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  • With a career spanning over a decade, Kizz Daniel has churned out some amazing music that has showcased his growth, versatility, and dedication to his craft.

    From his early days as Kiss Daniel to his current status as a top-rated Afrobeats superstar, Kizz Daniel has consistently contributed to pushing the boundaries of what’s possible in Nigerian music. He had the most Shazammed song of 2022, “Buga (Lo Lo Lo),” performed at the 2022 FIFA World Cup in Qatar, and made Audiomack’s top trending and most streamed artists of 2023 alongside Asake.

    Below we’ve ranked all of Kizz Daniel’s projects from the ones that are just ‘meh’ to his greatest of all time. 

    6.

    Thankz A Lot (TZA)

    This EP is packed with four songs. Kizz Daniel drops ready-made hits that easily captivate the TikTok algorithm for users in party mode. This EP offers a little narrative that’s beyond having a good time. Perhaps it needs more time to make an impact.

    5.

    Maverick

    “Buga (Lo Lo Lo)”, “Shu-Peru”, “Rich Till I Die (RTID)” are on Maverick, Kizz Daniel’s fourth studio album. These bops opened him up to TikTok virality and the listening ears of older Nigerian people. The production is colourful, but the stories on this album are underexplored, putting the commercial appeal in front.

    4.

    Barnabas

    Kizz Daniel gets intimate and experimental, too, on his 2021 EP Barnabas. But compared to his other projects, Barnabas is short (seven tracks) and slow-paced. He sings about intimacy, his dreams, his faith, and his addictions. This project fully marks the beginning of his Owambe-inflected sounds and continues the adlibs—heavy music. 

    3.

    King of Love

    This album is Kizz Daniel’s third. It takes a different route from the formulaic “New Era” and “No Bad Songs” album—King of Love is experimental. It came out in 2020, and although it didn’t enjoy the attention it deserves, the album’s hands down one of the best Afropop projects that’s come out of the 2020s. Play “Jaho,” “Pak ‘n’ Go,” “Boys Are Mad” and “Fvck You”—the stories of love, intimacy, heartbreak at wedding parties and self-praise are unparalleled.

    2.

    No Bad Songs

    Having a successful first album definitely boosts confidence. Two years after Kizz Daniel’s debut album and six months after his name change and record label dispute with G-Worldwide Entertainment, he put out his sophomore work. His debut proves his skills as a good singer-songwriter., This album cements his status as a hit powerhouse. “No Do,” “One Ticket” featuring Davido, and “Madu” are unforgettable jams that define the No Bad Songs era.

    1.

    New Era

    In 2016, before Kiss Daniel became Kizz Daniel, his first album, New Era, dropped to critical acclaim. The album blends Highlife and Ska music with Afropop to craft its own hits—giving us at least five certified jams like “Woju,” “Laye,” “Mama,” “Good Time,” and “Jombo.” Although New Era didn’t change the popular soundscape of Afrobeats, it announced his arrival into the game and distinguished him as a hitmaker among peers.

    We Ranked All of Wizkid’s Albums from ‘Meh’ to Greatest

  • At the forefront of Afrobeats’ global takeover are the “Big 3” — Wizkid, Davido, and Burna Boy. With their unique styles and undeniable talent, they’ve not only put Afrobeats on the map but have also inspired a whole new generation of artists.

    In this edition of #BumpThis, we’re highlighting career-defining songs from each of the Big 3. From Wizkid’s soulful melodies to Davido’s energetic bops and Burna Boy’s socially conscious anthems, we’re diving into the songs that have reverberated their names time and time again.

    Holla At Your Boy — Wizkid

    When Wizkid dropped this song in 2010, he was the coolest kid Nigerian teenagers of that era had seen. “Holla At Your Boy” was everywhere, vibrating: “When you see me come around, I gat you looking at me.” High-school love wanted to wound Wiz, just as the young listeners of that era. Well, they aren’t kids again but we’ll always remember this hit.

    Dami Duro — Davido 

    The O.B.O (Omo Baba Olowo, meaning “wealthy man’s son”) the nickname everyone, far and wide, calls Davido now came from “Dami Duro”. That was the track that introduced him to the mainstream and launched him to stardom. His ask to the gatekeepers was simple: “E ma Dami duro, emi omo baba olowo—”Don’t stop me, I’m a wealthy man’s son.”

    Like to Party — Burna Boy

    At a time when mainstream music’s tempo was hyper-fast and the fashion of the musician stars was mostly checked shirts, branded tees, jeans, and large sunglasses, Burna Boy arrived in Versace shades and shirts, unbuttoned and chest bare. He was ready to party and take the music slow. It is always a certified party starter at anytime.

    Ojuelegba — Wizkid

    Ojuelegba is a bustling place in Lagos Mainland. It’s where Wizkid grew up, honed his musical talent and recorded his first songs. It’s only right that he sings about it and his experiences there. This song is also one of the earliest Afrobeats crossovers. Its remix features Skepta and Drake.

    If — Davido

    There are not many Afrobeats songs that’re certified diamond by the US’s Recording Industry Association of America. Davido’s “If” is one. “If I tell you say I love you o / My money, my body na your own o, baby / 30 billion for the account o” is hall-of-fame worthy. Davido courts and assures his babe of his loyalty to her, with some cash to support. Love is sweeter when money enters.

    Ye — Burna Boy

    One of the biggest songs on Burna Boy’s Outside album (2016) is “Ye.” The song was popping around when Kanye West changed his name to Ye and released an album. The searches for America’s Ye album resulted in the Burna Boy song, and most ended up playing it. Confused Americans kept tweeting they found the wrong Ye, but they loved what they heard. It was up from there.

    A jam about Nigerian daily struggles and aspirations that also makes parties fun.

    Essence — Wizkid feat. Tems

    Wizkid collaborated with Tems to create a song. The result is “Essence,” a Grammy-nominated song. No lead single for the Made in Lagos album would have been better. It’s a love song. Both singers hold the position of a lover, singing of commitment and possibly a lifelong affair. Thanks to the success of this song and her preparation to meet opportunities, Tems has gone on to be a global star and is now a solo Grammy-nominated artist. 

    UNAVAILABLE — Davido feat. Musa Keys

    You can take this song and play it as a response to almost any situation you don’t want to be in or any person you don’t want in your presence. It features a South African singer and producer. When you do this song, don’t forget to do the dance—you have to go all the way.

    Last Last — Burna Boy

    Burna Boy sang his heart out in “Last Last” which he released after his breakup with Stefflon Don. When the pain wouldn’t go away quickly, igbeaux and shayo numbed it. Aside from the sweet melody, another beauty of this song is its acceptance worldwide—one of 2023’s biggest songs.

    B. D’OR — Burna featuring Wizkid

    Wiz and Burna linked up to throw a party on “B. D’OR” (meaning “Balloon D’or”), the biggest award given to the best international footballer of the year. It’s their interpretation of being the best acts of the year. The only issue here is: only one person goes home with the Balloon D’or. You can give the award to whoever you like at the end of the playlist.

    PS: Can they put their BS aside and do something together? We can only live in hope.

    Anyway, the playlist is here:

  • What does it mean to be a member of the Wizkid FC?

    It’s been over a decade since the intriguing Wizkid arrived on the scene and gained ground as an Afrobeats musician, contributor, and superstar.

    In the years that he has reigned as one of the big three Afrobeats artists, there’ve only been a few groups that better define stan culture, like Wizkid FC, the cult of hardcore fans and supporters of his work, who for years have gone to hell and back in his defence. 

    As he rose to the top to become one of the most controversial figures in contemporary Nigerian music, they have been steadily behind him all through the years—when he left the record label that made him famous, EME, when old reckless rape jokes he made as a teenager resurfaced online, when the public bashed his music, when he waged his war against Davido, when he lost his mother.

    In anticipation of his latest offering, Morayo, his sixth studio album, in two days, it seems a perfect time to peer into the minds of his fans. I chatted with two members of Wizkid FC, about what it means to be a Wizkid fan, why they love him so, how they have defended him, being misunderstood, and more.

    As told to Tomide by Sixtus and Basito.

    On how they found Wizkid’s music

    Sixtus: I have been down with Wizkid since my teenage years. M.I Abaga’s “Fast Money, Fast Cars” introduced Wizkid to me. I’m a M.I fan, but when that song hook came, I was like, “Who’s bussing like this?” His style had a fresh, young and vibrant aura to it and the lyrics were relatable. I was also drawn to his personality. 

    Basito: My first memory of Wizkid is tied to songs like “Oluwa Loni,” “Shout Out” and “No Lele.” His music makes me feel energetic, happy and less bored. I get bored easily and quickly, but not when it comes to Wizkid’s music. In a matter of seconds, it can take my mood from 0 to 100. Even now, I still burn with inferno every time Wizkid’s music drops.

    I can’t forget the first time I attended his show in 2014. It was Moov Wizkid Live in Concert in Abidjan, Ivory Coast. Traffic was everywhere, so I got to the concert when he performed “Ojuelegba,” three minutes before the show ended. On my way back home in the middle of the night, the bus dropped me off at a very dangerous location. I was a bit scared, but my street OT kicked in: I rolled one leg of my jeans up, rolled one sleeve of tees up as well and started walking like a thug, just to blend in the environment and not be picked on by the miscreants there. It was an unforgettable, wild night because I went to see Wizkid live on stage.

    On what Wizkid’s music does for them

    Sixtus: When I think of his music, it’s a music of comfort. Something you listen to and enjoy at all times, no matter how long time passes by. My love for Wizkid’s music evolved alongside him. As his style changed, I leaned towards it and embraced it. I took it as the directions he wanted to go, the directions that needed to change when the time came.

    Basito: I have a personal moment with Made In Lagos. The album dropped at a particular point in my life when I worked 9-5 as a digital marketer, and it was choking the hell out of me. The music was my happiness. Every time I listen to the album, I wish I could go back to the very first time I heard the first track on it and feel that euphoria all over again.

    I’m also drawn by his artistic approach to music. He’s inspired a young generation to become artists and be self-confident.

    On being a card-carrying Wizkid FC member

    Sixtus: Made in Lagos and More Love Less Ego did it for me too. The latter, particularly because it’s what I always listen to when I need to relax or when I get tired of other people’s music.

    But it’s more than his music for me. It’s the charisma Wizkid exhibited from the come-up, the growth on the way, the mistakes he made, and how he grew from them. His simplicity in the complexity of being Wizkid, being able to make such amazing music, and be chill about it is exceptional. Even when people misunderstand him, he’s quiet and laid-back.

    It’s why we’re always ready to defend, protect and speak positively on our President Wiz. He barely talks, so we do the talking when people want to show him in a negative light. We show them how good he is and why he’s one of the greats. 

    To be part of Wizkid FC means to be a soldier, a ride-or-die for Wizkid because we know no one would do this for him aside from us. I see us as more of mercenaries doing the groundwork of streaming, showcasing and letting the world know our local hero is a global phenomenon and we are a part of his legacy and community.

    Basito: For me, to be a Wizkid FC is to be resilient, hardworking, and never settle for less. He never relies on only his talent. He knows what to say and when to say it. He doesn’t take any bullshit from anyone, and he values family. I relate to how he sees these things and life. Wizkid FC is often misunderstood, but we aren’t troublesome.

    On defending Wizkid

    Sixtus: People tend to shade Wiz, and he says nothing. The FC stays on guard to ensure that when someone says something that might not be true or makes a negative opinion, we first correct the narrative so as not to let it slide as a shade. We also try to decode whether it’s a shade or a personal opinion. So, we fight first and ask questions later. When you spread lies about Wiz, you don’t expect the FC to look away.

    While coming up, Wiz got a lot of hate after the birth of his first kid. People judged him for being too young, being a dropout, leaving EME, being more international and reserved. People projected a lot about what he should be like, not knowing he was a kid growing up in a new terrain. 

    The only part I won’t absolve him from was when he had an issue with one of his baby mamas and she shared screenshots of their chats. He wasn’t actively involved as he should have been in parenting and to me that was sad to see. But I think he overcame his mistakes and is now trying to do better.

    I believe that we can separate the music from the artist. An artist is a human being, the same as all of us. But their craft is an extension of who they are as a person, which means they’re sharing a part of who they are and what they believe in with us. For example, when he was younger, I could relate to him in a way because I lived a fast life at the time, too. I followed his trends in dressing, parties, and women. 

    Aside from that, he’s never been problematic. The public doesn’t just give him grace. He barely talks, so that’s assumed as pride, or he’s acting like he’s superior to others, whereas he has always been the type to only speak when he has something sensible to say. The FC knows this, so we must have his back because he can’t do it alone. He might be quiet, but we won’t be quiet. We’ll continue to spread the gospel and let people know who he is in a positive light.

    For instance, on Monday, when the song displacement happened on Apple Music, I was sure it was a glitch due to the surge of heavy traffic gains. Most people weren’t even sure what had happened; they just jumped to conclusions and spread lies about stream farming. So we had to come all out and not let the stupid narrative hold.

    Basito: There’s no way a Wizkid song as hot as “Kese” will leave the number-one spot like that, let alone drop out of the chart completely. Not like I worry whether it’s top-charting or not, but I’m confident his songs will always do numbers and top charts. I still listen to “Lagos Vibes,” which didn’t even get an official release.

    Sixtus: I don’t really care about chart numbers, so long as the music is being heard and appreciated. That’s good enough. Take a look at “Essence,” for example: despite not having Rema’s “Calm Down” or Ckay’s “Love Nwantintin,” large numbers, they’re widely appreciated and loved. Anyway, being on top is good for bragging rights. 

    Basito: I wish he could promote his music more and better, though. His songs can get bigger than they do. Take “Joro,” for instance. The song could have been ten times bigger if it had been promoted well. It was never on any playlist with significant impact; it has only a five-million playlist reach on Spotify.

    On Wizkid trolling Davido

    Sixtus: I think he can improve more on interacting with his fans. Also, the online trolling of Davido needs to stop. It isn’t something I’m cool with because I expected him to do this during Sounds From the Other Side and Made in Lagos periods when the shades and insults were much because of his style of music. It’s good to set the record straight. I support that, but we should focus on the music now and leave all that.

    Basito: When I look at him and what is happening with that Davido, I see someone who has had enough of the disrespect he’s been getting from the others.

    Sixtus: The trolling of Davido is fueling the FC and could also be a much-needed ginger in anticipation of the new album. More importantly, I hope Morayo is full of happiness and positive vibes—something worth going back to from time to time.

    We Ranked All of Wizkid’s Albums from ‘Meh’ to Greatest

  • After over 13 years since Wizkid’s Superstar debut, Starboy has given us countless hits, collaborations and moments that won’t fade away in a long time. To stretch his music catalogue, he’s announced Morayo, his sixth studio album slated to be released on November 22, 2024.

    While we wait for Morayo, we dive into Wizkid’s acclaimed music projects, ranking his works from the best to the least enjoyable. From Superstar to S2, we revisited the albums and EPs that have cemented Wiz’s status as one of Afrobeats’ legends. 

    6.

    More Love, Less Ego (2022)

    In November 2022, just a year after the debut of the deluxe Made in Lagos, Wiz released More Love, Less Ego —a mesh of pop, Afrobeats and R&B. This album feels like a drawn-out session of  Made in Lagos, repeating similar sonic templates, flows and melodies. Quit honestly it is the last in this ranking because of was not daring, was boring. It didn’t try to go outside the comfort zone of previous successful albums from Wizkid.

    5.

    S2 (2023)

    Although this dropped around the demise of his mum, Wizkid understood that variety is the spice of life on S2, a follow-up to his Starboy label’s Soundman Volume 1 project. In four tracks, Wizkid served diverse music styles that switched up his tempo from the laid-back Made in Lagos and More Love, Less Ego. S2 is very experimental and fun. As we said in our review of the project, it’s a prelude to Morayo.

    4.

    Ayo (2014)

    This is Wizkid’s second album and can be called his album with the most hits, being home to  Jaiye Jaiye, In My Bed, Show You the Money, On Top Your Matter. Though few songs in Ayo are as introspective as “Ojuelegba” and “Joy,” its general fast-tempo direction attracts party animals and young people looking for fun. We may never get this party version of Wizkid again, but the hits from Ayo will continue to turn up functions even decades from now.

    3.

    Sound from the Other Side (2017)

    There have been arguments that this album didn’t strive or gain notoriety due to its mixtape tag, R&B sonic direction, and serious lyricism (a deviation from the usually playful Afrobeats lyrics). But these qualities are what distinguish Wizkid’s third album and first major label debut among his other offerings. “SFTOS” is soft, expressive, and bold.

    2.

    Made in Lagos (2020)

    The fusion of R&B and Afropop shines bright on “Made In Lagos”, Wizkid’s special nod to his city of childhood.

    Years before Wizkid released the critically acclaimed “Made In Lagos” album in 2020, his fans begged and asked him several times for a new album. Just nine days after its release, it crossed over 100 million streams across five streaming platforms, received praise from listeners and both local and foreign media, and became the best-selling African album of all time in the US.

    1.

    Superstar (2011)

    Superstar is Wizkid’s first album, released under Empire Mates Entertainment (EME) in 2011. A year after his hit single Holla At Your Boy, his debut album came out to ground his feet as Nigeria’s contemporary music new pop star. Not only because he was the hottest kid on the block, had a sort of cool demeanour, or the star-studded features, he was at his most adventurous phase. The album explores different genres like Hip-Hop, R&B, Reggae and Fuji, and themes like romance, love, ghetto upbringing and his grass-to-grace story. A decade has passed since the release, but at least six songs on it still raise the roof anytime they’re played.

    QUIZ: Only Wizkid’s OG Fans Will Ace this “Superstar” Album Quiz

  • The nomination list of the 67th annual Grammy Awards is out, and again Nigerian artists are not left out of its selections. From usual suspect like Burna Boy to second-time nominees like Asake and Tems, Afrobeats and its artists continue to find their space in the global music celebration.

    Though no Afrobeat songs were nominated in the Best Global Music Performance category, Yemi Alade and Tems also snag nominations in the Best African Music Performance category.

    Check out the full nomination list below.

    Best R&B Song

    After Hours – Diovanna Frazier, Alex Goldblatt, Kehlani Parrish, Khris Riddick-Tynes & Daniel Upchurch, songwriters (Kehlani)
    Burning – Ronald Banful & Temilade Openiyi, songwriters (Tems)
    Here We Go (Uh Oh) – Sara Diamond, Sydney Floyd, Marisela Jackson, Courtney Jones, Carl McCormick & Kelvin Wooten, songwriters (Coco Jones)
    Ruined Me – Jeff Gitelman, Priscilla Renea & Kevin Theodore, songwriters (Muni Long)
    Saturn – Rob Bisel, Carter Lang, Solána Rowe, Jared Solomon & Scott Zhang, songwriters (SZA)

    Best African Music Performance

    Tomorrow – Yemi Alade
    MMS – Asake & Wizkid
    Sensational – Chris Brown feat. Davido & Lojay
    Higher – Burna Boy
    Love Me JeJe – Tems

    Best Global Music Album

    Alkebulan II – Matt B feat. Royal Philharmonic Orchestra
    Paisajes – Ciro Hurtado
    Heis – Rema
    Historias De Un Flamenco – Antonio Rey
    Born in the Wild – Tems

    Record of the Year

    Now and Then – The Beatles

    TEXAS HOLD ‘EM – Beyoncé

    Espresso – Sabrina Carpenter

    360 – Charli xcx

    BIRDS OF A FEATHER – Billie Eilish

    Not Like Us – Kendrick Lamar

    Good Luck, Babe! – Chappell Roan

    Fortnight – Taylor Swift feat. Post Malone

    Album of the Year

    New Blue Sun – André 3000

    COWBOY CARTER – Beyoncé

    Short n’ Sweet – Sabrina Carpenter

    BRAT – Charli XCX

    Djesse Vol. 4 – Jacob Collier

    HIT ME HARD AND SOFT – Billie Eilish

    The Rise and Fall of a Midwest Princess – Chappell Roan

    THE TORTURED POETS DEPARTMENT – Taylor Swift

    Song of the Year

    A Bar Song (Tipsy) – Shaboozey

    BIRDS OF A FEATHER – Billie Eilish

    Die With a Smile – Lady Gaga & Bruno Mars

    Fortnight – Taylor Swift feat. Post Malone

    Good Luck, Babe! – Chappell Roan

    Not Like Us – Kendrick Lamar

    Please Please Please – Sabrina Carpenter

    TEXAS HOLD ‘EM – Beyoncé

    Best New Artist

    Benson Boone

    Sabrina Carpenter

    Doechii

    Khruangbin

    RAYE

    Chappell Roan

    Shaboozey

    Teddy Swims

    Producer of the Year, Non-Classical

    Alissia

    Dernst “D’Mile” Emile II

    Ian Fitchuk

    Mustard

    Daniel Nigro

    Songwriter of the Year, Non-Classical

    Jessi Alexander

    Amy Allen

    Edgar Barrera

    Jessie Jo Dillon

    RAYE

    Best Pop Solo Performance

    BODYGUARD – Beyoncé

    Espresso – Sabrina Carpenter

    Apple – Charli XCX

    BIRDS OF A FEATHER – Billie Eilish

    Good Luck, Babe! – Chappell Roan

    Best Pop Duo/Group Performance

    us. – Gracie Abrams feat. Taylor Swift

    LEVII’S JEANS – Beyoncé feat. Post Malone

    Guess – Charli XCX & Billie Eilish

    the boy is mine – Ariana Grande, Brandy & Monica

    Die With a Smile – Lady Gaga & Bruno Mars

    Best Pop Vocal Album

    Short n’ Sweet – Sabrina Carpenter

    HIT ME HARD AND SOFT – Billie Eilish

    eternal sunshine – Ariana Grande

    The Rise and Fall of a Midwest Princess – Chappell Roan

    THE TORTURED POETS DEPARTMENT – Taylor Swift

    Best Dance/Electronic Recording

    She’s Gone, Dance On – Disclosure

    Loved – Four Tet

    leavemealone– Fred Again.. & Baby Keem

    Neverender– Justice & Tame Impala

    Witchy– KAYTRANADA feat. Childish Gambino

    Best Dance Pop Recording

    Make You Mine– Madison Beer

    Von Dutch– Charli xcx

    L’AMOUR DE MA VIE [OVER NOW EXTENDED EDIT]– Billie Eilish

    yes, and?– Ariana Grande

    Got Me Started– Troye Sivan

    Best Dance/Electronic Album

    BRAT, Charli XCX

    Three, Four Tet

    Hyperdrama, Justice

    Timeless, KAYTRANADA

    Telos, Zedd

    Best Remixed Recording

    Alter Ego – KAYTRANADA Remix,” KAYTRANADA, remixer (Doechii feat. JT)

    A Bar Song (Tipsy) [Remix]– David Guetta, remixer (Shaboozey & David Guetta)

    Espresso (Mark Ronson x FNZ Working Late Remix)– FNZ & Mark Ronson, remixers (Sabrina Carpenter)

    Jah Sees Them – Amapiano Remix– Alexx Antaeus, Footsteps & MrMyish, remixers (Julian Marley & Antaeus)

    Von Dutch– A.G. Cook, remixer (Charli xcx & A.G. Cook Featuring Addison Rae)

    Best Rock Performance

    Now and Then – The Beatles

    Beautiful People (Stay High)– The Black Keys

    The American Dream Is Killing Me – Green Day

    Gift Horse – IDLES

    Dark Matter – Pearl Jam

    Broken Man – St. Vincent

    Best Metal Performance

    Mea Culpa (Ah! Ça ira!) – Gojira, Marina Viotti & Victor Le Masne

    Crown of Horns – Judas Priest

    Suffocate – Knocked Loose feat. Poppy

    Screaming Suicide – Metallica

    Cellar Door – Spiritbox

    Best Rock Song

    Beautiful People (Stay High) – (The Black Keys)

    Broken Man – (St. Vincent)

    Dark Matter – Pearl Jam

    Dilemma – Green Day

    Gift Horse– Jon Beavis, Mark Bowen, Adam Devonshire, Lee Kiernan & Joe Talbot, songwriters (IDLES)

    Best Rock Album

    Happiness Bastards– The Black Crowes

    Romance– Fontaines D.C.

    Saviors– Green Day

    TANGK– IDLES

    Dark Matter– Pearl Jam

    Hackney Diamonds– The Rolling Stones

    No Name– Jack White

    Best Alternative Music Performance

    Neon Pill – Cage the Elephant

    Song of the Lake – Nick Cave & The Bad Seeds

    Starburster – Fontaines D.C.

    BYE BYE – Kim Gordon

    Flea – St. Vincent

    Best Alternative Music Album

    Wild God– Nick Cave & The Bad Seeds

    Charm– Clairo

    The Collective– Kim Gordon

    What Now– Brittany Howard

    All Born Screaming– St. Vincent

    Best R&B Performance

    Guidance– Jhené Aiko

    Residuals– Chris Brown

    Here We Go (Uh Oh)– Coco Jones

    Made for Me (Live on BET)– Muni Long

    Saturn– SZA

    Best Traditional R&B Performance

    Wet– Marsha Ambrosius

    Can I Have This Groove– Kenyon Dixon

    No Lie– Lalah Hathaway feat. Michael McDonald

    Make Me Forget– Muni Long

    That’s You– Lucky Daye

    Best R&B Song

    “After Hours,” Diovanna Frazier, Alex Goldblatt, Kehlani Parrish, Khris Riddick-Tynes & Daniel Upchurch, songwriters (Kehlani)

    “Burning,” Ronald Banful & Temilade Openiyi, songwriters (Tems)

    “Here We Go (Uh Oh),” Sara Diamond, Sydney Floyd, Marisela Jackson, Courtney Jones, Carl McCormick & Kelvin Wooten, songwriters (Coco Jones)

    “Ruined Me,” Jeff Gitelman, Priscilla Renea & Kevin Theodore, songwriters (Muni Long)

    “Saturn,” Rob Bisel, Carter Lang, Solána Rowe, Jared Solomon & Scott Zhang, songwriters (SZA)

    Best Progressive R&B Album

    So Glad to Know You, Avery*Sunshine

    En Route, Durand Bernarr

    Bando Stone and The New World, Childish Gambino

    Crash, Kehlani

    Why Lawd?, NxWorries (Anderson .Paak & Knxwledge)

    Best R&B Album

    11:11 (Deluxe), Chris Brown

    Vantablack, Lalah Hathaway

    Revenge, Muni Long

    Algorithm, Lucky Daye

    Coming Home, Usher

    Best Rap Performance

    “Enough (Miami),” Cardi B

    “When the Sun Shines Again,” Common & Pete Rock feat. Posdnuos

    “NISSAN ALTIMA,” Doechii

    “Houdini,” Eminem

    “Like That,” Future & Metro Boomin feat. Kendrick Lamar

    “Yeah Glo!,” GloRilla

    “Not Like Us,” Kendrick Lamar

    Best Melodic Rap Performance

    “KEHLANI,” Jordan Adetunji feat. Kehlani

    “SPAGHETTII,” Beyoncé feat. Linda Martell & Shaboozey

    “We Still Don’t Trust You,” Future & Metro Boomin feat. The Weeknd

    “Big Mama,” Latto

    “3:AM,” Rapsody feat. Erykah Badu

    Best Rap Song

    “Asteroids,” Marlanna Evans, songwriter (Rapsody feat. Hit-Boy)

    “Carnival,” Jordan Carter, Raul Cubina, Grant Dickinson, Samuel Lindley, Nasir Pemberton, Dimitri Roger, Ty Dolla $ign, Kanye West & Mark Carl Stolinski Williams, songwriters (¥$ (Kanye West & Ty Dolla $Ign) feat. Rich the Kid & Playboi Carti)

    “Like That,” Kendrick Lamar Duckworth, Kobe “BbyKobe” Hood, Leland Wayne & Nayvadius Wilburn, songwriters (Future & Metro Boomin feat. Kendrick Lamar)

    “Not Like Us,” Kendrick Lamar, songwriter (Kendrick Lamar)

    “Yeah Glo!,” Ronnie Jackson, Jaucquez Lowe, Timothy McKibbins, Kevin Andre Price, Julius Rivera III & Gloria Woods, songwriters (GloRilla)

    Best Rap Album

    Might Delete Later, J. Cole

    The Auditorium, Vol. 1, Common & Pete Rock

    Alligator Bites Never Heal, Doechii

    The Death of Slim Shady (Coup De Grâce), Eminem

    We Don’t Trust You, Future & Metro Boomin

    Best Spoken Word Poetry Album

    CIVIL WRITES: The South Got Something to Say, Queen Sheba

    cOncrete & wHiskey Act II Part 1: A Bourbon 30 Series, Omari Hardwick

    Good M.U.S.I.C. Universe Sonic Sinema: Episode 1 In The Beginning Was The Word, Malik Yusef

    The Heart, The Mind, The Soul, Tank and the Bangas

    The Seven Number Ones, Mad Skillz

    Best Jazz Performance

    “Walk With Me, Lord (SOUND | SPIRIT),” The Baylor Project

    “Phoenix Reimagined (Live),” Lakecia Benjamin feat. Randy Brecker, Jeff “Tain” Watts & John Scofield

    “Juno,” Chick Corea & Béla Fleck

    “Twinkle Twinkle Little Me,” Samara Joy feat. Sullivan Fortner

    “Little Fears,: Dan Pugach Big Band feat. Nicole Zuraitis & Troy Roberts

    Best Jazz Vocal Album

    Journey in Black, Christie Dashiell

    Wildflowers Vol. 1, Kurt Elling & Sullivan Fortner

    A Joyful Holiday, Samara Joy

    Milton + Esperanza, Milton Nascimento & esperanza spalding

    My Ideal, Catherine Russell & Sean Mason

    Best Jazz Instrumental Album

    Owl Song, Ambrose Akinmusire feat. Bill Frisell & Herlin Riley

    Beyond This Place, Kenny Barron feat. Kiyoshi Kitagawa, Johnathan Blake, Immanuel Wilkins & Steve Nelson

    Phoenix Reimagined (Live), Lakecia Benjamin

    Remembrance, Chick Corea & Béla Fleck

    Solo Game, Sullivan Fortner

    Best Large Jazz Ensemble Album

    Returning to Forever, John Beasley & Frankfurt Radio Big Band

    And So It Goes, The Clayton-Hamilton Jazz Orchestra

    Walk a Mile in My Shoe, Orrin Evans & The Captain Black Big Band

    Bianca Reimagined: Music for Paws and Persistence, Dan Pugach Big Band

    Golden City, Miguel Zenón

    Best Latin Jazz Album

    Spain Forever Again, Michel Camilo & Tomatito

    Cubop Lives!, Zaccai Curtis

    COLLAB, Hamilton de Holanda & Gonzalo Rubalcaba

    Time and Again, Eliane Elias

    El Trio: Live in Italy, Horacio ‘El Negro’ Hernández, John Beasley & José Gola

    Cuba and Beyond, Chucho Valdés & Royal Quartet

    As I Travel, Donald Vega feat. Lewis Nash, John Patitucci & Luisito Quintero

    Best Alternative Jazz Album

    Night Reign, Arooj Aftab

    New Blue Sun, André 3000

    Code Derivation, Robert Glasper

    Foreverland, Keyon Harrold

    No More Water: The Gospel of James Baldwin, Meshell Ndegeocello

    Best Traditional Pop Vocal Album

    À Fleur De Peau, Cyrille Aimée

    Visions, Norah Jones

    Good Together, Lake Street Dive

    Impossible Dream, Aaron Lazar

    Christmas Wish, Gregory Porter

    Best Contemporary Instrumental Album

    Plot Armor, Taylor Eigsti

    Rhapsody in Blue, Béla Fleck

    Orchestras (Live), Bill Frisell feat. Alexander Hanson, Brussels Philharmonic, Rudy Royston & Thomas Morgan

    Mark, Mark Guiliana

    Speak to Me, Julian Lage

    Best Musical Theater Album

    Hell’s Kitchen
    Shoshana Bean, Brandon Victor Dixon, Kecia Lewis & Meleah Joi Moon, principal vocalists; Adam Blackstone, Alicia Keys & Tom Kitt, producers (Alicia Keys, composer & lyricist) (Original Broadway Cast)

    Merrily We Roll Along
    Jonathan Groff, Lindsay Mendez & Daniel Radcliffe, principal vocalists; David Caddick, Joel Fram, Maria Friedman & David Lai, producers (Stephen Sondheim, composer & lyricist) (New Broadway Cast)

    The Notebook
    John Clancy, Carmel Dean, Kurt Deutsch, Derik Lee, Kevin McCollum & Ingrid Michaelson, producers; Ingrid Michaelson, composer & lyricist (Original Broadway Cast)

    The Outsiders
    Joshua Boone, Brent Comer, Brody Grant & Sky Lakota-Lynch, principal vocalists; Zach Chance, Jonathan Clay, Matt Hinkley, Justin Levine & Lawrence Manchester, producers; Zach Chance, Jonathan Clay & Justin Levine, composers/lyricists (Original Broadway Cast) Suffs
    Andrea Grody, Dean Sharenow & Shaina Taub, producers; Shaina Taub, composer & lyricist (Original Broadway Cast)

    The Wiz
    Wayne Brady, Deborah Cox, Nichelle Lewis & Avery Wilson, principal vocalists; Joseph Joubert, Allen René Louis & Lawrence Manchester, producers (Charlie Smalls, composer & lyricist) (2024 Broadway Cast Recording)

    Best Country Solo Performance

    “16 CARRIAGES,” Beyoncé

    “I Am Not Okay,” Jelly Roll

    “The Architect,” Kacey Musgraves

    “A Bar Song (Tipsy),” Shaboozey

    “It Takes a Woman,” Chris Stapleton

    Best Country Duo/Group Performance

    “Cowboys Cry Too,” Kelsea Ballerini with Noah Kahan

    “II MOST WANTED,” Beyoncé feat. Miley Cyrus

    “Break Mine,” Brothers Osborne

    “Bigger Houses,” Dan + Shay

    “I Had Some Help,” Post Malone feat. Morgan Wallen

    Best Country Song

    “The Architect,” Shane McAnally, Kacey Musgraves & Josh Osborne, songwriters (Kacey Musgraves)

    “A Bar Song (Tipsy),” Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)

    “I Am Not Okay,” Casey Brown, Jason DeFord, Ashley Gorley & Taylor Phillips, songwriters (Jelly Roll)

    “I Had Some Help,” Louis Bell, Ashley Gorley, Hoskins, Austin Post, Ernest Smith, Ryan Vojtesak, Morgan Wallen & Chandler Paul Walters, songwriters (Post Malone feat. Morgan Wallen)

    “TEXAS HOLD ‘EM,” Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)

    Best Country Album

    COWBOY CARTER, Beyoncé

    F-1 Trillion, Post Malone

    Deeper Well, Kacey Musgraves

    Higher, Chris Stapleton

    Whirlwind, Lainey Wilson

    Best American Roots Performance

    “Blame It on Eve,” Shemekia Copeland

    “Nothing in Rambling,” The Fabulous Thunderbirds feat. Bonnie Raitt, Keb’ Mo’, Taj Mahal & Mick Fleetwood

    “Lighthouse,” Sierra Ferrell

    “The Ballad of Sally Anne,” Rhiannon Giddens

    Best Americana Performance

    “YA YA,” Beyoncé

    “Subtitles,” Madison Cunningham

    “Don’t Do Me Good,” Madi Diaz feat. Kacey Musgraves

    “American Dreaming,” Sierra Ferrell

    “Runaway Train,” Sarah Jarosz

    “Empty Trainload of Sky,” Gillian Welch & David Rawlings

    Best American Roots Song

    “Ahead of the Game,” Mark Knopfler, songwriter (Mark Knopfler)

    “All in Good Time,” Sam Beam, songwriter (Iron & Wine feat. Fiona Apple)

    “All My Friends,” Aoife O’Donovan, songwriter (Aoife O’Donovan)

    “American Dreaming,” Sierra Ferrell & Melody Walker, songwriters (Sierra Ferrell)

    “Blame It on Eve,” John Hahn & Will Kimbrough, songwriters (Shemekia Copeland)

    Best Americana Album

    The Other Side, T Bone Burnett

    $10 Cowboy, Charley Crockett

    Trail of Flowers, Sierra Ferrell

    Polaroid Lovers, Sarah Jarosz

    No One Gets Out Alive, Maggie Rose

    Tigers Blood, Waxahatchee

    Best Bluegrass Album

    I Built a World, Bronwyn Keith-Hynes

    Songs of Love and Life, The Del McCoury Band

    No Fear, Sister Sadie

    Live Vol. 1, Billy Strings

    Earl Jam, Tony Trischka

    Dan Tyminski: Live From The Ryman, Dan Tyminski

    Best Traditional Blues Album

    Hill Country Love, Cedric Burnside

    Struck Down, The Fabulous Thunderbirds

    One Guitar Woman, Sue Foley

    Sam’s Place, Little Feat

    Swingin’ Live at the Church in Tulsa, The Taj Mahal Sextet

    Best Contemporary Blues Album

    Blues Deluxe Vol. 2, Joe Bonamassa

    Blame It on Eve, Shemekia Copeland

    Friendlytown, Steve Cropper & The Midnight Hour

    Mileage, Ruthie Foster

    The Fury, Antonio Vergara

    Best Folk Album

    American Patchwork Quartet, American Patchwork Quartet

    Weird Faith, Madi Diaz

    Bright Future, Adrianne Lenker

    All My Friends, Aoife O’Donovan

    Woodland, Gillian Welch & David Rawlings

    Best Regional Roots Music Album

    25 Back to My Roots, Sean Ardoin And Kreole Rock And Soul

    Live at the 2024 New Orleans Jazz & Heritage Festival, Big Chief Monk Boudreaux & The Golden Eagles feat. J’Wan Boudreaux

    Live at the 2024 New Orleans Jazz & Heritage Festival, New Breed Brass Band feat. Trombone Shorty

    Kuini, Kalani Pe’a

    Stories From the Battlefield, The Rumble feat. Chief Joseph Boudreaux Jr.

    Best Gospel Performance/Song

    “Church Doors,” Yolanda Adams; Donald Lawrence & Sir William James Baptist, songwriters

    “Yesterday,” Melvin Crispell III

    “Hold On (Live),” Ricky Dillard

    “Holy Hands,” DOE; Jesse Paul Barrera, Jeffrey Castro Bernat, Dominique Jones, Timothy Ferguson, Kelby Shavon Johnson, Jr., Jonathan McReynolds, Rickey Slikk Muzik Offord & Juan Winans, songwriters

    “One Hallelujah,” Tasha Cobbs Leonard, Erica Campbell & Israel Houghton Featuring Jonathan McReynolds & Jekalyn Carr; G. Morris Coleman, Israel Houghton, Kenneth Leonard, Jr., Tasha Cobbs Leonard & Naomi Raine, songwriters

    Best Contemporary Christian Music Performance/Song

    “Holy Forever (Live),” Bethel Music, Jenn Johnson Featuring CeCe Winans

    “Praise,” Elevation Worship feat. Brandon Lake, Chris Brown & Chandler Moore; Pat Barrett, Chris Brown, Cody Carnes, Steven Furtick, Brandon Lake & Chandler Moore, songwriters

    “Firm Foundation (He Won’t),” Honor & Glory feat. Disciple

    “In the Name of Jesus,” JWLKRS Worship & Maverick City Music feat. Chandler Moore; Austin Armstrong, Ran Jackson, Chandler Moore, Sajan Nauriyal, Ella Schnacky, Noah Schnacky & Ilya Toshinskiy, songwriters

    “In the Room,” Maverick City Music, Naomi Raine & Chandler Moore feat. Tasha Cobbs Leonard; G. Morris Coleman, Tasha Cobbs Leonard & Naomi Raine, songwriters

    “That’s My King,” CeCe Winans; Taylor Agan, Kellie Gamble, Lloyd Nicks & Jess Russ, songwriters

    Best Gospel Album

    Covered Vol. 1, Melvin Crispell III

    Choirmaster II (Live), Ricky Dillard

    Father’s Day, Kirk Franklin

    Still Karen, Karen Clark Sheard

    More Than This, CeCe Winans

    Best Contemporary Christian Music Album

    Heart of a Human, DOE

    When Wind Meets Fire, Elevation Worship

    Child of God, Forrest Frank

    Coat of Many Colors, Brandon Lake

    The Maverick Way Complete, Maverick City Music, Naomi Raine & Chandler Moore

    Best Roots Gospel Album

    The Gospel Sessions, Vol 2, Authentic Unlimited

    The Gospel According to Mark, Mark D. Conklin

    Rhapsody, The Harlem Gospel Travelers

    Church, Cory Henry

    Loving You, The Nelons

    Best Latin Pop Album

    Funk Generation, Anitta

    El Viaje, Luis Fonsi

    GARCÍA, Kany García

    Las Mujeres Ya No Lloran, Shakira

    ORQUÍDEAS, Kali Uchis

    Best Música Urbana Album

    nadie sabe lo que va a pasar mañana, Bad Bunny

    Rayo, J Balvin

    FERXXOCALIPSIS, Feid

    LAS LETRAS YA NO IMPORTAN, Residente

    att., Young Miko

    Best Latin Rock or Alternative Album

    Compita del Destino, El David Aguilar

    Pa’ Tu Cuerpa, Cimafunk

    Autopoiética, Mon Laferte

    GRASA, NATHY PELUSO

    ¿Quién trae las cornetas?, Rawayana

    Best Música Mexicana Album (Including Tejano)

    Diamantes, Chiquis

    Boca Chueca, Vol. 1, Carín León

    ÉXODO, Peso Pluma

    De Lejitos, Jessi Uribe

    Best Tropical Latin Album

    MUEVENSE, Marc Anthony

    Bailar, Sheila E.

    Radio Güira, Juan Luis Guerra 4.40

    Alma, Corazón y Salsa (Live at Gran Teatro Nacional), Tony Succar, Mimy Succar

    Vacilón Santiaguero, Kiki Valera

    Best Global Music Performance

    “Raat Ki Rani,” Arooj Aftab

    “A Rock Somewhere,” Jacob Collier feat. Anoushka Shankar & Varijashree Venugopal

    “Rise,” Rocky Dawuni

    “Bemba Colorá,” Sheila E. feat. Gloria Estefan & Mimy Succar

    “Sunlight to My Soul,” Angélique Kidjo Featuring Soweto Gospel Choir

    “Kashira,” Masa Takumi feat. Ron Korb, Noshir Mody & Dale Edward Chung

    Best Reggae Album

    Take It Easy, Collie Buddz

    Party With Me, Vybz Kartel

    Never Gets Late Here, Shenseea

    Bob Marley: One Love – Music Inspired By The Film (Deluxe), Various Artists

    Evolution, The Wailers

    Best New Age, Ambient, or Chant Album

    Break of Dawn, Ricky Kej

    Triveni, Wouter Kellerman, Éru Matsumoto & Chandrika Tandon

    Visions of Sounds De Luxe, Chris Redding

    Opus, Ryuichi Sakamoto

    Chapter II: How Dark It Is Before Dawn, Anoushka Shankar

    Warriors of Light, Radhika Vekaria

    Best Children’s Music Album

    Brillo, Brillo!, Lucky Diaz and The Family Jam Band

    Creciendo, Lucy Kalantari & The Jazz Cats

    My Favorite Dream, John Legend

    Solid Rock Revival, Rock for Children

    World Wide Playdate, Divinity Roxx and Divi Roxx Kids

    Best Comedy Album

    Armageddon, Ricky Gervais

    The Dreamer, Dave Chappelle

    The Prisoner, Jim Gaffigan

    Someday You’ll Die, Nikki Glaser

    Where Was I, Trevor Noah

    Best Audio Book, Narration, and Storytelling Recording

    All You Need Is Love: The Beatles In Their Own Words (Various Artists), Guy Oldfield, producer

    …And Your Ass Will Follow, George Clinton

    Behind the Seams: My Life in Rhinestones, Dolly Parton

    Last Sundays in Plains: A Centennial Celebration, Jimmy Carter

    My Name Is Barbra, Barbra Streisand

    Best Compilation Soundtrack for Visual Media

    The Color Purple (Various Artists)

    Deadpool & Wolverine (Various Artists)

    Maestro: Music by Leonard Bernstein, London Symphony Orchestra, Yannick Nézet-Séguin, Bradley Cooper

    Saltburn (Various Artists)

    Twisters: The Album (Various Artists)

    Best Score Soundtrack for Visual Media (Includes Film and Television)

    American Fiction, Laura Karpman, composer

    Challengers, Trent Reznor & Atticus Ross, composers

    The Color Purple, Kris Bowers, composer

    Dune: Part Two, Hans Zimmer, composer

    Shōgun, Nick Chuba, Atticus Ross & Leopold Ross, composers

    Best Score Soundtrack for Video Games and Other Interactive Media

    Avatar: Frontiers of Pandora, Pinar Toprak, composer

    God of War Ragnarök: Valhalla, Bear McCreary, composer

    Marvel’s Spider-Man 2, John Paesano, composer

    Star Wars Outlaws, Wilbert Roget, II, composer

    Wizardry: Proving Grounds of the Mad Overlord, Winifred Phillips, composer

    Best Song Written for Visual Media

    “Ain’t No Love in Oklahoma” (From Twisters: The Album)
    Jessi Alexander, Luke Combs & Jonathan Singleton, songwriters (Luke Combs)

    “Better Place” (From TROLLS Band Together)
    Amy Allen, Shellback & Justin Timberlake, songwriters (*NSYNC & Justin Timberlake)

    “Can’t Catch Me Now” (From The Hunger Games: The Ballad of Songbirds & Snakes)
    Daniel Nigro & Olivia Rodrigo, songwriters (Olivia Rodrigo)

    “It Never Went Away” (From American Symphony)
    Jon Batiste & Dan Wilson, songwriters (Jon Batiste)

    “Love Will Survive” (From The Tattooist of Auschwitz)
    Walter Afanasieff, Charlie Midnight, Kara Talve & Hans Zimmer, songwriters (Barbra Streisand)

    Best Music Video

    “Tailor Swif,” A$AP Rocky
    Vania Heymann & Gal Muggia, video directors

    “360,” Charli xcx
    Aidan Zamiri, video director; Jami Arceo & Evan Thicke, video producers

    “Houdini,” Eminem
    Rich Lee, video director; Kathy Angstadt, Lisa Arianna & Justin Diener, video producers

    “Not Like Us,” Kendrick Lamar
    Dave Free & Kendrick Lamar, video directors; Jack Begert, Sam Canter & Jamie Rabineau, video producers

    “Fortnight,” Taylor Swift feat. Post Malone
    Taylor Swift, video director; Jil Hardin, video producer

    Best Music Film

    American Symphony, Jon Batiste
    Matthew Heineman, video director; Lauren Domino, Matthew Heineman & Joedan Okun, video producers

    June (June Carter Cash)
    Kristen Vaurio, video director; Josh Matas, Sarah Olson, Jason Owen, Mary Robertson & Kristen Vaurio, video producers

    Kings From Queens, Run-DMC
    Kirk Fraser, video director; William H. Masterson III, video producer

    Stevie Van Zandt: Disciple, Steven Van Zandt
    Bill Teck, video director; Robert Cotto, David Fisher & Bill Teck, video producers

    The Greatest Night in Pop (Various Artists)
    Bao Nguyen, video director; Bruce Eskowitz, George Hencken, Larry Klein, Julia Nottingham, Lionel Richie & Harriet Sternberg, video producers

    Best Recording Package

    The Avett Brothers, Jonny Black & Giorgia Sage, art directors (The Avett Brothers)

    Baker Hotel, Sarah Dodds & Shauna Dodds, art directors (William Clark Green)

    BRAT, Brent David Freaney & Imogene Strauss, art directors (Charli xcx)

    F-1 Trillion, Archie Lee Coates IV, Jeffrey Franklin, Blossom Liu, Kylie McMahon & Ana Cecilia Thompson Motta, art directors (Post Malone)

    Hounds of Love The Baskerville Edition, Kate Bush & Albert McIntosh, art directors (Kate Bush)

    Jug Band Millionaire, Andrew Wong & Julie Yeh, art directors (The Muddy Basin Ramblers)

    Pregnancy, Breakdown, and Disease, Lee Pei-Tzu, art director (iWhoiWhoo)

    Best Boxed or Special Limited Edition Package

    Half Living Things, Patrick Galvin, art director (Alpha Wolf)

    Hounds of Love The Boxes of Lost at Sea, Kate Bush & Albert McIntosh, art directors (Kate Bush)

    In Utero, Doug Cunningham & Jason Noto, art directors (Nirvana)

    Mind Games, Simon Hilton & Sean Ono Lennon, art directors (John Lennon)

    Unsuk Chin, Takahiro Kurashima & Marek Polewski, art directors (Unsuk Chin & Berliner Philharmoniker)

    We Blame Chicago, Rebeka Arce & Farbod Kokabi, art directors (90 Day Men)

    Best Album Notes

    After Midnight, Tim Brooks, album notes writer (Ford Dabney’s Syncopated Orchestras)

    The Carnegie Hall Concert, Lauren Du Graf, album notes writer (Alice Coltrane)

    Centennial, Ricky Riccardi, album notes writer (King Oliver’s Creole Jazz Band & Various Artists)

    John Culshaw – The Art Of The Producer – The Early Years 1948-55, Dominic Fyfe, album notes writer (John Culshaw)

    SONtrack Original De La Película “Al Son De Beno,” Josh Kun, album notes writer (Various Artists)

    Best Historical Album

    Centennial
    Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer (King Oliver’s Creole Jazz Band and Various Artists)

    Diamonds and Pearls: Super Deluxe Edition
    Charles F. Spicer, Jr. & Duane Tudahl, compilation producers; Brad Blackwood & Bernie Grundman, mastering engineers (Prince & The New Power Generation)

    Paul Robeson – Voice of Freedom: His Complete Columbia, RCA, HMV, and Victor Recordings
    Tom Laskey & Robert Russ, compilation producers; Nancy Conforti & Andreas K. Meyer, mastering engineers (Paul Robeson)

    Pepito y Paquito
    Pepe De Lucía & Javier Doria, compilation producers; Jesús Bola, mastering engineer (Pepe De Lucía And Paco De Lucía)

    The Sound of Music (Original Soundtrack Recording – Super Deluxe Edition)
    Mike Matessino & Mark Piro, compilation producers; Steve Genewick & Mike Matessino, mastering engineers (Rodgers & Hammerstein & Julie Andrews)

    Best Engineered Album, Non-Classical

    Algorithm
    Dernst Emile II, Michael B. Hunter, Stephan Johnson, Rachel Keen, John Kercy, Charles Moniz & Todd Robinson, engineers; Colin Leonard, mastering engineer (Lucky Daye)

    Cyan Blue
    Jack Emblem, Jack Rochon & Charlotte Day Wilson, engineers; Chris Gehringer, mastering engineer (Charlotte Day Wilson)

    Deeper Well
    Craig Alvin, Shawn Everett, Mai Leisz, Todd Lombardo, John Rooney, Konrad Snyder & Daniel Tashian, engineers; Greg Calbi, mastering engineer (Kacey Musgraves)

    Empathogen
    Beatriz Artola, Zach Brown, Oscar Cornejo, Chris Greatti & Mitch McCarthy, engineers; Joe La Porta, mastering engineer (WILLOW)

    i/o
    Tchad Blake, Oli Jacobs, Katie May & Dom Shaw, engineers; Matt Colton, mastering engineer (Peter Gabriel)

    Short n’ Sweet
    Bryce Bordone, Julian Bunetta, Serban Ghenea, Jeff Gunnell, Oli Jacobs, Ian Kirkpatrick, Jack Manning, Manny Marroquin, John Ryan & Laura Sisk, engineers; Nathan Dantzler & Ruairi O’Flaherty, mastering engineers (Sabrina Carpenter)

    Best Engineered Album, Classical

    Adams: Girls of the Golden West
    Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (John Adams, Daniela Mack, Ryan McKinny, Paul Appleby, Hye Jung Lee, Elliot Madore, Julia Bullock, Davóne Tines, Los Angeles Philharmonic & Los Angeles Master Chorale)

    Andres: The Blind Banister
    Silas Brown, Doron Schachter & Michael Schwartz, engineers; Matt Colton, mastering engineer (Andrew Cyr, Inbal Segev & Metropolis Ensemble)

    Bruckner: Symphony No. 7; Bates: Resurrexit
    Mark Donahue & John Newton, engineers; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

    Clear Voices in the Dark
    Daniel Shores, engineer; Daniel Shores, mastering engineer (Matthew Guard & Skylark Vocal Ensemble)

    Ortiz: Revolución Diamantina
    Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (Gustavo Dudamel, María Dueñas, Los Angeles Philharmonic & Los Angeles Master Chorale)

    Producer of the Year, Classical

    Erica Brenner
    Biber: Mystery Sonatas (Alan Choo, Jeannette Sorrell & Apollo’s Fire)
    Handel: Israel in Egypt (Jeannette Sorrell, Apollo’s Singers & Apollo’s Fire)
    Mozart: Piano Sonatas, Vols. 5 & 6 (Orli Shaham)
    Songs for a Friend – A Tribute to Trumpeter Ryan Anthony (Various Artists)
    Sonic Alchemy (YuEun Kim, Mina Gajić & Coleman Itzkoff)

    Christoph Franke
    • Beethoven: The Complete Symphonies (Antonello Manacorda & Kammerakademie Potsdam)
    • Beethoven: Violin Sonatas Nos. 1, 5, 6 & 10 (Dénes Várjon & Antje Weithaas)
    • Brahms, Viotti & Dvořák: Orchestral Works (Tanja Tetzlaff, Christian Tetzlaff, Paavo Järvi & Deutsches Symphonie-Orchester Berlin)
    • Mozart: Sinigaglia (Noah Bendix-Balgley)
    • Rachmaninoff: Symphony No. 2 (Kirill Petrenko & Berliner Philharmoniker)
    • The Vienna Recital (Yuja Wang)

    Morten Lindberg
    • Mor (Karen Haugom Olsen & Nidaros Domkor)
    • Pax (Nina T. Karlsen, Ensemble 96 & Current Saxophone Quartet)
    • Sommerro: Borders (Nick Davies & Trondheim Symphony Orchestra)

    Dmitriy Lipay
    • Adams: Girls of the Golden West (John Adams, Daniela Mack, Ryan McKinny, Paul Appleby, Hye Jung Lee, Elliot Madore, Julia Bullock, Davóne Tines, Los Angeles Philharmonic & Los Angeles Master Chorale)
    • Messiaen: Des Canyons Aux Étoiles… (Ludovic Morlot & Seattle Symphony)
    • Ortiz: Revolución Diamantina (Gustavo Dudamel, Gabriela Ortiz, María Dueñas, Los Angeles Philharmonic, Los Angeles Master Chorale)

    Elaine Martone
    • Bartók: String Quartet No.3; Suite From ‘The Miraculous Mandarin’ (Franz Welser-Möst & The Cleveland Orchestra)
    • The Book of Spells (Merian Ensemble)
    • Bruckner: Symphony No. 4 (Franz Welser-Möst & The Cleveland Orchestra)
    • Divine Mischief (Julian Bliss, J. Eric Wilson & Baylor University Wind Ensemble)
    • Joy! (John Morris Russell & Cincinnati Pops)
    • Prokofiev: Symphony No. 6 (Franz Welser-Möst & The Cleveland Orchestra)
    • Schubert: The Complete Impromptus (Gerardo Teissonnière)
    • Stranger at Home (Shachar Israel)
    • Tchaikovsky: Symphony No. 4 (Franz Welser-Möst & The Cleveland Orchestra)

    Dirk Sobotka
    • American Dreams (Louis Langrée & Cincinnati Symphony)
    • Bruckner: Symphony No. 7; Bates: Resurrexit (Manfred Honeck & Pittsburgh Symphony Orchestra)
    • Dvořák: Symphony No. 9, ‘From The New World’; American Suite (Nathalie Stutzmann & Atlanta Symphony Orchestra)
    • Radiance Untethered – The Choral Music of John Wykoff (Cameron F. Labarr & Missouri State University Chorale)

    Best Immersive Audio Album

    Avalon
    Bob Clearmountain, immersive mix engineer; Rhett Davies & Bryan Ferry, immersive producers (Roxy Music)

    Genius Loves Company
    Michael Romanowski, Eric Schilling & Herbert Waltl, immersive mix engineers; Michael Romanowski, immersive mastering engineer; John Burk, immersive producer (Ray Charles With Various Artists)

    Henning Sommerro: Borders
    Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten Lindberg, immersive producer (Trondheim Symphony Orchestra)

    i/o (In-Side Mix)
    Hans-Martin Buff, immersive mix engineer; Brian Eno, Peter Gabriel & Richard Russell, immersive producers (Peter Gabriel)

    Pax
    Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten Lindberg, immersive producer (Ensemble 96 & Current Saxophone Quartet)

    Best Instrumental Composition

    “At Last,” Shelton G. Berg, composer (Shelly Berg)

    “Communion,” Christopher Zuar, composer (Christopher Zuar Orchestra)

    “I Swear, I Really Wanted to Make a “Rap” Album But This Is Literally The Way The Wind Blew Me This Time,” André 3000, Surya Botofasina, Nate Mercereau & Carlos Niño, composers (André 3000)

    “Remembrance,” Chick Corea, composer (Chick Corea & Béla Fleck)

    “Strands,” Pascal Le Boeuf, composer (Akropolis Reed Quintet, Pascal Le Boeuf & Christian Euman)

    Best Arrangement, Instrumental or A Cappella

    “Baby Elephant Walk – Encore,” Michael League, arranger (Snarky Puppy)

    “Bridge Over Troubled Water,” Jacob Collier, Tori Kelly & John Legend, arrangers (Jacob Collier Featuring John Legend & Tori Kelly)

    “Rhapsody in Blue(Grass),” Béla Fleck & Ferde Grofé, arrangers (Béla Fleck Featuring Michael Cleveland, Sierra Hull, Justin Moses, Mark Schatz & Bryan Sutton)

    “Rose Without the Thorns,” Erin Bentlage, Alexander Lloyd Blake, Scott Hoying, A.J. Sealy & Amanda Taylor, arrangers (Scott Hoying Featuring säje & Tonality)

    “Silent Night,” Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (säje)

    Best Arrangement, Instruments and Vocals

    “Alma,” Erin Bentlage, Sara Gazarek, Johanye Kendrick & Amanda Taylor, arrangers (säje Featuring Regina Carter)

    “Always Come Back,” Matt Jones, arranger (John Legend)

    “b i g f e e l i n g s,” Willow, arranger (WILLOW)

    “Last Surprise (From Persona 5),” Charlie Rosen & Jake Silverman, arrangers (The 8-Bit Big Band Featuring Jonah Nilsson & Button Masher)

    “The Sound of Silence,” Cody Fry, arranger (Cody Fry feat. Sleeping at Last)

    Best Orchestral Performance

    “Adams: City Noir, Fearful Symmetries & Lola Montez Does the Spider Dance”
    Marin Alsop, conductor (ORF Vienna Radio Symphony Orchestra)

    “Kodály: Háry János Suite; Summer Evening & Symphony In C Major”
    JoAnn Falletta, conductor (Buffalo Philharmonic Orchestra)

    “Ortiz: Revolución Diamantina”
    Gustavo Dudamel, conductor (Los Angeles Philharmonic)

    “Sibelius: Karelia Suite, Rakastava, & Lemminkäinen”
    Susanna Mälkki, conductor (Helsinki Philharmonic Orchestra)

    “Stravinsky: The Firebird”
    Esa-Pekka Salonen, conductor (San Francisco Symphony)

    Best Opera Recording

    “Adams: Girls of the Golden West”
    John Adams, conductor; Paul Appleby, Julia Bullock, Hye Jung Lee, Daniela Mack, Elliot Madore, Ryan McKinny & Davóne Tines; Dmitriy Lipay, producer (Los Angeles Philharmonic; Los Angeles Master Chorale)

    “Catán: Florencia En El Amazonas”
    Yannick Nézet-Séguin, conductor; Mario Chang, Michael Chioldi, Greer Grimsley, Nancy Fabiola Herrera, Mattia Olivieri, Ailyn Pérez & Gabriella Reyes; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)

    “Moravec: The Shining”
    Gerard Schwarz, conductor; Tristan Hallett, Kelly Kaduce & Edward Parks; Blanton Alspaugh, producer (Kansas City Symphony; Lyric Opera Of Kansas City Chorus)

    “Puts: The Hours”
    Yannick Nézet-Séguin, conductor; Joyce DiDonato, Renée Fleming & Kelli O’Hara; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus)

    “Saariaho: Adriana Mater”
    Esa-Pekka Salonen, conductor; Fleur Barron, Axelle Fanyo, Nicholas Phan & Christopher Purves; Jason O’Connell, producer (San Francisco Symphony; San Francisco Symphony Chorus; Timo Kurkikangas)

    Best Choral Performance

    “Clear Voices in the Dark”
    Matthew Guard, conductor (Carrie Cheron, Nathan Hodgson, Helen Karloski & Clare McNamara; Skylark Vocal Ensemble)

    “A Dream So Bright – Choral Music of Jake Runestad”
    Eric Holtan, conductor (Jeffrey Biegel; True Concord Orchestra; True Concord Voices)

    “Handel: Israel In Egypt”
    Jeannette Sorrell, conductor (Margaret Carpenter Haigh, Daniel Moody, Molly Netter, Jacob Perry & Edward Vogel; Apollo’s Fire; Apollo’s Singers)

    “Ochre”
    Donald Nally, conductor (The Crossing)

    “Sheehan: Akathist”
    Elaine Kelly, conductor; Melissa Attebury, Stephen Sands & Benedict Sheehan, chorus masters (Elizabeth Bates, Paul D’Arcy, Tynan Davis, Aine Hakamatsuka, Steven Hrycelak, Helen Karloski, Enrico Lagasca, Edmund Milly, Fotina Naumenko, Neil Netherly, Timothy Parsons, Stephen Sands, Miriam Sheehan & Pamela Terry; Novus NY; Artefact Ensemble, The Choir of Trinity Wall Street, Downtown Voices & Trinity Youth Chorus)

    Best Chamber Music/Small Ensemble Performance

    “Adams, J.L.: Waves & Particles,” JACK Quartet

    “Beethoven for Three: Symphony No. 4 And Op. 97, ‘Archduke,’” Yo-Yo Ma, Leonidas Kavakos & Emanuel Ax

    “Cerrone: Beaufort Scales,” Beth Willer, Christopher Cerrone & Lorelei Ensemble

    “Home,” Miró Quartet

    “Rectangles and Circumstance,” Caroline Shaw & Sō Percussion

    Best Classical Instrumental Solo

    “Akiho: Longing,” Andy Akiho

    “Bach: Goldberg Variations,” Víkingur Ólafsson

    “Eastman: The Holy Presence of Joan D’Arc,” Seth Parker Woods; Christopher Rountree, conductor (Wild Up)

    “Entourer,” Mak Grgić (Ensemble Dissonance)

    “Perry: Concerto for Violin & Orchestra,” Curtis Stewart; James Blachly, conductor (Experiential Orchestra)

    Beyond the Years – Unpublished Songs of Florence Price, Karen Slack, soloist; Michelle Cann, pianist

    Best Classical Solo Vocal Album

    A Change Is Gonna Come, Nicholas Phan, soloist; Palaver Strings, ensembles

    Newman: Bespoke Songs, Fotina Naumenko, soloist; Marika Bournaki, pianist (Nadège Foofat; Julietta Curenton, Colin Davin, Mark Edwards, Nadia Pessoa, Timothy Roberts, Ryan Romine, Akemi Takayama, Karlyn Viña & Garrick Zoeter)

    Show Me the Way, Will Liverman, soloist; Jonathan King, pianist

    Wagner: Wesendonck Lieder, Joyce DiDonato, soloist; Maxim Emelyanychev, conductor (Il Pomo d’Oro)

    Best Classical Compendium

    Akiho: BeLonging
    Andy Akiho & Imani Winds; Andy Akiho, Sean Dixon & Mark Dover, producers

    American Counterpoints
    Curtis Stewart; James Blachly, conductor; Blanton Alspaugh, producer

    Foss: Symphony No. 1; Renaissance Concerto; Three American Pieces; Ode
    JoAnn Falletta, conductor; Bernd Gottinger, producer

    Mythologies II
    Sangeeta Kaur, Omar Najmi, Hilá Plitmann, Robert Thies & Danaë Xanthe Vlasse; Michael Shapiro, conductor; Jeff Atmajian, Emilio D. Miler, Hai Nguyen, Robert Thies, Danaë Xanthe Vlasse & Kitt Wakeley, producers

    Ortiz: Revolución Diamantina
    Gustavo Dudamel, conductor; Dmitriy Lipay, producer

    Best Contemporary Classical Composition

    “Casarrubios: Seven for Solo Cello”
    Andrea Casarrubios, composer (Andrea Casarrubios)

    “Coleman: Revelry”
    Valerie Coleman, composer (Decoda)

    “Lang: Composition as Explanation”
    David Lang, composer (Eighth Blackbird)

    “Ortiz: Revolución Diamantina”
    Gabriela Ortiz, composer (Gustavo Dudamel, Los Angeles Philharmonic & Los Angeles Master Chorale)

    “Saariaho: Adriana Mater”
    Kaija Saariaho, composer (Esa-Pekka Salonen, Fleur Barron, Nicholas Phan, Christopher Purves, Axelle Fanyo, San Francisco Symphony Chorus & Orchestra)

  • Being in the right rooms or getting mentioned in them can be the game-changer your career needs to scale up. Just ask KvngVidarr, a former songwriter for hire. His big break came when a music producer recommended him to Joeboy. What started as a writing session evolved into conversations about joining Young Legend LTD, Joeboy’s newly launched music company, as a recording artist.

    Since KvngVidarr was announced as the latest artist on Young Legend’s roster in 2024, the singer-songwriter has released four singles and one EP. This week, he had a chat with us about his budding music career, song inspiration, new life and future expectations.

    How did you discover music?

    KvngVidarr: I think music found me first. I’ve been surrounded by it for as long as I can remember. I grew up with it.

    Your music is laidback, almost the opposite of the mainstream trend. Who did you grow up listening to?

    KvngVidarr: I really enjoyed listening to the one best boy bands ever, Westlife group and also Nigerian legends like 2Baba and P-Square. My dad enjoyed a lot of Chief Dr. Orlando Owoh’s music — I listened to him a lot too.

    When did you decide to go pro with it?

    KingVidarr: Nothing beats passion. I found myself going to the studio more often than I went about any other thing. I found peace and comfort in making and being around music. I started working on my music in 2015 at the Doc Side Theatre Studio on June 12, a popular complex at the University of Benin. I put out two EPs, one in 2019, PROJECT FREESTYLE — and another in 2020, Vibes, Palm Trees & Chill. The reception I got from these works gave me a reinforced feeling that I could do more. It was in those moments that I knew that I’d go pro. With the projects, I was trying hard to see ways that I could learn and leverage that knowledge to level up my music.

    Then, earlier this year, myself and other talented musicians collaborated with Music Business Africa on a body of work called Pepple Street. I knew I was ready.

    Seeing as your songs on Spotify and other DSPs are all 2024 releases under Young Legend LTD, I assume you used to go by a different name.

    KvngVidarr: I used to go by different names. First, it was just Vidarr. Other times, Ro1lmijay and Valorthegreat. But none actually stuck as hard as KvngVidarr.

    What had to halt when you became KvngVidarr?

    KvngVidarr: It’s songwriting. I used it as a means to hustle, to learn the game and mechanics of the industry at the most basic level. For me, right now, with all the love and support I’m receiving, I’m trying to put out the music I create as opposed to selling it out to other artists to use for their own songs.

    How did you get signed to Joeboy’s Young Legend LTD?

    KvngVidarr: It was through a mutual friend, a producer who got me into one of Pon Deck’s [Joeboy] writing camps. It’s been upward since then. Shoutout to BeatsbyKo. He is the man.

    Has getting signed changed your perspective of music, the business and the industry in any way?

    KvngVidarr: Yes, definitely. The endless possibilities and partnerships. Understanding music as an actual superpower that can do wonders when properly wielded. Learning never stops and I’m trying to learn as much as possible.

    Is anything new you’re getting adjusted to?

    KvngVidarr: I’m getting used to not taking the bus anymore. I particularly loved using my BRT card to go around Lagos if I was having a bad day. Those times were fun.

    As for the music, I truly feel that it’ll only get better with time and hard work.

    For now I feel okay. I’m in a good place, setting up my content creation tools. It’s a new level and it’s a new life with its own unique challenges. I’m adjusting to this new level to better understand how best I can work towards positioning myself for the opportunities that are coming in this industry. I like to be at the ready in order to take advantage of these opportunities.

    What do you want people to take away from this album?

    KvngVidarr: I want people to listen to my works and feel seen, heard, and understood. Emotions drive my music, and I know that too many of us suffer from hidden feelings and pent-up anger. This is where my music comes in for us all —providing a safe space for all emotions to express themselves.

    Where do you see yourself in 5 years?

    KvngVidarr: I see myself achieving global recognition for my work, contributions and accomplishments. I can see it, but all that’s left is the work, and I’m ready to do that.

  • November just started, and you know what that means – the annual challenge to keep it zipped, literally. No Nut November, the internet’s favourite abstinence movement, is back.

    To help you power through those tempting moments, we’ve curated the ultimate playlist. These 10 Afrobeats bops, carefully selected to keep your mind focused and your resolve strong, will be your auditory guardian angels.

    If You Ask Me — Omawumi

    This is a soulful, conscious song about child sexual abuse, but it works for No Nut November. This one goes out to everyone who uses what’s between their legs to hurt others and their community. Do us a favour; keep your thing to yourself.

    Gobe — Davido

    You see, Davido doesn’t fool himself. He sings that there’s a strong sexual tension in the air, but he’s ready to wait. He’s a patient man. Davido sings, “Good come those who wait.” If your babe says till December, my dear, you’ll have to make patience a virtue.

    No Kissing Baby – Patoranking feat. Sarkodie

    Patoranking isn’t here for only sexual relations; he’s all about giving and receiving the fullness of love. He sings: “If you no give, I no get take o.” Then, in the hook, “No kissing, baby, no touching, baby.” This is a man who will carry out a successful NNN. Be like him.

    Natural Something — Sound Sultan

    Do you know that spending lavishly on someone you like sincerely can be more pleasurable than a coitus meet-and-greet? No one needs a nut when there’s money to spend their time spending.

    No Touching — Guchi

    “Shey if I say no touching, shey you love me like that?”, Guchi asks in this song. There’s no better song to build boundaries and erect restrictions of urges this November than No Touching.

    Ladi — Phyno & Olamide feat. Lil Kesh

    These grown men sing about their dislike for eating it. They don’t care about their partner’s nuts. Anyone who moves like this doesn’t deserve to get some, either. Ojoro cancel ojoro. 

    Wait for Me — Johnny Drille

    Johnny Drille goes away for a bit, and he asks his lover to wait for him. He earnestly asks for her dedication to their love while he’s away. If you find someone that does the same for you, hold them tight.

    Goodbye — Ayra Starr feat. Asake

    Hugging a pillow is better than accepting disrespect in the name of having a partner or getting nuts. This is what Arya is telling us in this song. Listen.

    Space — Tay Iwar feat. Cruel Santino and Preyé

    This may sound like a heartbreak song to some of you, but see it this way: If your babe says No Nut November isn’t for them, but you’re observing it, tell them to give you space for a moment. If they’re for you, they’ll wait for you.

    by now — CKay

    This song is a cry of a man who’s been patient because he got the promise of sex. Are you like Ckay in this song? Or are you just like the one making him do this shalaye? Here’s your anthem.

    Listen here:

  • Some Afropop songs are so big, they take on lives of their own and leave their makers behind. Even years after release, these songs still turn up parties. They come on, and everyone shouts, “That was my jam that year.”

    Party-hopping and hearing these old jams sent me down the rabbit hole of Afropop to find some of the lit-est one-hits that still hit hard today.

    Collabo — Deebee

    Do you remember that song that corrupted your definition of “collaboration” circa 2009? This song Collabo by Deebee was so huge that if anyone said the word “Collabo” that year, people would take it to mean “sex”.

    I hope Deebee is doing good and not diluting English words wherever he is.

    Lori Le — X-Project

    2010 buzzed with Lori Le. To date, it lights up the energy in any party from the first second of its instrumental. At the call-and-response: “Lori le, o di gobe”, the party turns into a rave. This track’s a dance jam for every era.

    Shayo — Bigiano

    “I no go fit invite una come my party, make una no shayo” rings from the start and you already know it’s a party-rider.  Granted that Bigiano dropped an album with a mildly known Iwofa, the song Shayo is what mostly brings his voice to any party.

    Pasa Pasa – MP

    In 2008, MP was sending out love bugs with Pasa Pasa. The lover boys and girls that actively jammed this song then are people’s parents now.

    Hola Hola — Sugarboy

    When G-Worldwide and Sugarboy dropped this jam in 2016, DJs reverberated, “Hola hola, we popping bottles,” through parties. It’s now a Nigerian new-school party classic. 

    Control — W4

    In 2011, W4 was moving like a Fela incarnate with his fashion style. Around that time, he released Control, an earworm that takes one back to the prime days of Chanel O and Soundcity — where we anticipated and watched music videos before YouTube.

    Lowkey — Flowssick

    In the Afrobeats era of Versace clothes, bling-bling and RayBan shades, Lowkey was a banger. Although we never heard of Flowssick after the song, its bouncy beat and the popular and repetitive, “Let me give it to you low-key” line still awakens nostalgia.

    Kokoma — K9

    The craze of Azonto was still viral when K9 made Kokoma in 2012. If you remember this jam, you were an active outside baby.

    Osinachi — Humblesmith feat. Phyno

    This is arguably the breakout song of 2016. Davido had to jump on its remix.

    In My Maserati — Olakira

    This Olakira’s song came out in 2020 and it was so huge that he got a remix with Davido and bagged a deal with the Maserati car brand two years later. But since then, his music hasn’t garnered another momentum.

    If No Be You — Jamo Pyper feat. Mayorkun

    Jamo Pyper is a street-pop artist affiliated with Zlatan Ibile. His only hit song, If No Be You, ruled the airwaves as one of the hits Afrobeats gave us during the 2020 COVID-19 lockdown.

  • Being served breakfast by a partner you love hits hard. It’s like getting stabbed in the chest with a sharp knife, except in this case, it’s your emotion that is getting stabbed. And sometimes, the only thing that can soothe the pain is a good song.

    Luckily, Nigerian Afrobeats artists have got us covered. From tearjerkers to anthems of resilience, these seven Nigerians share Afrobeats songs that have helped them navigate the treacherous waters of heartbreak.

    Cassie, 28

    It’s WYW from Show Dem Camp’s “Palmwine Music Vol. 3”. The album generally focuses on love in Lagos, and WYW is so real because she [Bellah, the featured artist on the song] didn’t have to pretend and say, “Oh, I know you hurt me but I wish you the best” or something modest. My ex hurt me, so I wished them the very worst, and the album just happened to come out then. We’re both Show Dem Camp fans, so as I sang, I somehow hoped that when he heard that track, it’d speak to him.

    August, 24

    Chike’s Out of Love and Insecure helped me through a heartbreak. I was hurt and cried to these songs, but they helped me reflect and find closure. In fact, the whole “Boo of the Booless” album did a lot for me. I jam it occasionally now for the beauty of it, not because I need healing again.

    Mohammed, 26

    It was Deja Vu by Burna Boy for me. Heartbreaks make you feel empty, so that song, just three minutes long, helped me feel secure in my feelings. I was addicted to the pain too. I played it consistently for two months to feel that pain. I listened to it about 12 times per day. But over time, the frequency reduced. I play it once every four months now. It still reminds me of an old lost love that could have been.

    Boluwatife, 27

    The song is Shame on You by Prettyboy D-O and Phyno. In my case, it wasn’t exactly a relationship — it was an emotional situationship that ended badly. We went out separate ways because the person kept fucking up repeatedly. I don’t have a suitcase at home full of grace to dash anyone. That’s why my line is “Shame on you, go ahead. Go”. It hurts a lot, but I mostly feel like it’s a good riddance.

    Sknny, 23

    The tape titled “I Think I Need Therapy” by 9T9 and Omata came at the exact time I needed it. The project dropped after I ended a relationship with someone. 9T9 sang about my life at that time in these songs. They’re good for when you’re going through relationship issues and breakups.

    It has a song called Spec which is my favourite. It’s about a lover telling their supposed partner to leave them alone if they can’t reciprocate the love and effort put into their relationship. The song expressed my feelings: Stop treating me like shit; there are other people feeling me too.

    Chiamaka, 26

    Strangely enough, Somebody’s Son by Tiwa Savage. There’s a saying that “misery loves company” and I think I found that company, that kindred spirit, from listening to it. She was saying all the words I felt at that time.

    Then, what really held me down in the song was Tiwa’s optimism in the chorus. Yes, the lyrics are all about how heartbroken she felt and the weight of the pain she carried. But despite it all, she still believes that somebody’s son will find her one day.

    Chike, 27

    It was Chemistry by Falz and Simi when I was in uni. I liked a babe but she didn’t like me back.

    This song isn’t a heartbreak song but it has gotten me through three heartbreaks. “Maybe we can try to be together, maybe there’s something here,” was the line that resonated with me at the time. So, whenever a heartbreak happens, it’s the default song I always go back to first.

  • When Asake went viral with his 2022 hit Omo Ope featuring Olamide, his arrival on the scene was welcomed by music heads, from the streets of Agege to the silent parties at only God knows where. It was clear that a new music star had entered the group chat. 

    Last year he sold out the 20,000-capacity London O2 Arena following the release of his sophomore album “Work of Art,” a feat only the biggest names in Afrobeats, Burna Boy, Wizkid, Rema, and a few others have been able to accomplish. But Mr Money with the Vibe had only just started.

    On September 21, 2024, Asake sold out London’s O2 Arena for the second time. How did he do it?  We got busy deciphering the Asake blueprint for you to follow.

    Build a cult following

    It can’t be denied that the consistency of Asake’s music has kept his fans, both in Nigeria and abroad, loyal to him for years. Even before he became famous, he had a cult following in his days as an undergrad at Obafemi Awolowo University. Now, people don’t just love his music; they pay to listen and see him in concert.

    Go global

    We may argue from now till tomorrow that we shouldn’t depend on the white man’s Billboard chart. But its effect in propelling local acts to the global forefront can’t be underestimated. Asake’s first album, “Mr Money With the Vibes,” charted at number 66 on the Billboard US 200 chart and became the highest-charting Nigerian debut album of all time. His sophomore, “Work of Art,” also debuted at number 66 on that chart. In August 2024, nine songs from his latest album, “Lungu Boy,” appeared on the Billboard Afrobeats Chart. The world is listening.

    Snag a Grammy nomination

    A Grammy nomination definitely helps if you’re looking to sell out the O2 twice. Asake’s Amapiano song with label boss Olamide bagged a Grammy nomination when the African Music category debuted at the awards for the first time this year.

    Late-night show performance

    Performing at late-night shows has never hurt anybody before, certainly if O2 is in the future. Asake has performed his music at Stephen Colbert and Jimmy Fallon’s shows. Going on famous late-night shows like The Late Night Show With Stephen Colbert and Jimmy Fallon’s The Tonight Show to talk about and perform his music is effective in global standing strategy. Millions of people watch TV and YouTube globally.

    Book the O2

    After you’ve built a reliable and paying large audience that’ll be up for your party at 2 AM, the O2 Arena isn’t a bad venue. After all, it’s currently Afrobeats’ biggest hall, so book it.

    Read Our Review of His “Lungu Boy” Album Here