Since she broke out in 2014 with “Tiff”, Simi has had a hit in circulation almost every year from “Jamb Question” & “Joromi” to “Owanbe” & “Mind Your Business”. Regardless, conversations about her in popular culture have always been based around what she’s wearing, who she’s dating or whether or not she’s pregnant, and her place in the actual music industry is never really given much thought or presence.
Her latest single, “Duduke” is probably the most glaring example of this, where the announcement of her pregnancy took over the course of the conversation, rather than the fact that the song is actually one of the most played songs in the country right now, topping the charts on every DSP and radio station at the moment.
Currently, we’re all celebrating Nicki Minaj & Doja Cat’s first number 1 on the Billboard Charts, given how impressive it is that a black female artist has garnered enough listens to make their songs the most played in the country. The fact that an artist like Nicki Minaj after delivering hits for so many years has only reached the top of the charts in 2020, is telling, especially when artists like Lil Nas X or Roddy Ricch reached these heights after a short time in the game, and also stayed at the top of the charts for many weeks after they got there.
In the Nigerian charts, which we can only measure through curated playlists on DSPs giving us indication of how many people are listening, Simi is currently occupying the top 2 spots across the board, with “Duduke” and her contribution to Ladipoe’s latest song, “Know You”. Before yesterday when “Body Count” dropped, she was the only woman featured in the top 10 on Apple Music, Spotify & Audiomack, yet, the conversation about her remained either non-existent or only about her personal life and choices. Simi is one of the most talented women we have in the music industry today – not many people are aware of the fact that she writes, produces and mixes her own songs, which is a very impressive feat given how scarce it is to find women who work behind the scenes in music.
With this in mind, she clearly puts in the necessary work towards making the kind of music her audience enjoys, and her position at the top of the charts shows that there are people (somewhere) who are listening to her music. On one hand, this could be telling of the fact that women always have to do and be more to gain the attention of a wider audience, even when they’re doing as much (in this case, more) than their male counterparts.
Artists such as M.I or Odunsi The Engine are constantly given praise for having both song making and writing talents, an extraordinary feat which doesn’t require them to work any harder than they need to in order to gain the praise. These artists also get attention for things outside of music, from Odunsi’s outlandish hair to M.I’s ‘double entendre’, which never seems to affect how their music is received by any audience. This is not quite the case for Simi, whose number 1 song was mostly celebrated by the fact that she announced that she and her husband are with child.
Contrarily, however, it’s also not that hard to see why Simi is typically counted out, especially considering the fact that the socially conscious and liberal young demographic who would care about these achievements, don’t seem to like her. While the injustice is clear, it’s also quite difficult to root for Simi, because she often perpetuates harmful ideologies, which this demographic are definitely holding her to.
The echo chamber of (younger) millennial and Gen Z audience, who have dominant currency in popular culture will always hold you accountable for your wrongdoings. This year alone, on her talk show, ‘Stoopid Conversations’, she has said a few flagrant things which polarise her, and cause a disconnect between her and this audience. In the first (now deleted) episode, she very boldly said that she believes homosexuality is a choice which she doesn’t think it’s natural.
Our generation, unlike the older Nigerian generation, are a lot more tolerant of things society forces us to believe is other. We have enough access to information for anyone in our age bracket to have moved past this bottom line, and it was disappointing to see that Simi is part of a group of people who haven’t. As a woman who belongs to a marginalised group in society and has a platform, it’s very irresponsible to add to the vitriol the LGBT community are fighting every day. To her, it might seem as though she’s innocently stating her opinion, however, she inadvertently lost the support of some people who would be loyal fans, whilst also managing to piss off the rest who are apathetic towards her.
This isn’t something we can pin to a gender divide because anyone who harbours the same or similar beliefs to her and voiced them on a platform everyone has access to, would get the same treatment. Kizz Daniel is a good example of this, another artist who always has at least one hit in circulation, however, after showing his misogynistic tendencies several times, has been relegated to the background and no one really cares when he achieves anything these days.
We carried out a survey amongst some members of our community, to find that 59% of the people we approached didn’t like or dislike Simi, but were apathetic towards her. When we asked why, people cited several different reasons for this from not liking her voice and intonation, to others who said it’s because they think she dresses badly. To put in perspective, someone like Tiwa Savage, who in the past has said derogatory things about feminism, still appeals to a wide group of women, because she defies set norms by living loudly and seems to be doing exactly what she wants to be doing rather than what she’s supposed to be doing.
Beyond her statements, Tiwa is more relatable to the group of young women who would celebrate Simi’s achievement, because she appears to be more relatable and align more with our ideologies through her music as well. Simi, on the other hand, appears to pander a bit more to these norms – from her views on the LGBT community to the way she presents herself – which as an enlightened generation who are trying to break free from these norms don’t really fuck with. This could contribute more to people’s apathy towards her and explain why she’s left out of conversations about music and not about gossip and vitriol.
Regardless, the numbers show that people are listening to her anyway, and there’s clearly a set of people who have a similar mind frame to her, and care about her music – it’s just not the people who determine and dictate what’s popular culture. We’re never going to hear Simi pop off in the club, and are more likely to hear her music at a wedding (before 8pm) or when our parents are trying to be ‘current’.
The missing link between her numbers and whether they care however, is that these people who listen to her don’t control or even contribute to popular culture. Yesterday, when “Body Count” dropped, most of the conversation surrounding it was about how much of a moment it was for women, and also it’s place in the charts. This just goes to show that when women achieve these feats, there are people ready to celebrate, and given all this, it’s a bit annoying that a prime candidate who could change the status quo for women in music for our generation is actually unable to.
The way the music industry around the entire world is set up, there’s only room for one woman at a time, and if we didn’t have all these reasons holding Simi back, she would 100% break the chain and bring another seat for herself to the table considering her talent.
Featured image credits/Simi/YouTube
Damilola is the HBIC around here. Don’t tweet at her @damdamxx
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...
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 oris 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.
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 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
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...
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.