Fresh off her 2025 BET Award win for Best International Act, Nigerian pop sensation Ayra Starr released her latest single, “Hot Body†today, a sultry, dancehall-tinged song – her third release this year – that is as seductive and alluring as the summertime vibe it possesses. Produced by Ragee and The Elements, “Hot Body†channels humid nights and a languid, late-night dancefloor mood. The
Fresh off her 2025 BET Award win for Best International Act, Nigerian pop sensation Ayra Starr released her latest single, “Hot Body†today, a sultry, dancehall-tinged song – her third release this year – that is as seductive and alluring as the summertime vibe it possesses.
Produced by Ragee and The Elements, “Hot Body†channels humid nights and a languid, late-night dancefloor mood. The beat leans into a bouncier, percussion-heavy groove, while Ayra Starr's voice carries the same magnetic allure that defined her previous releases. The lyrics are enticing; “Look what a hot body can do/ look, focus,†she insists, then, a revelation: “body be dancing/ slow whine, summer body so fine.†She turns up the sensuality without losing the sheen that has defined her career thus far. The video, lo-fi with VHS textures, sees her in top shape, lost in her world, ready and willing to walk into the night.
Is it a photoshoot? Is it a brief moment outside before going back into the club? Is Ayra Starr about to jump into the pool? It’s all of them at once, distilled into a series of frames where the artist and the camera are locked in motion.
Since her 2021 breakout, 19 & Dangerous, Ayra Starr has charted an upward course and is showing no signs of slowing down anytime soon. Her Grammy-nominated hit “Rush†remains the most-streamed solo track by a Nigerian female artist on Spotify. The accompanying video made her the youngest African woman to hit 100 million views on YouTube. She’s been a consistent force across award circuits too, winning Female Artist of the Year at both the Headies and AFRIMMA Awards, plus two major African Entertainment Awards USA titles in 2024.
Her sophomore album, The Year I Turned 21, was released in mid-2024 and was one of the most-streamed Afrobeats albums on Spotify that year. It featured high-profile collaborations with artists like Giveon, Anitta, Coco Jones, and Seyi Vibez, bridging genres and geographies while at it. The album’s success helped the superstar lock in her spot as the second most-nominated act at the 2025 Headies.
Earlier this month, she signed a management deal with Jay-Z’s Roc Nation, reflecting her growing pull beyond the continent. It also aligns with her ongoing stadium tour across Europe, where she’s opening for Coldplay. The tour has exposed her music to massive audiences across cities like Paris, Amsterdam, Berlin, and London. She is also booked to perform at Global Citizen 2025, one of the year’s most high-profile international concert platforms. The lineup includes the likes of Tyla, The Weeknd, and Shakira.
With more than four billion career streams under her belt and a major international infrastructure now behind her, Ayra Starr is operating at a different tier.
Anyone familiar with Lagos knows it’s famously split in two. The Island, home to upscale neighborhoods and trendy spots, is seen as the city’s most desirable area. The Mainland, where most Lagosians live, is rich in culture but often dismissed for its lack of polish. When the Mainland Block Party launched in 2018, its founders set out to shift that perception by throwing the coolest party you’ve ever attended.“We just wante
Anyone familiar with Lagos knows it’s famously split in two. The Island, home to upscale neighborhoods and trendy spots, is seen as the city’s most desirable area. The Mainland, where most Lagosians live, is rich in culture but often dismissed for its lack of polish. When the Mainland Block Party launched in 2018, its founders set out to shift that perception by throwing the coolest party you’ve ever attended.
“We just wanted to make sure that people understood that living on the Mainland doesn’t mean that you’re ratchet or doesn’t mean that it can’t be safe,†says Rebecca Momah, the Deputy Team Lead of the organization. “People can also have fun on the Mainland. The Block Party was built on community, and we made sure everybody felt welcomeâ€.
Ever since the initial Block Party in Ikeja, Lagos’ capital, its relevance has stretched beyond mainland Lagos to other parts of Africa and even the world. It’s organized a nationwide tour with ODUMODUBLVCK, been headlined by Davido, and now, it’s hosting a show in New York City. This show is in collaboration with OkayAfrica as part of the platform’s 15th anniversary celebrations. Although scene-defining, the wins of the Mainland Block Party reveal essential lessons on how to build and retain community.
“Every new Block Party is a new reason to show people why we’re the ones,†says Tobi Mohammed, co-founder of Mainland Block Party. “At some point, it started to feel like we’re loved, and I felt that shift, of course, being able to sell tickets into thousands or multiples of hundreds, in cities that we didn’t start from. It’s a blessing itself. People have spent more and didn’t have those results. I would say that we kinda have this mindset of ‘fight for it, and just be grateful about it when you win.’ So every endeavor feels new.â€
Constant reinvention has been a defining mark of Block Party. “To earn a new city or be grounded in that city,†says Mohammed, in description of what they’re always looking to achieve. With Mainland Block Party sharing the same founders as the music agency Plug NG — Asa Asika and Bizzle Osikoya — there’s strong incentive to burrow into deeper levels of youth culture, with Mohammed once revealing that entertainment chose him, and before working in the scene, he used to watch these men he now calls partners on-screen, with utmost respect for what they’re doing to uplift what he described as “coolness currency.â€
“They’re new things every time,†says Momah about the lessons they’ve gotten from organizing the events. “It’s not the same every time; every event is dynamic in its own way. The biggest lesson there for me is, you’re a master at this, but there’s also room for you to learn. You can’t say you know it all [about] doing events; you have to give yourself room to grow, you have to give yourself room to listen, you have to give yourself room to take feedback.â€
“Digital is the new coal,†infers Mohammed, “so you have to reinvent yourself and ask yourself how you can always catch up on that wave.†Reiterating the need to keep an open perspective, their words show how Mainland Block Party has been able to keep afloat in an ever-shifting industry, becoming a sort of precursor to Lagos’ rave scene that has since become a strong feature of the city’s nightlife and an influencer of homegrown Afrobeats.
For Mainland Block Party, it’s been a steady journey towards global domination, and the New York event is the next phase of their phenomenal run. Before now, they’ve had two intercontinental events, one in London and the other in the U.S., headlined by Afro rap artist Zlatan. But that was a pop-up, not really an all-out show, and with the New York show, they’re bringing the flamboyant ODUMODUBLVCK to imprint the Afrobeats experience on that stage.
“Expensive o,†jokes Mohammed when asked about how they have gone about organizing the New York Block Party event. “Just look at it as a newborn baby trying to find their feet in this world,†says Momah. “That’s just how to crown the entire process. So we’re in a new place, new city, new people; people behave differently there, inasmuch as they’re Nigerians there, obviously, we’re not only trying to cater to the Nigerian audience. We’re trying to conquer globally; it’s not been easy, but we thank God. We thank God that we have good heads on our shoulders. And we’re open to partnerships—I feel like the key thing that has helped so far in this journey are collaborations.â€
Apart from collaborations with platforms like OkayAfrica, Mohammed says team members on the ground form part of the community it takes “to raise a great child,†like Block Party.
With another U.S. event planned with DJ Maphorisa and a new segment of their Lagos party titled Respect the DJ, it’s very much clear that the Block Party intends to take over the world. Surely they have the required tools—it’s only a matter of time.
When Pheelz collaborated with Usher on “Coming Home†and “Ruin,†it was obvious that he knew how to blend Afrobeats. Both songs had the dripping sensuality the American R&B great is known for, but there was something else about the bounce. A special element that listeners of Pheelz would recognize as his own. That element is present on “Stay Together,†the new single from the maverick
When Pheelz collaborated with Usher on “Coming Home†and “Ruin,†it was obvious that he knew how to blend Afrobeats. Both songs had the dripping sensuality the American R&B great is known for, but there was something else about the bounce. A special element that listeners of Pheelz would recognize as his own.
That element is present on “Stay Together,†the new single from the maverick Nigerian artist and producer, which he’s created in collaboration with global music platform Beyond Music.
On “Stay Together,†we hear a riveting drum base that sounds like a call to action. Stacked on both sides by siren-esque vocals, Pheelz’s opening verse hones into the revelatory perspective of one who’s seen it all. Promoting love and mutual respect, he warns that “repeating history is deja vu,†a notion that is reiterated from unique perspectives throughout the song.
Pheelz’s reputation as a premium collaborator is also evident in his ability to work with the trio of voices that contribute to “Stay Together.†Nigerian multi-hyphenate Marshall Muze co-produces and writes on the record, bringing his signature depth as he unspools sociopolitical considerations. The feathery tones of Zambian-born Naimah also find charged purpose to rally behind, with musician of French and English descent, Ella Rose, contributing vocals.
With warm tones and vivid representations of art and culture, the visuals also reiterate the positive message of the song. OkayAfrica had a brief discussion with Pheelz about the creation of “Stay Together†and the work he’s currently doing with Beyond Music.
This interview has been edited for length and clarity.
How did the beat come alive from your end? You’re known to bring your vast compositional skills into your production. How did that work for “Stay Together�
I didn’t produce the beat on this one, but once I heard it, I knew exactly where I could add that Pheelz flavor. We added some live instrumentation — textures, harmonies, little musical details that bring more emotion to the track. I’m always thinking about how to give the music more soul, more depth. Sometimes it’s not about doing the most, it’s about knowing what the song needs to breathe.
You’ve been one of the farthest-reaching Afrobeats artists in terms of collaborations. How do you approach working with other artists, especially those from other cultures?
I always come in with open ears and an open heart. For me, music is the most universal language, so whether I’m working with someone from LA, Lagos, or Lisbon, I just want to connect energy to energy. I bring my roots, my Afrobeats DNA, but I’m also curious. I love learning from different styles, different textures. That’s how growth happens. Every collab is a new canvas.
The imagery of Afrobeats is massively influenced by music video directors, who curate an artist’s visual brand and consequently, their representation in the minds of the audience. Music videos have always been important, and even in the presence of several new media forms, its relevance remains visible, as clearly seen in the work of Director Pink, who has been a frontrunner in the scene over the past half-decade. On the latest edition of Afrobeats Intelligence, we get an inti
The imagery of Afrobeats is massively influenced by music video directors, who curate an artist’s visual brand and consequently, their representation in the minds of the audience. Music videos have always been important, and even in the presence of several new media forms, its relevance remains visible, as clearly seen in the work of Director Pink, who has been a frontrunner in the scene over the past half-decade.
On the latest edition of Afrobeats Intelligence, we get an intimate look into the world of visuals through the experienced perspective of Pink. The episode begins with host Joey Akanasking where she finds the intersection between what goes into her ear and what people should see. “You hear some songs and it’s really hard — it’s getting harder sometimes — to really pick out what you would want to represent visually,†she says, “but most times when I get a song, I always analyze a few things; what’s the song talking about, how I research about the artist as well, then I also brainstorm on what the song actually needs to push it. So I have to boost the song with the video; it’s also importantâ€.
Pink admits that she enjoys visualizing new artists, since music videos must have some continuity across different songs. The intricacies of visually representing an artist come to the fore, as the director reveals the tools of character-building: the mood associated with an artist, the lighting choices, the progression of scenes. She says: “I always ask some questions, ‘what’s your vibe like?’ ‘What kind of artists do you listen to?’ Some of them are also taking over very old artists that have left a legacy, some of them want to follow those footsteps. It’s more like trying to understand and know the artist deeply, and actually try to bring that out.â€
From the sound to fashion to image, the episode reveals all the many considerations the video director must influence. Her work with Chike comes to mind, as she’s largely curated his perception as a warm loverboy, their creative partnership beginning from the Simi-featured remix of “Running.†Between the vivacious frames of “Egwu†and the melancholic symbolism of “Man Not God,†we see a director attuned to the work of their client, sharing the creative process with as much gusto.
In this conversation, Pink is eloquent and inspirational, revealing the stories and techniques that have shaped her career. Now in her mid-20s, she’s been on the journey for about a decade, surmounting several challenges to rise towards the zenith of her craft. “It was just making images,†she says about the initial appeal of music videos. “The fact that you’re able to do anything in just three minutes. It’s not like a film where you’d probably stick to a particular story, and you can go outside the box a bit, but you don’t really have that much leverage. With music videos, you can do a million and one things.â€
Nigerian singer Ayra Starr is officially on the artists' clientele list of Roc Nation, the boutique music label, entertainment, and sports services company founded by iconic American rapper and mogul JAY-Z. Rumors of the deal intensified after Roc Nation posted a snippet of Starr's soon-to-be-released single, "Hot Body," on its social media pages late last week. Confirmation came with the singer's dedicated page on the company's website.Still signed to Mavin, the Don Jazzy-founded Nigerian labe
Nigerian singer Ayra Starr is officially on the artists' clientele list of Roc Nation, the boutique music label, entertainment, and sports services company founded by iconic American rapper and mogul JAY-Z. Rumors of the deal intensified after Roc Nation posted a snippet of Starr's soon-to-be-released single, "Hot Body," on its social media pages late last week. Confirmation came with the singer's dedicated page on the company's website.
Still signed to Mavin, the Don Jazzy-founded Nigerian label that discovered and helped drive her breakout, Starr's deal with Roc Nation is a strategic partnership that's expected to improve her already formidable global popularity, particularly in the U.S. and across Europe.
"Ayra Starr's signing with Roc Nation is a fantastic gambit by the team at Mavin/Universal to give her capable hands to match her ambition,"Afrobeats Intelligence hostJoey Akan says, describing the singer as "an 'IT' pop girl" with high ambitions.
Starr will now be managed internationally by Roc Nation, a move designed to leverage her star power and momentum. The singer is currently on a stadium tour with British rock band Coldplay. She will make her full acting debut in the highly anticipated film adaptation of Tomi Adeyemi'sChildren of Blood and Bone and has won BET and MOBO awards in recent months.
"Having been funneled into Universal Music Group, via the deal with Mavin, what this simply means is, with Roc Nation, she becomes part of another family that prides itself on execution," Akan adds. "America is Roc Nation's market. And they've worked that region enough to have blueprints, deep connections, and the pockets to sway."
Roc Nation boasts an expansive client list of successful artists across management, distribution, and publishing, including rappers Megan Thee Stallion and Lil Uzi Vert, R&B singers Alicia Keys and Snoh Aalegra, and Latin pop superstar J Balvin, among many others.
"With this deal, Ayra and the team at Mavin signify her commitment to succeeding in the West by operating deep in the US market," Akan says. "The aim is to produce another global star from Nigeria. And they're well on their way."
Burna Boy is ramping things up ahead of the release of his eighth studio album, No Sign of Weakness, due July 11 via Bad Habit/Atlantic Records. The African Giant has now shared the full tracklist for the forthcoming album, which reveals an eye-catching range of guests across its 16 songs.Perhaps the most surprising and notable of them is rock legend and Rolling Stones frontman Mick Jagger, who will appear on the album’s eleventh track, “Empty Chairs.” Another noteworthy guest is Belgian pop sta
Burna Boy is ramping things up ahead of the release of his eighth studio album, No Sign of Weakness, due July 11 via Bad Habit/Atlantic Records.
The African Giant has now shared the full tracklist for the forthcoming album, which reveals an eye-catching range of guests across its 16 songs.
Perhaps the most surprising and notable of them is rock legend and Rolling Stones frontman Mick Jagger, who will appear on the album’s eleventh track, “Empty Chairs.”
Another noteworthy guest is Belgian pop star Stromae, who shares track billing on No Sign of Weakness track “Pardon.” Stromae has strong ties to the African continent through his Rwandan family background, and notably concluded one of his world tours in Kigali.
American breakout star Shaboozey (who has Nigerian roots) will appear on a track titled “Change Your Mind,” and we’ve already heard the Travis Scott-featuring single “TaTaTa.”
So far, Burna Boy has shared album tracks “Sweet Love,”“Update,” “Bundle by Bundle,” and “TaTaTa.” He’s also announced an upcoming North American tour in support of the album.
See the full tracklist for Burna Boy’s new album below.
Burna Boy's ‘No Sign of Weakness’ Official Tracklist
Tems is no stranger to big moves. Going from alt-leaning darling to multiple Grammy winner, the artist has been delving deeper into the rich crater of business choices that will undoubtedly solidify her as one of the most forward-thinking minds of her generation. But even by Tems' high standards as a musician and celebrity, her latest investment has the potential to become an industry gamechanger, spawning an impact that will surely outlive the 30-year-old artist.As part of her efforts to democr
Temsis no stranger to big moves. Going from alt-leaning darling to multiple Grammy winner, the artist has been delving deeper into the rich crater ofbusiness choices that will undoubtedly solidify her as one of the most forward-thinking minds of her generation. But even by Tems' high standards as a musician and celebrity, her latest investment has the potential to become an industry gamechanger, spawning an impact that will surely outlive the 30-year-old artist.
As part of her efforts to democratize the music industry, Tems will launch the Leading Vibe Initiative, a platform dedicated to championing women within the scene. According toreports, women are significantly underrepresented in the music industry, with only 22 percent of musicians worldwide being women. Tems, who's one of the most successful artists of the new generation, definitely has a lot of tips and tools that will prove crucial to any emerging woman artist.
"Across Africa, I've seen firsthand how much talent exists, and how many female musical talents still face barriers at every stage. The Leading Vibe Initiative is my commitment to changing that reality," she tells OkayAfrica.
Debuting this August, Leading Vibe will be a purposeful initiative that showcases the intricacies of the music industry to rising artists, producers, and songwriters, drawing on the rich experience base of Tems and her managers,Muyiwa Awoniyiand Wale Davies. It will start from Tems' hometown of Lagos and expand to other African cities throughout the year, and eventually to other major cities across the globe.
"My goal with the Leading Vibe Initiative is to help discover and support talented young women who have the potential to redefine the industry," she says. "By opening doors and building a real community, we can equip more women with the tools, resources, and networks they need to break barriers, amplify their voice, and shape the future of the global music industry."
The inaugural program is scheduled to take place between August 8 and 9, with an intimate event followed by a comprehensive day-long event that will include workshops, masterclasses, and panel discussions, all designed to provide participants with a multidimensional perspective on the music industry. Afterwards, the Leading Vibe will continue to support and counsel on the creative and business aspects of music.
"It's a movement, it's a network. It's a wave built for women by women, from the continent to the world."
No doubt a groundbreaking initiative, this reveals an incredible practicality from Tems as she takes action towards leveling the entry base for women artists. As we've seen from her success and that of other women stars likeAyra Starrand Uncle Waffles, the sound and perspective ofwomen artists have all it takes to propel Afrobeats into a greater future.
By taking on this exciting and no doubt challenging task, Tems has again taken the lead, proving that she'll always put her money and resources where her mouth is. Or in this case, where her heart is.
Every week, OkayAfrica highlights the top African music releases — including the latest Afrobeats and amapiano hits — through our best music column, African Songs You Need to Hear This Week.Read ahead for our round-up of the best new African music tracks and music videos that came across our desks this week.Runtown – ‘Soundgod Fest IV [EP]’Boasting one of the most credible portfolios in contemporary Afrobeats, the artist Runtown has accrued a reputation as a recluse. Behind the needle-moving rec
Every week, OkayAfrica highlights the top African music releases — including the latest Afrobeats and amapiano hits — through our best music column, African Songs You Need to Hear This Week.
Read ahead for our round-up of the best new African music tracks and music videos that came across our desks this week.
Runtown – ‘Soundgod Fest IV [EP]’
Boasting one of the most credible portfolios in contemporary Afrobeats, the artistRuntownhas accrued a reputation as a recluse. Behind the needle-moving records is a man who just wants to stay disengaged from all the buzz, but he’s finally responding to calls for more music. Soundgod Fest IV continues his successful project series, a collection of six songs that ease into a chill vibe, with tales of love and life filtering out from the savant’s sweet tease. – Emmanuel Esomnofu
Kabza De Small - “Kabza Chant 2.0” (feat. Nkosazana Daughter, Nobuhle, Sykes)
How do you follow up greatness? You make greater moves. And who better than the undisputed king of amapiano,Kabza De Small, to show us how it’s done? On the sprawling “Kabza Chant,” the producer assembled some of the scene’s most vital voices, like Young Stunna, Murumba Pitch, and Nkosazana Daughter, for a praise song worthy of his throne. This second iteration, where Nkosazana Daughter returns, joined by Nobubhle and Sykes, is half the length yet just as potent, if not more. This is amapiano that has been performed with orchestras, heard in full houses, and felt in the spirit. It’s a shift in perception and a redefinition of legacy. It’s enchanting, exacting, and impenetrable. Kabza De Small is truly one of one. - Tšeliso Monaheng
Tekno – “Powerbank”
Nigerian starTeknoreinforces the currency of his hitmaker status over knocking Afropop drums. “Powerbank” is quintessential Tekno, boasting an astute flair for riding the beat, sounding as purposeful as ever in the recounting of a love story. When he vows that there’s “nothing I can’t do,” he sounds quite convincing, with him making quite the show of what those things might be. – EE
Yugen Blakrok - “Being Here”
With every album,Yugen Blakrok unlocks new chambers of rhythm. Her pen sharpens, her mind expands, and her worldview – always informed, never preachy – sketches parallel realms where beauty resists erasure. She moves like a magnetic field: gentle and affirming. Intentional in every breath, Yugen remains one of the best rappers doing it right now. “Being Here” deepens her already rich visual canon while her bars climb heights few dare. Sample this: “There’s times where sinners become the preachers/ Claim that they’re believers ’til you challenge their beliefs,” she raps, every bar a carefully curated slice of a bigger picture. Proceed with caution. This is real rap: unbothered, unfiltered, undeniable. - TM
Gabzy – “So Much Sense” feat. Fireboy DML
For years now, Gabzy has steered a unique vision for his R&B-influenced sound. Here, he’s joined by a similar stylist inFireboy DML, creating a bop that evokes all the feels. With a laid-back beat evoking the promise of cool evenings, both musicians paint vivid images of chilling with their love interest, inferring that this would make so much sense. – EE
Zoë Modiga - “Uyakhazimula”
WhenZoë Modiga speaks, the room listens. On record or in person, her presence demands stillness. On “Uyakhazimula,” she returns to eMbali in Pietermaritzburg, the place that raised her. The song feels like soul food, vintage couches, coal-heated stoves, and warm bread fresh from the oven. Just as the world outside threatens to fall apart, it wraps you in memory, in comfort, in beauty. This is definitive art: lush harmonies, emotional abundance, and spiritual glow. Zoë Modiga is a prime artist, and she radiates light. - TM
Da Capo – ‘Indigo Child II: Love & Frequency [LP]’
South African producer Da Capo’s establishment in the Afro-house genre is no fluke. He’s proven himself a fine creator and curator, assembling some of the most forward-thinking artists on his stellar production, and the follow-up to his last project, Indigo Child II, is no different. Featuring artists likeBongeziwe Mabandla,Elaine, and others, it is an impressive body of work with great potential to become a classic. – EE
Eli Mary - “PIECES’
On the emblematic “Pieces,” Johannesburg artist Eli Mary doesn’t just sing; she conveys feeling, using the microphone as a tool for expression. Her voice is a balm. Serene yet stirring, it drifts like smoke and lands like scripture. The beat shapeshifts beneath her, combusting in waves that mirror her emotional range. With each iteration, she peels back a new layer of self, revealing an artist who speaks as much as she soothes. This is heart music – gentle yet galvanizing. -TM
ODUMODUBLVCK – “PITY THIS BOY” feat. Victony
Released earlier this year,Odumodublvck’s “PITY THIS BOY” has all the markings of an enduring record. Between the bright strings orchestrated byNiphkeysand the harmony both Odumodu andVictony bring, it’s a delightful song to listen to. Its new video follows the opulent overtones of the song, casting the artists in scenes rich with color and activity, further extending the song’s appeal. Check out “PITY THIS BOY” and the other songs on OkayAfrica’s Best Afrobeats Songs of 2025 So Far list. – EE
Beatmochini and Towdeemac - “Eventually” (feat. Priddy Ugly, Maglera Doe Boy, Kaygizm)
The last timePriddy Ugly andMaglera Doe Boy linked up, we got a generational banger in “Ntjaka.” Now they’re back – this time on a more subdued, soulful tip – and are joined by two-thirds of the legendary Morafe: Towdeemac and Kaygizm. It hits differently, like a gentle nudge that nevertheless leaves lasting imprints on your spirit. With Beatmochini on production, this is a cross-generational link-up we didn’t know we needed but absolutely do. It’s a quiet storm of legacy, precision, and poetics. Towdeemac, once again, proves he’s not the one to front on. His bars don’t just rhyme; they ripple. Sentences run on, fold into themselves, and re-emerge as something entirely new. Who else can rap: “Cava ntja, how I inspired … to flex in their mother tongue / bona nou bafana ba kajeko ba matha joang / on another level, Joe, ba nkgopotsa nako tsa ka,” and make it sound effortless? Listen to "Eventually" here. - TM
Award winning Banku Music Maestro and B.O.Y Music protege Ofego who recently released the Official Music Video for the second and lead single off his upcoming album 1 Man MP after the huge success of his 2025 album D Girls Dem Daddy has received wild accolades from fans all over the world.
This is coming for the originality of the Nor Be Who First Call Police Official Music video which depicts the song's context and not following the narrative of a regular music video.
The video which was
Award winning Banku Music Maestro and B.O.Y Music protege Ofego who recently released the Official Music Video for the second and lead single off his upcoming album 1 Man MP after the huge success of his 2025 album D Girls Dem Daddy has received wild accolades from fans all over the world.
This is coming for the originality of the Nor Be Who First Call Police Official Music video which depicts the song's context and not following the narrative of a regular music video.
The video which was directed by Chris Ekios garnered hundred thousand views under 24 hours due to its anticipation.
Nor Be Who First Call Police Official Music video
Ofego's previous videos for Girls Dem Daddy Remix, Girls Dem Daddy both directed by Madumike and Desperado Remix directed by Chris Ekios are performing incredibly well on VEVO, the world's largest music videos distributor. And not quite a while ago Ofego collaborated with gifted Nigerian rapper Therealbarrylane for 247 100 Bars, the first single off 1 Man MP album which was widly streamed in the Netherlands, he also released the third single Justice With Mercy and the fourth, What Are We Waiting For Featuring Congolese soulful songstress Salima Chica and recently he released the fifth single Government Worker.
With all singles performing beyond expectations, the sixth single off 1 Man MP album, Laugh Rhythm Featuring Salima Chica, produced by DCQ BEATZ and mixed and mastered by Mr Uzezi is scheduled to be released soon.
Several fans praised Nor Be Who First Call Police Official Music Video with one fan writing; "You're a real game changer and another commenting; I've watched this video over and over again, the more I watch the more I realise indeed, Nor Be Who First Call Police dey win case."
Every week, OkayAfrica highlights the top Afrobeats and African music releases through our best music column, Songs You Need to Hear This Week.Read ahead for our round-up of the best new African music tracks and music videos that came across our desks this week.Olamide – “99” feat. Asake, Seyi Vibez, Young Jonn & Daecolm Afrobeats veteran Olamide assembles an all-star cast on “99,” a banger released ahead of his forthcoming self-titled album. From Young Jonn to Asake and Seyi Vibez, the Nige
Afrobeats veteran Olamide assembles an all-star cast on “99,” a banger released ahead of his forthcoming self-titled album. From Young Jonn to Asake and Seyi Vibez, the Nigerian contingent supplies the colorful hedonism that’s been at the center of its pulsating music culture, and with his riveting verse, Zimbabwean Daelcolm polishes off the guest performances. It’s a fine celebration of the African sound, with disco flourishes that should make it bang in the U.S. – Emmanuel Esomnofu
K.O. - “Supernova” feat. Cassper Nyovest
K.O stands as a towering figure in South African pop culture. From his pioneering days with Teargas to a genre-defining solo career, he’s long mastered the art of hitmaking. On “Supernova,” a standout from his latest album Pharacity, K.O offers a sleek, retro-futuristic reimagining of Lebo Mathosa’s “I Love Music,” reintroducing the late icon’s classic to a new generation. Joined by Cassper Nyovest, the rapper delivers cryptic, staccato bars that only he could make land. This serves as a reminder of his enduring command of style and cultural resonance. - Tšeliso Monaheng
Diamond Platnumz – “Katam” feat. Bien
A sweet tease of a record, “Katam” has guitar licks and soft drums that will set your heart rolling. There’s that inimitable East African flavor that Diamond Platnumzhas perfected throughout his career. But now we hear even more soul and less activity, a touch that is amplified by the feature Bien. The ex-Sauti Sol man has a voice and tone that’s impossible to miss, and he relishes this beat, going over and over with Diamond as they toast East African ladies. With a video to follow, this has strong potential to become a hit song, no less, considering the profiles of the musicians. – EE
June Freedom – “Spiritual”
In what sounds like a tribute to Fela Kuti, the production on “Spiritual” plucks colorful drums and an effervescent note that never goes away. June Freedom’s ever-alert vocals find just the perfect spirit for it, floating with the enchanting allure of a ballet dancer across the record’s sonic space. “Spiritual” is a song about desire and all that goes in between; every performance here delivers on its simple but evocative premise. – EE
Mlindo The Vocalist - “Izinkomo Zika Baba” feat. Cowboii, DJ Maphoris & Madumane
Mlindo The Vocalist crept into the scene unannounced and never quite left. “Inkomo Zika Baba,” a striking amapiano cut from his forthcoming album (due in July), sees him team up with Cowboii and DJ Maphorisa. It’s the sound of summer in the heart of winter, a tender, groove-laced confession from a man lost in the heat of love. - TM
ZerryDL – “My Amigo”
For those paying attention, ZerryDL is one of the more inventive storytellers around. Between himself and his siblings, Shallipopi and Famous Pluto, the family contributed to the rise of an interesting subgenre that strongly entrenches southern Nigeria’s narratives on the country’s sprawling street pop culture. “My Amigo” carries a theme you’ve heard before—fake love among friends—but Zerry’s language and cadence make all the delivery, grooving assuredly over Busy Pluto’s thumping club-ready production. — EE
Maleek Berry – ‘If Only Love Was Enough [LP]’
For an artist who’s been part of the Afrobeats story for over a decade, it feels a little strange that Maleek Berryis only releasing his debut album now. But Berry has largely operated on his own time and with his own style, shunning popular choices for what has felt true to him. Holding such a dramatic premise, the title of the project prompts a lot of thought, and through its 15 songs, the artist charts an expansive storyline over taut sonic choices that mostly revolve around Afropop and R&B, with features coming from assured voices such as Wizkid, Tiwa Savage, and Zlatan. Read our exclusive new interview with Maleek Berry. – EE
Banda Banda - “Sombhuluka” feat. Fatoumata Diawara & Muneyi
While he may be best known for his work with Zoë Modiga, composer and producer Banda Banda’s footprint on South African live music is both deep and expansive. He operates on a frequency entirely his own– one that, as “Sombhuluka” reveals, resonates far beyond local borders. Featuring the masterful voices of Muneyi and Fatoumata Diawara, the track vocalizes the things we often dare not say. “Sombhuluka” is love personified: a feeling that travels through language and spirit, completely unbound by geography. - TM
Ric Hassani – ‘Lagos Lover Boy [LP]’
Through this sprawling journey that centers Lagos and its infamous love narratives, the artistic Ric Hassanihits another incredible milestone. It’s a setting and story that has attracted many artists, and yet for those who are attuned to their impulses, it’s a rich field. Hassani certainly makes the journey varied, even including several interludes that ease the album through its different soundscapes and concepts. – EE
Nasty C - “Soft” feat. Usimamane
It seems Nasty C has only grown more powerful since embracing his independence. He’s already delivered “Psycho” and “Nobody,” so there’s no real reason he needs to go this hard. But he does. As the title suggests, this track offers a gentler landing than his usual high-octane fare, revealing a more measured but no less lethal side of the rapper. TM
Mayorkun – “Blessings On Blessings (B.O.B)” feat. Davido
Off his Still The Mayor album comes this great union, the mentor and his mentee. Mayorkun definitely has a lot to be thankful for, recently announcing his deal with Sony Music Africa, which he attributed to Davido’s help. Indeed, their collaboration has that groove and movement about it, with bouncy percussion that leans towards Mayorkun’s tendency for upbeat production. “Follow who know road,” in this context, is quite clear considering the duo’s relationship, a history that consistently translates on wax. – EE
When Ckay released his second EP, Ckay The First, in 2019, he was still ingenious and, for the most part, underrated. He self-produced a large portion of the EP. He had already developed his unique, undefinable sound, which draws inspiration from a diverse range of influences, including sultry R&B and mellow Afropop.But that EP would only change Ckay's life and the arc of his career two years after its release. In 2021, "Love Nwantiti (Ah Ah Ah)," the second song on the EP, found instant and
WhenCkay released his second EP, Ckay The First, in 2019, he was still ingenious and, for the most part, underrated. He self-produced a large portion of the EP. He had already developed his unique, undefinable sound, which draws inspiration from a diverse range of influences, including sultry R&B and mellow Afropop.
But that EP would only change Ckay's life and the arc of his career two years after its release. In 2021, "Love Nwantiti (Ah Ah Ah),"the second song on the EP, found instant and inescapable fame on TikTok. It then became the first number-one song on Billboard's Afrobeats chart and the first Nigerian song to spend 52 weeks on the Billboard charts. It made Ckay an eight-times platinum artist and one of the crucial vehicles by which Afrobeats music found its global roots in the early 2020s. Now, more than six years after its release, Ckay is ready to share a rejoinder to it in the form of his latest EP.
Aptly titled Ckay The Second, this new EP, according to Ckay, is a continuation of the ideas and themes he generously explored in Ckay The First. Of course, he's no longer the person he was when he made Ckay The First. The trajectory of his life has shifted with dizzying speed, thrusting him to the forefront of Afrobeats music's expansion, along with the pressures and demands that come with it.
It's why Ckay The Second is a simultaneous attempt at returning to a former self but also slowing down for a second. "I was at a stage of my life where I felt like I had to shed off some old skin and step into a new phase," Ckay tells OkayAfrica just days before the release of the new project. "The headspace was basically to communicate that the first EP was to assert 'I am the first Ckay,' and the second is the continuation of that."
For this project, Ckay prioritizes live instrumentation, a key part of his sound. Here, he maintains the sonic architecture of his previous records. "I'll describe the sound as an advanced version of my signature emo-Afrobeats sound," he says. "I love live instrumentation. I love chords that make you vibe and feel something, as opposed to just making you dance. This EP is no exception. I dived deeper into the emo-Afro sound and took it a step further."
Born Chukwuka Ekweani, Ckay grew up in a home that nurtured his musical talents. His early days learning hymns and developing a prodigious understanding of music theory helped set him apart as an artist who understands the most technical rules of music and is unafraid to break them.
His music process is guided by instinct. There are no set formulas or patterns. "It could be anyway, you know," he admits. "Sometimes the lyrics come first, sometimes the music comes first. It all depends. Creativity is something you need to let free. You can't box or tie it down to the process. So I like to let the music flow regardless of the order, music or lyrics or whichever."
Insert EP Stream
A much-needed reminder
Although Ckay is one of the most important ambassadors of Afrobeats' global ascension, he's also the least recognized for it. It's an erasure that Ckay is deeply aware of but hasn't taken to heart. "I probably don't get enough credit for my contributions toward the advancement of Afrobeats, especially in the Nigerian space," he says.
Between 2021, when he blew up, and this year, Ckay's life has undergone an explosion that may have been too much for some to handle. He has scored hits with fellow stars likeDavido and received a Grammy nomination for his feature on Janelle Monae's album The Age of Pleasure. He released his debut album,Sad Romance, in 2022, and Emotions, a genre-bending EP, in 2024.
Ckay has also, according to him, grown a lot. The most important part of that growth has been the need to keep pushing and to draw persistence from an unbreakable spirit. "I would say my artistry has evolved. I've learned a lot more than I knew at the time," he says. "Me being more exposed and seeing the impact of my music on people thousands of kilometers away, I think that gives me a different perspective."
If Ckay The First was a statement in establishing his name and marking out his creative territory, Ckay The Second is a reminder of where he's come from and a window into where he's going next.
More than anything, Ckay hopes that people can relate to the experiences he lays bare on this EP. "I make music about my own experiences and my life. I feel that, as human beings, we're all connected and share similar experiences. So I would say I hope people see themselves in me basically when they're listening to the songs, and they relate to the experiences."
Maleek Berry was starting to sense that something was missing. The British Nigerian singer-songwriter and producer was aware that the emotional and technical elements that once enlivened Afropop music were being overlooked by those who grew up with it. "Good songs, great songwriting, great storytelling… Afrobeats fans are yearning for that right now. That's why I had to go away and put together a collection of amazing songs that people can relate to for years to come. Not only party to, but cry
Maleek Berry was starting to sense that something was missing. The British Nigerian singer-songwriter and producer was aware that the emotional and technical elements that once enlivened Afropop music were being overlooked by those who grew up with it.
"Good songs, great songwriting, great storytelling… Afrobeats fans are yearning for that right now. That's why I had to go away and put together a collection of amazing songs that people can relate to for years to come. Not only party to, but cry to, get married to, have babies to," Berry, born Maleek Shoyebi, tells OkayAfrica in an exclusive interview.
The result of that time off is Berry's debut album, If Only Love Was Enough. It's Berry's most anticipated work, which arrives just about a decade into his time in the industry as one of the most important pioneers of contemporary Afropop music.
A predominantly R&B and Afropop blend, 'If Only Love Was Enough' pays homage to the early 2010s Afrobeats sound with a strong awareness of the times. The album features new-age artists likeRuger, as well as longtime collaborators of Berry likeTiwa Savage andWizkid. In a music landscape that has been hurtling towards global expansion and evolving its sonic identity at a dizzying pace, Berry wants to slow things down a bit. If the project sounds like a time capsule, it is likely because it has been in development for several years and incorporates a range of sonic influences from various eras.
"I've gone through so many different versions," Berry says. "I've gone through many phases of not liking a particular song or not liking a certain group of songs, and changing them over and bringing them back. The album was supposed to have dropped a long, long time ago, but I'm glad I waited this long, and I've finally arrived at this version now. I'm very proud of it."
If Only Love Was Enough is not, thematically or structurally, a cultural statement after all. The songs here explore unrequited love, romance, and existential reflections, all classic Maleek Berry themes, but the project is highly symbolic. It's a well-articulated response to the creative slump that Nigerian music has found itself in recently. Berry is aware that, on a sonic level, this project has the potential to kickstart a return to basics, reminding music makers and Afrobeats listeners of the magic and thrill of a musical era that should never have been forgotten. "In my opinion, it's going to bring a breath of fresh air and carve out a whole new direction musically and sonically for the space as well," he adds.
Berry from the past
Much of what has made Maleek Berry's sound distinct is his devotion to drawing from the past while keeping his ears open to what the present has to say. His journey into the Nigerian music scene began in 2011. While on vacation in Nigeria at the time, he would connect with some of the voices who were already molding the scene —Davido,Naeto C,Wande Coal, and Wizkid — and eventually got his first major hit with "Carolina," featuring Sauce Kid and Davido. Then there was 2013's "The Matter" featuring Wizkid. A recurrent feature of that sound was an intelligent blend of percussion and hip-hop flows. It was modern, quintessentially Nigerian, and helped blaze a trail for what the genre would go on to become.
On If Only Love Was Enough, Berry seeks the expertise of former collaborators who also ruled the scene in that era while also drawing from the R&B music he grew up listening to. "I wanted to bring those worlds together. I had to do a little bit of looking into myself as well and getting out of my way, listening to my previous projects, figuring out the greatest songs that I've written that people liked, and not overthinking it, and making sure I have something on the album for everybody."
For Berry, the sounds of the early 2000s are timeless because it was also a time with minimal distractions.
"People were writing some of the best music ever to come out. The world was a lot less distracted during that period. That was one of the main reasons for my prolonged absence. I had to go and live life to experience what it felt like to truly live the meaning of these songs. This is what real artists used to do back in the day."
Berry worked with longtime collaborators like Legendury Beatz to keep himself rooted in the sound he wanted to create. "All of us started together back in the day, working with Wiz during the Star Boy era. There were points where I was stuck, and I had certain creative blocks, and I'd go down and ask their opinion."
Berry was also tempted to jump on the amapiano wave, but his close collaborators were opposed to the idea. "We've had many moments like this during this album creation process. Legendury Beatz would sit me down and be like, 'You know you have a sound, right? You created something back then that is tangible.' Getting reminded about that and what that sound meant to people, and what it still means to people today, gave me the confidence to stick with this sound and stick with the theme."
Berry hopes that If Only Love Was Enough will be inspirational. "I always want people to be inspired by my music," he says. "I want my music to stand the test of time. So, the same way my fans are still listening to music we released in 2013 or 2016, I want to have the same impact with this music, if not more." Even more important to Berry is how this work might inspire his peers. "All of us are sharpening each other, and I want my peers to hear this album and be blown away just like everybody else."
Tems has been announced as a headliner for the first halftime show at the FIFA Club World Cup. Scheduled to be held in the US between June and July this year, it has been a hot topic as to how the footballing event could borrow a leaf from America’s Super Bowl halftime tradition, and now it’s finally happening. The Nigerian superstar and her team are not new to the world of sports. Tems recently became a part-owner of San Diego FC, making history as the first African woman to hold ownership stak
Tems has been announced as a headliner for the first halftime show at the FIFA Club World Cup. Scheduled to be held in the US between June and July this year, it has been a hot topic as to how the footballing event could borrow a leaf from America’s Super Bowl halftime tradition, and now it’s finally happening.
The Nigerian superstar and her team are not new to the world of sports. Tems recently became a part-owner of San Diego FC, making history as the first African woman to hold ownership stakes in a Major League Soccer (MLS) club. She will headline the FIFA Club World Cup final at MetLife Stadium on July 19, performing alongside Puerto Rican star J Balvin and American act Doja Cat. The trio was selected for this highly anticipated event by Chris Martin of Coldplay.
As Afrobeats continues to scale internationally, collaboration between the music and sports industries is inevitable. As entertainment is a shared interest, artists like Tems have been intentional in positioning their brands to attract a wide range of partners. The Club World Cup has a peculiar appeal, being hosted in the United States, a country that, despite its recent political upheavals, has typically enjoyed a large demographic of Africans in the diaspora.
Tems’ inclusion on the Club World Cup stage not only represents Africa’s contributions to the beautiful game; it nods to the rich history of African American music, from Soul to R&B and hip-hop, that has been a notable influence behind her unique sound.
Further entrenching the halftime show in more noble ambitions, FIFA is partnering with Global Citizen, an organization dedicated to ending extreme poverty and providing children with access to education and football infrastructure. Consequently, the FIFA Global Citizen Fund aims to raise $100 million towards the achievement of these goals.
Through this potentially world-changing connection between football and music, not only are those goals possible, but both of these scenes are going to open up more favorably for their practitioners. Already, we’ve seen Afrobeats acts likeAyra StarrandRemaperform at a New Balance launch and the Ballon D’Or ceremony, proving that African stars, with all their swag and sonic brilliance, are going to be instrumental as the world consistently evolves into one big field of collaboration.
Given Tems’ expertise with live performances, the world will surely be in for a show on that MetLife stage.
Every week, OkayAfrica highlights the top Afrobeats and African music releases through our best music column, Songs You Need to Hear This Week.Read ahead for our round-up of the best new African music tracks and music videos that came across our desks this week.SPINALL – “Want You” feat. DESTIN CONRAD & JayOWith his first release of the year, veteran tastemaker SPINALL goes the sensual, mid-tempo route. The production swirls with a drum and guitar base that sets the body moving, resembling t
Every week, OkayAfrica highlights the top Afrobeats and African music releases through our best music column, Songs You Need to Hear This Week.
Read ahead for our round-up of the best new African music tracks and music videos that came across our desks this week.
SPINALL – “Want You” feat. DESTIN CONRAD & JayO
With his first release of the year, veteran tastemakerSPINALL goes the sensual, mid-tempo route. The production swirls with a drum and guitar base that sets the body moving, resembling the lush soundscapes ofWizkidbut with even more urgency. On singing duties, the duo of DESTIN CONRAD and JayO deliver in tune with the innuendo-leaning direction of the song, painting imagery that shows how badly they want the girl. It’s a song that sounds ready-made for intimate settings, but its progression could also lend itself to more open events. – Emmanuel Esomnofu
DJ Lag, Sir Trill, Sykes - “Woza”
Sir Trill is on a roll. He kicked off the year deep in his amapiano bag with “ iMpumelelo,” then took it up a notch by returning to his rap roots on “iBele” alongside25K and Maglera Doe Boy. Now, he’s launched a daring incursion into Gqom withDJ Lag’s thunderous “Woza.” Joining him is Sykes – the voice behind hits withDlala Thukzin (“iPlan,” “Imoto”) and Kelvin Momo (“Bala”), a perfect partner-in-vibe. It’s a match forged on gqom dance floors, streaming platform playlists, public taxi speakers, and everywhere else, the sgubhu lands the hardest. In a press release, the producer shared that he started making the 3-Step-inspired beat while playing back-to-back sets with Thakzin, a mainstay in the 3-Step scene. “I wanted to capture my take on 3-Step while channeling Afro-Tech influences I’ve been spinning during live sets. When Sir Trill and Sykes added their magic, I knew I had something that merged my Gqom roots with a new sonic direction; it just felt right,” he said. – Tseliso Monaheng
BNXN & FOLA – “Very Soon”
When they first linked up, it was clear thatBNXN’s saccharine vocals beautifully complemented the brooding tones of FOLA. On “Very Soon,” they capitalize on that artistic similarity to craft another song of remarkable emotional power, as they sing about the aftermath of a breakup, promising to be better soon despite the lingering pain. With a melancholic soundboard, it’s a detailed view into the world of a character that’s going through the rubble with nothing but the resolute hope they’ll get on the other side. – EE
Kwesta - “Nyakanyaka”
Kwesta’s becoming, from a young gun ready to tear up any stage, collaborating across genres, to a grootman (elder) of the game, is the stuff of legends. Despite his longevity, he’s kept a youthful curiosity and a pen as sharp as the needles he steps on when the raps emerge. “Nyakanyaka,” off his latest album, TheBig Bro Theory, is a masterclass in lyrical control. The way he bends words, forces them to obey him, and crafts rhyme schemes out of thin air is pure wizardry. His content is deeply local yet resonates globally. “I’m on my Tito, I’m in my bag,” he raps on the chorus, a slick (perhaps unintentional) nod to the late Tito Mboweni, South Africa’s former finance minister and first Black governor of the Reserve Bank. But he doesn’t stop at clever punchlines; he breaks syllables down, invents cadences, and feeds the ear pure gold. Rhyming “as we raise” with “temperature”? Just unfair. Kwesta remains an unmatched emcee. A superior artist. – TM
Simi – “Day By Day” feat. Kizz Daniel
It makes perfect sense thatSimiandKizz Daniel would do a song together. They both create music from the mundane elements of life, and the latter is in his most collaborative phase ever, stretching his distinct style to accommodate the musings of his talented peers. On “Day By Day,” the warm, percussive-driven production gives both artists the space to reflect on their blessings, even referencing Fido’s classic, which shares some sonic semblance with the newer record. It’s quite the feel-good affair we have here. – EE
Mashbeatz - “Nobody” (feat. Nasty C and Usimamane)
Earlier this week, a mix by Mashbeatz and DJ Sliqe was released online, featuring exclusives and unreleased heat that quickly went viral. One standout was “Nobody,” a lethal link-up between two of Durban’s finest in Nasty C and Usimamane. The former needs no introduction and, in the past decade that he has been active, has become somewhat of a figurehead for the new wave of South African hip-hop. The latter is a student of the game who’s carved his own lane with tracks like “Cheque” and “Uvalo” and delivered scene-stealing verses, most notably on Mashbeatz and Wordz’s 2024 epic, Only The Brave. On “Nobody,” we get two sentient emcees, high off their own brilliance, swaggering on a beat like it owes them money. “Can’t even jump in no mosh pit / PTSD, I’m from the kasi,” spits Nasty C, a reminder that his pen remains elite, and his run is far from over. – TM
As he closed his set at Tottenham Stadium in July 2023, Wizkid stood for a moment, shirtless, amidst a sea of over 62,000 people, as the projection of an eagle with wings of fire stood majestically over him on a large screen. The moment was symbolic, dense with meaning. Wizkid had just made history as the first African artist ever to sell out Tottenham Stadium. Here stood one of Afrobeats' biggest cultural exports, breaking another record and paving the way for those coming behind him. It was a
As he closed his set at Tottenham Stadium in July 2023,Wizkid stood for a moment, shirtless, amidst a sea of over 62,000 people, as the projection of an eagle with wings of fire stood majestically over him on a large screen.
The moment was symbolic, dense with meaning. Wizkid had just made history as the first African artist ever to sell out Tottenham Stadium. Here stood one of Afrobeats' biggest cultural exports, breaking another record and paving the way for those coming behind him. It was a moment to relish.
But what did it take to pull off such a feat? How did the expansive and structurally ambitious stage set-up come to life? What burdens or anxieties plagued him on the day of the event or during rehearsals? And, most importantly, what did that moment mean for his fans and the people who look up to him?
Wizkid: Long Live Lagos, a new documentary on Wizkid and his journey to performing at Tottenham Stadium, answers those questions. The documentary is set to premiere at the Tribeca Film Festival this Friday, June 6. It is directed by American filmmaker Karam Gill, who is also known for directing Lil Baby's documentary Untrapped: The Story of Lil Baby. Wizkid: Long Live Lagos is a deeply vulnerable look at a cultural figure navigating global stardom while staying true to his roots and trying to fulfill the promises he made to himself.
"It's the most intimate view of Wizkid I've ever seen," Seni Saraki, who co-produced the project, tells OkayAfrica. In 1 hour and 23 minutes, viewers will follow Wizkid from London to Surulere, the Lagos neighborhood that shaped him and remains his most crucial creative springboard. The documentary also takes the opportunity to examine the rise of Nigerian music, what it means to be a global star from the African continent, and the many burdens that come with that.
Cross-cultural movement
For Saraki, this documentary is a full-circle moment.
Towards the end of 2020, the same year Wizkid released his fourth album, one of the most culturally significant albums in global music history,Made In Lagos, Native Magazine, under Saraki's editorial guidance, did something simultaneously honorific and consequential.
Dedicating four different covers and an entire magazine to Wizkid, Native chronicled the rise and reach of Wizkid's impressive global stardom through an extensive profile of the man himself and also through the eyes of his managers, producers, visual artists, and the people his music has touched at one point or another. Called the Wizmag, it was a befitting celebration of a generational artist whose project was already piloting the rise of Afrobeats music in the late 2010s.
More than five years later, that editorial project helped provide a thorough, on-ground perspective of Wizkid for the documentary. It is through the cultural insight provided by that editorial project that the documentary was able to accurately contextualize and frame Wizkid through the eyes of the people who know him best. Having a Nigeria-based media outfit involved in the production of an important film about one of its brightest stars was also a necessary step in telling a culturally resonant story.
"I see how it would look like a full circle moment," Saraki tells OkayAfrica. "I think for us, it's a testament to what we tried to do when we started Native. When [Karam] was working on the film, he saw that Native kept coming up in the research, and then he stumbled on Wizmag."
Saraki says that the documentary is a candid look at the grueling work that goes into maintaining the level of excellence for which Wizkid's artistry is known. "You can't do that stuff by mistake," Saraki says. "There's a certain level of process and preparation and dedication to a craft to get to that level. I think this film shows, probably, the most intimate view we've seen from Nigeria to date in terms of this new generation of artists."
The way Saraki sees it, Wizkid: Long Live Lagos will come to be an important cultural artifact for emerging voices in the Nigerian music industry.
Examining the culture
As a storyteller himself, Seni Saraki has worked across print, music, and now film in a bid to understand and thoroughly examine the flow and bends of culture. With his magazine, for instance, Saraki sought to engage with Nigerian music on a cerebral level at a time when many were simply consuming it without contextualizing it. The central theme in his work and one of the key forces that drew him to the project Wizkid: Long Live Lagos is an appetite for stories or artists who can get people to care about something.
"Getting people to care, to have an opinion about something in this day and age, when there's such an impression on people's time, that means a lot, and that's how I pick a lot of my projects," he says.
With Long Live Lagos, Saraki says he is most excited about the scope of the project. The documentary also looks at the rise of stan culture in Nigeria, focusing on how Wizkid's massive fan base helped pioneer a movement of rallying around Nigerian artists and building entire ecosystems around fandom. This documentary takes the opportunity to delve into the psyche of that movement.
"What this film encapsulates is that the love of these figures [like Wizkid] has shifted to being about talent and what you're good at, and these guys are offering their music to the world. That's why stanship now feels bigger. It's not about how rich they are. There's still a section of society that loves them because they're rich, but it's now about 'I love Wizkid because this song did this for me at this time in my life,' Saraki explains.
As viewers get a peek into Wizkid's life and the technicalities that make him Wizkid, Saraki hopes that this project allows people to slow down and appreciate how far Afrobeats music and the Nigerian music industry have come.
"I hope people first see it as a celebration of Wizkid and the celebration of the genre and the movement as a whole. There's a lot of conversation around how Afrobeats is doing, whether we're making progress, and if the story has ended. But there's still a long way to go, and there's still stuff to do," Saraki says. "Sometimes we get so insular, but are there a lot of countries apart from America that have six potential stadium artists in another country? I don't know if five artists from Spain could sell out the Tottenham Stadium. That's not to say rest on your laurels and think you've made it, but some people have done some incredible things. I think that's one thing I want people to take away from the film."
Young Jonn has been one of the most penetrating voices in Afrobeats these past few years. With several hits under his belt and the commercially successful Jiggy Forever album, the Chocolate City man has earned the right to flex his laurels and talk about how great he is, which is the main theme behind “Che Che,” his new record. On “Che Che,” he’s joined by Asake, another artist who constructed his acclaim upon such rocky ground. Both artists are in scintillating form as they reflect their distin
Young Jonn has been one of the most penetrating voices in Afrobeatsthese past few years. With several hits under his belt and the commercially successful Jiggy Forever album, the Chocolate City man has earned the right to flex his laurels and talk about how great he is, which is the main theme behind “Che Che,” his new record.
On “Che Che,” he’s joined byAsake, another artist who constructed his acclaim upon such rocky ground. Both artists are in scintillating form as they reflect their distinct styles; the sweet-tongued bounce of Young Jonn floats in cheerful cadences, complemented by the swagger-driven rhythms of Asake, whose recent music has reflected his hip-hop influences even more vividly. All these nuances of delivery take on a searing form in this new single.
The song is co-produced by Jaytunes and Young Jonn himself, recalling the 2000s when, as a YBNL-affiliated producer, he soundtracked the uptempo direction of the era’s street pop. Perhaps that’s where his distinct interpretation of amapiano comes from, blending its hypnotic percussion with a flair that echoes the nightlife of Lagos.
In his verse, Young Jonn affirms that “I get am before no be property…deliver me from my frenemies,” the lyrics are sung with an almost religious earnestness, seeing as spaces as the ones he enjoys are exclusively accessed by money and influence. Assured in his place, Asake paints the other side of the picture, asserting that he feels good, "mehn I’m too fly / praying, Alubarika, everywhere good, agba baller.”
“Che Che” would resonate with those who hit the road often and stake it all on the promise of a good time. Its anchor on divine help will do its bit among Nigerians, who are famously prayerful, except here it’s delivered with fiery pomp rather than solemn admonition. Following the upbeat direction of Young Jonn’s music, “Che Che” proves the natural follow-up to records like “Wetego,” on which he contributed a verse for his label mateBlaqbonez, and “Only Fans,” which had been Young Jonn’s first release of the year.
Once again, Young Jonn proves himself a force on the dance floor.
A few weeks ago, Davido made a bold claim that Lagos probably has the best nightlife in the world. The Afrobeats superstar expanded on that sentiment, saying, "There are so many things to do in Lagos … there are crazy parties everywhere, we have good restaurants, the private beaches … everything is there in Lagos."It's a grand statement, but one that Lagos has been building toward for over a decade. Back in 2008, Banky W sang of the city like a dreamland in "Lagos Party," where everything is pos
A few weeks ago,Davido made a bold claim that Lagos probably has the best nightlife in the world. The Afrobeats superstar expanded on that sentiment, saying, "There are so many things to do in Lagos … there are crazy parties everywhere, we have good restaurants, the private beaches … everything is there in Lagos."
It's a grand statement, but one that Lagos has been building toward for over a decade. Back in 2008,Banky W sang of the city like a dreamland in "Lagos Party," where everything is possible and the fun never stops. Sixteen years later, Lagos has mostly justified its top-tier placement as an Afrobeats destination, and the numbers prove it.
When the sun sets in the city, something electric happens. The beats drop, bottles pop, and Lagos transforms into Africa's party capital. But beneath the pulsing rhythms and flashing lights lies a massive economic engine powered entirely by Afrobeats.
According to a recent report by Lagos-based advisory and investment management firm TAG, titled Uncharted Waters: Nigeria's Afrobeats Economy, the genre doesn't just soundtrack the city's nightlife; it powers it. From superstars visiting clubs and splurging cash to the drinks at every table, Afrobeats drives everything from beverage sales to food service, smoking accessories, and more.
The numbers are huge. Drinks contribute to 90 percent of sales at upscale venues, with most recording an average consumer spend of N617,000 ($394) per table. With clubs averaging about 20 tables each and factoring in variables like club days and venue capacity, the annual gross revenue hits approximately N1.9 billion.
One can barely keep track of the hot spots. Names like Hotbox, Quilox, and Secrets Palace dominate conversations and even get referenced in Afrobeats records. These venues have become more than entertainment spaces; they're cultural institutions where Nigeria's top artists naturally gravitate, drawn by Lagos's longtime status as the preferred residence for the country's music elites.
But the scene extends beyond traditional clubs. Raves have carved out their own space, championed by young people seeking more inclusive spaces and outdoor activities. Events like Element House and Group Therapy have popularized subgenres like gqom, Afro House, and EDM, generating revenue through table sales and merchandise while pushing sonic boundaries.
This nightlife ecosystem creates waves throughout Lagos's economy. Informal economic activities spring up around these venues, hotels, transportation services, and food vendors, all catering to the steady stream of party-seekers. The impact is so significant that house rents on the Island command premium prices, with these areas considered high-value specifically because of their nightlife appeal and affluent clientele.
As more Africans in the diaspora return home, Lagos and Accra have emerged as top destinations; their established nightlife systems create memorable experiences that keep people coming back. Brand sponsorships also naturally follow, with alcoholic companies particularly interested in events that coincide with the most consumption of their products - a good night out.
Just last week, this cultural influence reached a new milestone when businesswoman and film producerMo Abudu opened Lagos's first restaurant "dedicated to the iconic genre of Afrobeat" on Victoria Island. While technically honoringFela's original Afrobeat, the venue captures the broader musical movement that evolved from those roots, proof of how this sonic lineage serves as a unifying force, binding Lagos's diverse demographics together.
Yet Lagos nightlife faces serious challenges that temper its success. Government-driven issues like inadequate security and poor road networks create incessant traffic that can turn a night out into an ordeal. The high-stress levels that come with navigating Lagos ironically fuel the very music the city inspires, a cycle of tension and release that keeps the creative energy flowing.
What Davido understands, and what data from this report confirms, is that Lagos hasn't just built great nightlife. It's created a cultural-economic ecosystem where music, money, and midnight converge into something approaching magic.
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