Billboard ranks Rema among 21st century one-hit wonders

Rema makes Billboard’s one-hit wonder list 

Nigerian Afrobeats star Rema has been included in Billboard’s 2026 list of “The 25 Biggest One-Hit Wonders of the 21st Century.”

The ranking, released in early 2026, looks back at artists whose songs achieved major commercial success in the United States but whose follow-up releases failed to replicate similar impact on the U.S. charts. 

In Rema’s case, the recognition is tied to his 2022 smash hit “Calm Down,” particularly the remix featuring Selena Gomez.

“Calm Down” peaked at No. 3 on the Billboard Hot 100 and dominated the U.S. Afrobeats Songs chart, becoming one of the most-streamed Afrobeats tracks globally. 

The record not only expanded Rema’s reach in America but also cemented his place as one of the genre’s biggest crossover success stories.

However, Billboard’s classification focuses strictly on U.S. chart metrics. 

The publication describes the list as a retrospective of artistes whose single tracks reached significant commercial heights but did not match that level of chart performance in subsequent American releases.

Beyond the U.S., Rema’s catalogue tells a different story. 

Songs like “Dumebi,” “Iron Man,” “Woman,” and “Soundgasm” have racked up hundreds of millions of streams and charted across Africa and Europe. 

His debut album, Rave & Roses, reached the Top 10 on the UK Albums Chart, and he has collaborated with international acts such as Chris Brown on “F4F” and 6lack on “Running.”

The singer has also graced major global stages, including Coachella in the United States and Wireless Festival in the United Kingdom, underscoring his international appeal.

As of now, the Afrobeats star has not publicly responded to Billboard’s ranking, but the conversation it has sparked points to a broader tension between traditional chart success and the realities of global music influence.

Davido, Ayra Starr, and Burna Boy lose to Tyla at the Grammy 2026

South African superstar Tyla has once again outshone Africa’s biggest names on the global stage after clinching the Best African Music Performance award at the 68th Annual Grammy Awards, beating heavyweights Davido, Ayra Starr and Burna Boy.

The singer, born Tyla Laura Seethal, won the category with her hit single Push 2 Start, marking her second Grammy victory in as many appearances. 

She previously made history in 2024 with Water, becoming the first artist to ever win the newly introduced category. This latest triumph now makes her the first act to take home the award twice.

The ceremony, held in Los Angeles, came shortly after Tyla celebrated her 24th birthday, adding a personal milestone to an already remarkable career moment for the South African star.

Tyla edged out stiff competition from Burna Boy’s Love, Davido and Omah Lay’s With You, Ayra Starr and Wizkid’s Gimme Dat, as well as Eddy Kenzo and Mehran Matin’s Hope & Love, underlining her growing dominance in the African and global music scene.

Released on 11 October 2024, Push 2 Start became one of Tyla’s standout records and served as the lead single for TYLA +, the deluxe edition of her self-titled debut album. 

The song highlighted her signature “Popiano” sound, a polished fusion of Amapiano, pop and R&B that has come to define her artistry.

Nigerian government meets music industry stakeholders over royalty crisis

The Federal Government has taken a major step toward addressing long-standing concerns around royalty distribution and collective management in Nigeria’s music industry, following a high-level meeting with key industry stakeholders in Abuja.

The meeting, held on Tuesday, January 27, was convened amid growing backlash over the handling of royalties by the Nigerian Copyright Commission (NCC) and increasing calls for reform within the country’s collective management framework.

 For many stakeholders, the engagement marked the first serious attempt by government to confront what they describe as a broken system that has failed to prioritise creators and rightsholders.

The session was jointly led by the Minister of Arts, Culture, Tourism and the Creative Economy, Hannatu Musawa, alongside the Attorney General of the Federation and Minister of Justice, Prince Lateef Olasunkanmi Fagbemi, SAN. Also present were the Director-General of the NCC, Dr John Assien, and the Director-General of the National Council for Arts and Culture, Mr Obi Asika.

Industry representation came from major music sector bodies, including the Record Label Proprietors’ Initiative Ltd/Gte (ReLPI), represented by Mr Kizito Ahams, Senior Licensing and Publishing Manager at Mavin Records, and the Music Publishers Association of Nigeria (MPAN), led by its chairman and Premier Records CEO, Mr Michael Odiong. 

The discussions centred on deep-seated concerns about Nigeria’s collective management architecture, particularly its impact on musicians, publishers, and other rights holders.

Participants raised issues around opaque governance structures, weak accountability, poor reporting standards, and a lack of transparency in how royalties are collected and distributed. 

The meeting followed heightened public scrutiny of the NCC’s recent attempt to disburse private copying levies through a Collective Management Organisation (CMO), a move that previously drew criticism from ReLPI over questions of representation and beneficiary legitimacy.

Attention during the discussions inevitably turned to the Musical Copyright Society of Nigeria (MCSN), currently the only NCC-approved music CMO in the country. 

According to those present, urgent questions were raised around custodianship of funds, distribution processes, and clarity over who ultimately benefits from collected royalties.

Sources familiar with the meeting said the core objective was to review and interrogate Nigeria’s entire collective management framework, with the possibility of restructuring it to restore confidence in the system. 

The emphasis, they noted, was on building a transparent, credible model that places creators and rightsholders at the centre, while ensuring proper oversight and accountability.

Seun Kuti blasts Wizkid over Fela tattoo, calls him “the biggest clout chaser”

Seun Kuti disses Wizkid

Seun Kuti has launched a blistering attack on Wizkid, accusing the global superstar of hypocrisy for carrying a tattoo of Fela Anikulapo-Kuti while allegedly disrespecting the late Afrobeat icon through his actions and the behaviour of his fanbase.

The Afrobeat musician, who is Fela’s son, made the remarks in a video that has since circulated widely on social media, as tensions between the two artists continue to escalate. 

Seun questioned Wizkid’s motives, arguing that it is contradictory to permanently ink Fela’s image on one’s body while allowing fans to insult the legend online.

According to Seun, Wizkid’s tribute to his father is hollow and driven by attention rather than genuine respect. 

He went as far as demanding that the singer remove the tattoo if he cannot truly honour Fela’s legacy.

“You cannot claim to love Fela while your fans insult him,” Seun said. “Wizkid is the biggest clout chaser in the world. That tattoo is an infiltrator, a childish way to enter and destroy from the inside.”

Seun further suggested that Wizkid’s admiration has crossed into something more troubling, accusing him of trying to replace Fela in the hearts of fans rather than celebrating his influence. 

He warned that such behaviour risks weakening the foundations of Afrobeat and what his father stood for.

“What you have is not enough unless other people cannot have it. All the cars, women, houses and fame will never be enough because someone else has something," he added. 

The comments sparked a strong response online, with fans split over the feud. 

While some agreed with Seun’s stance and echoed his concerns about preserving Fela’s legacy, others defended Wizkid, pointing to his role in introducing Fela’s music to a new generation and questioning Seun’s approach.

Wizkid did not stay silent for long. 

In a series of posts on X, the Ojuelegba singer fired back at Seun, repeatedly referring to him as “Auntie Seun” and accusing him of clout-chasing. 

He also alleged that Seun’s recent behaviour was influenced by substance use and mocked his appearance.

In one post, Wizkid described Seun as a “hungry bird” and made it clear that, while he respects Fela Anikulapo-Kuti, he does not extend the same regard to his son. 

His fanbase quickly rallied behind him, amplifying the jabs and flooding Seun’s mentions with similar remarks.

As the exchange continues to dominate conversations online, the clash has reignited broader debates about legacy, respect and who gets to speak for Afrobeat’s past and future.

Oxlade warns artists against skipping sound checks after disastrous London show

Oxlade

Nigerian singer Oxlade has shared a candid warning with fellow performing artists, urging them to never take the stage without a proper sound check, following what he described as one of the worst performances of his career.

Taking to X, the hitmaker addressed performers directly, acknowledging that while event organisers often fall short, artists must still protect their craft. 

“I know organizers can do better with the gadgets required to run a show,” he wrote. “But please, don’t perform anywhere without running a proper sound check.”

Oxlade revealed that the advice was drawn from personal experience, recounting a disappointing headline show in London that left him frustrated and disappointed. 

The event marked his first-ever headline concert in the city, which he co-headlined with fellow Nigerian artist Bella Shmurda, making the experience even more painful.

“Na from sound check you go don know your fate,” he added, explaining that the lack of preparation ultimately set the tone for the night. 

According to the singer, the organisers failed to allow a sound check at the venue before the show, leading to major technical issues once the performance began.

He went on to explain that while the monitor speakers on stage sounded acceptable, the audio quality reaching the audience was poor.

 “The monitor speakers… sounded fair, but the speakers feeding the audience were terrible,” Oxlade wrote, describing the situation as chaotic and unacceptable for a headline event.

Visibly frustrated, the singer did not hold back in his assessment of the show.

 “That gotta be the worst event I performed at,” he said, before ending his message with a blunt reminder to fellow artists: “A word is enough for the wise.”