Zoro’s entry into the popular Nigerian music scene was promising. Not only did I find his music accessible, but I also believed he was primed to be South East’s next rap superstar after N.I.G.G.A. Raw, ILLBliss, Phyno. He dropped a series of notable singles, like Ogene featuring Flavour (2016), and received a Next Rated nomination at the 2018 Headies Awards. A debut album seemed the natural progression. But we got more singles instead.

I talked to Zoro, born Owoh Chimaobi Chrismathner, about getting into music as a teenager, his admiration for local culture and all the hard lessons his experience in the music industry has taught him.

First, I have to ask. Why “Zoro”?

Around 2007, I rapped for vibes and went by Zoro Machine Gun Perenre. I got Zoro from the popular “Zorro” movie franchise. The “Machine Gun” part was me just being quirky. I wasn’t sure music would be a full-blown thing for me, but my friends encouraged me to write more rhymes. 

When did it become a full-blown thing for you?

The first time I recorded a rap. I went from Onitsha to Enugu to record two verses, one in Igbo, the other in English. My friends liked both, but particularly the Igbo version.

Three months later, the late DJ Real, the engineer who recorded that studio session, told me he played the song for Wizboyy, and the man wanted to work with me. His song was supposed to feature N.I.G.G.A. Raw, but he wasn’t around, and Wizboyy needed to submit it to his management ASAP. I wasted no time and travelled to Enugu to record a feature on Owu Sa Gi off his 2008 “New Face of My Story” album. 

I was 16 years old, and that was my second time in a recording studio. It’s a special moment I look back on whenever I second guess whether I’m in the right profession.

What was it like in the studio with Wizboyy?

I was nervous, but he acknowledged my recording was nice and kept it moving. He already had hits like Screensaver, but our jam did better and sealed his street credibility. After that, I became his backup artist and hype man. 

Owu Sa Gi gave me a soft landing in the music industry. Without it, it’d have been more challenging.

How soft?

Well, I moved to Lagos in 2014 to live with Wizboyy and get closer to the music industry. Then a guy signed me on a five-year record deal, and I moved in with him. My focus shifted from balancing music with everything from marketing to content creation to fully recording music. He and the rest of the team handled the business side.

My name and music entered the mainstream through cosigns from Flavour and Phyno. That would’ve been the best time to make a debut album. But I parted ways with the label after a year and went back to dropping songs on my own.  

What happened?

Some people wanted to invest in my music, but the founder/CEO who signed me didn’t like the deal. I didn’t present us as a team to the investors. Later, I realised I should’ve made it clear I was already signed. But I was young, impatient and carried away by the sway of the investors.

The problem I had with the label guy was he never shared his plans with me. I couldn’t sign with the investors because the label’s lawyers were after me. For the next three years, I fought the situation with the Holy Spirit, fasting and prayers, while my manager handled all future contracts. The whole thing gave me anxiety and PTSD.

What did you do after?

I dropped Ogene featuring Flavour (2016), and it became my first big song. Then I contacted the former label to see if we could take it from where we left off, but that conversation didn’t go far. He wanted a cut of my royalties for the rest of my career. I got the vibe that working with him again would be stressful, so I let it go. 

Did you consider making an album after the success of “Ogene”?

No. I focused on putting out more singles to keep up the momentum. The second time I tried to make an album was in 2019, but I had another blocker. I started smoking, and it affected my vocals. When it was time to record, I had to do multiple takes. I went to an ENT (Ears, Nose & Throat) hospital, but the doctor said nothing was wrong. I went to see another health professional and paid for treatment but didn’t get better.

Ahh. What did you do in the end?

I had to be patient with my voice. I’d take a verse a couple of times, and if it wasn’t giving me what I wanted, I left it and did something else.

I’m curious how you became a smoker

One of my friends always wanted me to smoke with him, but I declined until one day in 2018. I had a flight to catch and needed to quickly figure out the intro for Stainless before heading to the airport. Nothing hit. The friend was there, and he persuaded me to smoke first. I took two puffs and recorded the thing sharply. It became a thing I did whenever I wanted to record. 

But now, it’s a once-in-a-while recreational thing.

When were you able to get back on track?

By 2022, it hit me that I still didn’t have an album. I looked back at all my years in the game. No body of work, just singles. 

I had to make an album, and it had to be something different. Most of my early songs are up-tempo and fast-paced. I decided to make calmer songs to show another part of myself, and the producers were in sync. Features from Mayorkun, Chike and Mohbad came easily, so it took two months to get the album ready. 

My first album, Sound Check, dropped in 2023, 17 years after I entered the music scene. But I’m proud I could finally pull it off.

Then you dropped an EP right after

A few weeks after the album came out in 2023, someone heard Medicine After Death, which featured Mohbad, and commented that it was the last time we’d hear Mohbad. It was a sad and painful comment that hit me hard. So I announced a challenge to get music producers to drop their remixes. We compiled the best entries into an EP and released it in December.

A new listener may find the title intriguing, but it’s a love song. I wrote and recorded the hook first but didn’t like how it sounded, so I sent it to Mohbad. We’d been talking about creating together for a while. He liked it, and we recorded the song the same way I wrote it.

What’s happening in Ibadan? You’ve shot a lot of content there recently

Ibadan is one of the most respected cities in the Southwest. But I hadn’t been there before. I visited to connect with its people and get familiar with the city. And I realised I could be myself there the same way I’d be in the East. I was able to make content for a song called Gangan, a fusion of talking drum beats and amapiano. It’s coming soon.

You have an open closeness with fellow artists — Falz, Mayorkun — that’s rare among Nigerian musicians

I pay attention to personality. It’s easier to connect with genuine people that way. Getting close to Mayorkun took a while. He’s the type to take his time, but once he connects with you, he’s your guy 100%. I like Falz because he tries to be on the side of what’s right. Ephemerals like money and clout don’t have a hold on him. That’s a great thing.

When should we expect the next album?

My sophomore album is ready. I have three projects coming out this year: Pressure, Black Pink and Six Pack. 

After that, I want to work on something more detailed and personal: a story about my origin and journey. I want to channel the same energy into my stagecraft. I want it to be as great as my songs, powerfully capturing their essence. I also plan to explore my fashion side with some merch in the works.

Which artists are you feeling right now?

Ratty, Kolaboy, Laxxy, Hugo P, Ugoccie, Paragon Qtm, BeePee and Bkay! I like Jeriq too. He makes himself available for meaningful collaborations and is always on the move. I respect that. 

These guys have enjoyable flow and delivery. These are qualities those on the come-up can emulate. Not every listener understands your language, but they’ll connect to it based on how you present it. You have to be intentional.

Read Next: “People Still Like Me This Much?” — Reminisce Celebrates Fan Response to “Alaye Toh Se Gogo”

But should whatever new music they make remain in the vault indefinitely because they’re no longer the rave of the moment? Will anyone give them any time of the day if they release new music?

Let’s look at these issues, using Nigerian Hip-Hop artists as case studies, in this piece.

In-between the general banter and check-in between Vector tha Viper, Sinzu and Ikechukwu in a recent 11-minute long screen-recorded IG live video, the three rap veterans discussed their status as older artists and renewed focus to make more music. The core of their conversation bench-presses on this year’s Nigerian unofficial watchword: “No gree for anybody”, which can be colloquially interpreted as “to stand on business.”

Evidently, these three rappers are standing on business: Sinzu is posting new music snippets, Ikechukwu released a new album, “O.G.Unkle.Killz” on March 15, and Vector, who hasn’t stopped releasing music in the last six years, is ready to go harder.

During the IG live, Sinzu mentioned that Gen Zs act like they don’t know him, which is almost true. Sinzu (FKA Sauce Kid) hasn’t been in the spotlight in almost a decade, not since his 2017 run-in with the law in the U.S. His last EP went by without a noise in 2021. On the other hand, another colleague put out a project without much care for Gen Z’s acceptance. Breeze, a song on Ikechukwu‘s new album has been labelled a fresh breath of air since its release.

But I think that instead of being hyper-focused on Gen-Z, OGs should direct their energy to their dedicated fans. They’re familiar with the brand and will listen to the music as long as it’s great. While life, family and other things may take priority, if a released music resonates, new fans will pick it on the way. In November 2023, Reminisce released “Alaye Toh Se Gogo”, seven years after his last album. Fans’ demand inspired the project and the reception he’s since received has surpassed his expectation. Four years after “ILLY CHAPO X”, rapper Illbliss put out a new album, “Sideh Kai” in February 2024. Modenine is still active and catering to the fans who enjoy his art.

The “small” matters of finance and profitability can’t be ruled out, though. Nigeria is a poor country and has no industry structure and funds for OGs to stand on. Here, people make money when they are on top. Diminished star power and fanbase and intangible streaming revenues aren’t enough fallback options either.  In markets like the U.S., artists can do 500-1000-capacity halls because investment in infrastructure supports them — Older international acts like Sisqo can still go on tour simply because there’s a structure to cater for him. The opposite is the reality that plagues the elderly class of contemporary Nigerian music.

There’s no need for OGs to force or recreate what they were widely known for anymore. Identity crisis, fear of ageism and criticism should go out the window. No one will be on top forever. But the grace is always there. The veterans may not be popping like they used to but their core fans — their community — will always listen.

The realisation and acceptance of everything above comes with an openness to tell new stories in tune to their current reality. This has played out in the case of Reminisce who’s embraced fatherhood since “Baba Hafusa” till “Alaye Toh Se Gogo,” which talks about getting older, navigating relevance and putting on the next generation of artists.

Illbliss’ “Sideh Kai” is a testament to giving back to his fans and importantly, being a family man and a dad. Vector and M.I have also been on self-discovery yet triumphant journeys— it’s clear in the content of their new music. This openness pushes their art to more impact and opens them to more interpretations. This is the only way they’ll possibly make music that gets finer with their age.

The beauty of making music at an old(er) age is rooted in the purpose and passion of the artist. So, instead of worrying about investing in streaming farms to push albums like Ikechukwu jestingly said on the IG live, he should double down on the newly found purpose that’s fuelling his passion.

As we go deeper into the year, more veteran artists should quit watching on the sidelines and get back into the game. Not to prove a point or dump stashes of stale music on us, but to find love in what they do again. People are still cheering.

We Wondered Where These Nigerian Artists Are, So We Went Digging

When Pheelz worked as an in-house producer at Hit Factory, a studio in Ajao Estate, Lagos, all he had was the self-belief that he’d one day have big hits. About 10 years later, his 2022 single Finesse became the most Shazamed song of the year, he’s since performed at venues like the O2 and met legends like Dr. Dre.

His most recent stride is his collaboration with US music royalty Usher — a process that birthed “Coming Home” and “Ruin”; two songs on Usher’s latest album. “Coming Home”, produced and co-written by Pheelz, is the album opener and a fresher take on the pop-R&B sound that has kept Usher relevant for three decades. “Ruin” leans on amapiano and Pheelz delivers a moving second verse.

In this conversation, Pheelz recounts his electrifying synergy with Usher and the magic of making music together in the same space.

How did the linkup with Usher happen?

In 2023, my A&R, Marc Byers took me to a studio owned by L.A Reid — Usher’s longtime friend, producer and business partner — to work on “Coming Home”, the title track of Usher’s new album. L.A Reid heard it when he walked into the studio. He lost his mind and thought it’d be great for Usher’s album, so he set the meeting up. Everything happened quickly from there. Next thing, I was in the studio with Usher.

Can you describe what it was like being in the studio with Usher?

An out-of-body experience. When Usher and I recorded the songs, they sounded just as incredible as we wanted them. It was wild to imagine I went from creating music in Gbagada to recording Usher and directing his vocals.

After L.A Reid heard “Coming Home”, how did you also get “Ruin” in the mix?

On the day we recorded “Coming Home”, I also played him and his team “Ruin”, which was a song I made with my South African artist-friend Manana while I was in South Africa in 2022. It was one of those moments in the studio where the energy in the air was just crazy. And then yeah, they said it needed to be on the album.

I’m asking for a friend. How did Warner Music become home?

Finesse blowing up attracted many record labels including Warner Music. They all brought their numbers and highlighted their achievements. But only Warner Music resonates with me.

Aside from Warner’s reputation as a giant music company, I chose to work with them because it’s a joint effort with them. We both want to figure things out and reach a goal. They’re not a label trying to boss over an artist. I have my artistic freedom and that gives me comfort. 

When you think of your trajectory, what are key moments you recognise and can say led you to where you are now?

Watching the choir’s performances in my dad’s church laid the foundation for my musical interests when I was around four years old. At 12, I taught myself how to play the keyboard and use production software like FruityLoops to make beats. Then, I gave my 20-track demo CD to Mayo Hunta, a veteran artist and producer and an acquaintance of my dad, to play for ID Cabasa. Cabasa liked it and asked if I’d be open to an internship at his label, Coded Tunes in Bariga.

I met Olamide at Coded Tunes — we were the studio rats. When we first worked together, it was for a song titled Owó (money). I had stolen Cabasa’s computer password and told Olamide we could work on our own when no one was around. We contributed money, bought fuel, worked overnight and deleted the files before Cabasa came in the morning. Subsequently, we made lots of songs and applied our knowledge and got better in the process. We had seen Banky W, 9ice and many big artists at that time record at Coded Tunes. We had tasted and felt greatness. We poured all we learned into ourselves.

After Coded Tunes, I worked as an in-house producer for 2204, a studio in Ajao Estate. I left Bariga, and Olamide and I only texted each other. By then, I had gotten my first official placement on his I’m Going In song, off the Rapsodi album.

One time after his exit from Coded Tunes, we chatted about working together again. By then, I had already moved from 2204 studio to Hit Factory, another studio in the estate. Olamide and I linked up again and made First of All. I remember Olamide’s call the day after he released the song. He said, “I told you we got this shit.”

Did you ever see yourself making music at this global level?

I’ve always believed since I was young that music would take me to high places.

Back in Hit Factory, where I met Young Jonn in 2011, it was the same energy. Jonn and I always told each other at that time that we would sing, not only produce, and hit it big. It’s why our song Jelo means so much to us. We call each other sometimes and just geek about the song and its success. It’s a full-circle moment because that belief has always been there.

Read About Pheelz, Young Jonn and the Rise of the Producer-to-Singer Phenomenon

Who are your favourite collaborators?

Olamide.  After Finesse, I constantly travelled and we didn’t catch up for a year and half — Baddo was also busy running YBNL. We finally linked up in 2023 and made music from scratch like we did in the old days at Coded Tunes. Joy is the result of that process. I love working with Young Jonn, too. 

Who are your dream collaborators?

At home, I want to work with 2Baba and Burna Boy. I think Burna and I can hack a new level of sound. Internationally, I’m heavy on Beyoncé and Billie Eilish. I’d like to collaborate with Drake and Future as well. But if Jay-Z or Ed Sheeran sef come, no dulling. These collabs would be dreams come true.

What upcoming artist excites you?

There’s a lady called Yimeeka. We’ve worked together on songs and her EP is coming out soon. I’m excited about her future.

What do you do when you aren’t on stage, in the studio or writing songs?

I’m writing or painting. I have six art collections that are currently for my eyes only. I like expressing myself through painting as much as I do with music. I’m into 3D animation and design as well— I produce my lyric videos myself. 

I’m also building a creative company called Rii Collective which I have now put Mr. Producer Inc, my event management company under. 

You previewed a song for the AFCON final in case Nigeria won. Unfortunately, we lost. What will happen to it now?

Omo, the second verse of that song is bad. I might drop it on Twitter one of these days.

What are you looking forward to?

I’m looking forward to my new single and tours this year. I’m also excited to reach out to the needy back home in Lagos through Pheelz Giving (my charity organisation). It’s my way of giving back to society and putting smiles on people’s faces with the provision of their needs, not just music. You know, Nigerians are going through hardship right now and we have to look out for each other.

Hey! The third episode of our Valentine Special out. We brought back two best friends to share how their relationship has evolved in the last five years. Watch below:

Listen here:

Love Me First — Chidinma

Nigerian Gospel music meets Amapiano on Chidinma’s latest song. Love Me First is her claim that God’s love for her existed before birth. Legworks can’t fail to this song of praise.

Ojoro — Mike Abdul feat. Clement Wyte

Ojoro, as stated in Mike Abdul’s song, is a snide remark haters drop when they see blessings falling on your lap and blame God for impartiality.

Lolo Remix — O’Tobi feat. Drakare

O’Tobi gets deep in his loverboy bag to describe the joy his babe gives him. God also got some shout-out for sending the babe his way. Drakare seasoned the track with a rap verse.

Made A Way — Prince Dayo feat. Hosana

Made A Way is a well-scored ministration song. From its slow-paced drums, guitar and keyboard chords to the choral backups, this track can never miss any time you yearn to praise and worship.

Adonai — Stephanie Keri feat. De Muna and David Williams

If you need gospel worship songs that sound like the clouds are open and angels are hovering around, I recommend Stephanie Keri’s Adonai. David Williams’ soothing vocals backed up Stephenie, and De Muna fueled it with her spoken word performance.

Do to Me What You Want — Dunsin Oyekan

In an eleven-minute-long ministration of worship and praise music, Dunsin Oyekan leads the music about totally surrendering himself to the higher power. Do to Me What You Want is a dedication song. 

Jaiye — Kaydeegospel

Kaydeegospel made this song so intimate one would first think it’s about a lover, but it’s God. Have a sweet relationship with God together, and make this your date soundtrack.

He Cares — PYEFA 

PYEFA uses his faith as a reference point for those seeking God’s face. He sings, “I no know wetin be your story, just know that Jesus Christ, he cares for you.”

Psst! Have you seen our Valentine’s Special yet? We brought back three couples – one now with kids, one now married and the last, still best friends – to share how their relationships have evolved over the previous five years. Watch the first episode below:

Discover the Spotify Gospel Playlists to Add to Your Morning Routine

LOVRBOY — Praiz

Just in time for the Valentine season, Nigerian singer-songwriter, Praiz, rolled out an EP titled LOVRBOY. A collection of four songs that dig into love, longing, intimacy and the romantic notions he holds about his lover, LOVRBOY is a short and fresh project to play on repeat with your own lover.

OLORI (The EP) — Logos Olori

Logos Olori introduces his music in an expansive way: a seven-track project. Pop-ready and prepared for the mainstream, Logos sings about love and enjoyment with guest appearances from his label boss, Davido, on Easy On Me, and Hmm Hmm with South Africa’s Musa Keys. It may be a regurgitation of generic Afropop topics, but the production holds the music together. Logos’ melodies and tranquil delivery make his music worthy to listen to. 

PRISMATIC BLVCK — Blvck Topia

Blvck Topia is a digital artist and creative director with a music career spanning over three years. His latest EP, PRISMATIC BLVCK, paints visuals of sonder, love and the beauty within. He shares a peek into his escapism habits on Beautiful mind and Ah Ah, his romantic life on Bad and compares himself to Ota Benga on Blvck Boy. The production offers a potent psychedelic mood, and Topia’s vocals offer some shade from the depth of emotions. PRISMATIC BLVCK is calmness in stormy weather.

MUIS EP — Muis

This titular five-song EP leads with SAATI RAMONI, a sleeper Afropop bop that Muis released as a single in 2023. The song may be Afro-Adura — one of the many new sons of Afrobeats — but the EP offers more. It showcases Muis’ vocal and songwriting skills, revealing that he can hold the ears of the streets and the ladies. OMALICHA and OH MY GYAL (KUMBAYA) with producer, Ozedikus, introduced his bad-boy-next-door side in Afropop touched with dancehall. He found love he wants to keep on WAYO, and the amapiano-powered closing track, MY BABY, pulls him and this new love to the dance floor. 

H.A.R.D — YDEE YDEE

H.A.R.D is an acronym for Hip-Hop Across Rhythmic Dimensions. From the feel-good songs like GOOD TIME, afro-swing jam, I LIKE IT, and Afropop-edgy JEJE to the rap cuts that close out the project, H.A.R.D shows us Hip-Hop from an experimental perspective. It’s applaudable how the music producer, artist and collaborators all poured Afropop-edge into making something so thematically cohesive and representative of its title.

It’s About A Girl — Kinj K.A.D.E 

Dramatic and toxic relationships take centre stage on Kinj K.A.D.E’s EP It’s About A Girl. The singer displays a calm but firm grip on R&B smoothly blended with Trap Soul and Afro elements to express his versatility and aid connection with the local environment. If you’re still sentimental about an ex, or tired of relationships and thinking of entering the streets, firstly, get lost in Kinj K.A.D.E’s story about a girl and imagine it as yours.

Our Valentine Special is here. We brought back three couples – one now with kids, one now married and the last, still best friends – to share how their relationships have evolved in the last five years. Watch the first episode below:

Ritmo Mafiaso — Idowest

Nigerian rapper, Idowest, just stacked his discography with a new EP, Ritmo Mafioso, meaning “mafia rhythm”. It’s a skein of street catchphrases, religious innuendos, and party and money yarnings across seven songs weaved on majorly Amapiano production. Idowest wants you on your feet, grooving.

Hooligan / Why — Lucid

Burgeoning Afropop singer, Lucid, starts his 2024 with a two-pack single Hooligan and Why after his introductory Hi I’m Lulu EP of 2023. In deep reflection, the first song expresses his debaucherous vices as symptomatic of his environment. Lucid hangs to the belief that if he doesn’t find time to curb these vices, he might be headed down a lost road. The song smoothly segues into his lover-boy moment on Why. Two vulnerable emotions in one pack, for the lost kids and lovebirds.

Listen here:

We made a timeline of her journey from Jo’burg to the Grammys.

2019 — Tyla, Garth von Glehn and Getting Late

Tyla had just graduated from high school and started posting singing and dancing covers on social media when a photographer named Garth von Glehn discovered one of her Instagram videos. She mistook him for an online scammer until he met her parents to discuss managing her in 2019. 

Throughout that year, she and her bestie and stylist, Thato Nzimande, spent weekends writing and recording songs at von Glehn’s studio until she met South African DJ and music producer, Kooldrink, and recorded her eventual debut single, Getting Late. This was when she picked up her Popiano sound, a fusion of amapiano and afrobeats with R&B and pop music.

2021 — Epic Records deal and Blood & Water series

After a quiet COVID year, writing and recording, Tyla signed to Epic Records — home to Mariah Carey, Travis Scott, DJ Khaled, the late Michael Jackson, among other icons. This happened in a joint venture with the Jo’burg/New York-based music company, Fax Records, in 2021. Soon after, she dropped her next song, Overdue, a collaboration between Tyla and DJ Lag, a South African DJ, producer and pioneer of the gqom genre (a style of electronic dance music). The song was featured in the season two trailer of Netflix’s South African hit series, Blood and Water. 

2022 — Nomination at SAMA

Getting Late music video was nominated for “Best Video of the Year” at the 28th edition of the South African Music Awards (SAMA). At this point, it had amassed several million views on YouTube. She didn’t win, but the nod was a big deal for such a new artist on the scene. In November, Tyla released To Last and made a remix with DJ Maphorisa and Young Stunna.

2023 — Tour with Chris Brown and breakout hit

In January, Tyla released the dancefloor jam, Been Thinking. At Tricky Stewart’s Grammy party later that month, the head of Epic Records, Sylvia Rhone, asked Tyla if she’d like to open Chris Brown’s “Under the Influence” Europe and UK tour. She joined the tour on February 14th, solidifying her audience base, especially in the U.S.

For the first episode of our Valentine Special, we brought back three couples – one now with kids, one now married and the last, still best friends – to share how their relationships have evolved in the last five years. Watch below:

During the tour, she attended Dolce & Gabbana’s Fall/Winter 2023 runway show, where she was seen with Kim Kardashian and performed at the after-party. She also featured Ayra Starr on her next promotional single, Girl Next Door, in May, and dropped what would be a life-changing global hit — Water — in August, the same month during which her iconic choreo went viral. Water debuted at number 67 on the US Billboard Hot 100, the only South African song to do this in 56 years, since Hugh Maskela’s Grazing in the Grass (1968).

In October, Tyla made her U.S. TV debut on The Tonight Show with Jimmy Fallon, performing Water. The same month, Water was considered for nomination for the Best African Music Performance at the 2024 Grammys Awards. In December, Tyla released her self-titled introductory EP. The project opened with Water and ended with its remix, but has now been extended to a full album coming on March 22, 2024.

2024 — First platinum, Grammy nomination and win

In January, Water was certified platinum by the Recording Industry Association of America. On February 5, Tyla won the first Grammy Award for Best African Music Performance with Water, among nominees like Nigeria’s Davido, Burna Boy, Asake and Olamide.

The year is still young; who knows what more it’ll bring the aspiring global African popstar.

Check Out the Complete List of Grammy Awards 2024 Winners

Listen here:

Chocolate City Cypher

In the last five years, the Nigerian Hip-Hop community has gotten used to Blaqbonez, A-Q, M.I Abaga and Loose Kaynon uniting for collective cypher sessions. They began 2024 with their latest Chocolate City Cypher, with OGs, Jesse Jagz and Ice Prince. It’s a nine-minute-long display of lyricism and flow that’s attracted “CC Cypher Freestyle” entries from several budding MCs since.

Cecond Chronicles — Caleb Clay

Lagos rapper, Caleb Clay’s new EP, Cecond Chronicles, is a three-song pack that unwrapped his sober reflective side (Notes to Self) and his Afropop lover boy side on The Cycle. The last track, Maybach Dreams, is an aspirational song about living life like successful rappers do, featuring BKay!

Evil Twin — PsychoYP and Jeriq

In five tracks, Abuja and Enugu rappers, PsychoYP and Jeriq, share chemistry and flow similar to what we’ve heard on Trapping off Jeriq’s 2022 Billion Dollar Dream album. Evil Twin symbolises their synergy and fondness for each other’s craft. Important to note that this EP is executive-produced by Phyno — an applaud and co-sign for the youngins. If you like hearing rhymes about spending 100 racks in a sitting, looking fly without stylists and just being a cool youth, this one’s for you. 

If They Are Real — Vector ft. Bella Shmurda

Vector bares his soul on If They Are Real, spitting lines like “God bless the people keeping it real with me / To the people who saw me do the ordeal with me, I’d have tapped into the realm of that which killed Whitney.” Bella Shmurda follows with an emotive performance that complements the song’s theme.

PALMWINE IN A BENZ — 02Morse

Morse left music for a year and returned with PALMWINE IN A BENZ. It’s bouncy, melodic and tailored for your weekend turnup.

For the first episode of our Valentine Special, we brought back three couples – one now with kids, one now married and the last, still best friends – to share how their relationships have evolved in the last five years. Watch below:

The Efeleme Pack — Alpha Ojini

Rapper-producer, Alpha Ojini, released a newly mixed and remastered version of the three-track project that initially came out during the cash scarcity in 2023. The title is a playful pun on Godwin Emefiele, featuring rappers, PDSTRN and PsychoYP.

Gas Me Up (Diligent) — Skepta

Gas Me Up is the second single off Nigerian-British rapper, Skepta’s forthcoming album. No holdbacks, just straight up bars, shots at his enemies and brags about his uncommon expensive wine. Skepta may be gangster, but he’s a flush one and he wants you to know it.

Get Familiar With The Hardest Nigerian Drill Songs of 2023

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

These eight songs in particular are what got him there.

My Body — Zlatan ft. Olamide

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

Killin Dem — Zlatan and Burna Boy 

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

Gelato — DJ Cuppy ft. Zlatan

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

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

Cash App — Bella Shmurda ft. Zlatan & Lincoln

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

Hallelu — Masterkraft ft. Zlatan & Bella Shmurda

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

Money — Zlatan ft. Davido

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

Elon Musk Remix — Shallipopi ft. Zlatan & Fireboy DML

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

IDK — Wizkid ft. Zlatan

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

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

Hear The Young Voices of the Trenches

If you don’t know where to start, we’ve dug through your favourite hits for the very best lines.

“My baby, my Valentine / Girl, na you dey make my temperature dey rise”

This opening line of CKay’s Love Nwantiti straight-up makes it clear how perfect it is for Valentine’s Day. After expressing how your lover’s love keeps you warm in this cold world, the song goes on to say, “If you leave me, I go die, I swear / You’re like the oxygen I need to survive.” But this only works for people you love to death.

“Na you I wan retire with, my love”

Oxlade composed Ku Lo Sa for long-distance relationship folks. But this is a straightforward yet sexy line anyone can use to say they want to grow old together with their babe.

“You are my woman / My perfect human / You make my world feel so right even sometimes when I’m wrong”

What else articulates everything a person should be to their lover more than these lines from Asake’s Mogbe?

“You’re the one I want o / Before my liver start to fail”

Davido goes on to say that if he ever leaves his babe, water should sweep him away, then declares that his babe’s love is so sweet, he must experience it even if it won’t be for long. Listen to Davido’s Assurance for more inspiration on how to show devotion to your babe.

“They say love is blind, but I dey see am for your eyes”

Use this to appreciate your lover’s ever-present love. Nothing says, “I see the depth of your feelings towards me” more than this. Thank Davido for this line from Aye.

“Nothing fit distract me for Lagos / For January, I give you my money / Ego oyibo, ego oyibo, ego oyibo /For February, I put you my baby”

In four bars, Chike’s Ego Oyibo will help you assure your lover that your bond is stronger than Lagos babes, and all your foreign currency is for them every day of the month.

“I know say you be my healer / Nobody t’ole yawa”

If your babe heals your soul and no one can put an asunder between the two of you, this line from Seyi Vibez’s Cana is how you let them know. 

“Uloma, I dey on my ten toe”

This is a declaration that you’re fully committed, grounded and loyal to your babe’s government. Only they can make you feel this way, according to Young Jonn on Xtra Cool.

“The way you do fantastic / Have to put on glasses / Make you no blind me with this your body”

What you’ll be saying with this text from Burna’s Tested, Approved & Trusted is that the beauty of your lover is new every morning, like the sunrise. As it should be.

“It must mean I’m on your case, for me to come out / It must mean I’m at the door / I want to show you my world”

Do like Tems on Me & U and send this to your lover with a plane ticket to a cool baeacation spot. If not, which world do you want to show them?

Your Babe Won’t Live by Messages Alone, Get these 7 Practical Valentine’s Day Gifts for Them Too

We asked some industry players to share their views on Afrobeats’ growth last year and what they’ll like to see in the industry this year.

Adeayo Akinbiyi, music writer and journalist (PulseNg)

My favourite thing about the industry last year was its continuous growth. We’ve always wanted to see Afrobeats grow and propel universally, and we sustained that through the works of  our artists on the global front. Asake and Rema come to mind here. 

The breakout of new stars like Shallipopi is also a sign of the industry’s sustainability, especially during this period when many, including the U.S. market, are finding it hard to break out artists.

In 2024, I predict continuous growth for the Afrobeats movement; more artists on international stages, new breakout stars, and street-pop music will keep expanding and influencing the soundscape.

I also hope to see more street artists operating on the same level as other pop stars. There’s a strong street marker underlying our music, and I want it to manifest in 2024. I hope for more female stars because we didn’t see any last year.

We’ve always discussed structure as part of Afrobeats’ lack. In 2024, I hope more attention will be on how we build and operate locally. Labels, stars and stakeholders should leverage their powers and funding to build locally. They should collaborate with the government and private sector to build entertainment infrastructures and ecosystems. 

Of course, more funding and grants must come into the system and impact burgeoning creators and media guys who are amplifying the music, documenting the culture and taking it to the consumers. We need to empower people who’ll document the sonics of our country, those making them and how they’re impacting people and the nation as a whole.

Tope Agbeyo, Comms. & PR expert (Mavin)

Subgenres like emo-afrobeats and afro-rave got more expansive last year. The successes of Omah Lay, Shallipopi and Odumodublvck will incentivise people with niché sounds to go for originality —no need to try to be like anyone. In 2023, I observed that people willingly listened to what they liked without minding the sonic leanings. I believe that the capacity of the average Nigerian listener to have a palate for different sounds is one of our most significant assets. The streaming audience is not large enough to support niche listenership. We thrive because we don’t have just one artist we like. I’m glad last year proved that again. 

The live shows were mostly a mess, though. We must work on that in 2024 — from the infrastructure to promoters to organisers to artists to engineers, event planners and designers. Everything needs so much work. Live concert-goers deserve so much more. I mean, Afronation even had to dip. That’s a bad look. 

No music market is genuinely sustainable without a healthy live scene, so I expect that the stakeholders involved will do better this year. We can’t afford to disappoint so many people year after year.

Dami Ajayi, Culture/music writer

The Elele single, a minor resurgence of Oritsefemi featuring Qdot, was my favourite thing in Afrobeats last year. Street music generally, I want folks to pay more attention to the audience of street pop; they need pampering.

I also want respect for journalists, and for journalists to pay more attention to the music and less to the lifestyle and grimy gossip. I’d like to see producers get their day in the sun with publishing rights and cheques because expectations are sandcastles and a step beyond dreaming.

Lola Oyedele, Entertainment & IP lawyer 

I love that many women —  Qing Madi, Bloody Civilian, SGawd, and so on — blew up in the music industry last year. We also had so much music to listen to across different genres, and many Afrobeats artists sold out venues in different countries. The globalisation of Afrobeats is exciting. The things that we used to dream about are happening very regularly.

This year, I’m rooting for professionals. We’ve always been behind the scenes working tirelessly to make the stars shine.

I’m rooting primarily for women because we need to change the 7:1 ratio of women to men in the entertainment industry, and I can tell you the girlies are on fire.

2024 is also the year we need to get some things right: build at home and from home. Be a global sensation and develop a sustainable industry accommodating all creators and professionals. I expect that the government will also take the creative industry seriously and make stringent laws to protect intellectual property.

We need more spaces for shows — not just in Lagos, but other parts of Nigeria. I don’t want it to be a story of reggae and different genres that the West listens to and drops after they have milked the value out of them. Afrobeats should continue to grow. It’s a marathon, not a sprint.

Chike San — Indie music producer, singer

In 2023, our pop music enjoyed acceptance worldwide. In 2024, I’d like to see more innovation, creativity and experimentation because it’s clear the audience is open to hearing new sounds due to the range of music Nigerians gravitated towards. 

That said, another thing is I think we need to chill on seeking external validation and chasing acceptance from the West. I understand it’s what’s best for business, but we can do that without soiling ourselves.

Anyways Some Things Have Been Set in Stone for the Nigerian Entertainment Industry in 2024