Wizkid takes another Win, with 7 Billboard Music Award nominations

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. 

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 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.