With Healers Chapel, Wizard Chan invites listeners to experience a warmth of redemption and a sense of solace, even amid the turbulence and uncertainties of life.

By Abioye Damilare Samson

Afro-Pop’s global rise has not erased the truth that some of its most striking moments come from artistes who draw deeply from the roots of their immediate worlds. Whether it’s Rema and Shallipopi flipping Benin street slang into nationwide catchphrases, FirstKlaz experimenting with a Neo-Arewa sound in the north, or Adekunle Gold gesturing toward Fuji in his upcoming album, the pulse of home continues to shape what travels abroad. Wizard Chan, born Fuayefika Maxwell, stands within this current. His debut album, The Healer, is a purposeful extension of the journey to reimagine Ijaw language, elements, and spirituality within a modern fusion sound.

That sound, which he calls Afro-Teme, has always been the distinct marker that sets him apart. Since the meditative “Earth Song” put him on the map in 2022, his style—which recalled the depth of Reggae legend, Orits Wiliki, in the 80s and carried the communal energy of Gyration music—has since expanded far beyond what he displayed on that track.

The song became a career-defining moment, earning him two nominations at the 2023 Headies Awards—for Songwriter of the Year and Best Alternative Song—and ultimately winning the latter. It was proof that Wizard Chan’s music, stitched with gongs, bells, and other Ijaw music elements, alongside a fusion of Folk, Highlife, Hip-Hop, and Soul, could carve out a spiritual, almost ritualistic space in the mainstream, sustained by devoted listeners who now hail him as the “Big Masquerade” and “Native Doctor”.

Across projects like The Messenger and Time Traveller, both released in 2024, the Rastafarian-looking artiste has positioned himself as a conscious musician with a reflective approach. His new album, Healers Chapel, continues that trajectory by carrying his music into even more philosophical terrain, and offering a kind of songs to soothe, reflect, and restore. 

As a conscious artiste, it’s fitting that he chases transcendence for himself and his music on the soulful intro track, “I Want to Live Forever”.  “I want to live forever / My songs should live forever”, he quips passionately over soaring keyboard chords and a crowd vocal on the chorus.

The track “By The River” deepens this pursuit, drawing on the River Jordan as a biblical symbol of transition and purification, a motif of healing that aligns perfectly with the album’s title. The title track, “Healers Chapel”, features longtime collaborator, Boma Nime, a trio of women traditional healers, who infuse indigenous chants and prayers into the song’s chorus.

On the PDSTRN-assisted “Quick Report” and “Amen (God My Dealer)”, he shows his range on Drill. The former tells a raw story of police brutality and the chaos such systemic violence breeds, amplified by Lagos-based rapper PDSTRN’s gripping raps and fluid flow, while the latter situates God as his ultimate inspiration, integrating the familiar hymnal chorus, “Amen Amen Amen Amen Amen.”

The pre-released “Oliver” pushes his fusion instincts further: gyration percussion, dancehall basslines, and Highlife guitar lines intertwine. Yet it is the lyrics, which draw on Oliver Twist’s story of eternal longing for more, that ground its symbolism.

With “Oh My Home”, he reimagines a primary school rhyme into a nostalgic Highlife ballad, carried by warm guitar riffs and trumpet solos. On the Pumba Mix-produced “Flee Oh Sickness”, the intro stands as an emblem of his self-coined sub-genre Afro-Teme, while he assumes the role of healer, declaring, “Sickness flee from my body, I am speaking as a person of an almighty Jah”, and reflecting on his 2020 Covid-19 ordeal.

The Reggae-tinged “Promised Land” drifts toward visions of Nirvana, while “In My Defence”, “Yours Truly”, and “Sober” lay bare his vulnerabilities in moments of self-rumination. On “Heal”, featuring Joeboy, he resists the familiar trope of weed as a muse, instead singing about abstinence from substances he once turned to for comfort but never found healing in. The hymnal requiem “Dein Na Mu” closes the album. It’s a poignant dirge that pays homage to lost souls and laments the many vices that hindered his healing, set against a sombre bassline.

Throughout the 38-minute runtime of Healers Chapel, Wizard Chan never loses sight of his primary aim of creating music as a form of healing for the troubled soul while also channeling his lived experiences and inner battles as a compass for redemption. Healers Chapel is richly layered as it taps into a sense of mystique and higher consciousness, particularly in songs like “By The River” and “Healers Chapel” with Boma Nime, and is culturally remarkable in the way he infuses his native Ijaw language to convey emotion with profound intimacy and nuance.

Although he had already proven his artistry with two prior projects, this debut full-length heralds a new chapter for Wizard Chan as a representation of independence and confidence that he has no intention of bending his sound to fit the currents of popular taste or waves in the zeitgeist.

With Healers Chapel, Wizard invites listeners to experience a warmth of redemption and a sense of solace, even amid the turbulence and uncertainties of life. Of course, it’s not the kind of project you play to soundtrack revelry or party anthems, but ultimately, it is the kind you return to for grounding, reflection, and assurance that the good times are still within reach.

Lyricism – 1.8

Tracklisting – 1.4

Sound Engineering – 1.4

Vocalisation – 1.5

Listening Experience – 1.5

Rating – 7.6/10

Abioye Damilare Samson is a music journalist and culture writer focused on the African entertainment Industry. Reading new publications and listening to music are two of his favourite pastimes when he is not writing. Connect with him on Twitter and IG: @Dreyschronicle

The post “Healers Chapel” Review: Wizard Chan’s Debut Is an Introspective and Soulful Sonic Balm first appeared on Afrocritik.

Èkó Groove is a fun listen. Its energy, its fluid mix of genres, and its vocal star power make it flow quickly despite its length. Spinall ties it all together with the presence and pacing of a live set, curating an experience that is both eclectic and cohesive in spirit if not in theme…

By Yinoluwa Olowofoyeku

Oluseye Desmond Sodamola, known simply as Spinall, is a Lagos-born DJ, producer, and label head whose career has evolved from mixtapes and club nights into a defining voice in Afrobeats. He founded TheCAP Music in 2014 and began releasing full-length projects shortly afterwards. His debut studio album My Story: The Album arrived in 2015, followed by Ten in 2016, Dreams in 2017, Iyanu in 2018, Grace in 2020, and Top Boy in 2023. Each covers a range of styles, from dancefloor anthems to soulful Afro-Pop, consistently showcasing his ability to curate major collaborations and diverse sounds.

Across these albums, Spinall has built a reputation for blending Afrobeats with House, electronic textures, and global club influences, while remaining rooted in Lagos’s energy. Tracks like “Palazzo” with Asake and “Loju” with Wizkid highlight both his commercial reach and his knack for creating songs that resonate locally and beyond.

Now, with Èkó Groove, Spinall returns with a project designed to both reflect and expand his legacy. Èkó Groove is rooted in the rhythms, chaos, and vibrancy of Lagos, while also reaching outward, with features from artistes such as Tyla and Dre, and production that leans into the city’s grooves while embracing international colour. 

It stands as both a tribute and a statement: that after nearly a decade of steady growth and numerous high points, Spinall is still defining what it means to be a groove curator in Afrobeats, while pushing his sound further.

The album opens with the titular “Èkó Groove”, a thematic and sonic overture where rattling shakers and clacking triplet Afrobeats percussion merge with brass and bright guitars. A sample from Ayinde Bakare weaves the city’s history into the music, transforming the track into an ode to Lagos that establishes both the rhythm and the atmosphere shaping the entire project.

That energy carries seamlessly into “Want You”, which builds instrumentally on the same shakers, percussion, guitars, and horns, now joined by filtered key chords. Jayo delivers a loose, patois-inspired flow—sensual and full of whispered accents—while Destiny Conrad layers his soft R&B tone over the Afrobeat pulse. 

Together, their performances embody desire, teasing out intimacy in lyrics such as “Come on and tease and turn/ Watch how you make me freeze and twist and turn/ A little bit of eye contact turn me on”, carrying the song’s simplicity with a sensual intensity.

“Early” continues this mood but infuses it with an electronic edge, opening with thumping synths, floating hi-hats, and a groovy Afrobeats rhythm. Pulsing electronics support Victony’s airy vocals, while a sharp guitar riff links the chorus to string pads. 

His playful lyricism disguises raunch with sly wit, singing, “I just dey give am for ealy morn’/ Her bobo dey call am for early morn’/ Girlie no know say my ting e go reach her belly button/ Easy to shout, I go ta-na-na Selena”. The cheeky tone dances across the synthetic textures, pushing the record’s sensual arc further.

With “Struggle”, however, the mood shifts, adopting Reggae instrumentation with steady drums and a rich bass guitar that grounds the track in something spiritual. Buju Banton’s gravelly voice anchors the chorus with heft, while Summer Walker’s soft, solemn tones smooth the edges, harmonising delicately over hard truths. “One time for the hardworking/ You smile but your eyes are hurting/ The life all up your desert/ ‘Cause we wake to the sunset, no no,” they sing together, their contrasting energies uniting in the shared language of perseverance.

The Ghanaian Highlife tradition animates “Aunt Mary,” its triplet clavs, shakers, and lively rhythm guitars paired with a bassline that refuses to sit still. Shine TTW offers soft, airy vocals that glide across the melody, while Darkovibes provides deeper contrast, weaving Twi lyrics and playful effects through the track. Their interplay is buoyed by spirited ad-libs and backing vocals, forming a bright celebration of beauty as Shine sings, “Aunty Mary wey I see for tele/ She say her body be na o gbona feli/ Mo ti moti but I see you clearly”.

From there, Spinall pares back the instrumentation on “Forward”, leaving rattling shakers, percussion-heavy drums, and a restrained palette of guitars and bass synths to create space for Tay Iwar’s agile vocals. His layered delivery carries an uplifting message, urging resilience with lines such as, “One thing that I know is that I love my life/ Through the highs and lows, I survived/ No regrets, no looking back, only forward/ I know yeah, keep moving forward, I know yeah”. The positivity is heightened by sprightly rhythm guitars that dance through the groove, keeping the track buoyant.

“Waiting” sets its pulse with four-to-the-floor drums, syncopated percussion, and a brass section that cuts through smooth, jazzy piano chords. A lively bass guitar riff runs like an undercurrent, elevating Taves’ energetic vocals as he sings of longing for a lover to meet him halfway. His chorus, “I’ve been waiting for you/ Say me, and my patience can’t deal/ Your heart that I wan come steal/ Me I want love, love like nobody else’s love”, captures the impatience at the song’s core. Jayo reappears, versatile and insistent, contrasting Taves’ breezy lightness with a sung flow full of drive, their voices together amplifying the tension between yearning and impatience.

“Kerosene”, one of Èkó Groove’s earlier singles, rides on bright pianos and smooth drones, with shakers and syncopated percussion leaning into Street-Hop but hinting at Amapiano once the log drums drop in. Young Jonn’s playful lyricism and buoyant delivery carry lines such as, “Baby mi, let’s faaji tongolo/ Body magic, okoro/ Last night was fun, ololo … You dey high me, ogogoro”, his signature style burning bright over Spinall’s layered groove.

On “Loju”, another pre-released single, Wizkid slips back into his effortless zone, gliding over energetic Afrobeats drums, plucked synths, and subtle electric piano chords. He rides the rhythm with nonchalance, flexing lyrically rather than narrating, singing, “Na we the girls wan follow go oo / Make the girl change area code / Till you follow me I no go go / Follow bounce if you get stamina”. His flow is instinctive, the vibe undeniable—proof of his mastery at bending Afrobeats cadences to his will.

That energy escalates on “Excited”, where triplet claps and pulsating synths signal Afro-House terrain. Ami Faku opens with soft, subdued vocals, painting visions of joy and responsibility over rhythm guitars, brass passages, and pads. Her chorus lifts brightly: “I just want this money/ I’ve been saving, praying about it/ Taking care of family/ With Spinall we rounding/ Come on be honest. We we wo let’s jolly yo”. 

Niniola stamps her signature on the second verse with powerful Yoruba lyrics, agile melodies, and a unique timbre, adding vibrance and vocal force alongside Heavy-K’s steady Afro-House imprint.

“Miami” brings cinematic strings into collision with Street-Hop percussion and hard-hitting Afrobeats drums. Olamide plays both roles, softly crooning the refrain, “When you wake in the morning / When you be yawning, I’d be in Miami”, before switching into rapid Yoruba rap with commanding confidence. T.I. enters with his Southern flow, marrying his cadences to the Afrocentric production seamlessly, never missing a beat as the transatlantic collaboration blurs genre borders. 

“One Call” follows with tender guitar chords and light percussion ushering in Omah Lay’s drawn-out, emotive voice. He pours himself into the promise of closeness, singing, “I’m on my way to you/ But time is on the loose/ I will always fight for truth/ If I have the chance to choose … ‘Cause no me without us”, drawing intimacy from restraint. Tyla’s entrance lifts the energy, her bright ad-libs and group vocals layering over Omah’s more subdued tones. The thumping log drums risk overwhelming the track’s gentleness, but her melodies bring a contrasting vibrance that reshapes its mood.

Returning to South Africa, “Living” builds on Afro-House foundations with thumping kicks, riding shakers, and smooth chords augmented by subtle flutes and mallet runs. Murumba Pitch and Tony Duardo weave their expertise into the evolving instrumental, with filtered kicks and swelling percussion amplifying the track’s meditative dance energy. 

Their lyrics crave simple freedom: “I wanna dance, let me see the speakers blow now/ Liquor running fast inside my veins yeah/ I ain’t tryna get drunk, I’m just tryna live my life/ The power is yours now/ You could do greater things, the power lies in your mind”. The song’s dance break leans inward rather than towards climax—an introspective release before the outro affirms a joy in living.

Finally, “Psalm 23” closes Èkó Groove with a return to Street-Hop’s high voltage. Thumping kicks, log drums, rifling snares, a rich bassline, bright chords, and saxophone riffs set the stage for Teni, whose infectious energy bursts through every word. She ends Èkó Groove on a triumphant note, proclaiming, “I’m so thankful ‘cause I’m so blessed/ Got me shouting seven halleluja/ Psalm 23 for you haters, fuck y’all”, her defiance sealing Spinall’s Lagos-inspired vision with gratitude, resilience, and fire.

Èkó Groove plays less like a tightly bound thematic album and more like a well-curated collection of songs. The theme of Lagos, introduced in the opening track, feels nominal and is scarcely revisited, as most of the songs turn instead to the well-worn but effective subjects of love, life, and gratitude.

What the record lacks in narrative cohesion, however, it makes up for in breadth. The tracklist spans a wide range of genres, pulling together strands of Afrobeats, Afro-House, Reggae, Amapiano, and Street-Hop into a lively mix that reflects the multiplicity of contemporary African pop.

The production is strong and versatile, showcasing the craft of a talented team. Beats are energetic and genre-appropriate, bringing the right sonic palette to each song and tailoring the mood to the featured artistes. At times, the light touch works best, allowing vocalists the space to shine against leaner backdrops. 

At other moments, the layers verge on overproduction, creating clashes of tone and energy that slightly blur Èkó Groove’s balance. Still, the engineering remains sharp and professional, maintaining clarity and polish throughout, ensuring that even the busiest arrangements feel clean.

The featured artistes are Èkó Groove’s real stars. Spinall has assembled a cast that is not only stacked with heavyweights but also cleverly balanced. Most are kept within their comfort zones, delivering exactly the kind of performances that earned them their reputations. Others are nudged into new spaces, and those experiments enrich the record, adding surprise and variation. 

Across the board, the vocals are strong—as expected—but what stands out most is the cross-pollination. The contrasts and harmonies, the way artistes bounce off one another’s styles, create sparks that keep the album engaging. It is less about discovering something entirely new in them, and more about the pleasure of hearing them in dialogue, riffing off one another in a shared space.

As a whole, Èkó Groove is a fun listen. Its energy, fluid mix of genres, and vocal star power make it flow quickly despite its length. Spinall ties it all together with the presence and pacing of a live set, curating an experience that is eclectic yet cohesive in spirit, if not in theme. 

By pulling together a little of everything his audience loves, he delivers a project that—while uneven in places—remains a milestone in his career. It is a work that should be celebrated, one that underscores his longstanding influence in the industry, showcases his instincts as an A&R, and creates collaborative moments unlikely to be found anywhere else.

Lyricism – 1.4

Tracklisting – 1.3

Sound Engineering – 1.5

Vocalisation – 1.6

Listening Experience – 1.5

Rating – 7.3/10

Yinoluwa “Yinoluu” Olowofoyeku is a multi-disciplinary artist and creative who finds expression in various media. His music can be found across all platforms and he welcomes interaction on his social media @Yinoluu.

The post “Èkó Groove” Review: Spinall Assembles Star-Studded Cast on New Album first appeared on Afrocritik.

“This track is about celebration and connection. It’s the perfect blend of dancehall energy and Afrobeats rhythm. We wanted something that felt timeless but ready for the culture right now.” – Ras Kwame

“Pon Time Again, Look out fi it, b’cos we book out fi it, Orange Hil” –Vybz Kartel

“Collaborating with Ras Kwame is always a joy—he’s like a brother to me. Working alongside Vybz Kartel & Yung Alpha makes this record even more special, and I feel truly honoured to be a part of it.” – Idris Elba

“Can’t wait to share this, it was amazing to work on Pon Time Again with these icons, bringing different cultures together. Let’s get it” – Yung Alpha

Orange Hill, the UK-based electronic dance music and DJ outfit led by renowned DJ and producer Ras Kwame, make their long-awaited return with the Afrobeats and dancehall-infused single ‘Pon Time Again’ featuring Vybz Kartel, Idris Elba and Yung Alpha out 3rd September, 2025, via Platoon. HERE

Formed in 2011, Orange Hill burst onto the scene with the fiery debut ‘Wine De Best’ featuring UK rap icon Kano, Jamaica’s dancehall stalwart Busy Signal, and the late US club legend Fatman Scoop, a release that stormed into the UK Official Singles Breakers Chart Top 20.

Originally a duo with production partner Jnr Tubby, Tubby left the group in 2013. Ras has since collaborated with global producers KickRaux and Yung Alpha, creating a catalogue of standout tracks with Mr Vegas, Stylo G, Mr Eazi, RDX, Sneakbo, Anthony B, Ishawna, Camidoh, and Lisa Mercedez. Their music has earned playlisting across BBC 1Xtra, Capital Xtra, Kiss FM, MTV, Spotify, and Apple Music.

On stage, Orange Hill have delivered high-energy sets worldwide, from touring with Fatman Scoop to performances at SxSW (USA), London’s Fabric and The Roundhouse, Notting Hill Carnival (Boiler Room), Damian Marley’s Welcome to Jamrock Cruise, and Glastonbury, blending dancehall, Afrobeats, reggae, and EDM into an electrifying club experience.

Following a hiatus after 2018’s ‘The Carnival EP’, Ras Kwame now reignites Orange Hill with ‘Pon Time Again’, a feel-good anthem uniting global superstar and dancehall’s finest Vybz Kartel, actor/DJ/producer Idris Elba, and rising Nigerian Afrobeats star Yung Alpha (Sober ft. Davido, Olumbah & Hmmm… for Chris Brown & Davido), who also co-produces the track.

‘Pon Time Again’ is out now on all major platforms via Platoon.HERE

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Coachella has announced its 2026 lineup, and as always, the California festival is set to be one of the biggest musical gatherings of the year. Headliners Justin Bieber, Sabrina Carpenter, Karol G, and Anyma will lead two weekends of performances, running from April 10–12 and April 17–19 at the Empire Polo Club in Indio, California.

Among the global mix of artists, Nigerian superstar Davido is featured as the only Nigerian act on the bill. He will perform on both Saturdays, April 11 and 18, marking his first-ever Coachella appearance.

The 2026 lineup also includes names like The Strokes, Iggy Pop, Nine Inch Nails (with Boys Noize), and FKA twigs, alongside British Kenyan singer PinkPantheress and British Nigerian rapper Little Simz, who will perform on Sundays, April 12 and 19.

African and diaspora artists have steadily carved out a space at Coachella in recent years. This year, Tyla, Amaarae, and Seun Kuti brought their sounds to the festival, and next year’s lineup continues that momentum. With Davido, Little Simz, and PinkPantheress all on the stage, African talent will once again have a visible presence at the world’s most-watched music festival.

 

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Iyanya is gearing up for a big comeback with his new single “Sorry,” featuring fast-rising star Fido. The track, co-produced by Ubi Franklin and Mikaba Beatz, is the lead single off his upcoming album “The Forester’s Son,” set to drop in the coming week.

“Sorry” is a mid-tempo Afrobeats tune with a heartfelt story at its core—love, regret, and the hope of making things right. Iyanya’s smooth vocals carry the weight of the emotions, while Fido brings a fresh energy that makes the collaboration feel just right.

The music video mirrors the song’s theme, telling the story of a strained relationship with visuals that are stylish yet relatable. It’s the kind of video you’ll want to sit through to the very end.

For Iyanya, it’s a reminder of why he has remained a solid name in Afrobeats, with a catalogue that goes far beyond the early Kukere era. For Fido, it’s another strong step forward in his rise, fresh off his debut EP Olayemi and hits like Awolowo.

With “Sorry” setting the tone, the countdown to “The Forester’s Son” has officially begun.

Watch the video below

The post Watch Iyanya & Fido Capture the Tensions of Love and Forgiveness in “Sorry” appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

When it comes to worship that truly moves the soul, Mercy Chinwo always delivers. This time, she joins forces with Ghanaian contemporary gospel singer, songwriter, and pastor MOG Music for a brand-new song titled “None Like You Lord.”

At its core, the song is a heartfelt declaration of God’s greatness. A reminder that there really is no one like Him in heaven or on earth. The lyrics repeat like a mantra of faith, carrying listeners into that space where worship feels both personal and collective.

The music video brings the message to life beautifully. Picture Mercy Chinwo leading with her signature passion, surrounded by a choir dressed in angelic white robes, their voices rising in harmony. The instrumentalists in sharp black provide a striking contrast, grounding the sound. And then, in one of the most captivating moments, **MOGmusic steps in with his trumpet**, adding a soulful texture that elevates the entire performance.

It’s simple, stirring, and powerful—just the way gospel should be. “None Like You Lord” is a worship experience you’ll want on repeat.

Watch it below

The post Mercy Chinwo & MOG Music Celebrate God’s Glory in New Song “None Like You Lord” appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

Photo Credit: Adekunle Gold/Instagram

First it was a newsletter announcing his upcoming album — not just announcing, but telling us in detail the inspiration behind it — and now Adekunle Gold has taken to Instagram to share more about this next chapter.

The new album is titled “Fuji,” and for Adekunle Gold, it’s more than just a sound. In his words, “Fuji was the genre that raised me, even when I didn’t realise it. It was the backdrop of my childhood in Lagos. The street sounds, the owanbes, the music floating out of shops in the markets. Fuji carried history, grit, and soul. It was never just entertainment. It is survival. It is storytelling. It is Lagos itself.”

On Instagram, he opened up about what Fuji means to him:

I’ve been working quietly on something that marks a new chapter for me. Music that carries where I come from, who I have become, and where I’m heading. This album is my story, the lessons I have learned, the friendships I have lost, the wins I have celebrated, the grief of losing my father, the joy of welcoming my daughter into the world, and so much more.

This album has been 5 years in the making and it is my GREATEST work yet; my ability to outdo myself continues to amaze me. It’s a reminder that I am truly capable of anything I set my mind on and so are you. I’ve shown you many sides of me, changed my name, surprised you with music you didn’t ask for or expect, but you have stayed. You’ve given me your ears and embraced every single phase I’ve embarked on.

This phase is rooted in the very beginning of my journey, a return to the essence of why I started making music, to tell stories. Listen with open ears, because I won’t be revealing any features until you’ve experienced it for yourself. This is me, Adekunle Kosoko.

It’s safe to say fans are in for something special. So save the date, the album “Fuji” drops on October 3rd. Ahead of the release, Adekunle Gold has already given us two singles, “Coco Money” and “Bobo,” teasing just a glimpse of what’s to come.

 

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Seen two music divas lately? Tiwa Savage and Cardi B were spotted together in New York City at Cardi’s party, and it was such a lovely moment, with Cardi even sharing clips of their time on her Instagram Story.

What we are particularly excited about is this photo of the two of them side by side, serving serious face card and beauty. Tiwa, with her short dark hair, kept it cool in a black graphic t-shirt with bold text and cartoon imagery, layered with gold chain necklaces. Beside her, Cardi went for full-on chic in a striking red ribbed dress with a front zip detail, paired with her sleek, straight dark hair.

It is always a delight to see women in music link up like this, especially when both are queens in their own right. And while we love this party moment, it comes just two weeks after Tiwa released her fourth studio album, “This One Is Personal” — a project already sparking plenty of excitement among her fans worldwide.

Face card, music, and friendship — Tiwa Savage and Cardi B gave us all three in one photo.

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Photo Credit: Asake/Instagram

December just got a whole lot hotter!. Afrobeats superstar Asake is coming back to the soil this festive season, and he’s bringing his hits with him. After a whirlwind year of touring and performing on global stages, Mr Money himself is set to light up Nairobi, Lagos, and Côte d’Ivoire this December with his highly anticipated Mr. Money African Tour.

Kicking off in Nairobi on December 20, the tour will head to Lagos on December 24, before closing out the year in Côte d’Ivoire on December 27. For fans across the continent, this is a big moment. After spending much of 2025 on international stages, Asake is returning to perform for his home crowd.

The announcement has been met with plenty of excitement – especially as fans are still eagerly waiting for his much-teased album, “Mr. Money.” While the album’s release date is still under wraps, Asake has kept us fed with hits like “Why Love” and “Badman Gangsta” featuring Tiakola, both of which have dominated African streaming charts this year.

Captioning his announcement post “back to the soil,” Asake seems ready to celebrate his roots and close out the year with a bang. If his past shows are anything to go by, this tour will be a December highlight you won’t want to miss.

 

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The 2025 MTV Video Music Awards took over the UBS Arena in Elmont, New York, over the weekend, and as always, music’s biggest stars brought fashion moments worth talking about. Hosted by LL Cool J, the night celebrated some of the year’s most-watched music videos and saw icons like Busta Rhymes and Mariah Carey — this year’s Michael Jackson Video Vanguard Award recipient — take centre stage.

But before the awards were handed out, the red carpet set the tone. This year’s fashion leaned into bold silhouettes, nostalgic nods and experimental styling choices, proving the VMAs are still the place for risk-taking.

Love Island’s Olandria Carthen was a vision in a vibrant cherry-red bustier bodysuit with a sheer mesh train that flowed dramatically behind her. Rapper GloRilla kept things playful in a plaid top and blazer by Helen Anthony, paired with a mini skirt, frilly white socks and black patent heels for a school-girl-meets-streetwear twist.

Tyla, known for her ability to surprise on the carpet, tapped into vintage luxury with a Chanel Spring/Summer 1993 archival top, styled with layered gold chains and sleek black pumpse. Ciara’s Schiaparelli look from the Spring/Summer 2025 ready-to-wear collection offered a nod to Sporty Spice with its high neck, mini skirt and bold red finish.

Afrobeats star Ayra Starr matched the buzz around her new single “Hot Body” in a daring, strappy black jumpsuit, paired with a short pixie cut, glittering nose strip, stacked bangles and towering platform heels, a look that felt both futuristic and playful.

From vintage fashion moments to experimental styling, the VMAs once again reminded us why it remains a staple in music and fashion culture.

Keep scrolling for more of the top looks from this year’s show.

Olandria

 

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Ayra Starr

 

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Shenseea

 

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LL Cool J

 

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Ciara

 

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Tyla

 

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Justine Skye

 

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The post 2025 MTV VMAs: Every Red Carpet Look Worth Seeing appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

Photo Credit: MTV/Instagram

South African star Tyla has bagged her second consecutive Best Afrobeats award at the 2025 MTV Video Music Awards (VMAs), winning for her hit single Push 2 Start. The awards ceremony, held on Sunday at the UBS Arena in Elmont, New York, marked another milestone for the 23-year-old singer, who first won the category in 2024 with her breakout track Water.

Tyla edged out a competitive line-up of nominees, including Nigerian heavyweights Asake (Active), Burna Boy featuring Travis Scott (TaTaTa), Rema (Baby, Is It A Crime), Tems featuring Asake (Get It Right), Wizkid featuring Brent Faiyaz (Piece of My Heart), and Moliy, Silent Addy, Skillibeng & Shenseea (Shake It to the Max (Fly) [Remix]). Although “Push 2 Start” was also nominated for Best Choreography, it missed out on that win.

Adding to her winning night, Tyla made a bold fashion statement at the event, walking the red carpet in a striking vintage Chanel dress from the ’90s.

Beyond Afrobeats, the night also spotlighted a mix of today’s chart-toppers and music icons. Lady Gaga led the winners’ circle with four awards, including Artist of the Year, while Ariana Grande claimed Video of the Year for Brighter Days Ahead and presented the prestigious Michael Jackson Video Vanguard Award to Mariah Carey. Sabrina Carpenter’s Short n’ Sweet earned Album of the Year, and Busta Rhymes was honoured with the inaugural Rock the Bells Visionary Award.

The 2025 VMAs, broadcast live for the first time on CBS, also introduced a Latin Icon Award for Ricky Martin, adding to a night that celebrated global artistry and music’s evolving cultural landscape.

See the full list of winners below

Artist of the Year

Bad Bunny
Beyoncé
Kendrick Lamar
Lady Gaga — WINNER
Morgan Wallen
Taylor Swift
The Weeknd

Song of the Year

Alex Warren – ‘Ordinary’
Billie Eilish – ‘Birds of a Feather’
Doechii – ‘Anxiety’
Ed Sheeran – ‘Sapphire’
Gracie Abrams – ‘I Love You, I’m Sorry’
Lady Gaga & Bruno Mars – ‘Die With a Smile’
Lorde – ‘What Was That’
Rosé & Bruno Mars – ‘Apt.’ — WINNER
Tate McRae – ‘Sports Car’
The Weeknd & Playboi Carti – ‘Timeless’

Best New Artist

Alex Warren — WINNER
Ella Langley
Gigi Perez
Lola Young
Sombr
The Marías

MTV Push Performance of the Year

Ayra Starr – ‘Last Heartbreak Song’
Damiano David – ‘Next Summer’
Dasha – ‘Bye Bye Bye’
Gigi Perez – ‘Sailor Song’
Jordan Adetunji – ‘Kehlani’
Katseye – ‘Touch’ — WINNER
Lay Bankz – ‘Graveyard’
Leon Thomas – ‘Yes It Is’
Livingston – ‘Shadow’
Mark Ambor – ‘Belong Together’
Role Model – ‘Sally, When the Wine Runs Out’
Shaboozey – ‘A Bar Song (Tipsy)’

Best Collaboration

Bailey Zimmerman & Luke Combs – ‘Backup Plan’ (Stagecoach Official Music Video)
Kendrick Lamar & SZA – ‘Luther’
Lady Gaga & Bruno Mars – ‘Die With a Smile’ — WINNER
Post Malone ft. Blake Shelton – ‘Pour Me a Drink’
Rosé & Bruno Mars – ‘Apt.’
Selena Gomez & Benny Blanco – ‘Sunset Blvd’

Best Pop

Alex Warren – ‘Ordinary’
Ariana Grande – ‘Brighter Days Ahead’ — WINNER
Ed Sheeran – ‘Sapphire’
Lady Gaga & Bruno Mars – ‘Die With a Smile’
Rosé & Bruno Mars – ‘Apt.’
Sabrina Carpenter – ‘Manchild’

Best Hip-Hop

Doechii – ‘Anxiety’ — WINNER
Drake – ‘Nokia’
Eminem ft. Jelly Roll – ‘Somebody Save Me’
Glorilla ft. Sexyy Red – ‘Whatchu Kno About Me’
Kendrick Lamar – ‘Not Like Us’
LL Cool J ft. Eminem – ‘Murdergram Deux’
Travis Scott – ‘4×4’

Best Pop Artist

Ariana Grande
Charli XCX
Justin Bieber
Lorde
Miley Cyrus
Sabrina Carpenter — WINNER
Tate McRae

Video of the Year

Ariana Grande – ‘Brighter Days Ahead’ –WINNER
Billie Eilish – ‘Birds of a Feather’
Kendrick Lamar – ‘Not Like Us’
Lady Gaga & Bruno Mars – ‘Die With a Smile’
Rosé & Bruno Mars – ‘Apt.’
Sabrina Carpenter – ‘Manchild’
The Weeknd & Playboi Carti – ‘Timeless’

Best R&B

Chris Brown – ‘Residuals’
Leon Thomas & Freddie Gibbs – ‘Mutt (Remix)’
Mariah Carey – ‘Type Dangerous’ –WINNER
PartyNextDoor – ‘No Chill’
Summer Walker – ‘Heart of a Woman’
SZA – ‘Drive’
The Weeknd & Playboi Carti – ‘Timeless’

Best Alternative

Gigi Perez – ‘Sailor Song’
Imagine Dragons – ‘Wake Up’
Lola Young – ‘Messy’
MGK & Jelly Roll – ‘Lonely Road’
Sombr – ‘Back to Friends’ — WINNER
The Marías – ‘Back to Me’

Best Rock

Coldplay – ‘All My Love’ — WINNER
Evanescence – ‘Afterlife’
Green Day – ‘One Eyed Bastard’
Lenny Kravitz – ‘Honey’
Linkin Park – ‘The Emptiness Machine’
Twenty One Pilots – ‘The Contract’

Best Latin

Bad Bunny – ‘Baile Inolvidable’
J Balvin – ‘Rio’
Karol G – ‘Si Antes Te Hubiera Conocido’
Peso Pluma – ‘La Patrulla’
Rauw Alejandro & Romeo Santos – ‘Khé?’
Shakira – ‘Soltera’ — WINNER

Best K-Pop

Aespa – Whiplash’
Jennie – ‘Like Jennie’
Jimin – ‘Who’
Jisoo – ‘Earthquake’
Lisa ft. Doja Cat & Raye – ‘Born Again’ — WINNER
Stray Kids – ‘Chk Chk Boom’
Rosé – ‘Toxic Till the End’

Best Afrobeats

Asake & Travis Scott – ‘Active’
Burna Boy ft. Travis Scott – ‘TaTaTa’
Moliy, Silent Addy, Skillibeng & Shenseea – ‘Shake It to the Max (Fly) (Remix)’
Rema – ‘Baby (Is It A Crime)’
Tems ft. Asake – ‘Get It Right’
Tyla – ‘Push 2 Start’ — WINNER
Wizkid ft. Brent Faiyaz – ‘Piece of My Heart’

Best Country

Chris Stapleton – ‘Think I’m in Love With You’
Cody Johnson & Carrie Underwood – ‘I’m Gonna Love You’
Jelly Roll – ‘Liar’
Lainey Wilson – ‘4x4xU’
Megan Moroney – ‘Am I Okay?’ — WINNER
Morgan Wallen – ‘Smile’

Best Album

Bad Bunny – ‘Debí Tirar Más Fotos’
Kendrick Lamar – ‘GNX’
Lady Gaga – ‘Mayhem’
Morgan Wallen – ‘I’m the Problem’
Sabrina Carpenter – ‘Short n’ Sweet’ — WINNER
The Weeknd – ‘Hurry Up Tomorrow’

Best Long Form Video

Ariana Grande – ‘Brighter Days Ahead’ — WINNER
Bad Bunny – ‘Debí Tirar Más Fotos’
Damiano David – ‘Funny Little Stories’
Mac Miller – ‘Balloonerism’
Miley Cyrus – ‘Something Beautiful’
The Weeknd – ‘Hurry Up Tomorrow’

Video for Good

Burna Boy – ‘Higher’
Charli XCX – ‘Guess’ ft. Billie Eilish — WINNER
Doechii – ‘Anxiety’
Eminem ft. Jelly Roll – ‘Somebody Save Me’
Selena Gomez & Benny Blanco – ‘Younger and Hotter Than Me’
Zach Hood ft. Sasha Alex Sloan – ‘Sleepwalking’

Best Direction

Ariana Grande – ‘Brighter Days Ahead’
Charli XCX – ‘Guess’ ft. Billie Eilish
Kendrick Lamar – ‘Not Like Us’
Lady Gaga – ‘Abracadabra’ — WINNER
Rosé & Bruno Mars – ‘Apt.’
Sabrina Carpenter – ‘Manchild’

Best Art Direction

Charli XCX – ‘Guess’ ft. Billie Eilish
Kendrick Lamar – ‘Not Like Us’
Lady Gaga – ‘Abracadabra’ — WINNER
Lorde – ‘Man of the Year’
Miley Cyrus – ‘End of the World’
Rosé & Bruno Mars – ‘Apt.’

Best Cinematography

Ariana Grande – ‘Brighter Days Ahead’
Ed Sheeran – ‘Sapphire’
Kendrick Lamar – ‘Not Like Us’ — WINNER
Lady Gaga – ‘Abracadabra’
Miley Cyrus – ‘Easy Lover’
Sabrina Carpenter – ‘Manchild’

Best Editing

Charli XCX – ‘Guess’ ft. Billie Eilish
Ed Sheeran – ‘Sapphire’
Kendrick Lamar – ‘Not Like Us’
Lady Gaga – ‘Abracadabra’
Sabrina Carpenter – ‘Manchild’
Tate McRae – ‘Just Keep Watching’ — WINNER

Best Choreography

Doechii – ‘Anxiety’ — WINNER
FKA twigs – ‘Eusexua’
Kendrick Lamar – ‘Not Like Us’
Lady Gaga – ‘Abracadabra’
Tyla – ‘Push 2 Start’
Zara Larsson – ‘Pretty Ugly’

Best Visual Effects

Ariana Grande – ‘Brighter Days Ahead’
Lady Gaga – ‘Abracadabra’
Rosé & Bruno Mars – ‘Apt.’
Sabrina Carpenter – ‘Manchild’ — WINNER
Tate McRae – ‘Just Keep Watching’
The Weeknd – ‘Hurry Up Tomorrow’

 

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The post Tyla Wins Best Afrobeats for Push 2 Start at the MTV VMAs | See Full Winners List appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

Word on the street is that “Hot Body” is the song of the summer, and it’s easy to see why. We may not officially have ‘summer’ seasons here in Nigeria, but Ayra Starr’s global hit has transcended borders, becoming a soundtrack for sunny days and good vibes everywhere.

Since its release, “Hot Body” has been everywhere, a feel-good soundtrack that celebrates confidence, self-love, and pure vibes. It’s the kind of song that makes you want to move, groove, and show off exactly what your “hot body” can do. From TikTok dance challenges to playlists across the world, Ayra has given us a track that feels as light as a holiday breeze yet carries her signature Afropop magic.

And just when we thought it couldn’t get better, she dropped the visuals, and it’s everything you’d expect and more. The video takes us on a luxurious cruise with Ayra Starr at the helm, literally. She pilots the ship, leading a squad of stunning women as they sail towards a dreamy island escape. What follows is pure joy: carefree dancing, beachside fun, and a celebration of beauty, friendship, and freedom, all framed by breathtaking scenery.

It’s glamorous, unapologetic, and quintessentially Ayra Starr.

Watch the video below.

The post Ayra Starr’s “Hot Body” Video Will Make You Want to Book a Girls’ Trip Right Now appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

Was there ever a time when Nigerian music felt better than now? Gbemi and Toolz are back with a brand-new episode of the OffAir Show and they’re taking us on a nostalgic ride through the soundtracks of our lives.

In this episode, they’re joined by Motolani Alake, respected music executive and pop culture commentator, and they dive deep into “The Sweetest Era of Music in Nigeria”, exploring the eras that shaped the industry into the global powerhouse it is today.

From Fela Kuti’s Afrobeat revolution to the Hip-Hop and R&B vibes of the early 2000s with Styl–Plus, Plantashun Boiz, and 2Baba, and the Afropop and Dancehall fusion that gave us icons like Wizkid, Davido, Burna Boy, and Tiwa Savage, no era is left unturned.

Of course, they also weigh in on the 2020s Afrobeats-to-the-world movement—when Nigerian sounds truly started ruling international charts. So, which era had the most cultural impact? And is today really the sweetest era of Nigerian music, or just the loudest?

Whether you’re all about old-school anthems or you live for today’s hits, this episode is filled with history, nostalgia, and hot takes.

Watch the new episode below

The post Gbemi & Toolz Explore Nigeria’s Sweetest Music Era with Motolani Alake on OffAir appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

Photo Credit: Fola/Instagram

Fola has stepped into a new chapter of his artistry with the release of his debut album, “Catharsis,” an eleven-track journey that feels like a diary set to music, full of love stories, heartbreak confessions, and Lagos hustle tales.

The Lagos-based artist began piecing together songs for the project over a year ago, long before “Catharsis” was even a concept. “To be frank, nothing was going on in my life at that time,” Fola tells Apple Music. “Being the kind of person that I am, I just always like to record, even if I am going to put them out or not… I always like to work, so when the time comes to make everything work, it will all be in place.” That dedication has now birthed a body of work that bridges utopian romance with moments of vulnerability, all while reflecting the grit it takes to thrive.

Across “Catharsis,” Fola invites listeners into different corners of his world. “Eko” is a heartfelt ode to the hustle and bustle of Lagos, while “Lost,” his collaboration with Kizz Daniel, unpacks the uncertainty of love. On “Caricature,” Fola sings of longing and absence, creating an intimate portrait of heartbreak, while “Gokada” celebrates his work ethic with the same urgency as a Lagos dispatch rider weaving through traffic.

It’s not all heavy emotions, though. There’s lightness, resolution, and hope threaded throughout. “This album is like building a soul hospital, looking for something to cleanse and repair your soul,” Fola shares. “I want people to listen to these songs and let go of their worries. I want people to do more after listening to these songs.”

The project also features a guest appearance from Victony on the romantic “Golibe,” a track Fola describes as a “mind-blowing session,” as well as a standout performance from Gabzy on “Robbery.” Each collaboration feels carefully placed, adding texture to the album’s already rich soundscape.

Listen below

The post Fola’s Debut Album “Catharsis” is a Soulful Journey of Reflection & Renewal | Listen appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

Photo Credit: Adekunle Gold/Instagram

Adekunle Gold is definitely in his “I’m getting my money up” era, and we’ve got all the receipts.

The superstar kept his word about dropping something new. In yesterday’s newsletter, he told subscribers “I have a surprise for you tonight,” and by midnight – boom! – we had a fresh single. Some fans probably stayed up just to be first to hear it.

“Bobo” is a fun, bouncy track all about money, confidence, and not caring what people think. Featuring Lojay and Shoday, it’s basically an anthem for anyone levelling up and living their best life. Plus, it’s packed with that Nigerian humour we all love about how money changes everything.

AG didn’t just give us audio, there’s a visualiser too, so you can watch all three artists bring the song to life.

This comes after “Coco Money,” which is exactly why we’re saying Adekunle Gold is really in his money era right now.

Watch the video below

 

The post Adekunle Gold’s New Song “Bobo” Will Make You Feel Rich appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

If you’ve found yourself staring at a photograph of Rema more than once, perhaps even more than thrice, we completely understand. We wouldn’t dare judge you for it, because we’ve been there too, and frankly, we’re still there, captivated by that remarkable face of his.

Perhaps it’s the bone structure that appears specially carved, paired with a gaze that could genuinely stop traffic. It might be those compelling eyes that carry an intensity which draws you in, whilst his perfectly symmetrical features photograph beautifully under any lighting conditions. Whatever the reason, there’s something almost otherworldly about the way his face makes you pause mid-scroll, and it’s not through any forced effort—he doesn’t appear to try hard to command your attention.

It’s there in his skin with that gorgeous melanin glow, evident in his jawline that’s impossibly sharp (forgive the hyperbole, but you understand what we mean), and present in that self-assured stare which suggests Rema knows precisely the effect he has.

If one were to describe his face card, we’d confidently say it’s pure platinum—the kind that never gets declined. We’ve gathered three stunning examples of his visual prowess to demonstrate exactly what we mean. Take a look below and see for yourself why Rema’s face remains one of his most captivating assets.

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Everything is moving at lightning speed. A man galloping furiously on horseback, a motorcyclist racing past in a blur, even the danfo bus careering down the highway at breakneck pace. In Rema‘s “Kelebu” music video, there’s simply no time to catch your breath.

Inside a bustling salon, both the hairdresser and her client are dancing frantically whilst getting hair done. Painters drop their brushes to join in, lifting their legs one after the other in perfect sync with the pounding beat. Even a bride, still clutching her bouquet and trailing her wedding gown, can’t resist moving her arms in rapid circular motions. Everyone, and we truly mean everyone, has caught the fast-paced fever that defines this visual feast.

If you’re hoping for a moment’s pause, you’re in the wrong place. This isn’t about slow, romantic swaying or gentle head-nodding. Keep up or get left behind, because if your moves don’t match the frantic pace, your dance partner will quickly find someone who can handle the heat.

“Kelebu,” Rema’s latest single, is pure high-octane Afrobeats designed to get people moving from the very first beat. The track revolves around the repetitive “Kelebu” chant that works like a hypnotic call to action, pulling listeners into its whirlwind of celebration.

The song weaves together Nigerian street language, pulsating Afro rhythms, and references to the good life. Lines celebrating movement and fun stretch from Nigeria to Mozambique, making it clear that this track was built for dancing, no matter where you are in the world.

The accompanying video perfectly mirrors this relentless pace. Rema himself is constantly in motion, surrounded by a cast of characters who simply can’t—and won’t—stand still. It’s controlled chaos at its finest, where every frame pulses with movement and nobody gets a moment to breathe.

Watch below and see if you can keep up with the beat.

The post Rema’s ‘Kelebu’ Is the High-Speed Dance Anthem We All Needed appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

When you’ve got a track called “Hot Body,” you probably expect things to get a bit steamy, but Ayra Starr definitely wasn’t prepared for what happened during her recent Capital XTRA interview.

Picture this: the superstar is settling in for what she thinks will be a normal chat about her latest hit when suddenly, a group of Magic Mike dancers appear out of nowhere. There was no music nor warning, just pure choreographed chaos as these incredibly fit gentlemen start performing an impromptu dance routine right there in the studio.

Ayra’s initial surprise quickly melted into delight as she watched the surprise performance unfold. The dancers, complete with six-packs and serious moves, clearly had her song “Hot Body” running through their minds as they put on quite the show. By the end of it all, a thoroughly thrilled Ayra could barely contain her excitement.

“This is the best thing you’ve ever done for me,” she gushed to the Capital XTRA hosts. When asked to elaborate after moments blushing and trying to compose herself, she admitted she was completely speechless.

But the interview wasn’t just about the unexpected entertainment. Ayra got to chat with the Capital XTRA HQ host about “Hot Body”—the track that’s got everyone feeling confident and sultry. She also shared some brilliant behind-the-scenes stories about what it’s been like touring with Coldplay.

Watch the full interview below.

The post Ayra Starr Gets the Surprise of Her Life During Capital XTRA Interview | Watch appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

Ciara declared, “This is the lowest I’ve ever gone!”—and she wasn’t joking. You have to see the way she glides, drops, and moves in the music video for “Low” featuring Diamond Platnumz.

If there’s one thing Ciara has proven over the years, it’s that she will always deliver a performance that makes you want to get up and dance. She moves with such control that even when she goes impossibly low, you can’t help but marvel at her strength and precision. Those knees are made of steel.

 “Low” is pure dance-floor magic. A song that celebrates confidence and sensuality. Ciara and Diamond Platnumz tell a story of two people drawn to each other’s presence, completely immersed in the rhythm, and unafraid to embrace the moment. The hook’s “low” isn’t just a lyric; it’s a challenge to get down and move with abandon.

This track is for when you’re feeling bold, fearless, and ready to take over the dance floor or your bedroom mirror. The music video only amplifies that energy, giving fans even more reason to put it on repeat and try to match Ciara’s legendary moves. Just remember: go easy on your knees.

Watch the music video below.

The post Ciara & Diamond Platnumz Turn the Dance Floor Upside Down in “Low” | Watch appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

Got a favourite track yet from Tiwa Savage‘s latest album, This One Is Personal? If not, this might help you decide. The Afrobeats queen recently celebrated the release of her powerful 15-track album with an intimate live performance session on BBC Radio 1Xtra’s Album Launch Party, delivering soulful vocals and a setlist that highlighted the album’s depth and artistry.

Dressed in sleek black alongside her band, with a striking red backdrop setting the mood, Tiwa brought tracks like “Angel Dust,” “Holding It Down,” “10,” and “On the Low” (featuring Skepta) to life. The performance wasn’t only about the music; it was also about storytelling. Each song was performed with such depth and meaning that you could almost feel the emotions behind every lyric.

In an exclusive sit-down conversation, Tiwa opened up about the inspiration behind “This One Is Personal,” her journey as a boundary-breaking African artist, and the realities of balancing motherhood with a global music career. She also shared how she’s managed to continually reinvent herself while holding her place as one of Afrobeats’ leading voices.

“This One Is Personal” is streaming now, but watching Tiwa perform these tracks live, breaking them down one by one, adds a whole new layer to the listening experience.

Watch below

The post Tiwa Savage Rocks BBC’s Radio 1Xtra with New Music from “This One Is Personal” appeared first on BellaNaija - Showcasing Africa to the world. Read today!.