In 2022, Asake rose to Afropop prominence, driven by an ingenious combination of past and future. He commanded Amapiano, the exhilarating South African genre with which producers and artists alike were forging forward in an experimental Afropop scene, and infused it with the substance of his culture, bringing in Fuji as his own distinctive marker. In September of the same year, just as his popularity was peaking on the back of an impressive run of singles, he released ‘Mr. Money With The Vibe,’ a scintillating debut encapsulating the zeitgeist he had spent the year reshaping. Building on the sonic foundation he had set, the record throbbed with the bluster and urgency of his home city, Lagos Island, and dripped with the slang and proverbs you would expect to hear there. Asake platformed his culture not just in sound but with language too, and his brilliant execution was a testament to the creativity that culture brings to the table. Its widespread acceptance, both across Nigeria and beyond, was proof that language is no barrier for those who appreciate excellent music.
Before Asake and his record-setting run, Street-Pop was already a culturally fluid entity, and producers and artists all over the country found success infusing the Ajegunle-born genre with various languages. Olamide built a career by flipping between being the gruff, battle-hardened mafioso of the streets and a carefree purveyor of street party anthems. Phyno, his friend and longtime collaborator from across the Niger, has been a force for Igbo rap and street music, threading slinky Igbo verses into a fabric that ranges from Hip-Hop to Igbo Highlife. Now, nearly a decade after their monumental collaborative album, their protégés tread the paths they laid down. Today, Asake and Seyi Vibez rule the streets, while younger stars like TML Vibez, Balloranking and Ayo Maff sit at the heart of the movement’s next generation.
In Eastern Nigeria, Rap devotees like Jeriq, Aguero Banks and Zoro spit bars in Igbo. Other artists like Kolaboy and Kcee lean more towards Pop in their approach, reproducing Afropop or Amapiano with traditional Igbo instruments, like the Ogene and Oja. In other parts of Nigeria, clusters of creatives are working to attach their native languages unto some version of Street-Pop. Shallipopi’s use of Bini language and culture, especially for the standout “Obapluto,” has earned him status in mainstream Nigerian music, while others like One Touch (who raps in Bini) and Blixxy D RapKing (who favours his native Ishan) fly under the radar. In Northern Nigeria, Hausa rappers like ClassiQ, B. O. C. Madaki and DJ AB have found success combining Hip-Hop–like flow, local instrumentation, and the Hausa language. Today, Nigerian Street-Pop is more vibrant, versatile, and unapologetically local than ever, but what happens when its meaning gets lost in translation?
At its origin, Street-Pop was performed almost exclusively in pidgin. In the ‘90s, artists like Daddy Showkey, Baba Fryo, Ras Kimono and Blacky were its chief proponents, and they shared the commonality of being born and raised in Ajegunle, an area of Lagos where their parents had come to settle from different parts of Nigeria – mostly Delta state. For them, pidgin was more than a lingua franca: it was a means with which they could express distinct thoughts that the rigor and structure of English (and perhaps their own inability to properly express themselves with it) would not allow for.
Galala is accepted by convention as the first evolutionary form of Street-Pop. Like many other sub-genres, it was a dance, but still it was much more. Taking heavy influence from Ragga, Galala was an expression of Ajegunle’s free-spirited response to life in adversity. Songs like Daddy Showkey’s “Diana” and Baba Fryo’s “Denge Pose” are classic cuts from this era. These songs share, in addition to sound and language, an infusion of social commentary and storytelling. Galala artists sought to share little nuggets of their lives in the music – like the moving story of Diana’s childlessness, or Baba Fryo’s admonition of the haughty on “Denge Pose.”
A few years later, Street-Pop took on a couple of new identities, this time via Konto and Swo, although the first was more often used to refer to the genre of music and the latter designated to mean a related dance move. Konto was a little more melodious than Galala, and didn’t carry as much social commentary. Mad Melon and Mountain Black were its biggest practitioners. Their music relied on call and response choruses – whether it be an effusive “Swo!” chanted in response to the statement “I am a danfo driver” on “Danfo Driver,” or the titular response on the chorus of “Kpolongo,” a sequence that has been interpolated multiple times in modern music, including by Tekno and Zlatan.
Among its many iterations and offshoots, Galala continued its domination through the next decade. In the mid ‘00s it was kept alive by a new batch of artists, like African China and Blackface. These disciples kept faithful to the tenets of the genre, like the conscious social commentary, which brimmed in songs like African China’s “Mr. President,” and “No Condition Is Permanent,” and Blackface’s “Hard Life.” This era also saw an increasing democratisation of Street-Pop, encouraged by several factors: its rising popularity and acceptance, Nigeria’s increasing interconnectivity partly brought about by mobile phones (or GSMs as they were popularly known), the Internet, and the opening up of creative hubs in other cities: Delta, Port Harcourt, Benin, and Enugu.
This growth meant that Street-Pop had escaped the creative confines of Ajegunle, and could be reimagined and remixed by creatives in other parts of the country. Stereoman Ekwe recorded his ‘Sample Ekwe’ album in his hometown of Warri, Delta State; he was among a generation of artists that recreated Ajegunle’s sound outside its physical borders. His version of Street-Pop was delivered in a variation of pidgin that was coarser than Lagos’, with occasional dippings into Isoko or Urhobo. Other South-South artists, like Timaya, made a connection to the genre via collabs and remixes, like 2Shotz’s “In Case You Never Know.”
While the flames of Street-Pop were spreading across Nigeria, an even greater evolution was happening within Lagos state. Lagos represents the ultimate cultural mixer and a trip from Ajegunle to Bariga, or from Alaba to Agege, means crossing multiple cultural lines. As Street-Pop moved into traditionally Yoruba areas of Lagos, it interacted and mixed with Yoruba genres, especially Fuji, and a new era of the genre emerged, championed by acts like Oritse Femi and DaGrin. The genre’s lingua franca shifted, although Pidgin remained as something of a second language. From the mid ‘00s through the mid ‘10s, Street-Pop picked up lingo from the streets that birthed it, and in turn created a flurry of new slang. Olamide was particularly adept at utilizing the fluid breadth of language and vocabulary. He invokes street-worn sayings, while simultaneously creating new ones like the “-Sneh” suffix that was all the rave back in the day, and phrases like “who you epp?”“science student” “pepper dem” or “omo wobe” that took on a life of their own.
Other practitioners of Street-Pop across Nigeria have sought to indigenize it as best they can. Phyno rode to glory on the back of a series of hits that fused the frank Hip-Hop of Illbliss and Nigga Raw with the Igbo-laced Neo-Highlife of Flavour. Even younger artists are tapping into their native languages to enhance storytelling. Ayo Maff’s debut EP, ‘Maffian,’ is full of ancient wisdom, the kind that would hardly be expected of a nineteen-year-old, but is reflective of the oral traditions of his Yoruba culture. On “Are You There” he sings that “Oju ri k’ẹlẹdẹ mi to dele,” speaking to experiences he faced before he arrived at his current status, while a line like “Lambebe, o gbọdọ wọ́n nile alata,” compares the overflow of wealth he expects in the future to the abundance of bowls of a pepper seller. These lines help build up the storytelling experience for the informed listener.
While indigenous languages are a source of connection to those who speak them, they also have the potential to alienate the non-speaker. How the audience handles this break in communication determines what their experience will be. While some may find it hard to get into music if they don’t understand the words, options abound for a fan willing to take a few steps to seek enlightenment – including online translations, annotated Genius lyrics, or song breakdowns on TikTok and YouTube. With today’s world focused on short-form video, it is not surprising to find an artist making lyric translations to their own song on TikTok.
Ultimately, Nigeria is a music-loving nation. Even now, Asake’s music – slangs, idioms and all – continues to be a mainstay in barbershops in Enugu and raves in Benin and Port Harcourt; his words often undecipherable, but the groove irresistible. In clubs in Lagos, Flavour and Phyno boom from speakers, as hypemen announce the arrival of the latest big spender. A listener who does not understand the language may miss part of the message, but they are energized by production and serenaded by melodies. Music is a universal language, and in Nigeria’s banging Afropop scene, melodies speak louder than words.
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...
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.
Street-pop star, Asake, has released a surprise new single titled “BADMAN GANSTA.” Produced by super...
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 arrivebefore 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.
Ayra Starr has released her highly anticipated single “Hot Body.” The Mavin popstar has been teasing...
Ayra Starr has released her highly anticipated single “Hot Body.”
The Mavin popstar has been teasing the new single for a few weeks now, posting multiple promotional videos across social media that built up significant excitement for her third official release of the year. The release of “Hot Body” comes on the heels of recent reports that confirmed the Grammy-nominated singer had officially joined Roc Nation’s roster, the American music label, entertainment, and sports services company founded by rapper and business mogul JAY-Z.
Earlier in February, Ayra Starr shared “All The Love,” a sumptuous Afropop ballad produced by labelmate Johnny Drille and Teemode, before releasing the sleek and sensual Wizkid-assisted “Gimmie Dat” about months later. In that time period, the singer picked up two awards at the 2025 MOBO Awards for Best African Music Act and Best International Act before also clinching her first BET award for Best International Act in June.
It was recently announced that the pop singer would be joining Coldplay on the UK leg of their Music Of The Spheres World Tour between August to September, and her impressive year continues with the release of “Hot Body.” Once again, teaming up with close collaborator Ragee and UK production duo The Elements, Ayra Starr manages to deliver a sweetly erotic summer jam that’s sure to elicit plenty lip-biting, hip gyrating, and flirty winks. “Look what a hot body can do,” she sings repeatedly, almost like an enchantress performing a magic trick.
With her current deal with Mavin and Universal Music still running and the recent confirmation of her management deal with Roc Nation, it’s safe to assume that “Hot Body” might garner significant momentum both at home and abroad. Outside of her music, the singer recently wrapped up the shooting of the film adaptation of Tomi Adeyemi’s Children of Blood and Bone which is reportedly set for release in early 2027.