Asake opens up about struggles before YBNL and unwavering loyalty to Olamide

Asake

Asake recently reflected on the challenging years before signing with Olamide’s YBNL imprint, revealing how those early struggles shaped his career and cemented his loyalty to the veteran artist.

Speaking on the Korty EO podcast, Asake candidly described 2020 as a humbling year. 

While the music industry seemed to thrive, for him it was a period of highs and lows. 

His single Mr Money had given him a brief taste of fame, but sustaining that momentum proved difficult.

“2020 was very serious. Life really humbled me. Imagine God gives you a taste of something and then removes it. That's what happened in 2020,” he said.

Following that fleeting visibility, Asake spent nearly two years navigating setbacks and experimenting with his sound, trying to find his footing in an industry that had momentarily noticed him and then moved on. 

He had previously signed with the now-defunct TFT Records in 2018, releasing tracks like Kanipe in 2019, yet the breakthrough he sought remained elusive.

Despite the challenges, Asake emphasized that his commitment to Olamide has never wavered.

He made it clear that no matter how far his career advances, his loyalty to the YBNL boss will remain steadfast, a testament to the respect and guidance he received early on in his journey.

International Women’s Day 206: 7 Nigerian women shaping the music industry

Ayra Starr, Simi and Tiwa Savage

This International Women’s Day, we celebrate the women who are defining the sound of Nigerian music. 

From chart-topping Afrobeats hits to soulful R&B and experimental sounds, these female artists are breaking boundaries, inspiring a generation, and showing the world that Nigerian women are forces to be reckoned with in music.

1. Tiwa Savage
Often called the “Queen of Afrobeats,” Tiwa Savage has spent over a decade dominating the Nigerian music scene. With global collaborations, hit singles, and a bold presence, she continues to inspire young female artists to dream big and push boundaries.

2. Yemi Alade
Yemi Alade is celebrated for her vibrant performances and infectious Afro-pop sound. Known for hits like Johnny and her global recognition, she has become one of Africa’s most influential female musicians.

3. Simi
Singer-songwriter Simi blends soul, pop, and Afrobeat to create music that resonates across generations. Her thought-provoking lyrics and emotive vocals have cemented her as one of Nigeria’s most beloved contemporary artists.

4. Tems
With her distinctive voice and international collaborations, Tems has taken Nigerian music to the global stage. From Grammy-nominated tracks to viral hits, she represents the growing global influence of Nigerian women in music.

5. Teni
Known for her versatility and energetic performances, Teni has become a household name in Afropop. Her music blends humor, storytelling, and infectious melodies, earning her widespread acclaim and a devoted fanbase.

6. Niniola
Niniola is widely regarded as one of Nigeria’s leading voices in Afro-house. With her energetic rhythms and electrifying stage performances, she has solidified her position as a powerhouse in both Nigerian and international music circles.

7. Ayra Starr
The star of Nigerian Afropop, Ayra Starr has taken the industry by storm with her energetic vocals, catchy hooks, and boundary-pushing style. She represents the future of Nigerian music and has already achieved both local and international recognition.

Omah Lay sets April 3 release date for highly anticipated sophomore album

Afrobeats star Omah Lay has officially revealed the release date for his long-awaited sophomore album, giving fans reason to start the countdown. 

The award-winning singer announced on February 6, 2026, that Clarity of Mind will drop on April 3, a project he has been teasing for nearly two years.

The upcoming album will feature 12 tracks, including previously released singles Holy Ghost, Waist, and the more recent Don't Love Me. 

While Omah Lay has yet to unveil the full tracklist or guest appearances, long-time collaborator and producer Tempoe is expected to handle much of the project’s production. 

Tempoe, who produced a significant portion of Omah Lay’s debut album Boy Alone as well as the Grammy-nominated hit With You with Davido, confirmed he has contributed to two tracks on the new album.

Fans have set high expectations for Clarity of Mind, anticipating that it will meet or surpass the commercial and critical success of Omah Lay’s debut. 

The singer himself has stoked excitement, claiming the album will serve as definitive proof of his status as one of the greatest of his generation.

"This album is the proof of my time, my generation, and my sound," Omah Lay hinted, promising a project that reflects his growth as an artist and his vision for Afrobeats.

With the release date now official, anticipation is building for what could be another landmark moment in Omah Lay’s career.

Tiwa Savage partners with Berklee to launch music programme in Lagos, Nigeria

 

Tiwa Savage

Nigerian music star Tiwa Savage has announced a new initiative aimed at empowering emerging African creatives through access, mentorship and world-class music education.

Taking to X, the award-winning singer revealed the launch of TSMF Official, a platform dedicated to supporting and nurturing the next generation of talent across the continent.

“After years of building globally… It’s time to build at home,” she wrote, signalling a renewed focus on investing in Nigeria and the wider African creative industry.

As part of the initiative, Savage announced that, for the first time, the prestigious Berklee College of Music will be coming to Lagos for the Tiwa Savage Intensive Music Program. 

The programme is designed to provide aspiring artists with direct access to high-quality music education, mentorship and industry insights.

The move marks a significant milestone, bringing one of the world’s leading music institutions to Nigeria and creating new opportunities for young African creatives to develop their craft at an international standard without leaving the continent.

Savage said the programme is focused on empowering Africa’s next generation of talent, reinforcing her commitment to giving back to the industry that shaped her career.

See more details below:

For the first time ever, Berklee comes to Lagos with the Tiwa Savage Intensive Music Program empowering Africa’s next generation of talent.

Apply Here - https://t.co/YndRfhRbIc#BerkleeTSMF pic.twitter.com/PMgOge3vTl

— Tiwa Savage Music Foundation (@TSMFOFFICIAL) February 25, 2026

Simi defends old daycare tweets, says they were misinterpreted

Simi

Nigerian singer and songwriter Simi has spoken out following renewed scrutiny over some of her social media posts from over a decade ago, insisting that the tweets were misinterpreted and unrelated to any improper conduct.

The controversy reignited after the singer voiced strong opinions against rape, sparked by conversations around the Mirabel TikToker case, which gained traction online. 

Simi condemned sexual violence, saying rapists should be punished and calling on men to stop assaulting women, noting that “almost every woman I know has been sexually assaulted.” 

Her statements triggered online debates, prompting critics to resurface her older tweets.

On Sunday, Simi took to social media to clarify her position.

 “I haven’t been on Twitter today – but someone brought a few of my old tweets to my attention and I can’t not address it,” she wrote.

The singer explained that the posts dated back to 2012, when she was living with her mother and helping out at her mother’s daycare while building her music career. 

“In 2012, I lived and helped out at my mom’s daycare while I was hustling my music. I tweeted everything that happened in my life, as we all did at the time,” she said.

Addressing the nature of the posts, Simi said they reflected casual observations about children at the daycare. 

“Kids can be mischievous. If a child did something I found funny, I tweeted about it. Kids are cute and lovable. I want to hug, kiss and cuddle them. I tweet about it. Nothing I tweeted was from perversion.”

She also stressed that she would not allow her past comments to be “twisted” into false narratives.

“What I can’t let anyone do is twist my story to fit false narratives,” she added.

Due to the sensitivity of the situation, some of the tweets have been removed. 

“My team has been deleting some of my tweets because of how sensitive it is for my family. To be honest, I did not want to,” Simi said.

Some of the posts that circulated online included a tweet from November 12, 2013, saying, “I wonder if anyone’s ever used breast milk to bake cake before,” as well as others referencing children at the daycare, such as: “David has a crush on me. He kips comn close; actin lik he wana lock lips n den he puts his head on my lap. Shd I giv him a chance? P.S: Hes 4” and “love to kiss d kids at my mum’s daycare, they’re super adorable and I’m crazy abt ’em.”

Responding to the resurfaced tweets, Simi insisted the remarks were never intended to suggest anything inappropriate.

 “I’ve never been depraved in my life,” she wrote.

She reiterated her long-standing stance against sexual violence, highlighting that her recent statements were consistent with her beliefs. 

“I have always spoken against rape and sexual assault, even before you knew I existed. It’s not a costume I’m wearing, it’s who I am. I’ve never claimed to be perfect. I’ve never claimed to know everything. I said stop raping women. I stand by it.”

Fido breaks silence with heartfelt apology, promises growth and deeper music

Fido

Nigerian fast-rising star Fido has publicly apologised following recent controversy, admitting that fame came faster than he was prepared for and that he mishandled certain moments along the way.

In a lengthy statement shared on social media, the Afrobeats act acknowledged that stardom changed his life almost overnight, and that he struggled to keep up internally while the world watched his rapid ascent.

“There’s no easy way to write this, so I’ll just say it plainly. I messed up,” he began. 

“Stardom came into my life quickly. One minute I was dreaming about it, the next minute I was living it. And while the world was watching me grow, I was still trying to understand who I was inside that growth.”

Though Fido did not go into specifics about the incident that sparked backlash, he admitted that ego, excitement and inexperience played a role in his actions.

“Along the way, I made mistakes. I said things that should never have been said. I allowed ego, excitement, and inexperience to influence some of my decisions. That’s not who I want to be. And it’s not who I’m becoming.”

He extended a direct apology to his supporters and the wider Afrobeats community, including pioneers of the genre.

“To my fans, the ones who stream the music, defend me, pray for me, and believe in me, I am sorry. To the global Afrobeats community, the legends and godfathers who opened these doors before me, my colleagues and everyone who felt disappointed by my words or actions, I apologise. Truly.”

Fido framed the moment as a turning point, describing it as a choice between pride and humility.

“There are moments in life when you either double down on pride or you humble yourself and grow. I chose to step back. I chose to listen. I chose to reflect.”

He added, “It takes strength to admit you were wrong. It takes maturity to retrace your steps. I’m doing both.”

The singer assured fans that he is taking the lessons seriously and entering a new phase with a different mindset. “The man walking into this next chapter is more grounded, more aware, and more respectful of the platform he’s been given,” he wrote, promising that his upcoming music will come from “a deeper place. A more honest place. A more grateful place.”

Closing his message, Fido thanked those who held him accountable rather than cancelling him, as well as those who chose to stand by him.

“This is growth. This is maturity. This is me doing better. It’s game time again.”

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.”