Some lives leave marks that ripple far beyond the moments in time they occupy. In Nigerian film, music, sports and media, 2025 saw the departure of voices, faces, and talents that, for many decades, contributed to how we laugh, celebrate. These were people who did more than just perform or play, they inspired many and created connections across generations, leaving legacies threaded into everyday life.
Here, we highlight the stars we lost, not only noting the facts of their deaths but tracing the impact of their work. While the years move forward, the echoes of their craft remain, reminding us of what it means to influence culture and leave a mark that outlives a single lifetime.
Anike Agbaje-Williams
Occupation: Broadcaster and TV host
Date of birth: October 23, 1936
Date of death: February 26, 2025
Age: 88
Anike Agbaje-Williams did not only work in broadcasting; she helped pioneer it in Nigeria. As the first female television announcer in the country and the first voice heard on Western Nigerian Television, she shaped how Nigerians learned to listen, trust, and gather around screens. Her delivery was sharp and warm, a blueprint for broadcast professionalism in Nigeria.
Her passing closed a chapter of Nigerian media history defined by institutional firsts. Every Nigerian broadcaster working today operates in a space she helped clear, often without applause, long before visibility became currency.
Nkechi Nweje
Occupation: Actress
Date of birth: June 5, 1965
Date of death: March 21, 2025
Age: 60
Nkechi Nweje’s career was shaped by emotional performances. She mostly appeared in Igbo-based Nollywood movies, playing women defined by circumstance but never reduced by it. From roles that explored grief to resilience and moral tension, her performances carried cultural weight and interpersonal dynamics that resonate outside regional storytelling.
She died following complications from surgery. Nweje’s impact will be remembered through movies such as Back from Congo (2016), Ritual of Vengeance (2021) and Yadiba (2022).
Christian Chukwu
Occupation: Footballer and coach
Date of birth: January 4, 1951
Date of death: April 12, 2025
Age: 74
This may resonate heavily with the millennial and boomers. Long before European pipelines and global endorsements for Nigerian footballers, Christian Chukwu had raised the dust on the pitch. As the team lead of Nigeria’s national team, then known as Green Eagles, during its first African Cup Of Nation victory in 1980, Christian Chukwu became the first Nigerian football captain to lift the prestigious continental trophy.
Over time, his name became synonymous with discipline and composure. His understanding of Nigerian football, teamwork and tactical intelligence earned him managerial position in the Kenya national team in 1998, the Super Eagles in 2003 to 2005, and Enugu Rangers in 2008 to 2009, before becoming its general manager and chief executive officer. Christian Chukwu passed away after a long illness. His legacy remains foundational to Nigerian football identity.
Occupation: Gospel musician and on-air personality
Date of birth: November 15, 1974
Date of death: April 19, 2025
Age: 50
Big Bolaji’s voice, songwriting and music was direct and rich. His ministry was built as a space where worship met everyday struggle and faith felt really close. He was known for his Turn It Up concert, a praise-and-worship session, organised in Ibadan every year. He passed away after a brief illness. Big Bolaji’s impact lives in how he treated worship as conversation, not just as performance. He lives on through his tracks like “God Father”, “Real to Me” and “Baba Lo Soun Gbogbo.”
Mike Ejeagha
Occupation: Musician
Date of birth: April 4, 1930
Date of death: June 6, 2025
Age: 95
Mike Ejeagha, also known as Gentleman Mike Ejeagha, was an archive in human form. Through music, he preserved Igbo folklore, moral philosophy and oral tradition at a time when the culture;s survival was threated. His storytelling was deliberate and rooted in communal memory, resisting trends in favour of cultural and traditional continuity.
The legendary folk musician experienced an unprecedented career revival following the viral success of his classic track, “Ka Esi Le Onye Isi Oche”, which was propelled by a popular dance trend by comedian Brain Jotter. The song’s “Gwo Gwo Gwo Ngwo” hook dominated digital platforms. This resurgence resulted in a record-breaking achievement, as Ejeagha became the oldest Nigerian musician to debut on the Apple Music Top 100 charts. Ejeagha’s legacy is immeasurable because it exists beyond entertainment. His work remains a cultural reference point, a reminder that music can function as history and heritage at the same time.
Kayode Peters was instrumental in shaping Nigeria’s contemporary comedy and television storytelling. It all started with a flair for acting in Unilag’s Theatre 15. Since his foray into acting and filmmaking, he had gained popularity from Papa Ajasco and Company, earned a Masters in film and TV, directed plays, produced shows and films such as The Twilight Zone (2000), My Flatmates (2004), Excuse My African (2018), 13 Letters (2019) and Crazy Grannies (2021)
His work has also consistently captured the attention of global juries, sweeping the Best Short categories at TIFF Toronto and the Indie Film Festival in London with Bring ’em Back. One of his directorial works, Identical Justice, earned a triple-win at TINFF and further solidified his reputation as a professional who understood timing, character, and the importance of laughter as social commentary. He died in Toronto, after a prolonged illness.
Peter Rufai
Occupation: Footballer
Date of birth: August 23, 1963
Date of death: July 3, 2025
Age: 61
Peter Rufai, famously known by his nickname, Dodo Mayana, was Nigeria’s last line of defence during some of its most defining football moments of the late 1980s and the 1990s. Calm under pressure, he brought reliability and stability to the Super Eagles across multiple international tournaments. He was a legendary goalkeeper who captained the national team 65 times.
His career is defined by several historic milestones as the first-choice goalkeeper when Nigeria won the 1994 Africa Cup of Nations (AFCON) in Tunisia. He was World Cup OG who represented Nigeria at two FIFA World Cups, starting in both the 1994 (USA) and 1998 (France) tournaments and helped the team reach the Round of 16 both times. Also, in a rare achievement for a goalkeeper, he scored a penalty goal for Nigeria during a 6-0 victory over Ethiopia in a 1993 AFCON qualifier.
Peter Rufai enjoyed a successful 20-year professional career in Europe, playing for clubs such as Lokeren (Belgium), Farense (Portugal), and Deportivo La Coruña (Spain). He died after an illness and his legacy endures not only in match highlights but in the confidence he gave Nigerian football during its formative global years.
Get More Zikoko Goodness in Your Mail
Subscribe to our newsletters and never miss any of the action
Olusegun Akinremi, AKA Chief Kanran
Occupation: Actor
Date of birth: September 3, 1952
Date of death: August 13, 2025
Age: 69
Chief Kanran’s comedy was a cultural translation. He understood Yoruba humour as philosophy, using exaggeration and wit to reflect social realities. He began his acting career on stage in 1975. One of his most significant early roles was playing the title character in the play Kurunmi by Professor Ola Rotimi. He was part of the cast for Langbodo, which was Nigeria’s official drama entry for the historic Festac ’77 festival held at the National Arts Theatre.
He transitioned from stage to screen and appeared in popular TV series like Mirror in the Sun and the soap opera Images. He also played General Philips in the hit TV soap Megafortune. He earned his famous nickname after his iconic portrayal of Alaafin Kanran in a 1988 drama aired on Lagos Television. Chief Kanran passed away in August 2025, shortly after his last acting performance in Femi Adebayo’s Seven Doors.
Somtochukwu Christelle Maduagwu
Occupation: Journalist, broadcaster, lawyer and model
Date of birth: December 26, 1995
Date of death: September 29, 2025
Age: 29
Somtochukwu Christelle Maduagwu, affectionately known by colleagues and viewers as “Sommie,” was a multifaceted professional who bridged the worlds of legal practice and broadcast journalism. A UK-trained lawyer by trade, she initially honed her analytical skills as a legal executive at the International Dispute Resolution Institute (IDRI). However, her transition to the screen revealed her true calling. As a prominent news anchor and producer for Arise News, Abuja she became a new generation of Nigerian journalists redefining broadcast professionalism, a trusted voice, known for her ability to dissect complex legal and social issues with remarkable poise and clarity.
She was a particularly staunch supporter of the Reserved Seats Bill, a legislative effort aimed at ensuring women had a guaranteed and meaningful presence in Nigerian governance. In 2023, she achieved national visibility on a different stage, being crowned the first runner-up in the Miss Tourism Nigeria pageant. Her charisma and versatility showed her talents and commitment to represent the cultural richness of Nigeria.
She died after jumping from the third floor of her Abuja apartment in an attempt to escape an armed robbery attack. Her death shocked the nation and reignited conversations about insecurity. Sommie’s impact lies in how quickly she earned trust as a reporter and media personality.
Allwell Ademola
Occupation: Actress and producer
Date of birth: August 9, 1976
Date of death: December 27, 2025
Age: 49
Allwell Ademola’s career as a performer actually took root in her childhood. In 1985, while serving as the head of the cultural and dramatic society at her school, she was scouted by the legendary Wole Amele. This led to her screen debut on the NTA television show Animal Games with Uncle Wole. She soon became a familiar face to a generation of young viewers through her appearances in the iconic children’s series Tales by Moonlight.
These early experiences laid the foundation for her transition into the professional industry. By 1992, at just 16 years old, she began appearing in Nollywood films alongside veterans like Jide Kosoko, and even making her mark on the stage at the National Theatre.
In her adult career, she became a powerhouse within the Yoruba-language sector of Nollywood, celebrated for her work in films like Ile Wa (2018), where she played the memorable role of “Mama Kate.” She was also a dedicated mentor who nurtured emerging talent and helped launch the careers of rising stars like actor Rotimi Salami. She also expanded her artistry into music, forming and leading her own band, Allwell and Company.
She died after a heart attack, just hours after she had shared an optimistic post about making it to a new year on Instagram. Her passing was both sudden and disorienting, closing 2025 with grief.
Although there were talks in 2024 about zero global hits and the decline of afropop, the best songs of the year and other end-of-the-year music lists were selected without debate. The year had some great songs in a way that left little room for argument.
2025 has moved differently. There has been no one song huge enough to shake everywhere and swallow the moment. That absence isn’t a failure or lack of music. Big songs still emerged, and great ones in manageable quantities. Still, this year’s listening experience has been shaped less by domination and trends and more by divergence, hence why my personal taste matters more than numbers.
Across genres, there were viral songs, reliable hits, and bold experiments from both rising and seasoned artists, playing to their strengths, as well as moments that broke out new stars. With all of this in mind, I listened widely and carefully, weighing impact alongside feeling, reach alongside resonance. This is a curated list of the 50 best Nigerian songs of 2025.
50. “AEROPLANE” — Oladips
As a young Nigerian, you might feel like you’re being held back, struggling to reach your full potential. Frustration is at its peak, but deep down, you believe it’s only a matter of time before you secure your green card, process your visa, and japa to your “promised land”. This feeling is exactly what Oladips captures in this song. If this song were an Instagram carousel, it’d be three photos: Oladips at the Muritala Muhammed Airport before he departs Nigeria, Oladips at Heathrow Airport when he lands in London, and the meme of “Welcome to a new dispensation.”
49. “Bere Mi (Reimagined)” — ID Cabasa feat. Zlatan and T.I BLAZE
Veteran music producer ID Cabasa adds “Bere Mi (Reimagined),” a reimagination of 2Phat and 9ice’s “Bere Mi”, to his new album titled Unfinished Business. “Bere Mi” (“Ask me about me” in English) looks back at hard times and celebrates being in a better position. T.I BLAZE handles the chorus, 9ice harmonises in the background and Zlatan lays a reflective verse. If you’re looking for a new song that’s giving all eyes on me when I entered the party, here it is.
TAR1Q tables the matter of his heart. In the first verse, he’s a hopeless romantic. On the chorus and the second verse, he has relationship woes, and he’s not the big loverboy that he once was. His heart couldn’t take what befell the romance. His tears are now dry, but he struggles with love. Even if the kind of love he desires never finds him, at least he tried.
Rapper PayBac iBoro goes completely rogue at the government on this track. He grabs his lyricism as a weapon to corrupt politicians. In his chorus, he charges the youth and those willing to act in protest to “Shoot that man at the top wey no wan make we chop.” He touches on the issues of dirty officials stealing pensions from retirees, those who rig elections and also remembers how the Nigerian Senate bullied Senator Natasha.
The song brings all the frustrations of an average Nigerian into a solid chorus and two captivating verses. This is his middle finger to government officials — his reprise of the corrupt system sitting over the resources meant for the masses.
“Libations” sits comfortably within Show Dem Camp’s long-standing commitment to reflective rap that honours lineage and lived experience. Over meditative production, Ghost and Tec trace memory, survival, and gratitude, pouring verbal offerings to the people and paths that shaped them. It’s restrained but weighty, a reminder that SDC’s strength has always been its ability to age gracefully while staying rooted in purpose.
A-Q uses “Read The Signs” as a mirror, examining consequence, intuition, and the quiet warnings life sends before collapse or clarity. Terry Apala’s Apala-blues inflexion adds grit and cultural texture, grounding the record in Yorùbá street wisdom. Together, they turn self-awareness into a cautionary tale that feels both personal and communal.
“ACL,” a standout from Blaqbonez’s 2025 album No Excuses, doubles as both a lyrical declaration and a public spark in one of Nigerian rap’s most talked‑about feuds. Built on a minimalist, hard‑hitting beat, the track sees Blaqbonez deliver razor‑sharp bars aimed at fellow rapper ODUMODUBLVCK, accusing him of chasing clout and substituting internet posturing for real artistry.
The title serves as a metaphor for failed imitation, reinforcing Blaqbonez’s assertion that attempts to match his craft end in injury rather than mastery. He makes a bold stance with this and has dominated social conversation and propelled the song into heavy rotation.
“Economy” captures the exhaustion of ambition in a fragile country, where desire constantly wrestles with reality. Tim Lyre’s weary calm pairs naturally with Show Dem Camp’s reflective bars, creating a song that feels lived-in. It’s not protest music, but it is honest, naming survival as its own form of resistance.
Here, Victony steps into controlled chaos and invites Terry G’s unpredictable energy to stretch his own production palette. Where Victony stays melodic and carefree, Terry G erupts with rawness, turning the track into a collision of temperaments. It works because both artists understand attitude as spectacle.
Wizard Chan continues his role as a spiritual observer on “Oh My Home,” reflecting on belonging, displacement, and emotional safety. His voice floats gently over minimal instrumentation, allowing the message to lead. It’s a song that feels like a quiet prayer for grounding in a restless world.
“Glory” reframes Skales’ career narrative through perseverance rather than nostalgia. With FAVE’s warmth balancing his resolve, the song becomes a meditation on survival after obscurity. It’s celebratory without being boastful, focused on grace earned rather than hype regained.
“Moshood” is a standout single in PDSTRN’s 2025 catalogue, released as a nearly eight-minute hip-hop narrative that seamlessly transitions between gritty ambition and storytelling momentum. The track is a character study framed through rap lines and persistent drive. PDSTRN uses the extended runtime to explore ideas of aspiration, vision, and self‑definition, finding balance between street reflex and lyrical craft.
“6:35” by Layefa is a soothing, reflective R&B-soul single, part of her debut two-track release, Tobolayefa. It explores themes of love, heartbreak, and introspection, offering a candid glimpse into emotional vulnerability. “6:35” is a strong introduction to her solo artistry. This song signals Layefa’s evolution as a storyteller, with a voice and style that rediscovers romance and self-love. The lo-fi vibe makes it prime for both introspective moments and background ambience.
Lady Donli explores indie sound in her new single, produced by Yinka Bernie. “Keep On Loving Me” flows over dreamy drums, rich basslines, pulsating trumpets, and what sounds like a Malian guitar, all wrapped in cotton-candy lyrics about a love that shouldn’t end. With Donli in full yearning mode, this one’s for the romantics.
Niniola brings a pulsating Afro-House banger with cheeky lyrics and a deep message. “Ginger Me” in the Nigerian street lingo translates to “excite or ignite me.” The verses are soaked in bold sexual empowerment. “Lo alum to ba fe ko tight” refers to vaginal tightening substances, while lines like “Lo condom, lo condom… Sora fun gonorrhea” advocate for safe sex. As Niniola makes a dance anthem, she keeps it playfully sensual and dense with commentary on female survival mechanisms. Long live the queen of Afro-House.
Singer-songwriter Aisosa’s emotive storytelling and smooth sonic textures craft a late-night mood on “Hold On.” He sings about patience, resilience, and emotional stability on a tender, mid-tempo alt-pop track with techno-infused production and soothing chords. Although this song gently uplifts the soul, it fits snugly on romantic playlists and further solidifies Aisosa’s rising status as an indie R&B artist to watch.
34. “Irapada” — Oyedele feat. BoyLiam and Femi Leye
“Iradapa” is a Yorùbá word that translates to “Redemption.” Oyedele is reborn, and he now finds himself on a path of renewed purpose, one where he’s completely in charge of his destiny. This is a story of a disciplined journeyman acquiring solace, wisdom, unfazed by uncertainties and roadblocks, while exuding peak confidence in his artistry.
Falz gives listeners a rare moment of unguarded honesty in a nearly six-minute track that gives a direct look into his journey and aspirations. He takes us through the origins and evolution of Falz TheBahdGuy, from childhood dreams of football to a law student in London to the viral “This Is Nigeria” freestyle. “Story Time” is the closing track on his latest album titled The Feast, and it peels back the curtain. If you’re curious about who Falz really is and what drives him, this track is essential to listen to.
“I Wish I Had More Time” by Braye isn’t just a single; it’s the title track off his debut four-track EP, which was released in May. It showcases him as a deeply introspective and genre-defying R&B/neo-soul artist. Braye bares his soul, singing about the urgency of living fully, speaking truth and embracing emotional vulnerability. With rich textures, heartfelt lyricism and a nostalgic whisper of jazz-classic fusion in his track, Nigeria has a promising alt-R&B voice on its hands.
31. “Reverse Back” — OluwaMillar feat. Mojo AF and Bayoo
On a dope hip-hop track infused with Afrobeats elements, rappers OluwaMillar and Mojo AF rap confidently about bedroom activities with playful imagery. OluwaMillar is cocky and poetic. Mojo AF is equally confident, comparing himself to Ronaldinho’s flair. He rhymes about his status as a recognised rapper in the game, his grind and soft boy lifestyle. Singer Bayoo delivers a catchy hook that makes the jam party-ready. This track is positioned as the penultimate track on OluwaMillar’s Agbalagbi EP. At this moment, he steps fully into unapologetic bravado, contrasting the EP’s deeper and introspective cuts like “Olorunsogo” and “Opelope Anointing.”
This cut thrives on its catchy hook. Featuring Jeriq and 255, the track leans into an infectious chant‑style refrain — “I too sabi, that’s my problem” — that doubles as both a playful repetition and a confident brag. Over its brisk, dance‑friendly tempo, Minz’s verse sets the tone with braggadocio and aspiration, while Jeriq and 255’s contributions keep the energy elevated and communal, turning the song into a spirited anthem for anyone who’s ever felt too aware, too sharp, or prepared for spotlight.
29. “Holy Water” — Davido feat. Victony and Musa Keys
This song from Davido’s new album 5IVE features softer log drums and drum rolls that greatly contribute to the production. It gives a calmer ambience to Davido’s ever-high energy. Here, he and the featured artists use the phrase “holy water” metaphorically, perhaps to express intense desire for their love interests. The verses express enough about wanting someone romantically and the hook carries the whole song well, giving it a sing-along effect that enhances its polished and earworm appeal.
“Buss It” reintroduces GoodGirl LA with a bold and sensual confidence that sets the tone for her 2025 comeback. She emerges from a three‑year break and uses the track’s slow‑burning afro‑r&b and her commanding vocal presence to stake a claim on desire and self‑possession. The production’s cinematic weight and her unapologetically explicit writing make the song feel like a statement.
This song captures repeated refrains about standing by people who will stay through fire and hardship. Burna Boy gives “Love” a grounded theme of reciprocity. Its appeal extends beyond emotional introspection to cultural resonance, reminding listeners that authentic relationships matter more than performative attachments. The accompanying visuals, threaded with family moments and fan love, further reinforce the message of rooted loyalty.
Although the “SHAOLIN” motif represents spiritual toughness, discipline, survival instincts and mastery over one’s destiny, Seyi Vibez celebrates success. From money formulae, attraction, nightlife and living fully in the moment, this is both a superb flex and motivational jam. The song also strengthens Seyi Vibez’s reputation as a bold experimentalist, blending fuji, afropop and techno-inspired street-hop. It’s an applaudable step in his evolution.
25. “Promise Keeper” — Sound of Salem feat. Pastor Oche Ogede
The strength of “Promise Keeper” lies in its mix of spirit‑filled conviction and accessible musicality. As solemn as it sounds, the song embraces a joyful propulsion, celebrates divine reliability and invites believers to pursue that promise with devotion. Its combination of cultural music elements and worship fervour helps it resonate widely within Nigerian gospel communities and beyond.
This song is a soulful take on love and memory that sidesteps typical afropop romance for something more introspective. Sewà layers jazzy instrumentation and Yorùbá songwriting over warm production that feels both nostalgic and immediate. Less focused on the heartbreak, she lays her attention on the quiet weight of unspoken words and the emotional imprint of a love in Lagos that refuses to disappear, even though she’s far away, somewhere in The Great White North.
“Bad Belle” finds Tay Iwar staking his claim as a thoughtful voice in Nigeria’s R&B landscape. He turns “Bad Belle”, a common Pidgin phrase for jealousy and ill will in the face of romance, into a reflective anthem of resilience. Over soulful, mid‑tempo production, Tay’s vocal delivery glides with calm assurance, addressing negativity not with aggression but with poise and self‑belief. Introspective songwriting that spices love and uplifts mood.
What makes the collaboration compelling is the chemistry between Ajebo Hustlers and Victony is their captivating delivery. Their styles balance introspection with infectious verses, allowing the song to emerge as both a contemplative piece and a sleeper hit. In capturing determination and resilience with lyrical depth and catchy chorus and verses, “Ave Maria” stands out as one of the more thoughtful and memorable tracks from the Onorato EP.
“Escaladizzy” is Mavo’s calling card in 2025. Anchored in self-created lingo and contemporary alté and street-pop styles, the track pairs Mavo with WAVE$TAR, creating an infectious and playful hit. Clocking in at under three minutes, the song’s hooks and catchy chorus drive its momentum, making it an easy repeat for both playlists and social feeds. Its lyrics are confident statements about ambition, bad-boy lifestyle and youthful exuberance with playful imagery and slang.
Set against mid‑tempo percussion, WANI’s vocals balance vulnerability and resolve, conveying both devotion and steadfastness in love. The refrain “Don’t let me fall” carries a prayer‑like intensity, portraying affection as deliberate and earned rather than casual. On keen listen, some part of WANI’s chorus sounds like an interpolation of a P-Square song. Melvitto’s production complements it with a sleek, measured groove that keeps the emotional centre in focus as WANI smoothly shifts between confident assertions and intimate questioning. Lines that emphasise prioritising one person over passing distractions reinforce the song’s core theme of loyalty. This is sincerity and heartfelt intention.
Lyrically, Rybeena uses “New Taker” as a warning and a lesson to the newly rich people, advising them to temper ambition with awareness and balance the pursuit of success with self-care and wisdom. That perspective aligns with the broader themes of hustle and survival that inform his Virtuoso project, and it gives the song both cultural resonance and emotional weight. As a result, “New Taker” works not just as an afropop anthem but as a commentary on navigating rapid change and the pressures of success.
“Maye” distills Zaylevelten’s restless energy into a compact, memorable single. Released as part of his 1t gOt Crazy run of music in 2025, the track moves at a measured pace with a danceable groove beneath glitchy and hazy production. Zaylevelten’s flow lands with both smoothness and edge, pairing catchy hooks with a delivery that plays with linguistics. It invites repeat listens while showcasing his flair for melody and attitude.
What stands out in “Maye” is its balance of vibe and vulnerability. It leans into a laid-back yet persistent energy that mirrors the emotional complexity. In the context of his breakthrough year, “Maye” helped solidify his momentum and broaden his reach, functioning as both a catchy standalone and a piece of the larger narrative he’s building.
This track set the tone for Lojay’s 2025 and his evolving voice in contemporary afropop. In “Somebody Like You”, Lojay leans into emotional clarity, longing with restraint rather than dramatics and warm production. The song allows his voice to lead. Soft but intentional, as he reflects on love shaped by absence and expectation. It’s less about heartbreak itself than the quiet search that follows it, the hope of finding something that feels honest and sustaining.
Lojay turns vulnerability into melody without overdoing it. As a statement of intent, “Somebody Like You” signals maturity, positioning Lojay as an artist who is comfortable sitting with feelings.
This is a study of Samad’s commitment to storytelling as a craft rather than a confession. Built around a fictional character, the song began with a simple melodic idea and hook, “Ore mi, Lameda,” before expanding into a narrative about prolonged struggle and quiet endurance. Samad positions himself as a narrator who shapes emotions through both intention and lived specificity. What makes “Lameda” compelling is how convincingly that fiction lands.
The song’s clarity and restraint allow listeners to project themselves onto the character, blurring the line between invention and reality. That many listeners have asked who or where Lameda is speaks to the strength of Samad’s writing: the story feels real because the feeling is.
No doubt the years spent together as labelmates at YBNL have built a workable level of chemistry between Fireboy DML and Pheelz. The two of them come together to release a collaborative EP titled Peace by Piece. One of the tracks is “Young Again”, which is a double meaning that captures and reminds listeners of the idea of a life lived and how those times will never come back. Secondly, it encourages people to make hay while the sun shines.
Fireboy and Pheelz reflect on joy, responsibility and emotional reset, backed by a warm production. It’s restorative music, made to celebrate and motivate.
Made Kuti confronts truth head-on in “You Can’t Hide,” blending Afrobeat tradition with moral urgency. His songwriting is pointed, reminding listeners that accountability is unavoidable. For Made Kuti, whose ancestry can be traced to great musicians like Femi Kuti and Fela Anikulapo-Kuti, the song carries the weight of legacy with clarity and urgency and moral and social responsibility.
13. “Hey Jago” — PocoLee feat. Shiday and Rahman Jago
In the spirit of street-pop anthems like 9ice’s “Living Things”, “Hey Jago” is part eulogy, part motivation. It celebrates Rahman Jago—a Nigerian fashion and lifestyle influencer known for his High Fashion brand—and uses him as a symbol of ghetto-to-glam success. “Hey Jago” keeps shoulders bouncing and sneakers glued to the dancefloor. The beat is fast and rubbery: a fusion of amapiano’s log drums and that unmistakable Afrobeats percussion. Poco Lee, ever the master of vibes, opens with lambas and a presence that orchestrates the energy. Shoday’s vocals carry aspirations of rising above struggle, with Jago as the blueprint.
What makes this song exceptional is both the infectious melodies and delivery that drive it. Here, TML Vibez and Lasmid, emerging Nigerian and Ghanaian pop sensibilities, keep the song light, rhythmic, and emotionally accessible. It’s love music built for the times lovers miss each other, and assurance is a need, or when just in the mood for love.
Kunmie, one of afropop’s breakout acts of 2025, set the internet, especially TikTok, on fire with his “Arike” single. The track thrives on romance and simplicity, a mastered pocket that lets Kunmie’s vocal tone sit well with emotions. Its strength also lies in its sincerity and resistance to overproduction. It feels intimate.
FOLA struggles with his motives as he suspects that his love interest is more interested in his wealth than in him, creating tension between genuine affection and materialism. The song also leans on heartbreak and confusion as FOLA laments feeling “really lost,” grappling with disillusionment and distrust after relationship turmoil. They are also in desperate need of comfort amid an emotional burden. FOLA’s street-pop grit meets Kizz Daniel’s smooth style to craft an intimate and reflective atmosphere.
“With You” pairs Davido’s assurance with Omah Lay’s introspection, creating a balanced exploration of assurance and intimacy. The theme of this song leans more towards chemistry than spectacle. It’s restrained, emotional and deliberate.
The term “Laho” doesn’t have a direct translation in English, but in the context of the Bini tongue and Shallipopi’s song, it translates to “please” or “don’t let me fall.” Although this song feels like a celebration, its lyricism reflects the masses’ everyday struggles and requests for help. With this song, Shallipopi continues to draw from Benin street language and culture, something he has made a signature of his music since his debut.
This song continues Shallipopi’s street-pop momentum, driven by slang, cadence, and cultural immediacy. The song thrives on attitude, and its sweet spot lies in its confidence.
“Mo Wa Dupe”, the 2002 classic song by Paul Play Dairo, gets a new composition as “Morowore” as Olamide reflects his continued ability to be, become, and lead across generations. It’s rooted in the Yoruba expression, which recognises the presence of divine intervention in personal life and gives gratitude for it. Hearing Olamide on Paul Play’s new single, “Love in Tokyo”, it’s not really a surprise that Baddo pays a tribute to the veteran. It’s an impressive modern interpretation. It’s cultural continuity in motion.
After a not-so-impressive year that Fido has had — a couple of singles and an EP that aren’t widely received, a dwindling fan base and star power — “Joy Is Coming” now feels like a hopeful end-of-the-tunnel medley. The song operates as an affirmation, grounded in patience and belief. Fido’s delivery is steady, allowing hope to feel earned rather than promised. It’s a song built for reassurance. Ending the year as 2025’s most-streamed song in Nigeria shows how much it resonates with many listeners. Fido should proudly take this win.
Subscribe to our newsletters and never miss any of the action
5. “Favour” — Lawrence Oyor
Nine days into 2025, Lawrence Oyor flips his prayer point, perhaps since crossover night, into a song titled “Favour.” He presses further with his request for an abundance of favour. It’s a stellar performance of gospel music and speaking between lyrics, melodies and modulations. The song’s resonance represents the everyday supplications and humans’ continuous need and want of goodwill, advantage, approval, preference and support.
Whether it’s favour with God or men, or it’s merited or unmerited, Lawrence Oyor spreads his lap open to receive it. And as abstract as the concept may be or feel, he seems to find it, especially with men. The song is the most-streamed Nigerian song (2.5 million streams) of January 2025 on Spotify.
With three solid projects in her catalogue, Ayra Starr has established herself as the next-to-be matriarch of afropop. Fine songwriting, great-value production, star power, acclaimed and lovable brand, with hits to back them up; she has all of them. They are not amiss on her new single, “Hot Body”. The song’s opening line is one of the most popular catchphrases of 2025: “Look! Look what a hot body can do.” The hallmark of it is Ayra Starr’s poise; it’s beyond the confidence that a toned abdomen and lower back would inspire. This single shows growth and ascent to a new level in her artistry. There are great things to look forward to from Ayra Starr.
3. “Many People (Exteneded)” — Adekunle Gold feat. Yinka Ayefele and Adewale Ayuba
The reception of Don Corleone’s Adekunle Gold’s new album, Fuji, has been positive. One standout track that moves lips and hips from it is “Many People” which evokes nostalgia due to the reimagination of Yinka Ayefele’s 2003 “Mi O Mo Ju Orin Lo” hit track. The world of afropop and tungba combines two maestros of grooves. But the inclusion of Adewale Ayuba, Ijo Fuji crooner, is stardust. It’s an interplanetary experience that joins different generations and their modes of àríyá (merriment) together.
Just a week before 2025’s Valentine’s Day, Rema puts out his first and best single of of the year. He briefly steps out of the rave of HEIS (2024), picks up fresher roses and walks on air to “toast” a love interest. The song starts with a sample of Sade’s 1984 hit “Is It a Crime?” Both songs ask only one question, and it’s not rhetorical. It simply demands a complete response that answers whether they’re in love with the right person or the wrong one.
Though Sade’s version is an incredible cautionary tale and probe of real love, Rema’s own is an anxious, playful and sultry desire for romance. Unlike Sade, who misses an old flame, Rema is ready to be touched by one. If it works out, it works out. If not, then so be it.
It’s an average Nigerian aspiration to trot the world (particularly the U.K. and U.S) as soon as poverty is kicked to the curb. However, a move overseas is as much interpreted as a search for greener pastures these days. No thanks to sapa and japa waves. So, when Asake, a man with an uneasy background and a life as a former struggling artist, moves far away from Nigeria, living carefree like a tech unicorn who has found zen after selling a startup at some billion-dollar valuation, many had things to say about his new persona and “blow-up.”
Over the course of a year in Los Angeles, Asake unexpectedly addresses the ongoing conversations about his relocation and loyalty to his motherland and local fans. He opens “BADMAN GANGSTA”, not only stating that he’s living for himself, chasing dreams and wealth, but affirming he’s still a son of the soil and isn’t on the run. As much as he tries to keep himself grounded, his lyricism and delivery here are larger-than-life. The addition of French artist Tiakola to the track is a perfect kiss.
Wizkid: Long Live Lagos, the first film production about Wizkid, signifies more than a documentary. It’s a meditation on place, memory, ambition and what it costs to carry a city and generation with you as you move through the world. Rather than tracing a rise-to-fame arc, the documentary portrays Lagos as both origin and burden, illustrating how the city’s beauty, struggles, condition, and contradictions are reflected in Wizkid’s music, work ethic, and worldview.
From rehearsals to performances, reflections and other moments, the documentary reveals how Lagos continues to shape Wizkid long after global success. It shows community, creative responsibility and hard work behind the scenes.
These are six things I picked from Wizkid: Long Live Lagos.
The doc is about his Tottenham show
This documentary’s storyline attempts to explore Wizkid’s legacy as thoroughly as possible, but the central theme is the show he performed at the Tottenham Stadium in 2024. Wizkid is the first artist to perform at the 60,000-person capacity stadium after Lady Gaga (2022) and Guns N’ Roses (2022).
Wizkid performing there as the first African and Black artist is history, and this is the documentation of it, its significance and what it took to make it happen.
It’s dedicated to his mum
At the time of the concert planning, Wizkid’s mum had to start cancer treatment, meaning that she wouldn’t be able to attend the show, leading many to believe that he’d cancel it. However, he didn’t, and the show went on. A few weeks after the concert, she died.
The documentary title may give a special nod to Lagos, the city that made Wizkid, but it’s dedicated to his mother, whom he also named his latest album, Morayo, after.
Family follows Wizkid to work (almost) every time. Throughout the documentary, we see Jada Pollock — Wizkid’s manager, partner and mother of three of his children — and their young kid, who’s too young to be left alone, moving in proximity. The doc also shows Jada giving a glimpse into their work process and how they merge work and family.
The Cavemen. are the show’s musical directors
Nigerian Highlife duo, The Cavemen., handled the show’s musical direction for the rehearsal and live performance.
Get More Zikoko Goodness in Your Mail
Subscribe to our newsletters and never miss any of the action
Starboy travelled out for the first time
Don’t get it mixed up: the Starboy here isn’t Wizkid himself, nor the Canadian singer The Weeknd, who also called himself that one time. The Starboy in discussion here is a big fan of Wizkid, a mechanic, car rider, and drifter, who made his way to the U.K. just to watch his favourite artist perform.
The focus on Starboy, his decision to travel to the UK to witness Wizkid make history, and obtaining his visa just in time for the show, may seem too performative and convenient, given the difficulty of obtaining a visa in Nigeria. But it also shows how much die-hard fans will ride for favourite artists.
The doc spotlights Dencity
Dencity is a women-focused skateboard initiative in Lagos, founded by Blessing Ewona, who’s also the DJ known as WEARECHEMICALS. There’s no particular tie or story about this group in the documentary. Still, it is recognised in its exploration of how young, creative Nigerians are taking agency and shaping their own future.
If your fingers bleed from scrolling the internet or you keep tabs on the latest celebrity gist, this quiz is for you.
If you don’t get 10/13, just delete your social media accounts and go and focus on yourself.
Take this test:
Questions
This is a question
Which of these Nigerian celebs wasn’t at the MET Gala?
One of these artists went viral for marrying an honourable:
Which famous Nigerian author confirmed they had twin boys?
The image below represents a popular slang on X.
Which Nollywood movie made “Achalugo” one of the most used compliments in 2025?
The pastor who flashed a stun gun at a TikToker this year has one of the following names:
Which superstar sent a fan home for sleeping at their concert?
These celebrities’ weddings rocked the year, but only one happened in Iceland:
Were you online when a certain famous person tried to stop a plane? If yes, who?
Which of these artists got mixed reactions from Nigerian Twitter for their Tiny Desk performance?
Body used to be “tea.” Now, it’s _____.
Which of these Nigerians didn’t set a Guinness World record this year?
Which of these Nigerian artists was declared wanted by the police?
You got #{score}/#{total}
Wow. You might just be the internet bank. Impressed with you, my friend.
You got #{score}/#{total}
You have done your best, my friend. You aren’t just up to date as much as you think you’re. Good luck next time.
You got #{score}/#{total}
Smfh. Are you 40+? Or you don’t have a phone or internet connection? Or you’re just clueless? Or all of the above?
[ad][/ad]
As Nigerians navigate the highs and lows of 2025, from the hustle and bustle to quiet, personal moments, one thing remains constant: music is a powerful tool.
I reached out to ten Nigerians to compile a list of songs that’s more than just a list of hits. They’re candid and personal music that are carrying them through their year, giving them melodies, joy and resilience needed to face another day.
“It was my prayer point during the crossover night and in fact for 2025.” — Favour
The first 2025-realised song that I first heard this year is Lawrence Oyor’s “Favour”, back in January. The title was my prayer point during the crossover night and in fact for this year. I just want God’s favour in everything I do and the song fits perfectly. Also, my name is Favour — and so far, my name has been a reflection of my life. My grades are good, my family too. If there’s something that’s ever felt perfectly made for me, it’s this song.
“It clearly expresses many of my feelings to my partner.” — Tunde
I have been in love for the most of this year and FOLA’s “you” clearly expresses many of my feelings to my partner. It’s groovy and Afrobeats; just how my babe loves her music. It’s delivered in languages my babe and I understand; very easy to sing to each other.
“On a deeper level, it’s about how I lost my spark and praying that I will soon find myself.” — Wale
Easy. It’s Tim Lyre’s “Find You.” The entire Spiral album has an introspective theme that makes it emotive, but “Find You” stood out to me because I had different interpretations of the song.
On the surface, I associated it with an ex I was deeply entangled with in the past and still imagine a future with—just because of how perfect we were together and how she brought a brighter aura to light up my life. So maybe, if it’s meant to be, I’ll find her. But on a deeper level, I interact with the song as if it’s a letter to myself, about how I lost my spark and praying that I will soon find myself. It’s a really beautiful song that’s helped me so much this year. Shout out to Tim Lyre for real.
“It helped me survive a hellish commute in the first quarter of this year.” — Thomas
It’s “Egaju” by Tim Godfrey and Emekasongsz. It’s a beautiful Christian song, which is funny because I’m not religious. Like many Christian songs, it doesn’t have a lot of lyrics (most of it is a call and response of the same two lines), but somehow ends up being seven minutes long.
It’s catchy as hell and helped me survive a hellish commute in the first quarter of this year. Tim Godfrey (the main artist) gets bodied by the person he features (Emekasongsz) and I find that so fucking funny.
“There was a particular midnight I had it on repeat and I got a little teary eyed.” — Wisdom
For me, it’s “Memories” by Lojay and Tyla. It’s a heartbreak song sort of and there was a particular midnight I had it on repeat and I got a little teary eyed at some point. I didn’t exactly cry but it made me feel something and reminded me of some past experiences with heartbreak.
“It’s my motto and where I find my optimism right now.” — Folaranmi
When Seyi Vibez first released “Pressure”, I loved it, though not almost as quickly as I loved his previous releases. But a couple months later, around the time I was experiencing a drought: volunteering and looking for freelance gigs but nothing — a line in the song hit me. It says, “Only a diamond can come from all this pressure.” I repeated that line like twice after I heard it and shook my head in agreement.
It’s my motto and where I find my optimism right now. By the time better days come, you’d know that my struggles made me but they wouldn’t matter anymore.
“It makes me feel that love in any form is still worth believing in.” — Mercy
One song that means a lot to me this year is Burna Boy’s “LOVE” from his latest album. It makes me feel that love in any form is still worth believing in. I liked the song immediately when I heard it and every time I’m driving my car, it’s a must-play — once, at least.
Get More Zikoko Goodness in Your Mail
Subscribe to our newsletters and never miss any of the action
“It’s been healing me and activating the spirit of worship in me.” — Chidinma
I found a song titled “Ya Yesu” by CHEE and Kaestrings. Personally, I have been through a new phase in my faith. I have been looking for God’s mercy and this song is part of my journey. It’s been healing me and activating the spirit of worship and reverence for God in me. If I’d found it earlier, it’d be my most played song this year.
“This song was my ‘I know God will not forget me.’” — Honour
For me, it’s Sound Of Salem’s “Promise Keeper.” You know how they say after you cry, you will look for a solution? Well, this song was my “I know God will not forget me, my name is Honour and God will honour me.” When this song comes on, I’ll bop my head because I know the pain I’m facing is nothing compared to the joy that’s coming. So, I celebrate.
“It’s the song I have played the most this year.” — Yomi
I will go with Rema’s “Baby (Is It a Crime).” It’s one of the best produced songs this year. It’s beautifully written too. It’s the song I have played the most this year, whether I’m working,cleaning or want to sleep at night. I expected more of Rema’s 2025 releases to follow that song’s template and I was disappointed tbh. “Baby” is a jam. In fact, it’s the best Afrobeats song of 2025.
Yesterday, the 23rd of November 2025, made it ten years since Olamide released “Don’t Stop”, a dance-ready jam that compels a damsel not to quit dancing and have a good time. A decade later, Baddo (as he’s fondly called), hasn’t slowed down a bit. In the ten years since, he has released nine albums, become a music executive, signed global artists like Fireboy DML and Asake, and received Grammy nominations.
Olamide hasn’t stopped performing either. On the anniversary of “Don’t Stop”, the Afrobeats legend sold out OVO Arena Wembley and filled it up with his fans, passionately singing his lyrics back to him.
From his entrance and reunion with his former artists on stage to a tribute to an older Nigerian music legend, Olamide Baddo delivered an impressive two-hour performance to his audience in the UK.
Olamide’s grand entrance
In a bourgeois style, Olamide appeared on the OVO Arena Wembley stage: styled in a suit and pulled in a vintage car that looks like a 1958 Jaguar XK150. His entire entrance simply implied his “big-boy” arrival in London. And like that old saying goes: When in Rome, act like Romans. Olamide Baddo cosplayed the wealthy corporate-lad Londoner look, while delivering jams straight out of Lagos, Nigeria.
Badoo brought out his former YBNL artists, such as Lil Kesh, Pheelz, and Asake — whom he rocked the stage with, performing songs like “Shoki”, “Amapiano” and “99”. Fireboy DML, who’s still signed to Olamide’s YBNL record label, was present, but didn’t perform.
His performance with Asake extinguished the rumours and flames of bad blood. This is their first reunion on stage since Asake left YBNL. It was a significant moment that showcased Olamide’s admirable leadership and cordiality with his signees, both past and present.
The moment Olamide brought out Asake at his concert at OVO Arena. See how the crowd screamed 🔥 pic.twitter.com/1yajD1PoiY
Olamide’s artists weren’t the only ones present at the event. He had a lineup of established and rising stars, including Lojay, Joeboy, Seyi Vibez, Darkoo, Soundz, Ashidapo, and Daecolm (who featured on Olamide’s “99”).
Asake and Seyi Vibez’s warm interaction at Olamide’s Wembley show puts to rest the gossip that both artists aren’t friendly.
This was one of their rare interactions, coming after two years of comparisons due to their Fuji and Islamic music influences, and street style. At some point, fans of both have accused one of imitating the other, often leading stan wars on social media platforms like X and Instagram.
Hopefully a collaboration soon, good sirs?
Backstage at Olamide’s sold-out OVO Arena concert last night, Asake and Seyi Vibez shared a warm moment, exchanging a hug and a handshake. pic.twitter.com/DBuAIcRWyY
Olamide stopped the music while performing to ask security to check on a fan who wasn’t looking well.
The moment Olamide stopped his show mid performance and call upon security to check up on one of his fans in the crowd that isn't looking good. God bless Baddo. 🥺❤️🐐 pic.twitter.com/JcN3bwUjYv
In the middle of performing “Lambebe”, the jam he made with music producer Major Bangz in 2014, Olamide took a breather, leaving the multitude to sing.
The whole arena sang and echoed the lyrics to the song. It was an infectious head-swell moment that prompted Olamide to say, before he jumped to perform “Stupid Love”, that: “Won de wi pe baba iya won ni fans. Won ni sorire.” His statement is subliminal and a brag to anyone who thinks he has fallen off, to come and see him on a big stage, with thousands of fans in London, singing his old and new jams, word for word.
Olamide paid a heartwarming tribute to Fuji music by performing renditions of some Fuji hit songs. He did a rendition of Pasuma’s “Importer and Exporter” and Wasiu K1 Ayinde’s “Omo Naija.”
When Olamide performed a rendition of Pasuma's "Importer & Exporter" record and K1 De Ultimate's "Omo Naija" record. Omo! This performance too sweet. 🔥 pic.twitter.com/3IXPd8l3wA
He also performed Obesere’s “Osha Mo Condition Ti Mo Wa” from the Fuji legend’s Life In Europe album. These moments exemplify the impact and current resurgence of Fuji in contemporary Nigerian music.
This is one of my favourite Olamide's moment at his concert in OVO Arena where he sang Obesere's "Osha Mo Condition Ti Mo Wa." 🥺🤭 pic.twitter.com/XuTkZLsO0U
From fans to music critics and industry veterans like Joey Akan, Ayomide Tayo (AOT2) to ID Cabasa, the praise of Olamide is a current conversation.
I know we have a Big 3, but Olamide sits on the same level, or even higher than the hierarchy of Nigerian pop music.
As a creator, he's been a man for all seasons, over a decade of hits and deep cuts, albums that track all the eras of our cultural journey, songs that become…
In case you’ve forgotten, Nollywood is still running hot for free on YouTube.
From family stories to romances and faith-based dramas, YouTube Nollywood has something for everyone. And for November, I’ve done the tedious work of scouring YouTube’s vast library to find the best Nigerian movies currently streaming.
Here are the 10 Best Nollywood movies to watch for free on YouTube this month. Enjoy.
While driving through a serene rural town, Dester (Timini Egbuson) spots a Ifunaya (Sarian Martin) dancing under a tree, and in that moment, he decides he has found the love of his life.
He immediately starts trying to win her heart but first has to fight the resistance from his friends who think he’s gone insane and also untangle himself from his super toxic current relationship.
A CEO named Tope (Chike Daniels) lives a very principled life. But that all changes when Celine, a writer, comes along and throws a little chaos into his controlled life.
Their relationship first starts as a casual interaction before growing into something serious. But just as their connection strengthens, elements from their past return to wreck things. Tope has to choose between retreating to the rivers and lakes he’s used to (his safe world) or go chasing waterfalls (risking it all) with Celine.
Vanessa (Chioma Akpotha) is a lawyer experiencing betrayal due to her husband’s, Ifeanyi’s, infidelity. She stays in the Egyptian river named Denial and refuses to accept that her partner is seeing a woman from his past.
She keeps the situation under wraps to hide her shame, until the truth is exposed, threatening the life and image she’d worked so hard to protect.
Karis (Deza The Great) believes marriage is a scam because women are untrustworthy. Wishing to be a father but not wanting to deal with the stress of a romantic relationship, Karis settles on the less emotional solution of surrogacy. He hires Nuela (Scarlet Gomez), who agrees to the arrangement purely out of financial necessity.
A miscarriage destabilises their arrangement, plunging them both into a messy emotional crisis they didn’t budget for.
Kolade (Greatman Takit) stands at a crossroads between faith and fame. Born into a devout Christian family, his father, Rev. Emmanuel (Mike Bamiloye), envisions him continuing the family’s ministry. But Kolade’s heart beats to the pulse of secular music and the allure of stardom.
His defiance sets off a chain of spiritual turmoil that drags him into a dangerous world of temptation, cult influence, and moral reckoning. This movie shows the tension between divine calling and personal ambition.
Alexia (Prisma James) is a 27-year-old lady navigating the brutal Lagos dating scene. She desires a genuine relationship but is repeatedly thwarted by men pursuing sex. Her frustration reaches a boiling point, but starts to cool when Tobenna (Timini Egbuson) enters.
Their meeting promises something substantial, but the mirage collapses swiftly when she realises she’s just another woman on his hit list. Alexia, no longer wanting to be a victim,initiates a strategic counter-attack to make Tobenna pay for the pain he’s caused her.
For Felix (Joshua Banjo) and Glory (Aanu Kolade), their relationship wasn’t just love. It was a divine assignment, sealed by a prophecy promising a bright future.
As their supposedly predestined relationship materialises, an unforeseen darkness comes into the mix, threatening to violently derail their spiritual itinerary. This results in a series of trials that test not just not their relationship, but their faith.
This movie follows the story of the Greggs and the complexities of their marriage. Frank (William Benson), the husband, has fallen out of love and wants to be with a younger woman called Amanda (Uche Montana).
Queen (Shaffy Bello), the wife, becomes suspicious and tries to befriend her husband’s mistress to know the threat to her marriage. What unfolds is unexpected relationship turbulence, proving that even after twenty-five years, a marriage is only as stable as its weakest link.
Sparks fly when two strangers, Michelle (Osas Ighodaro) and Andrew (Eso Dike), meet and fall in love, both lying about their backgrounds.
However, the foundation of their relationship crumbles when their real identities are revealed. They’re both from powerful families determined to marry off their children to preserve the family legacy. The couple is forced to choose either family and legacy or risk everything for their love.
As the love of Chioma (Olawunmi-Adenibuyan “Bam Bam”) and Obiora (Uzor Arukwe) blossoms into the forever they’ve always dreamed of, they find themselves at the edge of a new chapter. However, their marital journey is challenged when secrets they had buried resurface, putting great strain on their relationship.
They’re forced to confront a question: can the strength of their love truly mend their pasts and write the everlasting love they desire?
While the global spotlight often shines exclusively on Nigerian Afropop hits, 2025 has been quietly rich with exceptional projects that thrive outside the mainstream orbit. This is not the sound of the radio; it’s the sound of alternative genres, intricate lyricism, and experimental production.
This list curates the essential non-Afropop albums and EPs, spanning hip-hop, R&B, alternative, and fusion genres that might have slipped under your radar. Discover 10 of the best, most underrated Nigerian music projects of 2025 that deserved more love than they got from fans.
10. Greatly Exaggerated — Damon Grass
It’s been over a decade since rapper Damon Grass emerged as the winner of Don Jazzy’s Enigma Rap competition. Afterwards, he temporarily hung up the mic to focus on school, a day job and financial stability. Now in 2025, he returns to the game with his official debut album, Greatly Exaggerated.
Damon finds himself rhyming and swinging between smug braggadocio, baller lifestyle, limelight ambitions and street orientations. He announces himself as one of the rising Nigerian rappers to look out for.
A-Q brings his trilogy to a close with God’s Engineering 3 (The Beginning), an album defined by its sharp lyrical precision and unwavering personal conviction. Across eleven focused tracks, GE3 serves as a profound examination of the rapper’s journey.
He delves into his past, paying homage to his roots on Ramlat Timson Street in Surulere, Lagos, while simultaneously launching a pointed critique against the superficiality of today’s rap scene. With this album, A-Q commands absolute attention.
Singers Lasmid and TML Vibez collaborate on a project defined by raw emotions and seamless melodies. Their artistic connection is palpable, and this shines through in their styles and verses.
Sweet Songs 4 You champions emotional honesty and transparent lyricism, paired with minimalist yet soulful production. The project uses space and silence as key elements, allowing them to perfectly underscore the deep sense of longing, ache of hope, and vulnerability poured into every single note.
On her candid latest album, Tiwa Savage exchanges the funfair of pop music and spectacle of fame for clarity. She examines her innermost emotions, unpacking the complications of affection and the inherent power that comes from choosing self.
The production leans closely towards atmospheric R&B sounds, allowing moments of unvarnished strength and brutal honesty. This One Is Personal delivers on its title, giving usTiwa at her most intimate and musically evolved.
Healers Chapel is a well-crafted sonic sanctuary made for a world grappling with pain and uncertainty. Across 14 tracks, Wizard Chan seamlessly weaves his Ijaw cultural roots and heritage, with threads of reggae, hip-hop and Afro-fusion in ways that feel ethereal.
This album is a detailed map of the emotional terrain of faith and hope. It offers reflection as much as quiet solace and commentary on societal issues. It’s a layered, shared and deeply human experience, where finding peace means recognising the power of your community and your past. With Healers Chapel, Chan invites listeners into a journey of healing.
If you’re looking for music that blends R&B, folk and fusions of other soulful sounds, Sewà’s music should be on your radar. Her debut album, Detox, explores introspection, longing, love, heartbreak, patience, ambition, and resilience in a deeply personal way that remains relatable to the general human experience.
Her lyricism employs English, Pidgin English and Yoruba. It’s in this witty command of language and her soulful delivery, that Sewà cements her place as a globally relatable artist who’s rooted in her heritage. Detox is more than a debut album, it’s emotional cleansing.
Braye’s brilliant EP, I Wish I Had More Time, is a statement on the fragile state between intimacy and ambition. He addresses this ubiquitous struggle with compelling honesty and graceful musicality.
This EP offers a deep dive into internal conflict, carefully navigating themes of self-doubt, profound yearning, and the silent tug-of-war between romantic connection and life’s larger purpose.
SPIRAL, Tim Lyre’s double-sided album, mirrors life’s cyclical nature. It’s a 16-track project that moves fluidly from deep introspection to renewal, transitioning smoothly between moments of melancholy and uplift. Lyre dissects core human experiences like personal development, relationships, loss and professional drive.
Whether he’s adrift, examining financial freedom or having thoughtful closure, he makes his album feel simultaneously vast and intensely private. SPIRAL is genre-fluid, emotionally relatable and brilliantly curated to stir the soul.
Subscribe to our newsletters and never miss any of the action
2. Goodgirl — Goodgirl LA
On her bold self-titled EP, singer-songwriter Goodgirl LA flips the script on what it means to be a “good girl.” With sultry vocals and unapologetic lyrics, she invites Nigerian women into a world where desire, power and authenticity reign.
She also embodies sexual liberation with confidence, showcasing her ambition and resilience. This six-track EP isn’t just a statement; it’s a celebration of women who want more, feel more, and claim more. Goodgirl is sexy, fearless, and it’s Goodgirl LA at her most confident and honest.
Paradise Now finds Obongjayar traversing an musical territory marked by nervous energy, immediate necessity, and dense, complex production. It’s a rich canvas for dissecting everything from personal friction to systemic failures.
His singular voice carries the album, guiding listeners through the diverse sections of his boundary-pushing alt-R&B, Afro-dance, punk, disco, and indie rock. From longing to self-assertion, optimism to resistance, Obongjayar makes strong statements that put his album among the year’s best releases.
Nigerian-born artist, Mr Eazi, is back with Maison Rouge, a 7-track EP he recorded while living in a guesthouse of the same name in Cotonou, Benin. And according to him, the music takes him back to the Banku Music that started it all.
In 2015, Mr Eazi made a rallying call that signalled the start of his music movement: “Make we bankulize!” While living and receiving a tertiary education in Ghana, he had been greatly influenced by Ghanaian bounces, highlife and pidgin, as well as Nigerian chord progressions and patterns. So he fused them into a rhythm, resulting in a ballad-like yet groovy sound that captures the warmth and communal essence of West African life and experience.
In his rallying single “Bankulize”, Mr Eazi isn’t just singing about food and romance, he’s singing about daily experiences and feelings. Banku, after all, is a complete meal that’s delicious, pocket-friendly and generally loved across social lines. It’s the kind of dish that satisfies both the student stretching a tight budget and the couple seated for a weekend food date. By invoking Banku, Eazi builds a shared language of simplicity and enjoyment that cuts through borders, regions, class, and status.
Music boosts the cultural and social aspects of a dining experience. However, it must have been a remarkable thought in the 16th century that the fermented and cooked maize meal created along the South-Eastern coast of Ghana would not only be passed down as tradition, but also influence contemporary West African pop music in the 21st century.
Five hundred years after its introduction, Banku — a single-serving dumpling that’s eaten with okro or groundnut soup and now sold on Nigerian streets — has been transformed into music. This transformation didn’t happen in isolation. Cultural exchange and migration carried both the dish and its name across borders.
To “bankulize” is to have a good time without excess and find comfort in what’s familiar yet deeply satisfying. It’s Eazi’s way of turning everyday influences, memories, flavours, and rhythms into a music subgenre and a metaphor for cool, content living.
His approach to this relationship-themed EP is personal, much like writing in a diary. He sings in his unique laid-back delivery style, fitting perfectly into the album’s mood and release statement: “Just me, my thoughts and melodies.”
If you fawned over the clips and photos of his talked-about wedding to Temi Ajibade (nee Otedola), or/had expectations of a wedding-themed music, you’re in for something else. The first track, “Violence”, is Eazi singing about how what was thought to be simple love has become the survival of the fittest. It’s a sombre deduction of the situation he finds himself in, where his relationship is headed. “Wait For Your Love” is about unrequited love. His patience has run out, and he’s moving on.
“Casanova” deeply leans into highlife sound. Under light percussion and minimal vocal backups, Mr Eazi hits each strum of the guitar, extending his good-loving arms to his partner. “Make E No Tey” plays next, and for the time in this EP, a track feels like his personal experience rather than a first-person narrative. Here, he’s an impatient man consumed by love that feels like destiny; all he can think of is when he’ll hold his lover again and finally begin their forever.
Next is “Corny”, a contrasting blend of hope, fierce protection and intense devotion. Though Eazi fears his love interest might turn out corny or unpredictable, he’s ready to tear down mountains for her. “Bus Stop”, the most percussive track on the EP, follows. He confesses his love, one could feel a smile reach his eyes, as he simply states, “Baby, before I dey always run away from love / Wey as I see you, I no wan to ever run away from your love o.”
Maison Rouge ends with “Love Me Now”, a gentle love confession. He sings with the sharp clarity of a man who suddenly understands the void she leaves, declaring he’d take her and their love in the present moment, leaving no space for a later time that felt too far away.
This isn’t the music for the club. It’s drawn from Eazi’s introspective musings, or perhaps others’ shared experiences. The simple songwriting achieves a universal resonance that causes listeners to feel as though they’re hearing their own life story set to music. This EP maintains Eazi’s sit-down, conversational tone, but captures the fading appeal of youth and transitions to maturity.
Since Mr Eazi started making waves in 2016, his music has gone from place to place. As expected of a globe-trotter, his sound is highly influenced by the urban music of areas that have been home to him in his time of creation. His sonic palette expands as he sees more of the world, and her perspective broadens.
His music has gone from his debut Accra to Lagos, gone past his sophomore Lagos to London, and explored South African sounds on his third album, Chop Life Vol. 1: Mzansi Chronicles. By 2023, Eazi was already on a global sound expedition, exploring new ways to provide a refreshing experience for music and art consumers in general. He has completely integrated his creative activities with his entrepreneurial side. He has placed himself as the guy at the edge of curiosity and the front lines of sprawling trends among his peers. A result of this is the fourth album, The Evil Genius, an immersive art exhibition featuring sixteen unique artworks created for each track on the music project.
Get More Zikoko Goodness in Your Mail
Subscribe to our newsletters and never miss any of the action
Maison Rouge, his fifth music project, might not be Mr Eazi’s best work. But it continues to be inspired by personal stories and his local environment. He once chased the fleeting thrill of cool kid parties and the attention of every coveted babe, but not anymore. He’s now content to have traded those pursuits for the occasional, casual night out and a quiet, single connection.
Speaking of connection, Eazi stays committed to the Banku Music sound that brought him to the limelight a decade ago. Industry trends have not dictated the beat of his drums. And his quiet time has been devoted to refining his sound and finding himself again. The influences in his music can be subtle at times, but the fusions deliver an enjoyable listening experience, as heard here, just like a well-made banku dish gets the fondness of excited taste buds.
Even though to “bankulize” no longer feels the same, Mr Eazi brings the groove back.
In 2025, Nigerian music videos are doing more than showcasing convoys on Lagos roads or painting dreamy landscapes in Cape Town. Today’s artists and directors are pushing beyond the familiar aesthetics — bubblegum parties, yacht scenes, and slow-mo club shots — to build visual universes that reflect deeper stories, identities, and cultural pride.
Music videos have evolved from mere promotional tools into powerful storytelling mediums — spaces for experimentation, bold visuals, and intentional world-building. Whether it’s surreal narratives, striking choreography, or cinematography that feels like a moodboard of emotion, these videos are redefining what it means to watch music.
Here are the 10 most Nigerian music videos of 2025 (so far).
Ayra Starr’s “All The Love” video is a dreamy, sun-soaked celebration of self-worth and emotional liberation. It follows her through breezy, everyday settings, driving a vintage car, lounging in open fields, shopping in a local store, and dancing barefoot in the water. In the video, Sabi Girl finds joy in solitude. In one of the most striking sequences, Ayra is in the backseat of a convertible, throwing her hair back and soaking in the sun.
The final shots return to nature: her silhouette against the horizon, arms spread wide. The last moments are less about the setting and more about how she owns the space. There’s no dramatic climax, just quiet affirmation. She’s not waiting for love anymore. She is love.
Joeboy steps into the shoes of a cab driver navigating more than just Lagos traffic; he’s steering through heartbreak and hope. The video starts with Joeboy driving, shaping an intimate space where passengers, including familiar faces like Asher Kine, Taooma and IsBae U, pour out their pains from the backseat.
Set against neon-lit streets and warm, dreamy tones, the video doubles down on those vulnerable, confessional moments, capturing themes of longing, emotional fatigue and the yearning for solace. This video is like you’re sitting in a taxi, riding through someone’s inner world.
If King Solomon were a non-royal, Lagos-based Afrobeats artist with many women lying around his house in 2025, he might as well be singer-producer Young Jonn in this music video. True to the title “Only Fans,” which is about “self-indulgence,” this video, although it tries to be decent, showcases a parade of women of all shapes and sizes having fun in his vicinity.
Even though it feels like larger-than-life, it executes the song’s idea in a relatable Lagos-Island big boy fashion.
In “Update,” Burna Boy invites us to an ultra-stylish world filled with the best-dressed people having the best time ever. We first meet Burna in the VIP section of a high-end 90s New York club. But as the camera pans, we begin to see that just like the lyric (on a normal day/ dem no fit touch my energy), the director UAX has brought us here to show him in all his power.
With crisp cinematography, the video celebrates wealth, influence, and power but never excess, a huge break from the last decade when Afrobeats videos were all about popping bottles and bathing vixens with alcohol.
Get More Zikoko Goodness in Your Mail
Subscribe to our newsletters and never miss any of the action
Odeal wraps viewers in a lush, intimate black-and-white atmosphere that matches the song’s slow-burning sensuality. Against a backdrop of warm lighting and minimalist set design, every frame is deliberate: a lingering glance, a caress, a moment suspended in time.
Here, the focus isn’t on dramatics or sensual storytelling; it’s on the mood, the feels, the presence and emotional depth. As Odeal croons about connection and quiet ecstasy, the music video lets the viewers inhabit that space right beside him. “In the Chair” is a whispered invitation that calls to sit down, stay awhile and savour the moment.
The video for Kai! opens with a nod to The Great Gatsby—a glamorous, high-society world where couples stroll hand-in-hand toward a casino glowing with allure. Inside, Olamide and Wizkid aren’t just musicians—they’re the main attraction, performing for an elite, poker-obsessed crowd.
Bathed in dim, moody lighting, the video oozes class and quiet opulence. Women sway with feathered fans and elbow-length gloves, while the men sport sleek double-breasted suits. Every frame feels like a whispered story about wild nights and shared secrets, perfectly matching the track’s suave rhythm and understated swagger.
This is one of the most popular tracks on Davido’s new album 5IVE, and the artist has wasted no time making a compelling visual for it. This video starts with Omah Lay singing and dancing on a plain background. It slowly descends into a colourful party gathering of choreographers, Davido’s associates like Cubana Chief Priest, vixens like rapper Dero Black and highlife veteran Bright Chimezie, whose 1984-released song “Because of English” inspired “With You.”
The design is grandiose but simple; the energy is warm but carefree. This music video excellently depicts the “outside” lifestyle personality that’s synonymous to the Davido brand.
A Nigerian street-focused reimagination of Mad Max comes to life in this TG Omori-directed music video. Hyperactive, powdered-face boys in red goggles, masquerade-looking riders and dancers and an astronaut-styled Seyi Vibez stomp up dust with speedy Mara dance moves as the sound blasts out like it needs chasing. Instead of a desert wasteland setting of Mad Max, Seyi Vibez and his goons choose the streets of Lagos mainland as their playground.
Although this music video similarly shares the post-apocalyptic colour effect of Mad Max, Seyi Vibez’s high fashion and the sultry woman make it look like a world kept alive by sound and dance. If you’re looking for a dystopian Nigerian music video, press play.
The video begins on a moody theatre set, where dancers rehearse choreography under soft lighting, watched intently by Wizkid. This opening scene nods to performance art and discipline, grounding the video in intentionality. The scene shifts to a rowdy Lagos-style house party. Wizkid glides through the crowd, leading the vibe with confidence as the beat drops.
These scenes capture community spirit and celebration. Towards the end, Wizkid stands in a gallery populated by elegantly dressed Black models posing before bold paintings. This visual asserts sophistication and perhaps gives a special nod to Black beauty. As Wizkid’s self-directed debut, this music video leans into his vision.
This song by Cobham Asuquo, which speaks about the frustration of being stuck in traffic, particularly the Lagos traffic, gets a befitting video treatment from rising director Dika Ofoma. It goes around the clock, capturing early morning congestion, long lines of vehicles tardily moving, and the impatience of 9-to-5ers trying to get to work. The sunlight shines on the traffic, leaving drivers and passengers with a reluctant, long-drawn-out patience that affords them time to have a mini-brunch of gala and a cold soft drink.
It’s Lagos, and the traffic is never-ending. Dika takes us into the evening and nighttime, when people are exhausted and on their way back from work, school, and outings, longing to reach their homes quickly. However, they are doomed to a heavy traffic jam, which they either escape from by taking the rest of the journey by foot or sitting still till the road eases up. The video features Tosin Okupe and actress Uzoamaka Power.
This is Lagos and its chaos brilliantly delivered with Cobham’s masterful piano performance footage inserted in the video at intervals. If you’re looking for a Nigerian music video that does more than selling lifestyle, that is, tells a story, watch this.
