Before she had a name for it, Fimi was already rapping. Raised by two pastors in a devout Christian household in Oshogbo with limited access to secular music, she found her flow from experimenting with the church keyboard.
Hip-Hop is an exciting genre. But it becomes most alive when someone equally as exciting appears and bends it back toward itself. You listen to Fimi and realize quickly: this is a generative force. Armed with a chameleonic flow layered with wit and rhythm, she’s mastered the kind of theatrical, narrative-driven rap that keeps you alert, shifting tone and cadence mid-verse to heighten the emotion or drop a surprise. Even with a modest catalogue, the range and promise are watertight with singles like “BEEF” concretising her tenacity and “Halo” hinting at an artist attuned to her interiority.
The NATIVE chatted with the rapper about self-belief, giving listeners what they’ve been seeking, and her drive to always do what she wants.
What’s your first memory of falling in love with Hip-Hop?
My interest in music started in church. I grew up in Oshogbo, Osun State, and both my parents are pastors. I was in the choir, so I had access to the church keyboard, and I’d always play around with it, write some rhymes; I wasn’t even sure I was rapping, I just knew I was doing something musical, and it felt good. Fast forward to 2012, when the Disney movie Let It Shine came out, and that was when I realized I wanted to rap. I wanted to be like the main character, Truth, so badly. He was a pastor’s kid and a rapper; that inspired me.
I wish I had a more interesting story to tell, like, “I was always in my room listening to Tupac.” But I grew up in Oshogbo. I don’t know if it was the city or just the fact that my parents are pastors, but I didn’t have access to all those ‘worldly’ things, if you know what I mean.
When I listen to you, I hear a bit of Doechii, Nicki Minaj, and Eminem. “Hey Shawy” blew me away. What kind of rapper are you, with regards to your stylistic choices?
“Hey Shawy” was heavily inspired by Eminem. At the time, I was trying out different genres and rap techniques. I do that a lot; I’ll pick an artist as a case study and study how they rap: their rhyme schemes, cadences, patterns. Then I’ll try to do my version of it. With “Hey Shawy,” Eminem was my playbook. When it comes to my rap style, I wouldn’t say I have one fixed style. I don’t want to box myself in. I’m always evolving.
How would you describe where Nigerian Hip-Hop is right now, and do you think you’re arriving at an exciting time?
Yes, I’m happy to be here right now, for selfish reasons, to be honest. I feel like I’m arriving at a time when people’s ears are desperate for new sounds, and I genuinely believe I’m bringing what they’ve been craving. Hip-Hop is exciting right now, also a little different, and I celebrate that. I love that people are free to express their creativity however they want. Just like Afrobeats is having its moment right now, I believe Nigerian Hip-Hop can have its moment very soon. It’s closer than we think.
Who are your favourite rappers?
I love Nicki Minaj. She was my first real exposure to rap. I mean, I knew Weird MC and I’d heard of “Ijoya,” but to be honest, I didn’t know at that time that Weird MC was a woman. I honestly thought she was a man. But Nicki? It was the first time I saw a woman rap. I remember always watching the “Anaconda” video–partially for the nudity–but mostly because I was inspired that a woman was doing what I wanted to do. Other favorites, off the top of my head, are Eva Alordiah and Ladipoe. I wouldn’t say ODUMODUBLVCK, but I respect the uniqueness he’s bringing to the game. I’m obsessed with Doja Cat. I love it when artists carry their sense of humor into their art. Shoutout to Kendrick Lamar, J. Cole, Lauryn Hill, Nicki Minaj, Tierra Whack, Doechii, Qveen Herbie, and Tyler, The Creator.
Your style has such a nostalgic but avant-garde vibe to it. What’s the intention behind that?
I try to stay connected to my roots in everything I do. Whether I’m rapping or dressing up, I like to infuse my culture, which is Yoruba. I’m a Yoruba girl, and I always want to represent that. With my style, the things I wear now are actually what I used to wear as a kid: church hats, iro and buba, lace, native fabrics, etc. I’ve just made them look better and more feminine. It’s really important to me to stay in touch with my roots as much as possible.
In “Welcome to Therapy,” you state that to win, you have to ‘make it through the man’s world.’ What can the industry and listeners do to better support women in rap?
I’m very passionate about this. First of all, as a woman in the industry, I want to break the pressure to fit into a box. I’ve noticed that there’s a way women are expected to sound, to think, and to look. My mantra, now and forever, is to do whatever I want to do.
Listeners, stop calling us “female rappers.” We’re all just rappers. I want people to listen. People get distracted by what they see. They focus on our bodies, our clothes, and our appearance, instead of the music. I want people to listen to the delivery, to the pen, to the things we’re saying. Don’t let superficial things distract you from the art. Also, stop comparing us to one another. It happens way too often with women. Even Chloe and Halle [Bailey] get compared, and they’re sisters. Let women have their lanes without constantly being pitted against each other.
As for the industry, it needs to let women do what they want to do, creatively, visually, musically, and support us when we do. There’s a huge emphasis on physicality. It’s like it wants us to sell our bodies, not our music. Shoutout to women who do genuinely want to express themselves in that way, there’s absolutely nothing wrong with that. But not every woman wants to take that route, and that should be just as valid.
Any upcoming projects we should be keeping an eye out for?
I’m staying mysterious. Just know something’s coming.
What kind of lasting cultural impact do you want Fimi to have?
The greatest, most fulfilling impact I want my music and my image to have is on the younger generation. I want to inspire people the same way Nicki Minaj inspired me. When I was younger, she struck something in me. I looked up to her, and she made me feel like what I dreamed of doing was possible. That’s exactly what I want to do for young women who think rap isn’t for them, that it’s a “man’s thing.” I want them to see me and think, “If Fimi can do it, then I can do it too.”
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.