for their inspiration when they do interviews. Music is universal after all, and anybody can create anything. Just acknowledge the source; this way, everybody eats.
ICYMI: Would Essence have come this far without its remix?
Davido And Martell Is A Partnership Rooted In Authenticity
"I always ask myself: ‘Does this partnership open doors for others? Does it make the culture look good?’...
Celebrity brand endorsements have become a stamp of artists’ weight in the game, and Davido has been certified many times over. His recent album rollout for ‘5ive’ included partnerships with brands like FoodCourt, Stake, PlayStation, and of course, Martell with whom he has had a long-standing relationship for the past few years.
When Davido’s face first lit up Martell billboards across Lagos in 2021, it marked the beginning of a broader cultural shift. In the years since, Martell has soared to the top as Nigeria’s number one cognac brand, and the world has been watching.
Ask Davido why this partnership works, and his answer is simple: authenticity. “Honestly, it’s just a real alignment,” he says. “Martell stands for boldness, legacy, moving with purpose, and that’s exactly how I operate. From day one, it didn’t feel like a typical brand partnership; it felt like a collaboration. We both represent excellence, and we’re not afraid to shake things up. That’s why it works.”
That authenticity has proven to be Martell’s secret weapon. Rather than treating Davido as a decorative face, the brand invited him into the room to shape the narrative. “I didn’t want to just be the face, I wanted to shape the story,” he explains. “I saw the opportunity to bring in a new energy, a new vibe that speaks to the culture. Something that’s fresh but still classy. We’ve been able to infuse that African excellence, that Naija spirit, into everything we do. That’s what makes it different.”
Martell’s campaigns under Davido’s influence have been electric, thrumming with the same energy that animates the streets of Lagos and beyond. The now-iconic “Be the Standout Swift” campaign particularly stands out. It featured sleek visuals, a thumping soundtrack, and Davido himself front and center, embodying exactly what it means to move with purpose. “The response was mad,” Davido recalls to The NATIVE. “The visuals went crazy, the soundtrack hit, and people connected with it instantly. I remember seeing Martell billboards with my face on it and realising it meant representation for African artists. That made the whole thing bigger than just branding.”
It’s precisely the point of their collaboration. The Martell-Davido partnership has been more about rewriting the rules than it has been about selling bottles of cognac. In the past, African artists were often brought in to add flavour to campaigns conceived elsewhere or were typically not the main characters. Now, thanks to moves like the Martell-Davido partnership, they’re leading them. “It set a new tone,” Davido notes. “I think it made a lot of brands wake up and realise that African culture is global culture now, you can’t ignore it. You have to invest in it properly.”
This shift in thinking has had real-world impact. Martell, which once competed with long-entrenched cognac brands in Nigeria, is now the market leader. Beyond the sales, this connection marks a strategic victory for culturally-grounded branding. Its connection to youth culture, Afrobeats, and the aspirational lifestyle Davido embodies has turned it into a status symbol at the center of Nigeria’s thriving nightlife and social scene.
For Davido, these wins go beyond commercial success. He’s acutely aware of the weight of his platform and chooses partnerships accordingly. “I’m very, very conscious,” he admits, “I know the power of my platform. I’m not just repping myself, I’m repping Africa. So, any brand I align with has to respect that. It’s not just about money or clout. It’s about legacy. It’s about how we tell our story, how we elevate the culture. I always ask myself: ‘Does this partnership open doors for others? Does it make the culture look good?’ If the answer is yes, then we move.”
That consciousness is perhaps the biggest driver of Martell’s success story. By aligning with a figure whose influence runs deeper than celebrity, Martell has built a bond with Nigerian consumers that feels personal; their fave is drinking Martell, and so they will. Davido’s swagger, his work ethic, and his sense of cultural pride are now the same as Martell’s.
The biggest takeaway from this partnership is that true cultural resonance comes from collaboration, not co-option. Davido getting the space to lead and align his core self with the brand has not only boosted sales but also given Martell the credibility needed for that. This sort of influence flattens the curve and builds the culture.
With Davido at its side, Martell has become more than a cognac.
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In Tribute To Daddy Lumba, Ghana’s Most Beloved Maverick
Characterized by his charismatic approach, lyricism, and nonconformity, Daddy Lumba reshaped the music and...
Death is said to be the end of all things, but for some, it is just a process of immortalization. That is the case for legendary Ghanaian artist Charles Kwadwo Fosuh, also known as Daddy Lumba. On the 26th of July, 2025, reports of his demise spread across the world, causing doubts and confusion until his family released an official statement through its lawyer, Fati Ali Yallah, Esq., confirming the devastating news.
For six decades, DL, as he is affectionately referred to, has been a son, a husband, a father, an artist, a teacher, an innovator, and a cultural icon. The accumulation of the lives he lived has earned him the admiration and respect of Ghanaians and music lovers around the world for generations.
Daddy Lumba started exploring his musical talent in the 1980s during his time in secondary school, eventually emerging as the lead of the school choir. Years later, during his stay in Germany, he would be introduced to Highlife music through his friendship and partnership with Nana Acheampong. The duo would form the group “Lumba Brothers” and work on the project ‘Yee Ye, aka Akwantuom,’ which was released in 1989. After the group’s breakup, he launched his solo career with his 1990 solo debut album, ‘Obi Ate Meso Buo.’
Daddy Lumba would go on to have an illustrious career. Credited with over 30 albums and more than 200 songs, his seminal works included “Playboy,” Mesom Jesus,” “Aben Wo Aha,” Poison,” and “Sika,” to name a few. Characterized by his charismatic approach, lyricism, and nonconformity, Daddy Lumba reshaped the music and art scene in Ghana. His control over his native language, Twi, allowed him to pen songs that spoke directly to the soul of the listener. His proverbial lyrics and addictive melodies made his songs easy listens for those who didn’t even fully understand the languages he sang in. He composed songs that served as a guide for people across the different facets of life.
Raised in a gospel background, Daddy Lumba blessed the world with multiple gospel albums that showed his admiration for God and were a testament to his past as a choir leader. In an interesting twist of events, he also had songs that dissected his thoughts on lust, love, and relationships and provided motivation and hope, as well as songs that would get you dancing. During his active years, Daddy Lumba’s songs ran wild across the media, streets, pubs, weddings, and funerals, and echoed from home to home across Accra to Europe.
As a student of Highlife, he ensured the growth and evolution of the sound through his songs and albums over the years. He mastered the craft so well that he would be instrumental in ushering in Borga/Burger Highlife, a sub-genre of Highlife that was steeped in contemporary influences and defined by its funky essence. Borga Highlife was not just in the sound but was also evident in his visual identity. He curated music and art in a style that bewildered people at the time. In today’s world, he would have been described as alté.
Beyond music, his influence on Ghanaian pop culture was immense. It was rooted in nonconformity and the deconstruction of stereotypes. While aspects of his music appealed to Ghana’s conservative outlook, he was also regarded by some as a moral miscreant. As the moral police came for his sensual lyrics and subversive influence on the youth, the love of the music from the wider public was louder.
Where traditional media tried to bury his songs, the masses gave them more life at parties, pubs, and any gatherings where music could be played. Around the early 2000s, Daddy Lumba would come to be accepted as a symbol of modern Ghanaian culture, eventually beating the system by finding a balance that appealed to those who wanted songs that mirrored their sensuality, youthfulness, and freedom without alienating the conservative faction of the country.
He introduced a swagger and flair to Highlife that many were not accustomed to. Winning over not just the older generation but also young people, both at home and abroad. From his many hairstyles–be it a fade, cornrows, or permed hair–he always stood out. Coupled with eye-catching aesthetics, as seen in his photos and music videos, he provided a visual blueprint that rising acts today still draw inspiration from.
Regardless of the genre, theme, or style, Daddy Lumba kept topping charts and winning over listeners. He wore many hats and played diverse roles, and executed all of them brilliantly. It did not matter if he was paying homage to his long-lost love on “Theresa,” bidding farewell on “Makra Mo,” singing praises to God on “Eye N’adom,” craving intimacy on “Pony/Enko Den,” or even preaching diversity on “Bubra,” it all came together as long as it was orchestrated by Daddy Lumba.
His songs not only mirrored his own experiences but also provided a sonic reflection of the lived experiences of the people who listened to his music. He was an artist for the people, and he never shied away from making his fans feel loved and heard.. DL was so enshrouded in Ghanaian popular culture that it is no surprise how many momentous Ghanaian occasions and memories of the last 30 years are intrinsically tied to his songs.
In a country where people often get backlash for showing their political affiliations, Lumba was appreciated more when he took a public stance on supporting a political party. He was so loved that his campaign song “Nana Winner” for the New Patriotic Party (NPP) is played at non-partisan events like raves and parties to a wild reception and excitement. Recognizing his influence, he always platformed talents as best as he could. He nurtured and mentored several artists. Through his album ‘Wo Ho Kyere’, he introduced Ofori Amponsah, his protégé, to the wider public. Ofori would go on to become one of Ghana’s most celebrated artists with hits like “Otolege,” “Odwo,” and “Emmanuella.” Daddy Lumba also mentored artists like Felix Owusu, Borax, and Ateaa Tina, among others.
While his peers were left behind with the advent of music digitalization, Lumba stayed with the times. His music became the stuff of urban legend and was among some of the most-streamed Ghanaian music across platforms in recent times. There were frequent conversations, stories, and breakdowns of his songs on social media, steered by a generation of older listeners, handing down a lived-in perspective for a younger generation. His career is a testament to the fact that good music will always stand the test of time.
When news broke of his death on the 26th of July, 2025, an entire nation fell into a state of mourning. Artists, politicians, and various individuals took to social media to share their condolences with the bereaved family. In a heartfelt message on his Facebook page, his old friend, Nana Acheampong, shared a farewell note to his old friend and brother: “You have indeed done what the creator brought you on earth to do, you will forever inspire generations,” he wrote in a post on Facebook.
Daddy Lumba lived an exciting life and had an enviable career working with artists of different eras. From Pat Thomas to Samini, Kwabena Kwabena, Okyeame Kwame, and Sarkodie, he collaborated with several acts. He also won awards and performed in multiple countries. However, his biggest win remains earning the love of an entire nation. Perhaps the most loved Ghanaian artist across generations, people were born to his music and buried with his music, completing the lifetime cycle with Daddy Lumba’s music booming in the background.
There have been public calls for a state burial for Daddy Lumba, with a vigil already planned for August 2, 2025, at Independence Square, Accra. Lumba’s legacy as an innovator and trailblazer will be etched in Ghanaian music history and the hearts of listeners across the world. He was a strong believer that he was just biding his time on earth, doing his best till it was time to leave.
While he departs the world, his songs and messages will continue to live on throughout time.
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Asake Links With Tiakola On Gritty “BADMAN GANSTA”
Another step towards ‘Money,’ his fourth
Street-pop star, Asake, has released a surprise new single titled “BADMAN GANSTA.” Produced by super producer, P.Priime, the single, Asake’s second of the year, arrives with a crisp black and white feature and a stellar guest verse from French rapper and singer Tiakola.
The singer posted the full music video–a monochromatic montage of dazzling shots and scenes of his opulent lifestyle–across his different social media handles on Thursday evening, July 24, with a caption that read, ‘The World Of Money.’
Earlier in June, the ex-YBNL star announced a new album titled ‘Money.’ A few months before that, he released a loosie titled “Military” and then “WHY LOVE,” his first official single under his new imprint Giran Republic. “Military” served as a bookend to the first arc of his impressive career as much as an announcement of a new era, while “WHY LOVE” officially kicked off season two.
Following the release of “WHY LOVE,” Asake has also featured on songs like Olamide’s “99,” J Hus’ “Gold”, and Young Jonn’s “Che Che,” delivering standout verses that favour a melodious, laid-back approach as opposed to the spirited, fast-paced style that earned him success early on. “BADMAN GANSTA” also excels with this approach, as Asake’s melodious musings about his current lifestyle dovetail nicely with Tiakola’s equally sturdy verse over a plush beat that samples Amerie’s 2005 classic “1 Thing.”
With Asake releasing three albums in as many years, it’s not unreasonable to assume ‘Money’ might arrive before the end of the year. There’s also the possibility that he might be willing to take his time a little more now, seeing as he his under his imprint now.
Whatever the case may be, ‘Money’ is likely to arrive sooner rather than later, and it will be fascinating to see what other aces Asake has up his sleeves.
Listen to “BADMAN GANSTA” here.
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