songs | Zikoko!

Few artists have shaped modern Afrobeats like Tiwa Savage. From her 2010 breakout hit “Kele Kele Love” to the viral hit “Somebody’s Son,” she has built a career defined by range. Is it sultry R&B, street-pop jams, dancefloor fire, or gospel-leaning tracks? She’s capable.

Over more than two decades, she’s grown from Nigeria’s “Afrobeats Queen” into a global symbol of confidence, femininity and success.

To celebrate Tiwa Savage’s legacy, we asked fans to help us rank her 40 greatest songs of all time.

40. “Ade Ori” (2021)

This song captures Tiwa Savage’s healing era — a moment of release and self-rediscovery after pain. Her vocals carry both vulnerability and strength, reminding listeners of her emotional depth beyond the hits.

“She’s so vulnerable in this song. It gives me goosebumps.” — Seyi, a Tiwa Savage fan since “Eminado.”

Standout lyrics: “Ready to come out from my pain / I don’t need yours.”

39. “Kolobi” (2016)

In this uplifting track, Tiwa Savage offers gentle encouragement to anyone facing hardship — the barren, the poor, and the heartbroken — urging them to stay hopeful and focus on brighter days ahead.

“This is one of the most underrated tracks on her second album. I like it.” — I.D, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “E no get mountain, e no get road block / There’s no holdup wey no go clear o.”

38. “Attention” (2019)

“Attention” shows Tiwa Savage at her most emotionally honest — no tears or drama, just a calm, clear demand to be seen and valued. It’s the voice of a woman who knows her worth and won’t settle for less.

“She turned a complaint into a song, and I like how she warns him she’ll get another man if she has to. No time for stupid men.” — Bola, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “If you don’t give me quality attention / I might get it from somebody else.”

37. “Kilimanjaro” (feat. Young Jonn & Black Sherif) (2024)

On this Amapiano-infused track, Tiwa Savage teams up with Young Jonn and Black Sherif to deliver a confident anthem about protecting one’s peace and blocking out negativity.

“I have always jammed Tiwa Savage, but Black Sherif led me to this song, and it’s my favourite by Tiwa Savage.” — Yomi, a Tiwa Savage fan since “Diet.”

Standout lyrics: “I dey my junction, no let their bad belle come stop my show.”

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36. “Tales by Moonlight” (feat. Amaarae) (2021)

Tiwa Savage and Amaarae turn on the charm in this sultry track, playfully shooting their shots and trading flirty lines about love and desire.

“I like that the two of them collaborated. It’s the best sound for Amaarae. It’s like listening to your big sister and her cool friend gossiping about love.” — Adaeze, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “Six foot five, act your size.”

35. “Rewind” (2016)

A smooth Afropop track with a nostalgic groove, “Rewind” finds Tiwa Savage reminiscing on the start of a sweet love story — warm, simple, and heartfelt.

“It’s one of her best songs.” — Dolapo, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “But when you say hello, I know say I don die.”

34. “Sugarcane” (2017)

Sweet, flirty, and full of charm, “Sugarcane” showcases Tiwa Savage in her confident prime — effortlessly balancing tease and tenderness on a smooth, addictive groove.

“It’s my favourite track on her EP of the same title.” — Ife, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “Iwo, emi, eemi ati Iwo / Come my melody, I’ll be your harmony.”

33. “Get It Now” (2017)

In this soulful mid-tempo track, Tiwa Savage demands honesty and clarity from her lover — either commit or step aside. It’s a plea wrapped in confidence, reminding us of her gift for turning emotion into melody.

“It’s the Tiwa song I’d play anytime, anywhere. I don’t know a lot of Yoruba, but it gets me in my feelings.” — Adanna, a Tiwa Savage fan since “Eminado.”

Standout lyrics: “The time is running out / You better get ready now.”

32. “Tiwa’s Vibe” (2018)

Here, Tiwa Savage is in full boss mode — confident, carefree, and unapologetically living her best life. It’s a bold anthem for self-made women who refuse to settle or be limited.

“It’s an infectious fun song.” — Yewande, a Tiwa Savage fan since “Eminado.”

Standout lyrics: “All of my girls dem bad, dem go kill somebody o.”

31. “One” (2018)

A confident, feel-good anthem, “One” has Tiwa Savage celebrating her wins and affirming her place among the best. It’s her reminder that when greatness is counted, her name belongs on the list.

“I like the boss-woman energy of the song.” — Funke, a Tiwa Savage fan since “Dorobucci.”

Standout lyrics: “Ododun la rorogbo.”

30. “Folarin” (2012)

On “Folarin,” Tiwa Savage sends a clear message to her critics — she’s here to stay. Confident and self-assured, she bets on her own talent and longevity in the music game.

“She’s talking to haters here. It’s one of the few songs I still go back to on her Once Upon A Time album.” — Nkechi, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “Omo Folarin / You dey blow my mind.”

29. “Informate” (with DJ Kaywise) (2017)

One of Tiwa Savage’s early artist-DJ collaborations, “Informate” is pure party energy — made for girls’ nights out, dancefloors, and carefree vibes.

“It’s how she layered her voice — like she was smiling while singing.” — Eniola, a Tiwa Savage fan since “Eminado.”

Standout lyrics: “The way you need am, only me get / Chop am like tozo.”

28. “Park Well” (feat. Davido) (2020)

A lover’s quarrel turned into a smooth, romantic groove. “Park Well” thrives on the undeniable chemistry between Tiwa Savage and Davido. Their playful back-and-forth gives the song its irresistible charm.

“The song is slow and nice. Davido delivered with his feature too.” — Jonathan, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “Park well and balance well for me.”

27. “Without My Heart” (feat. Don Jazzy) (2012)

A sultry, high-energy track built for late nights and flashing lights, “Without My Heart” blends pop, sex appeal, and rebellion. It marked Tiwa Savage’s bold step toward defining her sound within the Mavin era.

“You could tell she was carving out her own identity in Mavin. This was like a pop rebellion.” — Isi, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “Couple of drinks in me / Feeling a little tipsy / Turning on my sexy.”

26. “Standing Ovation” (feat. Olamide) (2015)

A vibrant, street-pop anthem, “Standing Ovation” sees Tiwa Savage and Olamide teaming up to get everyone on the dancefloor. It’s pure feel-good energy, showing off Tiwa’s versatility and her ability to blend seamlessly with any sound.

“That ‘Savage don’t play!’ energy was peak Mavin era confidence.” — Lade, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “Anything wey dem do, dem no fit make me change formation.”

25. “One A Low” (feat. Skepta) (2025)

Tiwa Savage and Skepta turn up the heat on this smooth Afrobeat track, trading flirtatious verses and grown, sexy energy. It’s effortlessly stylish — the kind of song that feels intimate and cool.

“It’s smooth and groovy. I like the Skepta feature too.” — Sarah, a Tiwa Savage fan since “Lova Lova.”

Standout lyrics: “Lay in between the sheets in the low.”

24. “Key to the City” (Remix) (2015)

On this dancehall-galala banger, Tiwa Savage is in full command — confident, playful, and ready to light up the dancefloor. It’s a celebration of rhythm, swagger, and pure energy from start to finish.

“Bro, she’s flowing on this song. Just singing on a very bouncy track. It’s dance from the start to the end.” — Segun, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “The way I whine my body go less / All your friends must to confess / Get your body right, no rest.”

23. “10%” (2025)

Unfiltered and unapologetic, “10%” finds Tiwa Savage exploring love, lust, and late-night temptations with sensual honesty. It’s smooth, sultry R&B — Tiwa at her most candid and confident.

“This is proper R&B. She’s just flowing on the beat and letting it breathe and rip.” — Bilal

Standout lyrics: “Mix the Hennessy with some other things / Playing Jodeci / Risky recipe.”

22. “Stamina” (feat. Ayra Starr & Young Jonn) (2023)

Sultry and addictive, “Stamina” sees Tiwa Savage leading a sensual exchange about desire and connection, joined by Ayra Starr and Young Jonn. It’s a perfect blend of chemistry and rhythm that bridges generations of Afrobeats.

“She is timeless. She blends with any genre and generation of artists.” — Dammy, a Tiwa Savage fan since “49-99.”

Standout lyrics: “Stamina stamina / You go need more stamina / Oya, raga momi na / Make I know say you cover me now.”

21. “Lova Lova” (feat. Duncan Mighty) (2018)

On “Lova Lova,” Tiwa Savage challenges her admirer to prove his love with action, not words. The playful back-and-forth with Duncan Mighty adds spice and chemistry, making it one of her most memorable duets.

“The chemistry here is unreal. One of her best.” — Oluwatobi, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “Give me love, no be and tell.”

20. “Loaded” (feat. Asake) (2022)

A bold, boastful anthem, “Loaded” has Tiwa Savage and Asake flexing their wealth, success, and star power. It’s pure swagger over a slick beat — proof that confidence never goes out of style.

“I have always loved Tiwa Savage. Asake is one of the new artists I just fell in love with. It’s well-produced and made intentionally. This is how collaborations should sound.” — Pelumi, a Tiwa Savage fan since “Eminado.”

Standout lyrics: “Omo oba, I dey for you if you dey for me.”

19. “Bad” (feat. Wizkid) (2016)

On “Bad,” Tiwa Savage and Wizkid bring unstoppable confidence, trading lines about power, success, and dominance. It’s a swagger-filled anthem that cements both stars as forces in Afrobeats.

“They’re a force on this song. They sound like trouble.” — Femi, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “You can’t talk about my hustle / You make money, I make double.”

18. “Labalaba” (2018)

Playful and flirtatious, “Labalaba” finds Tiwa Savage in full Bad Girl mode — teasing, loving, and craving affection with her signature mix of charm and rhythm. It’s pure, feel-good Afrobeats energy.

“Bubblegum Afrobeats songs will always have my heart and bumbum. This song tops the list of my favourites.” — Nifemi, a Tiwa Savage fan since “Eminado.”

Standout lyrics: “Labalaba, no dey do me anyhow / You dey make my body dey jolly.”

17. “Dangerous Love” (2020)

Soft, vulnerable, and irresistibly smooth, “Dangerous Love” captures Tiwa Savage caught between desire and doubt — a lover torn between falling deeply and protecting her heart.

“It’s a song that I personally relate to. I’m a lover girl. No one should toy with me, please.” — Moyo, a Tiwa Savage fan since “Eminado.”

Standout lyrics: “I fit to love you tire / Are you really the one? / No go come tire for me / Make you no go turn yawa for me.”

16. “Temptation” (and Sam Smith) (2020)

A lush cross-continental duet, “Temptation” blends Tiwa Savage’s Afropop sensuality with Sam Smith’s soulful vulnerability. The result is a silky, irresistible song about surrendering to desire.

“They are two angelic voices singing about lust. I love it.” — Rita, a Tiwa Savage fan since “Without My Heart.”

Standout lyrics: “Sweet temptation got the better of me, baby.”

15. “Ma Lo” (feat. Wizkid & Spellz) (2017)

An Afropop classic dripping with chemistry, “Ma Lo” captures the electric pull between two lovers. Tiwa and Wizkid’s musical connection is magnetic — their voices dance around each other with effortless heat. It’s easily one of her top three collaborations.

“This is my favourite Tiwa Savage song.” — Ayo, a Tiwa Savage fan since “Ife Wa Gbona.”

Standout lyrics: “Ma lo, jo o / You give me love I never see oo.”

14. “All Over” (2017)

A perfect blend of romance and rhythm, “All Over” is Tiwa Savage in her element — sultry, confident, and irresistibly catchy. It’s a love-soaked anthem that ruled both dancefloors and hearts, cementing her status as the matriarch of Afrobeats.

“My friends and I had this on repeat that year.” — Teni, a Tiwa Savage fan since “Woju (Remix).”

Standout lyrics: “Na because of you wey I get goosebumps / All over, all over.”

13. “Celia’s Song” (2020)

Named after her mother and closing out her Celia album, this song feels like a prayer, a reflection, and a love letter all in one. Tiwa bares her soul — speaking to God and her mother in the same breath, balancing strength and fragility.

“Every time I hear it, it gets me emotional.” — Beatrice, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “Can’t seem to get myself up out of my room / Be my leading light.”

12. “Emotions” (feat. Asa) (2024)

This is a stunning meeting of two musical icons, Tiwa Savage and Asa. They blend their voices in a soulful duet about love that aches but refuses to fade. With stripped-down production, the song lets their raw emotion take centre stage — a gentle storm of vulnerability and strength.

“These two are my favourite women in Nigerian music and this is definitely my favourite from them.” — Adesewa, a Tiwa Savage fan since “Eminado.”

Standout lyrics: “Drown me in your emotions / Save all your love for me.”

11. “Ife Wa Gbona” (feat. Leo Wonder) (2013)

One of Tiwa Savage’s earliest hits, “Ife Wa Gbona,” beautifully blends Yoruba and English to celebrate a love that’s warm, deep, and full of passion. The chemistry between Tiwa and Leo Wonder makes it both timeless and tender — a perfect balance of romance and class.

“It’s romantic and classy.” — Yinka, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “Oya, baby o, take my hands, let’s go.”

10. “Somebody’s Son” (feat. Brandy) (2021)

An instant classic, this song unites two powerhouse vocalists — Tiwa Savage and Brandy — to sing about love, faith, and the hope that “somebody’s son” will find them one day. It’s soulful, relatable, and empowering, especially for women who’ve loved and lost but still believe.

“This is her best R&B collaboration in my opinion.” — Jopelo, a Tiwa Savage fan since “Eminado.”

Standout lyrics: “Okan mi le, o le koko / San bi soni m’eran ni?”

9. “Olorun Mi” (2013)

“Olorun Mi” shows Tiwa Savage at her most emotional and soulful. Dedicated to lost loved ones, it’s both a prayer and a tribute. Over tender piano melodies and delicate percussion, Tiwa’s voice glides between sorrow and hope, offering comfort through faith.

“It’s one of her most heartfelt performances.” — Caleb, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “When you take all the ones we love / We’ll carry on and it won’t be long.”

8. “Wanted” (2014)

Here, Tiwa Savage gets raw and fearless, making a bold declaration of independence and sexual freedom. The song was a daring shift from convention — honest, confident, and powerfully self-assured.

“I like it because it challenged societal norms back when people couldn’t fully express themselves. The sound was so different, and it gave me this bold, liberating feeling that really stood out from everything else at the time.” — Tiana, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “By the way nothing you fit do / Said by the way nothing you fit do / Cause by the way I’m better than you / That’s why I’m wanted.”

7. “If I Start to Talk” (feat. Dr Sid) (2016)

This is a jam of gratitude, resilience, and triumph. Tiwa Savage and Dr Sid reflect on perseverance and blessings, transforming struggle into a soulful celebration. It’s that moment when praise meets groove.

“It’s for anyone who’s ever had to smile through struggle. That ‘God no go shame us’ energy.” — Wale, a Tiwa Savage fan since “Love Me 3x.”

Standout lyrics: “If I start to talk, the thing wey Baba God E don do / E no go end / My sister, e no end.”

6. “Eminado” (feat. Don Jazzy) (2013)

One of Tiwa Savage’s signature tracks and a defining collaboration with Don Jazzy, “Eminado” radiates warmth, joy, and feel-good energy. It’s the kind of love song that instantly lifts moods — smooth vocals, catchy rhythm, and Don Jazzy’s unmistakable production magic.

“This is her best song, and it’s on a Don Jazzy production. Goated.” — Sammy, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “Open the, open the door / I’ll leave you begging for more.”

5. “My Darlin” (2014)

“My Darlin” remains one of Tiwa Savage’s most beloved love songs — a perfect blend of Afropop, highlife, and heartfelt emotion. She sings about a tender, pure, and everlasting love, carried by her silky vocals and infectious rhythm. It’s a timeless wedding and celebration anthem.

“This is her first song I heard. I don’t know if nostalgia plays here, but I’ve come to love it above others I thought I liked more.” — Yusuf, a Tiwa Savage fan since “My Darlin.”

Standout lyrics: “Alaroka won gbadun / Oloruka mi a gbadun.”

4. “49-99” (2019)

This song tackles Nigeria’s wealth inequality with sharp lyricism and confidence. The title, “49-99,” is a nod to Fela Kuti’s phrase describing the country’s working-class struggle — “49 sitting, 99 standing.” Tiwa Savage flips that social commentary into a bold, fashion-forward anthem that moves both body and mind.

“She made a song about economic struggle sound like a catwalk anthem. Only Tiwa could do that.” — Ikenna, a Tiwa Savage fan since “Wanted.”

Standout lyrics: “Monkey no get skills / Igi sumo’gi / L’obo fiyan / I thank you Lord.”

3. “Koroba” (2020)

Playful but sharp, “Koroba” takes aim at society’s double standards — especially how women are judged for wanting the same luxury and ease men openly pursue. Tiwa Savage wraps her critique in catchy melodies and wit, proving you can dance and still think.

“She basically said, ‘Don’t hate the game if you’re also playing.’ She uses her voice more than people give her credit for.” — Zainab, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “Who no like enjoyment? / If money dey for pocket.”

2. “Love Me (3x)” (2011)

An Afropop gem that perfectly captures Tiwa Savage’s early charm — smooth, flirty, and irresistibly catchy. The song fuses her R&B background with Nigerian pop rhythms, creating a timeless romantic anthem that still feels fresh today.

“Her voice in this era is incredible. You could hear the R&B training shine through.” — Victor, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “Love me, love me, love me, love me baby / Touch me, touch me, touch me, touch me baby.”

1. “Kele Kele Love” (2010)

Tiwa Savage’s official debut single — the one that launched her into the spotlight. A bold anthem about self-worth and setting boundaries in love, “Kele Kele Love” announced her as a confident, stylish voice who could blend pop, R&B, and Afrobeats effortlessly.

“This was the moment I realised that women in Afrobeats could sing about standards and still make it a hit.” — Imade, a Tiwa Savage fan since “Kele Kele Love.”

Standout lyrics: “I no do kele kele love, no kele kele love oooh / Ma semi lease baby ooo.”

ALSO READ: It’s Something Different at Adekunle Gold’s “Fuji” Party. And It Raises Questions

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This article is part of Had I Known, Zikoko’s theme for September 2025, where we explore Nigerian stories of regret and the lessons learnt. Read more Had I Known stories here.

Every artist has that one song they wish could be removed from their catalogue — the track that makes them wince whenever fans scream at shows, or the one they recorded just to please a label, a producer, or even their younger self who didn’t know better.

Not every gamble pays off in the fast-paced world of Nigerian music, where trends shift as quickly as TikTok sounds. Sometimes, the beat slaps, but the lyrics age poorly. Other times, the song simply doesn’t represent who the artist has grown to become.

In this list, we revisit 10 Nigerian artists who are brutally honest about the songs they’d delete if they could.

“It’s too vulnerable and it shouldn’t have been for public consumption.” — Sewà, singer-songwriter.

I just released my latest single, “Àsìkò,” and many people loved it. But what they don’t know is that the songwriting’s backstory isn’t sweet.

My mom’s friend’s daughter got married, which prompted my mom to ask me if I was seeing anyone. I told her I wasn’t and was focusing on only music for now. She said it was no problem, and I should take my time, whenever I’m ready.

After that conversation, I felt a little down and birthed the chorus: “Asiko n lo, oun lo o / Tell me when do I feel loved?”

The message has three parts for me. The first is a question of “Do I love myself?” The second is, “How do I love you if I don’t even love myself?” and the third is, “Why do you love people who don’t care about you?”

It’s too vulnerable and shouldn’t have been for public consumption.

Even one of my backup singers isn’t comfortable singing a part of the song where I say, “Do I even love myself?” That song should never have seen the light of day. Sitting in my vault, it’s one of those songs that should have been something solely for me.

“How could I be celebrating a new release when people were fighting for justice and getting shot at?” — Mo’Gunz, rapper and singer.

I remember the #EndSARS protest in 2020 clearly, but not in the way most people do. While the streets were filled with protesters and youths fighting for their lives, I was at home, celebrating. I had just released a new song titled “Top Boy.” The plan was to do a big social media push, get it everywhere, and celebrate the moment.

I was so focused on the drop. The song was a banger; it was something I’d worked on for months, and I was so proud of it. We had the artwork ready, the marketing plan, everything. I was on my phone, watching the streams go up, feeling that rush. But then I looked outside: people were marching and chanting. My friends were posting videos from the protests, their voices thick with anger and passion.

It hit me all at once. My new song was completely out of touch with the reality on ground. How could I be celebrating a new release when people were in the streets, fighting for justice and getting shot at? The moment I realised it, my excitement turned to shame. I pulled back from all the promotion, but it was too late. The song was out there. To this day, it’s a reminder of a bad decision.

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“The producer came back again and asked to be added as a primary artist to the release.” — Eniola Havoc, rapper.

Early in 2023, I was invited to a recording camp by a producer, and I was the only artist there. After transporting myself to the location and back with my money, the day ended quite productive and we made two songs. Not long after the session, the producer sent me an mp3 mixdown of just one of the songs we made together.

At the time I had a two-year management contract I was running on, but I had the creative freedom to make whatever I wanted. I played that one song I got off the session to my team, and they were confident the song would make a perfect single for the album I was making at the time. Months after that initial recording session, I called the producer to let him know my plans for the record and even offered a 50% split. He agreed to the terms, but insisted I give him an advance payment.

A year later, I officially released the song, titled “She A 10”, after so much drama and stalling, the producer came back again with a different request and asked to be added as a primary artist to the release. At that point I was already drained after spending over a hundred thousand naira on the post production and the distribution. It didn’t feel like it was worth the stress anymore. So, I didn’t give in to his request.

The producer took the song down. In less than a month, he came again, trying to get me to put the song back up on DSPs, but I was done and ignored him. The song is still on Audiomack, but that’s it.

Meanwhile, he didn’t even talk about the second song we made or send me a mixdown like he did with the first one. In fact, I still haven’t heard it since 2023 when we made it.

“One can tell that it was just a good day in the studio, not a lot of thoughts were put into it.” — Mo’Believe, singer-songwriter.

I should have thought of a better plan before I released “Perfect (Ebe)” in 2020. My producer and I were on a high when we made that song, just two guys in a room, happy to be making music. You can hear it in the track; it’s pure studio euphoria. No big plan or deep thought, just a good vibe. I listened to it and thought, “What’s the harm in putting this out?” My team loved it, so I figured that was all the sign I needed. I released it without a second thought.

And then, nothing. The song just existed. It didn’t blow up, but it didn’t flop either. I thought I should’ve had a better plan to push it. But looking back now, maybe why the song just sat there, adding nothing to my career, good or bad, was because one can easily tell that it was just a good day in the studio and there weren’t a lot of thoughts put into it.

I released the song in the spur of the moment, and now I have a track out there that I wish I shelved for good or took the time to properly finish. Though I’m learning these days that songs are like kids, we give birth to them, but can’t be sure what they’d turn out to be. The best I can do is put out what I won’t hate releasing after some time.

“I realised the title itself carried a perception I did not want associated with me.” — Samvsthekids, rapper and singer.

The year was 2023, and I had just arrived in Enugu for my youth service. The city had an energy I immediately connected with, and I was soaking it all in, meeting people, exploring, and feeling inspired.

It was around that time I linked up with Jubal (J-V-B-A-L), a talented producer from the University of Nigeria, and Munna, an experimental alternative rapper. We decided to make a track that sampled a trending sound at the time called “On Colos.” Just to be clear, the song was not about glorifying any substance, it was just a vibe, a piece of music we felt people would enjoy. And they did.

We performed it a few times, and the audience loved it. On Spotify alone, it racked up over 10,000 streams in just a few months. It felt like one of those moments where everything clicks, and you cannot help but smile at the reception.

Fast forward to 2024, when I finished NYSC and stepped into the professional workforce. A few weeks into my new role, some of my superiors discovered my TikTok, and specifically, that song. I was called into HR. The conversation could have been intimidating, but I did not panic. I just said something along the lines of, “Ma, if you are the one who sings like this, will you not post it online?”

Was I bold? Definitely. Surprising? Absolutely. But it worked. I left the room calm and unshaken.

As I continued to grow professionally, I started reflecting on the song. Even though the message was not about the substance, I realised the title itself carried a perception I did not want associated with me professionally. So, I made the tough decision to take the song down, even though it had been one of my most popular tracks.

“I had to remove a long-time friend from that record just to fit in this artist’s verse.” — Sosa TTW, rapper and producer.

There was an artist I really wanted to collaborate with in 2022. I reached out, and at first, he acted interested and responded like he was down to do it. But then, out of nowhere, he ghosted me. No replies. Nothing.

Trying to keep the idea alive, I decided to offer payment for a verse. As soon as money came into the picture, he suddenly showed up again, responsive, cooperative and ready to record. We agreed and he sent in his verse. As the release date approached, his manager started acting very enthusiastic. He even said I should be open and communicate with them about the release. The artist echoed the same sentiment. They both made it seem like we were all on the same page and excited to push the song.

When the song finally dropped and I reached out to the manager for help with Audiomack support, he hit me with, “Do I work at Audiomack?” That one sentence told me everything I needed to know.

The artist barely did any promo, but when it came time to talk about royalties, he was quick to ask for his share.

What makes it worse is that I had to remove a long-time friend from that record just to fit in this artist’s verse. I made that choice thinking it would elevate the track. In hindsight, I regret releasing the song at all and that was eventually pushed me to remove it from all DSPs.

“That shit hurt my motivation, for real.” — T.O.D SZN, rapper.

So far, in my career, I’ve tried out a bunch of different sounds. I’ve never been scared of new beats and styles. That’s how I keep my creation process natural and unforced.

I once made a song titled “Fall” in January 2024. It’s a drill song with trap influences, and I delivered a strong vocal performance in both pidgin and English. When I played this song for friends and sent it out to fellow creatives, their heads bopped uncontrollably. They urged me to drop as a matter of urgency, and with the way the drill soundscape was gaining popularity, I felt like that was the best idea. I was feeling myself and thought I had done something special with the song.

But it didn’t drop on time. I relocated to the U.K and had to get acclimated with my new environment and figure many things out first. This led to a 6-month hiatus. When I got back to music and was ready to release the song, I thought, “Why give them one song, when I can put out an EP and make them understand what’s been going on with me?”

So, I added three other songs alongside “Fall”. When I eventually did release the tape in August, “Fall” would get the lowest streams across all platforms. Mentally, I couldn’t understand why no one was listening to this one in particular. I thought it was the best.

What exactly I did wrong with that track, I don’t know. I used to think I should have packaged it as a single, but from the way it was regarded and overlooked, I’d say I’d rather have not dropped and enjoyed that one with my friends.

“After a deep reflection, I began to see why they thought the line signals tribalism.” — VRSD, rapper.

In 2020, I released an EP that has a song titled “Hold Your Glass,” a straight up braggadocious display of lyricism. Everyone that jammed it when it dropped loved it. I received great responses. Someone even said, “This is the kind of rap jam one would expect from the OGs.” I felt good about that compliment.

Then in 2021, I joined a cypher and rap battle competition to win $1,000. I prepared seven fresh verses and added the verses from “Hold My Glass” to it. I made it to the second tier of the competition. When it was my turn to battle again, I went hard, using the verses from “Hold My Glass.” I was confident AF in what I did.

When it was time to get the verdict, I was disqualified. Why? A few of the judges didn’t like one of my lines: “I came from where the Civil War hero came from / Benjamin Adekunle, the Black Scorpion.”

In all honesty that’s a clever line and an homage to someone from my town. The person just happened to participate in the Nigerian Civil War, which in the judges opinion shouldn’t have been lauded..

I lost that round and any chance of winning the prize money. After a deep reflection, several listens and deciphering of my own lyrics, I began to see why they thought the line signals tribalism, even though it wasn’t my intention. Now, I have a song out that people are likely to call tribalistic streaming.

I’m not a big fan of the song anymore, but I really regret not realising what those judges did before I put it out.

“What made me regret putting it out was when my seven-year-old nephew found that particular song.” — TillDayBreak, rapper.

So, I made a song titled “Spiritual” in 2023 and it’s about sexcapades and smoking weed, but I don’t indulge in those in real life. Over time, I began to feel weird and cringe whenever I heard it play. It isn’t who I am and doesn’t represent me in any way.

But what caused the regret of putting it out was when my seven-year-old nephew, who is a big fan of my music, picked up his mom’s phone to search for my music and found the track. I felt shame, like I had disappointed the little lad. From thereon, I have kept most of my songs socially conscious and PG-13.

“I was completely consumed by grief and couldn’t even think about promoting the music.” — Don Mappy, singer-songwriter.

I had just recovered from a nasty femur fracture that happened in late 2020, when I got back to making music. I poured everything I had into a new EP, a project that was deeply personal to me. I even titled it Ad Meliora, which means “towards better things.” I was ready to move past the injury and the struggle. The first track, “Anytime,” was one of the best records I’d ever created. I felt it was a strong start, a sign of better things to come.

I dropped the EP on July 7th, 2022. Just five days later, on July 12th, my dad passed away.

Suddenly, the whole meaning of Ad Meliora felt twisted. It was a cruel irony. I was completely consumed by grief and couldn’t even think about promoting the music. The project just… dropped. All that effort, all that hope, and it landed with no post-release promotion. I struggled with grief and eventually took it down. Looking back, I just wish I hadn’t released it when I did.

Do you have a story of regret? Share it with us by filling out this form.

ALSO READ: How Nigerians Become Notorious on the Internet

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In 2017, when Nigerian street music switched from the fast-paced, dance-ready “Shaku Shaku”, the “Zanku” sound was introduced, and Zlatan spear-headed the movement.

Since then, he’s released at least two songs and several guest features that’ve kept him relevant. Fast forward to 2024, and Zlatan’s career has climbed up the ranks to place as one of Nigeria’s best.

These eight songs in particular are what got him there.

My Body — Zlatan ft. Olamide

Zlatan was a seasoned underground artist way before he bagged his first hit with My Body in 2017 — an upbeat street banger about clubbing and debauchery. Between the first and third verse, he hops from party silliness, to being so drunk he can’t feel his face, to trying to leave an impression on women with his money. Olamide took the chorus, effectively directing mainstream attention to an interesting new act.

Killin Dem — Zlatan and Burna Boy

In a move that had his Zanku sound dominating Shaku Shaku — the preceding street sound — Zlatan joined forces with Burna Boy on this 2019 hit track. With his memorable verse, he declared it was his time, and it was indeed. From its infectious beat and melody to its jerky moonwalk and kung-fu kick dance, Killin Dem wasn’t just on repeat across clubs and parties, it propelled Zlatan to a large international audience. The song later appeared on Burna’s Grammy-nominated African Giant album (2019).

Gelato — DJ Cuppy ft. Zlatan

No one could hide the radiance of Zanku in 2019. Even the bubbly, ultra-rich Afropop of DJ Cuppy flirted with it that year. And who did she call on to make the fusion work?

It was a surprise collaboration that didn’t seem possible at the time because no one thought the streets and the 1% could mix, but Zlatan carried Gelato from what could’ve been whining about ice-cream to a universal metaphor for enjoyment. A memorable part of the song is the “Who’s your daddy?” call-and-response that had Zlatan and Cuppy proudly claiming their family names.

Cash App — Bella Shmurda ft. Zlatan & Lincoln

Shortly before #EndSARS happened in 2020, Cash App came out and went viral, sealing Bella Shmurda’s break into the music industry. He had Zlatan on the hit song that referenced a money transaction app that’s commonly used for cybercrime. It gained so much attention that a section of the internet petitioned the Nigerian Broadcasting Commission (NBC) to take down the song for its yahoo-yahoo promotion.

Hallelu — Masterkraft ft. Zlatan & Bella Shmurda

Zlatan and Bella Shmurda teamed up again on a Masterkraft song titled Hallelu. Zlatan delivered his motivational, grass-to-grace and braggadocious style of rap on the first and second verses. This jam owned all the December raves in 2020.

Money — Zlatan ft. Davido

One thing Zlatan will always sing about is cash and the importance of its abundance. Whether it rolls off his tongue like broken-shaming or motivational yarns, his gospel to trenches kids will always revolve around money. The song features Davido, who added his hitmaker flavour, but Zlatan’s solid chorus and melodic verse carried the jam.

Elon Musk Remix — Shallipopi ft. Zlatan & Fireboy DML

Although Elon Musk was already a hit, 2023’s breakout star, Shallipopi, employed Zlatan’s assistance as a street-pop general to take the music to the grassroots with this remix.

IDK — Wizkid ft. Zlatan

Zlatan still has an amazing run as one of the sought-after collaborators in Nigerian music. His latest feature was Wizkid’s IDK off of his S2 EP that dropped in December 2023. The rapper used the second verse of the song to reiterate the importance of money, especially the role it plays in modern relationships. Zlatan’s bars reinforce the famous saying that “Love is sweet when there’s money.”

Zlatan has come a long way since the viral Am I A Yahoo Boy and Eye Boyfriend era of 2019, to supporting new acts like Shallipopi and Ayox, to featuring with the Big Three — Wizkid, Davido and Burna. Nothing screams “king of the streets” more than this.

Hear The Young Voices of the Trenches

This year has particularly been a blast for the Nigerian music industry. And with so many hit singles and albums released by all our faves, we want to see how many of these lyrics can currently match to the song.

You may know who Asake featured in the remix of “Sungba”, but do you know who was featured in the remix of Bella Shmurda’s “Vision 2020”?

Take the quiz:

Hear Me Out is a weekly limited series where Ifoghale and Ibukun share the unsolicited opinions some people are thinking, others are living but everyone should hear.

There’s music and there’s reawakening music. The kind that helps you wake up and jumpstart into the best version of yourself. And if you’re planning to become a bad bitch, your awakening music should be — Hear Me Out — Sad Girl Music.

When I listen to sad music, I want the songs to capture all my feelings. I want to feel the stress of dating as a Nigerian woman living in Lagos and the stress of being an adult. I want the songs to make me feel everything.

I‘m in my late twenties now. The weight of my heartbreaks are different, and I also have to deal with the daunting sadness that comes with being a full-blown human.

I grew up listening to Westlife, thanks to my older sister who must have been going through it. I sang Westlife’s Fool Again throughout the year I turned 10 with so much passion. If I could pinpoint why I was so into a song that pretty much called me a fool, it would be that the boy I had a crush on from Primary Two to Primary Five left for secondary school that year. My first heartbreak.

I‘m in my late twenties now, and the weight of heartbreaks hits different. I also have to deal with the daunting sadness of being a full-blown human. Music, especially sad girl music, is how I manage to navigate these emotions.

Picture this, an evening after a long day of dealing with a man you’re not in a relationship with who chooses to stress you or the babe you were willing to risk it all for leaving you for another woman she told you was her bestie. Your thoughts are all over the place, but you know there’s a song for that moment. One of the songs for that moment is Amaarae’s Sad Girlz Luv Money. I respect Amaarae’s dedication to reminding us that sad babes are bad bitches who also love money — her song is a perfect bad bitch activation song.

One thing sad girl music is going to do is call you out for being silly enough to fall in love in the first place.

Becoming a bad bitch can directly be linked to the kind of music you listen to. You might argue that it’s not in the music, but ask a baddie when they had their awakening, and it’s always linked to a sad song. You assess your choices and choose the path you’ll follow. Are you going to be the player or the played? You think of those things and decide the kind of person the world is receiving.

One thing sad girl music is going to do is call you out for being silly enough to fall in love in the first place. Sad girl music is going to ask you why you let a Tobi tell you those sweet words when you know he moisturises his lips with lies. Sad girl music is going to drag you for thinking the babe you’d introduced to all your friends won’t break your heart.

What She Said: “I Make Music For Bad Bitches”

A few songs into your favourite sad girl playlist are going to leave you questioning all your relationship and life choices and vowing to do better. The effect of sad girl music isn’t immediate, though. You cry first and then spend time reflecting on how foolish you were (which is what I’m sure happened to Mariah The Scientist when she made 2 You).

The best thing about sad girl music is how unrestricted it is — it transcends sexuality. It’s an insane genre of music that reminds you you’re the shit though it also makes you cry at the thought of the person you fell in love with.

I haven’t unlocked my full potential yet because I keep getting heartbroken left and right. I’ve refused to learn. Don’t be like me.

Regard the message, but ignore the messenger.

Till next time, it’s still Ibukkss.

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Hear Me Out is a brand new limited series from Zikoko, and you can check back every Saturday by 9 a.m. for new episodes from Ifoghale and Ibukun.

If you are younger than 25, don’t expect to smash this music quiz:

Don’t claim to be smart if you can’t guess the Nigerian songs from these brain teasers.

Give it a try: