Wizkid, Davido & the significance of leaks and piracy in Nigerian music
Streaming currently has a fledgling adoption rate, but its double combination of ease and instant is reducing the bearing effect of these factors
Ten days before release, Tyler, the Creator’s fourth studio album, ‘Flower Boy’, was leaked to the Internet in its entirety. Instead of going into panic mode and bringing up the release date, the American artist barely even acknowledged the leak, continuing with his rollout as though every step of his plan had remained intact. Usually, when a leak occurs, artists and their teams become reactive in order to retain some control, however, Tyler and his team didn’t react, and later on when the music dropped, it proved to be a positive decision.
Following on the heels of his lukewarmly received third LP, ‘Cherry Bomb’, anticipation for ‘Flower Boy’ was quite high amongst his dedicated fan base and within hip-hop listener circles. Due to the stakes, a leak should have meant reduced sales, but instead, the album managed to still gross Tyler’s highest opening week sales and Billboard Chart position at that point in his career. In the post-digital era where digital bootlegging has advanced beyond buggy LimeWire links and severely limited internet bandwidth, Tyler’s achievement was quite remarkable, and he would go on brag about it on the freestyle cut, “ZIPLOC”.
While the success of ‘Flower Boy’, despite leaking, can be regarded as an anomaly, it’s also indicative of the continued shift in listening habits, especially with the rise of streaming as the primary means of music consumption, over the last few years. At the turn of the millennium, music piracy was the major epidemic for the global music industry, and prior to that, CD bootlegs were the main issue when. This, however, wasn’t enough preparation for the rampant format of digital piracy that would follow, with the ever-evolving Internet as the enabler to this issue.
For the whole of the noughties and half of the 2010s, illegal music downloads were the major bane for artists and record labels. The Internet had helped many young people realise that they could get a lot of music without paying, and it showed piracy to be the post-release version of leaks—anyone with a CD could simply rip and upload to a website for thousands and millions more to download. Armed with technological advancements, listeners clearly wanted immediate access to all of their favourite music without having to pay as much (or even anything at all) for it.
In an interesting twist, the same Internet managed to provide the strongest combative measure, through the advent and adoption of music streaming. According to reports, music piracy was declining due to the easy, legal access streaming provides, and that phenomenon has had its effects on leaks. In addition, streaming has provided a savvier avenue for artists and labels to contend with leaks, allowing them control the narrative and spread of their releases, and that’s probably why you’ll find that even though leaks are still prevalent these days, it’s not uncommon for listeners to wait for the official version of the song and wait for the intended listening experience.
In the wee hours of October 30, 2020, Wizkid finally dropped the highly anticipated ‘Made In Lagos’, an album that was becoming something of a speculative myth with each shifted release date. After pushing it back to mid-November from its original October 15 date in solidarity with the #EndSARS protests, the revered afropop artist brought ‘MIL’ forward to October 29, possibly under the duress of an impending leak. At its allotted time, 11:11pm, the album was still nowhere to be found on streaming platforms, much to the chagrin of thousands of fans who had stayed up to catch the release as soon as it dropped.
A few minutes later, ‘MIL’ dropped relatively unceremoniously but to the same level of expected fanfare. As chaotic as they were, this sequence of events effectively combatted the leak, ensuring that a large bulk of listeners experienced the album for the first time through legitimate channels. The afternoon before its release, the Dropbox link containing the album’s pre-release version, sent to several music industry insiders and media platforms, was already being passed around and it was only a matter of how soon the entire public would lay their hands on this leaked version.
We at the NATIVE had been given legitimate access to a pre-release link, I had already listened to ‘’MIL’ for our 1-listen review column, so I didn’t listen to the content of the leaked Dropbox link, even though I wanted to. Part of that was for confirmation and curiosity: Was it the same? Was this album really going to come out? Were there going to be any changes made? Although I drifted off to sleep after it seemed like Wizkid had flouted another release date, ‘MIL’ had managed to get back-to-back spins immediately I found out it was available to stream, early the next morning. The album was really out, and even though the changes weren’t drastic, there were notable changes in the mixes of a few songs. Rather than simply holding on to the Dropbox link, I was much more comfortable listening to the officially released version of the album.
Unlike much of the larger world, the adoption rate of music streaming in Nigeria is still fledgeling. Due to high cost of data in addition to the recurring monthly cost of streaming, the idea (albeit slowly receding) that streaming is a luxury makes it such that a significant portion of listeners still rely on illegal music downloads. Regardless, the impact of the growing population music streamers, both through freemium and premium streaming platforms, has become impossible to ignore. Earlier this week, TurnTable charts reported that ‘MIL’ had raked in the biggest debut week for an album on YouTube NG, and the Burna Boy-assisted “Ginger” made history as the first number one song on the newly minted Top 50 charts, which is meant to be a reflection of the biggest songs in the country.
With these commercial achievements, it seems pertinent to wonder if ‘MIL’ would have gained this much early success if it had actually fully leaked. There’s no definite answer since it’s a hypothetic situation, however, it feels important to interrogate the consequence of leaks within the bigger picture of Nigeria’s evolving music industry. While gathering talking points for this piece, it dawned on me that our local music scene has been built on the back of piracy which is a form of intentional leaks, if you will. In the late ‘90s when eLDee pretty much instituted the Alaba model, starting with the Trybesmen, it was essentially a format where informal distributors paid a one-off price for the rights to pirate and sell an artist’s work.
The Alaba model was the dominant format for music distribution until the early to mid-2010s, with the internet and peer-to-peer sharing technology (e.g. Bluetooth) becoming more popular amongst young people. Powered by a rise in the use of Blackberry phones and other internet-enabled phones, that was basically the beginning of Nigeria’s own Limewire era, instigated by popular blogs such as Notjustok, Tooexclusive, 360nobs and more. In this period, CD sales began to decline and several artists even suffered leaks. I remember receiving M.I’s feverishly anticipated sophomore album, ‘M.I 2: The Movie’, a day before official release from a friend who had downloaded the entire album from some blog to his blackberry. While I would go on to buy the CD on the day it dropped, the ease of playing the album on my phone meant the CD didn’t get that many spins.
While artists and labels continued to sell CDs with the Alaba format, because the Internet use was still very low around here, many people decided to take advantage of these blogs, intentionally leaking their music to them in order to get as many ears as possible. Considering that live performances have always been the more lucrative revenue stream, allowing their songs to roam freely was a strategy to gain people’s attention so they would get more performance gigs. It’s still a commonly deployed strategy, and as a great example, it continues to be instrumental in the infiltration of street-bred music into mainstream afropop—the Shaku Shaku and Zanku waves were carried on the backs of intentional leaks and rampant piracy.
At the moment, there’s no tangible information about the effect of streaming on illegal music downloads in Nigeria. At the risk of being a little too optimistic, it’s clear that there’s a rise in streaming culture, even though it might be taking longer than it is in the rest of the world. The positive implication of this is that artists know that there’s a demographic who are ready to access their music through legal, revenue generating channels. On the consumer side, streaming comes with a double combination of ease and access, which becomes a habit that makes it tedious to go around searching for download links and leaks (in the case of soon-to-be-released music).
Over the weekend, one of the songs off Davido’s anticipated ‘A Better Time’, out this Friday, was leaked to social media, through no affiliations to the artist or his camp. The Nicki Minaj-assisted song has been trailed by its fair share of hype, and its leak definitely got thumbs tapping away on social media. As much as there was adequate chatter on the quality of the song, much of it still centred on its chances for commercial success when it finally saw official release. While there’s very likely unchecked proliferation going on, it’s telling that a leak doesn’t seem to be hampering a potentially huge international collaborations.
On his path, Davido hasn’t done as much as react to leak, going on with the rollout for ‘ABT’ with the recent release of “So Crazy”, the Lil Baby-assisted single that had already been scheduled. In the blog-dominated era, there’s a high possibility Davido would have run with the leak as a single, since it would already be on millions of phones. With streaming, however, it seems as though there’s a confidence that there’s a dedicated audience waiting to listen when the song is officially out, so there’s nothing to sweat.
Using situations involving Davido and Wizkid to determine the implications of leaks and piracy might seem a bit idealistic, since they’re two of the biggest superstars and so many people would naturally be paying attention and waiting for their new releases. However, that’s also exactly why they are perfect examples, because this means the stakes are really high for them. Their different approach to handling leaks shows that artists have increased agency in controlling how they want their work to be received. As I’ve been told by many artists, the process doesn’t stop until the music is out—and even in some cases, after it’s out. No artist wants their process to be disrupted by leaks and affected by piracy, and it should be a bit comforting that these factors seem to be getting less grave with each passing day.
The common trope is that Nigerians would rather not pay for music, but the truth is, music is more or less free these days. While it isn’t entirely ideal from a creator’s point of view, listeners can access music for free through multiple freemium streaming platforms, as well as premium ones for a relatively inexpensive rate. Getting the double positive of ease and instant access to official for next-to-nothing, depending on spending power, is obviously more alluring than surfing the web for illegal downloads. As more people lean into this route, the hunt for leaks and appetite for digital piracy will continue to dwindle, hopefully, up to the point where a Nigerian artist’s album can leak for days in advance and it won’t have much bearing on its potential for commercial success.
Dennis is a staff writer at the NATIVE. Let me know your favourite the Cavemen songs @dennisadepeter
READ OUR REVIEW OF WIZKID’S ‘MADE IN LAGOS’
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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