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  • When you’re an independent musician in Nigeria, every move can feel like a gamble; whether it’s signing a record deal, collaborating with a big-name producer, or partnering with a popular music distribution company to get your songs on streaming platforms.

    Music distributors, often called distros, are third-party companies that help artists upload and manage their music across platforms like Spotify, Apple Music, Boomplay, and others. In theory, they should make it easier for artists to get paid for their streams and maintain control over their catalogue. But for many artists, especially those without industry power, these companies can become a source of stress, confusion, and exploitation.

    In this As Told To, a musician Tayo* shares his experience with a well-known Lagos-based distributor. What started as a promising partnership quickly turned into a cautionary tale about what can go wrong when transparency is missing in the music business.

    This is Tayo’s story as told to Marv.

    In 2021, I was in an experimental phase and eager to start distributing my music. I was searching for the best distribution company that would offer a seamless process and genuinely support me and my music. I didn’t know which platform to trust to get my songs out there, but I knew what I wanted: playlist placements and distribution to all the major Digital Service Providers (DSPs) like Spotify, Apple Music, and others.

    One Nigerian distribution company kept popping up, both in my online searches and conversations with people in the industry. The fact that they were based in Lagos gave me even more confidence. Having boots on the ground made it feel like they truly understood how to get Nigerian artists onto DSPs and playlists.

    Still, I was cautious. I didn’t want to end up like the many musicians who’ve had to call out their distributors on social media for withholding or mismanaging royalties. When I reached out to them, they told me their focus was on young, independent artists. They also mentioned a 70:30 revenue split: I’d keep 70% while they took 30%. That didn’t feel entirely fair—I wasn’t convinced a distro should take that much from my royalties. But almost every musician I knew personally was using them. One of my friends had just signed on with them, and things seemed to be going well. So I decided to give it a shot.

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    ALSO READ: 10 of the Best Programs Currently Airing on Free-to-Air Nigerian TV

    I also brought on a talent manager who had worked with my friend through the same distributor. We released two singles, and everything went smoothly. The manager went above and beyond, securing top playlist placements for my songs. I was genuinely impressed.

    But then, things started to change.

    They stopped taking me seriously and began doing the barest minimum. When I asked them to support my music, even with a simple repost on social media, they made it seem like I was asking for too much.

    Then, I requested access to my backend to view my streaming numbers and revenue across platforms, but they ignored me. All my efforts to try to reach them were in vain.

    Things got worse. Scheduling a music release became a hassle. I’d have to chase them for nearly a month to align with my release calendar. And even then, they’d upload my music with mistakes: misspelt names (mine and the featured artists’), wrong metadata, and missing details. I’d have to demand a takedown and wait another week or two for a corrected reupload. This unprofessionalism robbed me and my listeners of consistency and the experience of enjoying my music without unnecessary delays.

    When I finally tried to withdraw the small royalties my music had earned, I reached out again. But they sent me a report that didn’t match what I saw on my Spotify for Artists and Apple Music dashboards. 

    I’m aware that streams from Nigeria and abroad generate different revenues. I had experience with other distributors before them, so I knew how these backends and reports should look. But the report they showed me made no sense. They didn’t grant me direct access to see for myself. I had to wait for filtered, incomplete updates via email or WhatsApp.

    It began to feel deeply unfair. We were supposed to be partners. They were taking 30% of the revenue, yet offering zero transparency. 

    When I demanded that they withdraw all my songs from the platforms, they cited a clause in our agreement: no withdrawals until I hit $100 in revenue. I’d need hundreds of thousands of streams just to reach that point. So I forgot about it.

    In 2023, I co-founded a music company with a friend. We help musicians release their songs and provide marketing support. I looked around for distribution partners but found no takers. So reluctantly, I returned to the same distro, but only for distribution. My company handled everything else.

    They ended up distributing music for over 30 artists on our roster. We created individual contracts for each artist, but the distro mishandled the paperwork again. When I asked for the reports, they said all artist data had been lumped under my profile. There was no way to view individual artist earnings or even know how many streams each artist had.

    READ NEXT: My Girlfriend Almost Killed Me With Billing Because I Hang Out With Celebrities

    The final straw came when one of my artists pulled in over 200,000 Spotify streams—mostly from outside Nigeria—and the report said the music only earned $60. That made no sense. There were over ten artists actively streaming under my company that year. How could the combined earnings be so low? I asked for a breakdown, but they didn’t provide any.

    It was beyond frustrating.

    They eventually apologised for the lack of transparency and flawed reporting, but that was it. No action. No corrections. My numbers and those of the artists I managed remained tangled together with no clarity or accountability.

    By mid-2024, I decided to cut ties. I asked them to shut down my catalogue and pay me what was owed. What followed was a long, silent drama. For over six months, they ignored me. Eventually, I had to call them out publicly on X. Other artists who had similar experiences joined the conversation, amplifying my complaint until it reached the founder and CEO.

    He privately messaged me to apologise on behalf of his staff and promised to fix it. Later, he asked for my account details to process the payment, but the amount he sent didn’t reflect what I was owed. Some artists were still unaccounted for, and the breakdown they provided remained vague.

    To this day, the distributor hasn’t fully closed my company’s catalogue. Some songs have been removed, others are still live—streaming and earning revenue linked to their system.

    Editor’s Note: We decided to withhold the name of the musician so he could speak publicly on a sensitive matter.

    See what others are saying about this story on Instagram.

    ALSO READ: In Her New EP, Goodgirl LA Sells Desire to Nigerian Women Ready to Indulge

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  • Afrobeats is no longer “breaking into” global spaces. It’s shaping them. Once a local sound, deeply rooted in West African rhythm and ingenuity, Afrobeats now stands at the centre of global cultural takeover. With sold-out tours, Grammy wins, and billion-stream artists, Afrobeats has become a dominant and dynamic cultural force in global music.

    In the early 2000s, Afrobeats was just a regional pulse and a sound on the move that powered parties, streets and diaspora communities. The genre’s groundwork laid by the likes of 2Baba, Don Jazzy and P-Square has now been elevated by the younger generations.

    Today, Burna Boy is the first African artist to sell out Madison Square Garden and he headlines stadiums across Europe. Rema’s “Calm Down” remix featuring Selena Gomez topped charts in over 15 countries and was on the Billboard Hot 100 for over a year. Tems co-wrote on Beyoncé’s Renaissance album and Rihanna’s “Lift Me Up” for Black Panther: Wakanda Forever.

    These aren’t isolated wins. They’re signs of an industry in full takeover mode. Afrobeats is no longer seeking entry into the global stage. It’s owning it.

    The global rise of Afrobeats didn’t happen by accident. The success is tightly linked to the digital age. The internet, with platforms like Apple Music, YouTube, Spotify, Audiomack, Instagram, and TikTok broke down traditional barriers. Artists could now release music directly to fans without relying on traditional (local and Western) gatekeepers.

    Data supports the claim: according to Spotify’s 2024 Loud & Clear report, Afrobeats’ export grew by over 49% in the last three years. Nigeria, now one of YouTube’s top 10 music consumption countries, is both a creator and exporter of pop culture. TikTok dance trends have turned songs like Victony’s “Soweto”, Ayra Starr’s “Rush” and Davido’s “UNAVAILABLE” into global anthems. Now, someone recording in Oshodi in Lagos or Ogbomoso in Oyo State can go viral in Sweden and Australia overnight.

    This democratisation of music consumption made Afrobeats a movement, not just a genre.

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    In more ways, all these are possible due to diasporic communities in London, Atlanta, and Toronto that acted as cultural bridges, pushing Afrobeats into clubs, radio stations, playlists and pop culture discourse worldwide. But the digital-savvy Gen Zs deserve a shout-out too. They curated the sound, meme’d it, danced it into virality, and gave it aesthetic legitimacy.

    Afrobeats is redefining how Africa is seen and heard. It has shaped the global perception of African creativity, youthfulness and innovation. The genre’s stars are pushing boundaries not just socially, but through fashion. Burna Boy appeared at the Met Gala in a custom Burberry fit, and Tems became a fashion muse at the Oscars. Afrobeats has birthed a visual language that’s vibrant, unapologetic, and deeply rooted in African-inspired couture.

    What Global Domination Really Means in 2025

    Now, the global industry has taken notice and is doing more than watching; it’s racing to keep up. Labels have launched African divisions. Universal Music Group has invested in local talent through platforms like Mavin Records and Aristokrat Records. Now, Warner has followed suit, working with burgeoning artists like Kold AF and Dwin, the Stoic. Global collaborations are at an all-time high. The Grammy introduced a Best African Music Performance category at its 2024 edition, a special recognition, though some critics argue it’s an attempt to box African artists into an “ethnic” lane. Still, the industry is paying attention because they have no choice. Afrobeats is profitable, dynamic, and unstoppable.

    Beyond the hype, Afrobeats is finding new headways. Its future now lies in diversification and deeper cultural investment. We’re already seeing experiment and subgenres bloom: Amapiano’s South African house grooves influence Nigerian producers like Magixx; Alté culture is crafting a space for eclectic, genre-bending creatives like Brazy and Mavo; Afro-R&B and Afro-soul explore slower and emotive territories—see artists like Fola and Qing Madi.

    Women are also leading the charge in exciting new ways. Tems, Ayra Starr, Bloody Civilian and Qing Madi are not just participating in Afrobeats’ future but reshaping it. Their sounds are often more nuanced, their aesthetics more fluid, and their global appeal undeniable.

    Local tours are gaining strength again. The once-dead music activity, mainly due to insecurity, lack of structure for live music performance and poverty, is now a conversation due to the courage of new acts like Llona,  who’s been taking his “Homeless” tours across the country. He’s still on the road. OdumoduBlvck just concluded his “Greatest School Tour”, which stopped at universities such as Veritas University, Obafemi Awolowo University, University of Lagos, Afe Babalola University and Olabisi Onabanjo University. Touring doesn’t just put more money in the artists’ bags; it draws them closer to their consumers. The bold steps these artists have taken to take their music around the country lately have sparked conversations on the urgent need for a structure in the music industry.

    In 2025, there may be arguments about Afrobeats’ rude and condescending superstars and also its lack of global hits, but it has become more than music and the artists. As the live streaming industry becomes more profitable, the culture is spreading around the world, including Nigeria. One local artist spearheading this movement is Cruel Santino. His SubaruBoyz Twitch channel, which launched in February 2025, has hosted live sessions with artists like Minz, Jeriq, Zerry DL, Odunsi the Engine, and recently Davido, who appeared during the pre-release promotion for his new album FIVE.

    Rema, too has been featured on Rynenzo’s Twitch channel after his Houston tour. TikTok is also another means of live streaming. Popular TikTokers like Peller and Shank Comics have hosted big acts such as Tiwa Savage, Olamide, Davido and Spinall.

    For these artists, this move goes beyond hawking their music everywhere or their love for gaming. It’s also a way to show their flipsides, an engagement that makes their audience feel closer to them.

    The American and South Korean music industries are now being increasingly influenced by Afrobeats and Nigerian pop, from Chris Brown’s multiple Afrobeats-inspired songs and features with Nigerian artists to K-pop’s Penemeco (“BOLO”) and TXT Taeyhun’s admiration for Wizkid. The cross-pollination has only begun.

    And perhaps, more importantly, Afrobeats is fueling an identity revolution for African youth. Its global domination proves what many already knew: African creativity, when given space and access, doesn’t just thrive—it leads. Though foreign investment might have helped, the genre’s rise is not about Western co-signs but about African dominance on African terms. If the last decade was about discovery and recognition, the next one will possibly be about power and legacy. Afrobeats is not done yet. It’s only just beginning its next remix.

    ALSO READ: Can Nollywood Love Stories Stop Failing Its Strong Women?

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  • The Headies made a grand return to Nigeria last night, hosting its 17th edition at the Landmark Event Centre after a two-year stint in the U.S. Back on home soil, the awards continued their nearly two-decade tradition of celebrating the best in Nigerian music, handing out the golden-headed plaques to artists and other entertainers who have shaped the industry. 

    Whether the event felt like a triumphant homecoming or an underwhelming comeback depends on who you ask — but one thing is clear: glowing reviews from last night’s ceremony are hard to find.

    However, I was present at the hall watching the event live. Here’s what I thought.

    The Major Highlights

    A gathering of industry veterans: In many ways, the night felt more like a reunion of industry veterans than a high-stakes awards show. Gathering music and media legends clearly wasn’t a challenge — from Zaaki Azzay and Faze to Waje and M.I Abaga, the OGs came out in full force, smiling brightly under the flash of cameras and basking in the red carpet glitz. Watching the icons we grew up with move through the evening with such energy and charisma was a thrill. It’s always a joy to see the OGs thriving.

    Tems’ mother collecting her award: One of the warmest moments of the night was seeing Seyi Sodimu gently holding Tems’ mother’s hand as they walked up to announce the winner of the ‘Best Recording of the Year’ category. Music hasn’t just built careers for artists like Tems and Ayra Starr — it’s brought pride and recognition to their families, turning their mothers into proud advocates of their children’s work.

    OdumoduBlvck’s ‘Next Rated’ award speech: Another standout moment came when OdumoduBlvck paid tribute to his own mother, handing her his Next Rated award after receiving it from Davido — who, fittingly, won the same award twelve years ago.

    Truthfully, you could count all the night’s memorable highlights on one hand. And while they were meaningful, they also felt few and far between — a reminder that The Headies may need to rethink how it delivers truly unforgettable moments.

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    The Letdowns

    Bad time management: The red carpet was originally scheduled to open at 6 p.m., but just as the venue was filling up, word came that it had been pushed to 8 p.m., with the main event now postponed to 10 p.m. It’s one thing to joke about “Nigerian time,” but it was inconsiderate for The Headies to announce major time changes on the day of the event, leaving guests to wait for hours.

    Also, can someone explain why press access was restricted to just the red carpet? The Headies rolled out the glamour for the cameras but kept the media at arm’s length from the actual event — perhaps to shield them from the chaos behind the scenes. Instead, journalists were left milling around, waiting for scoops, gossip, and a few more celebrity sightings.

    Kunle Afolayan had to scold The Headies at The Headies: Before presenting the ‘Best Music Video’ award to Director Pink for Chike’s “Egwu,” filmmaker Kunle Afolayan, who served as a guest presenter, remarked in Nigerian Pidgin: “Pikin good, pikin no good, na still pesin pikin.”

    It was a subtle shade to The Headies’ long-standing inconsistencies, especially last night when the event went on well into Monday morning. He appealed to loyalty, suggesting that flaws aside, the awards still belong to us. But sincerity can only go so far. By ignoring core issues, The Headies risks what happens to every art form before its downfall: the slow erosion of its audience’s trust.

    Some winners didn’t receive their plaques: How are artists supposed to feel seen and respected when they’re called up for awards, but there’s nothing to hand them? It was distasteful hearing a voice from backstage casually announce that “the plaques are still on the way.” Winners had to give acceptance speeches with nothing to hold or show for it. Shallipopi, for example, won ‘Best Rap Song’ but left the stage empty-handed. Even major categories like ‘Lyricist on the Roll’ and ‘Best R&B Single’ weren’t announced at all. How is that a proper reward for the work you claim to recognise and celebrate?

    Visible disdain from musicians: Some of the artists who showed up couldn’t hide their ridicule toward The Headies, just as much as the event dished it out to them. Some nominees didn’t even bother to attend, choosing instead to spend “quality time” engaging fans elsewhere. Others were present but let friends — or more accurately, their hype men — collect awards on their behalf. Several artists felt disrespected by the constant name mispronunciations, and some responded by throwing jabs and insults at the event. It’s a messy musical game of “give me shit, I give you shit.”

    A way forward

    Indeed, it’s Afrobeats to the world — a fulfilment of Ayo Animashaun’s early vision for HipHopWorld Magazine and Awards. But it’s also time to rethink the scope of The Headies. If it’s truly the biggest music event in Nigeria, it should reflect the country’s full musical diversity. Genres like Highlife, Juju, and Fuji, which are experiencing a resurgence, deserve inclusion. Afrobeats should be a part of the celebration, not the whole story.

    One common defence for the event’s flaws has been, “Don’t criticise what you can’t create.” But what happened to honest feedback?

    For an event of this stature, it’s troubling that it’s still led by people resistant to new methods and unwilling to accept criticism. Whether The Headies has been incredible or disappointing, whether it’s fueled music growth or served as a stepping stone for others, its shortcomings have become too glaring to ignore. Its once-flying colours are fading into relics of the past. We’re not asking for nostalgia — we’re asking for evolution.

    Maybe people should have just stayed home, glued to their TVs or refreshing updates online. But that’s almost laughable when you realise that, despite everything, being there in person made you see the problems glaringly than watching it virtually. That said, the pacing and overall organisation of the event were painfully sluggish.

    History is a mirror with long memories.

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  • The Headies Award—Nigeria’s most significant music award—has been dishing out trophies since 2006, and the Album of the Year category has been a battleground of fantastic musical bodies of work. From Afrobeat bangers to soulful ballads, this award has recognised the best albums that have topped charts and shaped the Nigerian music landscape.

    With the 17th edition happening this Sunday in Lagos, we’re looking back and ranking every album that’s ever taken home the coveted prize.

    Here are the best Albums of the Year winners in the history of The Headies, ranked:

    16. The Invasion – P-Square (2011)

    Award-winning year: 2012

    Genres: R&B, Afrobeats

    By 2011, P-Square had already cemented their place as Afropop royalty. The Invasion was proof they were still hungry—at least before the infamous split.

    The album mixes everything from R&B and reggae to highlife and hip-hop, and while it gave us hits like “Bunieya Enu,” “Chop My Money,” and “Beautiful Onyinye,” it remains one of their more forgettable projects.

    If you like your pop loud, flashy, and uncomplicated, The Invasion delivers. But compared to their other albums, it doesn’t quite hit the same.

    Headies fact: P-Square became the first act to win Album of the Year twice. Their first was in 2006 with Get Squared.

    15. Street OT – Olamide (2014)

    Award-winning year: 2015

    Genres: HipHop, Afrobeats

    Off the back of two strong albums—YBNL and Baddest Guy Ever Liveth—Olamide dropped Street OT, a project that doubled down on his Lagos street king persona.

    Packed with energetic beats and heavy lingo, Street OT leans into Olamide’s signature mix of grit and mass appeal. While it attempts to throw a bone to the rap heads, the album is dominated by radio-friendly bangers like “Shakitibobo,” “Story for the Gods,” and “Lagos Boys.”

    It’s a fun ride, but not his sharpest project.

    Headies fact: This win made Olamide the first artist to win Album of the Year three times in a row.

    14. Get Square – P-Square (2005)

    Award-winning year: 2006

    Genre: Contemporary Pop

    P-Square’s sophomore album—and their breakout moment. Get Squared, released under their family-run Square Records, launched the duo into mainstream fame with hits like “Get Squared,” “Temptation,” and the ever-iconic “Bizzy Body.”

    With its blend of love songs, dancefloor anthems, and early-2000s swagger, this album defined an era of Nigerian pop. It’s youthful, fun, and forever tied to Nigerian party culture.

    Headies fact: Get Squared won Album of the Year at the very first Headies (then called the Hip-Hop World Awards) and bagged four other trophies that night.

    13. YBNL – Olamide (2012)

    Award-winning year: 2013

    Genres: HipHop, Afrobeats

    YBNL (short for Yahoo Boy No Laptop) was a cultural reset. With this album, Olamide solidified his place as a street king with crossover appeal—balancing raw street-hop with catchy hooks and radio-ready production.

    This was also the project that launched YBNL Nation, his now-iconic record label. Bangers like “First of All,” “Voice of the Street,” and “Omo To Shan” made it a defining album for a generation of Lagos youth.

    You can’t name top five Olamide albums and leave YBNL out. Full stop.

    Headies fact: This was the first in Olamide’s three-year sweep of the Album of the Year category.

    12. The Unstoppable International Edition – 2Baba (2010)

    Award-winning year: 2011

    Genre: R&B

    This reissue of 2Face’s 2008 The Unstoppable gave the album a second life—and a much bigger impact. With tracks like “Implication” and “Only Me,” 2Baba delivered a mature, globally-minded sound while still keeping his signature Afro-R&B style intact.

    The project marked a turning point in his career, cementing him as not just a local legend, but an international contender.

    Headies fact: This edition of The Unstoppable won both Album of the Year and Best R&B/Pop Album at the 2011 Headies.

    11. Moral Instruction – Falz (2018)

    Award-winning year: 2019

    Genres: Hip-Hop, Afrobeats

    With Moral Instruction, Falz traded party anthems for powerful protest. The album blends Hip-Hop and Afrobeats to deliver biting social commentary on corruption, injustice, and Nigeria’s broken systems.

    Songs like “This Is Nigeria,” “Talk,” and “Hypocrite” didn’t just make noise—they demanded change. It’s a bold, unflinching project that showed Falz isn’t afraid to use his voice for more than entertainment.

    Headies fact: In 2019, Moral Instruction won Album of the Year, Best Rap Album, and Best Rap Single—a clean sweep for Falz.

    10. Apollo – Fireboy DML (2020)

    Award-winning year: 2018

    Genres: Afrobeats

    Following the success of Laughter, Tears & Goosebumps, Fireboy DML returned with Apollo—a more expansive and confident project. Songs like “New York City Girl,” “Eli,” and “Tattoo” showcased his ability to fuse emotion with melody, cementing his place as a leading voice in Afrobeats.

    With Apollo, Fireboy proved his debut wasn’t a fluke and sparked conversations about a musical trifecta in the making.

    Headies fact: Apollo earned Fireboy five awards in one night, making it his most successful run at The Headies so far.

    9. Hitsville – Paul Play (2007)

    Award-winning year: 2007

    Genre: R&B

    Hitsville is a masterclass in heartfelt songwriting and smooth R&B. With just nine tracks, Paul Play delivers timeless love songs like “Angel of My Life,” “Crying in the Rain,” and “Forever.” The album blends romantic melodies with subtle nods to traditional Nigerian sounds, showcasing his versatility as both a singer and producer.

    This project cemented Paul Play Dairo’s status as a pioneer of modern Nigerian R&B.

    Headies fact: Hitsville was the only R&B album nominated for Album of the Year at the 2007 Headies, standing out among hip-hop and pop-heavy contenders like Freestyle’s Free At Last and Weird MC’s After Da Storm.

    8. Simisola – Simi (2017)

    Award-winning year: 2018

    Genres: Afrobeats

    Simisola is a warm, heartfelt album that highlights Simi’s signature fusion of Afrobeats, R&B, and soul. With rich storytelling and relatable lyrics about love, identity, and growth, she effortlessly draws listeners into her world. The album includes standout tracks like “Joromi,” “Smile for Me,” and “Love Don’t Care.”

    Arguably her best body of work to date, Simisola delivers that chill, girl-next-door charm with real emotional depth.

    Headies fact: In addition to Album of the Year, Simi also won Best R&B Single and Best Recording of the Year at the 2018 Headies.

    7. New Era – Kizz Daniel (2015)

    Award-winning year: 2016

    Genres: Afrobeats

    With New Era, Kizz Daniel introduced his unique blend of smooth melodies and catchy hooks, mixing Afrobeats with elements of highlife and pop. From the infectious “Woju” to the laid-back vibe of “Laye,” the album established Kizz Daniel as a rising star in Nigerian music. It marked his official entry into the mainstream, filled with tracks that quickly became fan favorites.

    If you’re looking to study a debut album that’s packed with hit after hit, New Era is a perfect example.

    Headies fact: At just 22, Kizz Daniel became the youngest artist to win The Headies’ Album of the Year.

    6. Baddest Guy Ever Liveth – Olamide (2013)

    Award-winning year: 2014

    Genres: HipHop, Afrobeats

    Following the success of YBNL, Olamide solidified his position as one of Nigeria’s most influential hip-hop artists with Baddest Guy Ever Liveth. This album expanded his sound by blending Afrobeat, street-hop, rap, and a touch of Lagos swagger. Tracks like “Durosoke,” “Eni Duro,” and “Turn Up” became anthems, showcasing Olamide’s ability to transcend street music and make mainstream hits.

    This album remains one of his best works and a defining moment in Nigerian music. Olamide proves he is a force to reckon with, both in the streets and on the charts.

    Headies fact: Olamide won Best Rap Album and Album of the Year in the same year this year.

    5. Made In Lagos (Deluxe Edition) – Wizkid (2021)

    Award-winning year: 2022

    Genres: Afrobeats, R&B

    Made In Lagos initially dropped in 2020, propelling Wizkid to global stardom. Blending Afrobeat with R&B, reggae, and pop, the album captured Wizkid’s versatility and cemented his place as an international icon. In 2021, the Deluxe Edition took things even further, adding fresh tracks and collaborations that highlighted his continued growth as an artist.

    With hit songs like “Essence,” “Ginger,” and “Smile,” the Deluxe Edition introduced new bangers like “Steady” and “Bad to Me,” while featuring collaborations with Burna Boy, Skepta, and Justin Bieber. This version elevated Made In Lagos into one of Wizkid’s most successful projects.

    Headies fact: With this win, Wizkid became the most decorated artist in The Headies’ history, claiming twenty Headies awards in total.

    4. Mr. Money With the Vibe – Asake (2022)

    Award-winning year: 2023

    Genres: Afrobeats, Amapiano

    Released in 2022, Mr. Money With the Vibe by Asake made a massive impact on Nigerian music. Following his breakout with hits like “Omo Ope” and “Sungba,” Asake’s debut album showcased his unique blend of Afrobeat, Amapiano, and street vibes, all set to infectious melodies and choruses that quickly became fan favorites. Tracks like “Organise,” “Terminator,” and “Peace Be Unto You” had listeners hooked from the very first listen.

    This album is regarded as the biggest debut in Nigerian music history.

    Headies fact: Asake also won The Headies’ Next Rated award in the same year.

    3. Gongo Aso – 9ice (2008)

    Award-winning year: 2009

    Genre: Afrobeats

    With Gongo Aso, his second album released in 2008, 9ice created one of his best works. This album wasn’t just a collection of songs—it delivered timeless records. The title track, “Gongo Aso,” became an instant anthem, and alongside it came hits like “Street Credibility,” “Party Rider,” “Wedding Day,” and “Photocopy.”

    Gongo Aso is considered a benchmark in Nigerian music, especially for artists making songs in their native languages.

    Headies fact: Gongo Aso is the first Album of the Year winner at The Headies with a main music producer—ID Cabasa.

    2. ASA (Asha) – Asa (2007)

    Award-winning year: 2008

    Genre: Contemporary Pop

    Remember Asa’s iconic tracks like “Bibanke,” “Jailer,” “Fire On the Mountain,” and “So Beautiful”? All these songs come from her debut album, ASA (pronounced “Asha”), which won Album of the Year at The Headies in 2008. What made ASA so special was its unique blend of universally appealing yet distinctly Nigerian sounds.

    This album wasn’t just about entertainment; it was about connection and reflection. ASA is the type of music that lingers long after you’ve stopped listening—emotionally resonant and deeply reflective.

    Headies fact: ASA is the first debut album to win the Album of the Year category at The Headies.

    1. Mushin 2 Mo’Hits – Wande Coal (2009)

    Award-winning year: 2010

    Genre: Afrobeats

    Wande Coal’s debut album, Mushin 2 Mo’Hits, produced by Don Jazzy and released under Mo’Hits Records in 2009, became a defining moment in Nigerian music. With hits like “Bumper to Bumper,” “You Bad,” “Who Born the Maga,” and “Ololufe,” Wande Coal brought both finesse and soul to the Mo’Hits label, showcasing his incredible vocal range.

    What makes Mushin 2 Mo’Hits stand out is Wande’s ability to blend catchy hooks with deeply meaningful lyrics, making it the go-to album for both club anthems and personal moments. This album isn’t just a collection of tracks; it’s a template for an entire generation of Afrobeats artists.

    Headies fact: Wande Coal also won Artist of the Year and Revelation of the Year awards the same night he took home Album of the Year.

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  • In December 2024, Davido announced 5IVE, his fifth studio album. First slated for release in March 2025, then postponed to April, the period between the first announcement and eventual release saw him pull off one of the most impressive album rollouts in Afrobeats history.

    5IVE album art.

    From receiving a handwritten letter directly from the global head of Martell, to partnering with PlayStation, to appearing on popular American radio shows like The Breakfast Club, and even popping up in a recent episode of I Said What I Said podcast, he took the album and its stories everywhere. At a time when his peers chose social media rants and taunts, punching down at their most accessible Nigerian audiences, Davido shunned drama and rage-baiting for positive fan engagement and town hall-style discussions.

    Given the immense success of his time-themed trilogy of albums, it wasn’t clear what direction this new album would take. But 5IVE screams, ‘new phase.’

    We can now let go of the side-eyes toward the vague and sometimes incoherent definitions he gave during the album’s promotional run.

    Numbers go beyond counting time, money and the days of our lives. In numerology, five represents freedom — a desire to explore, to embrace the unknown, and to experience life in new ways.

    Nigerian poet Alhanislam opens the album by articulating its core ambition. Though Davido’s attempts at explaining 5IVE did make it sound like it could have also been called An Album About Nothing, her spoken word intro clearly breaks his message into five parts: life, music, family, freedom, and legacy.

    Though performed in English, the spoken word intro evokes the feeling of African praise singing. The type that’s rendered like panegyrics to make the head swell. This traditional touch seeps into the album art, too. Davido stands among four colourful masquerades in the middle of nowhere. While he hasn’t explained the image, it hints at ancestral reverence, maybe even the suggestion that he’s an extension of a collective spirit. 

    Following Alhanislam’s reckoning intro, the album holds up a mirror to Davido’s current state of mind. He’s confident, assured and triumphant.  From the defeat of Goliath reference in “Anything” to his cup that runneth over in “Be There Still,” OBO leans into the biblical symbolism of his namesake — sprinkling allusions to David’s legend across the 17-track album (all his albums have 17 tracks).

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    Sonically, the album leans heavily into fast-paced Afrobeats, Amapiano and house music, sometimes all at once. In the past two years, this kind of sonic fusion has defined the Afrobeats landscape. It’s a sound Davido first attempted on 2014’s  “Tchelete” featuring South Africa’s Mafikizolo. It resurfaces in “Be There Still”, which kicks off a streak of woman-inspired tracks. 

    His intentions seem genuine — the production supports his desire to be seen as a better partner — but the language of love and romance here feels flat.  At times, he sounds indistinguishable from a Twitter crypto bro who only has money to impress. His expressions lack depth, and it doesn’t help that his songwriters either phoned it in or sat this one out.

    “CFMF (Can’t Feel My Face)”, “Offa Me” featuring Victoria Monét and “R&B” featuring Shenseea and 450 offer mildly satisfying love-drunk night jams.

    “10 Kilo” is delightful. The “Orobo, ten kilo” line blares with so much passion that it may otherwise suggest it as a personal kink turned into a song. Think the orobo-loving Davido in the “Dodo” music video. But more importantly, it’s a nod to the African beauty standards now widely replicated globally (hello, BBLs). It echoes Sound Sultan’s “Orobo”, a classic that celebrates plus-sized women. Long-time Afrobeats listeners will catch the homage.

    “Don’t Know” and “Awuke” with YG Marley are groove-chaser-meets-love songs. Let’s keep it real: the rhythms are more likely to woo a love interest than the bland lyrics. Afrobeats has long prioritised tempo and melody over emotional resonance — a tradeoff that’s good for replay value but not always for connection. And here, it often feels like we’re listening to a man who loves women but struggles to say anything meaningful about them beyond cheesy catchphrases and quirky, street-generated one-liners. At 30+, shouldn’t there be more to say? 

    Even his nuptial tales would sound more heartfelt. He has been trying to put himself in a better light, purging himself of youthful exuberance, getting married, and even unashamedly dropping a disclaimer about completely shunning infidelity during an interview at The Breakfast Club. But while the interview seemed earnest, the music doesn’t quite follow through.  Everything still screams “finding love in the club.” Davido often frames relationships as transactional — luxury in exchange for affection — and nothing in the music convincingly challenges that.

    That said, the production value stays high. Shizzi, Loudaa, Dayo Grey, Blaisebeatz, Jon P, Tempoe, Ucee and others deliver a seamless listening experience. The music picks up halfway through the album, and the energy never dips. 

    Featured artists on 5IVE.

    “Holy Water” shines with the assistance of Musa Keys and Victony. “Nuttin Dey” finds him cocky and unbothered. “Titanium” with Chris Brown finds the frequent collaborators celebrating growth. Davido attempts to lay down his burdens on “Lately” — the song bites off the intro of Asake’s “Dull”, but it doesn’t inspire its wistfulness. The last three tracks, “Funds”, “Lover Boy” and “With You” tie things together nicely. The pace never lags. It’s groove after groove. After all, why not dance like David did? 

    Davido, much like his biblical namesake, is a king who loves music, God and himself. When he’s not these things, he has no new songs — his psalms, if you’d like — to write. This album is his hymnal — expressing a range of emotions, predictable but sincere, reflecting where he is in life. Although it falls short of Alhanislam’s prophecies and has overall average writing, its melodies and choruses are memorable. It’s packed with sleeper jams, and it may take listeners a while to warm up to some of the tracks.

    All in all, 5IVE comes with no drama. It centres on Davido and his resilience, one that must be applauded, in an industry where he has scaled the “rich boy” agenda, survived scandals, faced trolls, and has been ridiculed by both fans and colleagues. This is a celebration of that, a pickup where his Timeless album left off. 5IVE is far from his best output, but it’s a decent effort and a solid foundation for what’s to come. 

    Score: 6/10.

    ALSO READ: With “Morayo”, Wizkid Has Produced His Most Afrobeats Work Yet

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  • New month, new music. As March rolls in with the heat, it comes with a fresh wave of tracks worth adding to your playlist. From Afrobeat bangers to soul-stirring street jams, this week’s lineup of new releases is all about versatility, passion, and pure fire.

    Here are our picks of the top 10 new songs released in the first week of March 2025. 

    10. “Energy” – Rose May Alaba

    Rose May Alaba is feeling good. “Gimme Hennessy, make I shayo,” she commands as she takes over the night with her girlfriends. She takes charge, subtly calls out her haters and drives away insecure men with big egos. The newcomer has her own money and is in the mood to splurge. “The lifestyle no go finish” she confidently sings.

    9. “Calling (Bless Me)” – Limoblaze

    Gospel artist Limoblaze turns up the bass on this new single. He counts his blessings and worships in gratitude, expressing all the enticing benefits of serving his God. If you’re in search of worship songs with turn-up vibes, here’s one that’ll have you dancing like David danced.

    8. “DIFFERENT PATTERN” – PsychoYP

    Rapper PsychoYP slides on a cranking production, switching flows and bragging about his standards and lifestyle. Adding an aggressive edge to the track, YP confidently leans into his tough-guy persona. He also name-drops some of his artist friends, giving a nod to their brotherhood.

    7. “Blame U” – Odeal (feat. DJ Maphorisa & XDuppy)

    Singer Odeal links up with South African DJ-producers DJ Maphorisa and XDuppy for a soulful Amapiano mix version of his sleeper hit, “Blame U”. At the heart of this reimagined version, Odeal aches and croons about a diminished love that he clearly isn’t ready to let go of. 

    If you also feel this way, maybe it’s time to eat shame and call the ex. Or better still, drown in this sound of Odeal.

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    6. “Must Have Been” – TAR1Q

    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.

    5. “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.”

    4. “New Taker” – Rybeena

    “New taker” is a street term for a person who can be considered new money or the hottest person in town. Some people used to be the rave of the moment, Rybeena cautions new takers. He advises them to leave the rugged street life, and rather focus on making money, saving for the rainy days and spending on their looks. Though he’s a 1999-born kid, he speaks wisely beyond his years. This is the type of knowledge impacted due to hard upbringing and early introduction to street OT. But this song and its lyrics are relevant for everyone.

    He who has ears, hear Rybeena.


    3. “Bere Mi (Reimagined”) – ID Cabasa (feat. Zlatan & T.I BLAZE)

    Veteran music producer ID Cabasa adds “Bere Mi (Reimagined),” a reimagination of 2Phat and 9ice’s “Bere Mi”, to his upcoming 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.

    2. “Majekaja” – Kunmie

    Loneliness creeps up on Kunmie. He looks back at old relationships and muses about the moment he finally finds cupid. Despite his daydreams about love, he finds himself in an imaginary argument with a lover where he interpolates Musiliu Ishola’s “My Dear”. Kunmie sings about love being brutal, though he — no thanks to his loneliness — seems to be doing the most to himself. For a better chance at love, he may need to stop living in his head first.

    1. “Taxi Driver” – Joeboy

    The heartbreak phase sucks. You had a good run, but the sting of its ending feels like regret. You start questioning yourself—who sent you to chase after love? How did you forget that heartbreak is a dish served without a timetable? For Joeboy, it seems he got his served cold. In this new single from his forthcoming album, he’s heartbroken and desperate to escape the mess of a failed relationship.

    Listen here:

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  • It’s 2025, and The Headies is in its 19th year. Originally launched in 2006 as the Hip-Hop World Magazine Award (renamed The Headies in 2011), the event is organized by Hip TV. Over the years, the ceremony has cemented its place as Nigeria’s premier music award.

    After a two-year stint in the U.S., The Headies will return to Lagos this year. According to executive producer Ayo Animashaun, two award ceremonies will be held in 2025: the 17th edition, which was postponed last year, will take place on April 27, while the 18th edition is scheduled for December. The 17the edition was initially scheduled for April 5, but they announced it had been rescheduled in March.

    What have been the most memorable parts of the events in its almost two decades of running? We’re taking a wild ride through the highs, lows, and controversies that have made The Headies a staple of Nigerian pop culture. 

    The highs

    The Next Rated Awards

    The Next Rated category, which is awarded to the most promising act under the year in review, is the gift that keeps on giving. A huge percentage of its winners have gone on to have successful careers as global music stars. Some winners include Asa (its first winner), Wizkid, Davido, Mr Eazi, Adekunle Gold and most recently BNXN (formerly known as Buju).

    Compensation for winners

    The Headies is one of the few music award shows in Nigeria — and across the continent — that has offered more than just a plaque to a category winner, ensuring they get their promised prize. In contrast, Kora Awards promised a cash prize to winners of some categories, but there have been reports that some winners never receive them.

    The Next Rated award always comes with a car. In 2022, The Headies said the category would include a brand new 2022 Bentley Bentayga. BNXN was the first recipient.

    More representation

    In 2022, The Headies Awards added more award categories, taking the number of awards from 29 to 32. The new categories are International Artiste of the Year, Best Inspirational Single, and Digital Artiste of the Year.

    The lows

    Musicians’ disregard for The Headies

    Many musicians have expressed gripes with the nomination process. In 2016, singer and music producer Tekno disagreed that he was an upcoming musician after he was nominated in the Headies’ Next Rated category, leading to the organisers disqualifying him. Another example was in 2019, when many A-list musicians did not attend the event. Some opted, instead, to attend Wizkid’s Starboy Fest in O2 concert in London.

    Gender-based categorisation

    In a world where gender equality is taking the forefront of every conversation, The Headies retains its “Best Male” and “Best Female” categories. Critics of the show have said this demarcation boxes women in music as “female musicians,” a category that critics have said is ranked less prestigious than “male musicians.”

    Inconsistency

    The 2022 and 2023 editions of The Headies were held in the US, a decision that sparked discussions about accessibility and representation. While the organisers framed it as an opportunity to showcase Nigerian artists globally, critics questioned the impact on local fans who had limited access to the event.

    Another challenge was the issue of travel visas. Some nominated artists could not attend due to visa restrictions, highlighting a logistical hurdle for Nigeria-based entertainers. As The Headies continues to evolve, its choice of location remains a key factor in balancing global recognition with local engagement.

    Hollywood hosts

    In recent years, The Headies has opted for Hollywood personalities as hosts, with Anthony Anderson leading the 2022 edition and Terrence J taking over in 2023. This choice has sparked conversations about the role of African-American entertainers in a Nigerian music award show. 

    While these hosts bring international visibility, some industry observers question whether there is a need to look outside Nigeria when the country has a wealth of talented MCs who can command the stage. The decision raises broader discussions about representation and the balance between local and global appeal.

    Production quality

    The decision to host The Headies 2023 in the US was partly influenced by cost considerations, with founder Ayo Animashaun citing “cheaper production costs” as a key factor. 

    However, the event faced significant production challenges, including poor lighting, inconsistent sound quality, and weak visuals, making it difficult to clearly see performers and presenters. These issues led to widespread criticism, raising questions about whether the cost-saving measures ultimately compromised the viewing experience.

    The controversies

    Don Jazzy vs. Olamide

    One of the most talked-about moments in Headies history occurred in 2015, when Reekado Banks, then signed to Mavin Records, won the Next Rated award over YBNL’s Lil Kesh. The decision sparked controversy, with Lil Kesh’s label boss, Olamide, expressing his dissatisfaction on stage, accusing the organisers of being unfair.

    Shortly after, Mavin Records boss Don Jazzy responded in a heated exchange, creating a tense moment that stopped short of an outright confrontation. The fallout continued on social media, with Olamide taking his grievances to Twitter (now X), further fueling discussions about the credibility of the award.

    Wizkid snubbed Caesar

    One of the most talked-about moments in Headies history remains the awkward exchange between Wizkid and Caesar, the ex-fiancé of rapper Eva Alordiah in 2016. During the event, Wizkid greeted Eva with a warm hug, but when Caesar extended his hand for a handshake, Wizkid completely ignored him.

    The moment caught on camera quickly went viral and became a major topic of discussion. Years later, it’s still referenced whenever that edition of The Headies is brought up, proving that sometimes, a simple snub can be just as memorable as the awards themselves.

    Bovi’s Bloody Fashion Statement at the 2020 Headies Awards

    At the 2020 Headies, comedian Bovi made a bold statement by stepping onto the stage in a bloodied Nigerian flag dress. This wasn’t just a fashion moment — it was his protest against the state-sanctioned killings during the #EndSARS movement.

    To catch you up: on October 20, 2020, the Nigerian government ordered the military to open fire on peaceful protesters calling for an end to police brutality. The Lekki Massacre left dozens dead and ignited outrage worldwide. Bovi’s choice to wear a bloodied flag was a stark reminder that while the night celebrated winners, the fight for justice was far from over.

    Portable’s disqualification

    Street-hop sensation Portable was nominated for Best Street-Hop Artist but was disqualified after he claimed to have founded “One Million Boys,” a notorious gang. The Headies organisers released a statement condemning his comments and revoked his nomination.

    ALSO READ: The Complete List of Nominees for the 17th Headies Awards

  • The Grammys is coming! But forget the foreign names—we’re focusing on our local stars: the Nigerian nominees. Take this quiz to find out which of the nominated Nigerian artists at this year’s Grammy Awards is just like you.

  • From the mainstream to the underground scene, 2024 saw a handful of albums that changed the game in Nigerian music. It’s a new year, with a clean slate for the industry, and musicians are already announcing albums and EPs that will drop this year.

    See below eight albums that you should look out for in 2025:

    TBA* — Tiwa Savage

    In case you’re wondering what TBA is, I’m simply saying that the title of Tiwa Savage’s new album, set for release this year, is to be announced. She recently posted on her IG story that the album, her fifth release, will likely be her last one. Its release date is also to be announced. While we wait for the album, stream her latest single, “Mega Money Mega.”

    Unkle K — Kizz Daniel

    Whether Kizz Daniel is looking to offer big-uncle support to his nieces and nephews or a crash course on enjoyment to the youngins who find him cool, his upcoming album, Unkle K, is giving millennial vibes. No release date yet, but we trust Mr. No Bad Songs to deliver jams for both the young and old. His new single with AG Baby is out.

    No Sign of Weakness — Burna Boy

    I’m hoping that when Burna Boy is done with all his internet drama, which should’ve faded with 2024, he’ll join us in 2025 and begin a proper, organic rollout for his next album, No Sign of Weakness. There is no release date yet. No confirmation if “Bundle By Bundle” is a single from Burna’s new album, but it’s his latest jam and it gets the club going.

    Clarity of Mind — Omah Lay

    After finding love among fans of emo music, Omah Lay leaves his Boy Alone era behind and offers Clarity of Mind with his upcoming album. This time, he picks yellow as his album art, something brighter and illuminating, to win over all the happy folks and possibly heal those still lonely and struggling. It’s been eleven months since this song came out. We patiently look forward to his next drop.

    I Am the Blueprint — Qing Madi

    Thankfully, Qing Madi didn’t rob us of her incredible talents by giving up on music at age 13. Now, she’s 18, and her debut album, dropping on January 31, 2025, is set to make a statement of what she had said about herself and her musical journey: I Am the Blueprint. It isn’t a cap that she’s one of the hottest 18-year-old singers and dancers in Afrobeats at the moment. She has a new single titled “Favorite Pyscho.”

    5ive — Davido

    On March 14, 2025, Davido will put out his fifth studio album 5ive. It’s a 17-track album, and he has dropped two singles, “Awuke” and “Funds” off it. It’s almost two years since OBO’s last album, Timeless, and I hope the new one, 5ive, is worth it. “Awuke” is one of two singles he put out last year.

    Protect Sarz At All Costs — Sarz

    Nigerian prolific music producer and DJ, Sarz is back this year with a new project, Protect Sarz At All Costs. From its title alone, it’s giving ambitious. With a daring solo project like Sarz Is Not Your Mate and the beastly EDM-infused production he’s churning out lately, his new album is set to be an experimental and bold rave soundscape. No release date yet, but keep on jamming his new single with Asake.

    TBA* — Lojay

    Afrobeats lover boy Lojay will also release his first official full-length album in 2025. There is no title or release date yet, but we’ll continue rinsing and repeating his latest singles like “Billion”, “Loveless,” and “Dishonest.”

    ICYMI, Our 10 Best Afrobeats Albums of 2024

  • It’s been a year of some good album releases for Afrobeats, with chart-topping works from the top guns in the mainstream and the burgeoning talents dropping cool party starters. But this doesn’t mean that just any album released this year is worth your time or ears. 

    As we gradually approach the end of 2024, we’ve dug through the piles of the year’s music releases to find the best albums it has offered.

    “HEIS” — Rema

    Rema’s second album, “HEIS”, is a hyperfast music packaged for night-long parties and swarming raves. Rema uses the album to pay tribute to his Edo roots. The title translates to “number one”. “HEIS” has been met with criticisms that question Rema’s artistic integrity and unexpected sound disruption. However, it remains one of  the most experimental and daring music we’ve heard this year.

    “adedamola” — Fireboy DML

    Fireboy DML throws his playboy persona out the window and welcomes the lover boy back on “adedamola”, his self-titled latest album. The project pays tribute to his inspirations like Lagbaja and Wande Coal. Also, shout-out to the wicked babe who made him sing his heart out on hell and back.

    “The Year I Turned 21” — Ayra Starr

    Ayra Starr’s “The Year I Turned 21 (TYIT21)” album is a coming-of-age project. She sings about personal longing and celebrity pressure. It won’t make you feel like a 21-year-old, but you’ll remember your youthful exuberance.

    “Stubborn” — Victony

    “Stubborn” is Victony’s semi-autobiography album. Perhaps the title refers to a trait he was known for as a kid or his resilience in the face of adversity, like the life-altering car accident he had. From his low moments to accomplishments to love experiences, Victony finds a plethora of messages to deliver on his debut album.

    “Morayo” — Wizkid

    Prior to “Morayo”, Wizkid sang about finding his purpose on Asake’s MMS. On his latest album, the Afrobeats superstar celebrates his late mother. Maybe that’s his purpose and it’s the biblical and traditional expectation to honour parents. While that may be the premise of “Morayo”, it’s a coat over the sweet songs, most of which are surface-deep. If you’re in search of a state-of-grief, I-can’t-want-to-leave-without-you, tear-jerking music, this isn’t it. But a good-time with sexy and gyrating tunes? A blast is guaranteed.

    “Master of Ballads” — Dwin, the Stoic

    Heartbreak survivor’s testimonies, finished lover yearnings and different emotional frequencies define Dwin, the Stoic’s sophomore solo album, “Master of Ballads.” Naked and comfortable in its composition and lyricism, the music warmly welcomes the emotional and slowly takes off the hard-guy mask to accommodate open-hearted vulnerability. That is, it’s made for self-love, romance, heartbreak, grief, rebound and all the affairs and fair shares of relationships. Dwin may call himself a stoic, but he knows how to sing about almost all feelings, including yours, too much.

    “Dearest Madam Pt. 1” — DOTTi the Deity

    Real lovers should assemble here for “Madam Dearest Pt. 1”. The album’s a sequence of melodious yearnings and affectionate lyrics harmonised for the pleasure of hopeless romantics. 

    “Homeless” — Llona

    If you’re looking for emotive music that covers loneliness, rejection and depression, Llona’s “Homeless” is for you. If you feel as described, the album’s the music that knows your story. Its lyricism shines best when it unclads emotions; it leaves the listeners no choice but to face their demons. “Homeless” is realism and escapism at the same time.

    “Lungu Boy” — Asake

    Asake shifted from Amapiano production and went after other sound experiments on his third album, “Lungu Boy”. He found new pockets to showcase fresh flows and take his music to global space. “Lungu Boy” is not his best work, but it proves he’s not operating in a box.

    “Press Play” — Niniola

    It’s been a decade since Niniola entered the Nigerian music scene. In terms of her dedication to her sound and its improvement, she remains one of the most consistent artists. Her new album “Press Play”, like her previous works, clearly explores sophisticated debauchery and enjoyment. It wouldn’t be totally wrong to call Niniola a refined version of juju singer Saint Janet.