As we await Oriade, his sixth studio album — set to come tomorrow — we look at 20 songs that spotlight him at his collaborative best. Some launched careers, became defining hits, and others proved that sometimes all a great song needs is the right feature at the right moment.

20. “” — Lola Rae feat. Davido (2018)

Lola Rae had just been signed to Davido Music Worldwide as the label’s “first lady,” and this romantic, dance-driven record doubled as her flagship DMW rollout. The title, Igbo for “please,” sets the pleading, love-struck tone, and �ٲ��������’s romantic guest verse elevates it to an airwave banger. This is him giving his newest signee a co-sign and a great verse.

19. “” — Russ feat. Davido (2021)

This is one of �ٲ��������’s cleaner international linkups. Though it’s a Russ single, Davido is firmly in the driver’s seat. He opens the track, handles the hook and sets the vibe before Russ slides in with a verse name-dropping jollof and suya. The American rapper sought out Davido to provide an authentic Afropop flavour, and OBO rewarded that commitment with a feature that engineered a cross-cultural groove.

18. “” — Sinzu (FKA Sauce Kid) feat. Davido (2011)

This is one of the earliest pieces of evidence that a teenage Davido possessed immense star power. As a newcomer fresh off his own breakout, Davido gives a memorable chorus that carries Sinzu’s rap verses. “Carolina” became an instant club hit and proved that Davido was a great feature asset.

17. “” — Odunsi, the Engine feat. Davido (2018)

This feature has to be the most left-field pick here, and one of the most rewarding. From Odunsi’s landmark album rare, comes “divine.” It’s a bouncy, retro-tinged R&B cut with a romantic, wordplay-heavy lean. Hearing Davido step into the vanguard alté space is a delight. He adapts his delivery to the song’s cooler, jazzier style; evidence of range too few of his features get credit for.

16. “” — BoyPee, Hyce & Brown Joel feat. Davido (2024)

This remix is a prime example of �ٲ��������’s long-standing habit of elevating rising talent. The original track by BoyPee, Hyce, and Brown Joel was already gaining traction, but �ٲ��������’s co-sign and verse turned it into a smash hit. He smoothly adapted to the upbeat, joyful mood of the song.

15. “” — DJ Neptune feat. Davido (2020)

From the Greatness era, this Speroach Beatz–produced record (with guitar flourishes from Fiokee) finds Davido wearing his heart on his sleeve — an airy, romantic ode to a crush, complete with a stuttering, DJ-scratch–style vocal hook that makes the whole thing stick. One of DJ Neptune’s signature guest showcases and a reminder that Davido’s softer, love-struck mode lands just as hard as his flexes.

14. “” — Larry Gaaga feat. Davido (2018)

This track was a big club hit curated by music executive Larry Gaaga. Davido carries the entire vocal performance, giving a catchy, money-centric composition over a bouncy, bass-heavy beat. It’s another example of �ٲ��������’s ability to take a relatively simple concept and turn it into a replayable, sticky groove.

13. “” — Reminisce feat. Davido (2014)

Off Reminisce’s Alaga Ibile album, “Daddy” (often referred to as “Daddy Mi”) is an enjoyable fusion of Nigerian hip-hop and Afropop. It’s a song about surpassing the heights their fathers reached. �ٲ��������’s hook adds accessibility, turning the song into more than a rap song. This is easily one of the strongest rap-pop collaborations of its era.

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12. “” — Runtown feat. Davido (2014)

This is a career-defining song for Runtown. It’s produced by TSpize and was set up when Timaya connected the two artists in the studio. Davido brought a fast-paced, breathless flow that matches the song’s theme of speed and luxury. The Davido connection ran deep: the same creative orbit produced �ٲ��������’s own smash hit “Aye.”

11. “” — Chris Brown feat. Davido & Lojay (2023)

“Sensational” is arguably �ٲ��������’s biggest crossover moment on this list. It’s a song from Chris Brown’s 11:11 album. �ٲ��������’s romantic, melodic turn holds its own beside one of R&B’s biggest stars. This song gave both Davido and Lojay their first-ever Billboard Hot 100 entry, topped Billboard’s Adult R&B Airplay chart for multiple weeks, and won two NAACP Image Awards.

10. “” — Lil Kesh feat. Davido & Olamide (2014)

This remix turned a street dance into a national craze. Lil Kesh’s original “Shoki” was already spreading through Lagos as the signature dance step of the moment; the YBNL-issued remix stacked Olamide and Davido and gave it the star power to go fully mainstream. �ٲ��������’s verse rides the shuffling, chant-driven beat with charisma. It was one of the defining crossover records of 2014 and a launchpad for Lil Kesh, one of the era’s biggest breakout acts.

9. “” — Adekunle Gold feat. Davido (2021)

Adekunle Gold’s folk-inspired songwriting and �ٲ��������’s populist appeal bring the two pop stars together in the middle on themes of money, drinks, and good times. The blend of party spirit and lyricism makes it a fan favourite across both camps.

8. “” — Kcee feat. Davido (2015)

This hyper-fast track saw Kcee tap into �ٲ��������’s boundless spirit for the remix. Davido delivers a verse full of playful bragging that goes with the song’s party-ready ambience. His voice injects extra urgency into the song with lines like: “And every young boy wanna be me now / They wanna be me now.”

7. “” — Tekno feat. Davido (2013)

Before Tekno became one of Afrobeats’ most important hitmakers and producers, there was “Holiday”, a single from 2013 featuring Davido. It’s a snapshot of two future superstars in their ascendant years, with Davido lending his then-rising star power to a young Tekno. It’s a historically significant footnote in both artists’ catalogues.

6. “” — Mayorkun feat. Davido (2018)

“Bobo” was a major moment for �ٲ��������’s label, DMW. �ٲ��������’s verse is playful and boastful, complementing Mayorkun’s witty lyrics. His appearance feels like a stamp of approval rather than a takeover, showing why so many artists benefit from having him on a record. The “na money be fine bobo” hook was inescapable and a perfect encapsulation of the DMW family sound at its peak.

5. “” — Humblesmith feat. Davido (2016)

This remix came at a time when Davido was going through personal challenges, specifically the publicised custody battle involving his first child and the Momodu family. Humblesmith’s song was already a success, but Davido used his verse on the remix to directly address the controversy with lines like “No be by force to go Dubai.” His candid verse cleared the air and also propelled the song to mainstream acclaim.

4. “” — Skales feat. Davido (2015)

From Skales’ Man of the Year album, “Always” is a breezy love song built on generous promises such as money, shopping, visas, whatever the girl wants. �ٲ��������’s verse leans into that romantic braggadocio. It’s one of the more melodic entries on this list and a highlight of Skales’ discography.

3. “” — Falz feat. Davido & Olamide (2016)

This song is a big collaboration built around the larger-than-life personas of Falz, Olamide and Davido. Falz brings witty, humorous lyricism; Olamide represents the street; and Davido drops what becomes the most talked-about verse. He throws shade at media magnate Dele Momodu with the famous line “Mr. Dele na my boy,” stealing the spotlight and turning a great rap song into a cultural moment. 

2. “” — Kizz Daniel feat. Davido (2018)

Kizz Daniel’s “One Ticket” is one of the most beloved Davido collaborations, full stop. It threads a bittersweet needle; loving someone deeply while leaving the door open for them to walk. The two of Nigeria’s finest melodists trade lines effortlessly, and the result is a sweet song that stands as arguably their best song together.

1. “” — Skiibii feat. Davido (2021)

Skiibii’s original was a hit; the Davido remix made it a monster. It’s a song about living the big boy life, something Davido knows about very well. On the remix, O.B.O opens his verse with the envy and bitter emotions that come with greatness. He’s lyrically at his best, and he rides this production beautifully. It’s a textbook example of the “Davido remix bump” — his verse relaunches the song commercially.

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Ask a certain generation of Nigerians about their first memory of hearing their local music in a video game, and some will name (2006) in a pirated version of PES/Winning Eleven. For some, it was “For Instance” and other songs. Officially, Konami never put them there.

PES/Winning Eleven is Konami’s football game series, the one that reigned in Nigerian game centres through the 2000s alongside FIFA. It came pre-installed with composed instrumental music and stadium staples, like Queen’s “We Will Rock You.” There were no Nigerian songs on it. The 2Baba and other local songs were a bootleg among Nigerians to create a familiar sound while gaming.

This is the unofficial origin of Nigerian music in football and football gaming. The song didn’t get there through a licensing deal. It was through piracy. Bootleggers who copied and resold the game swapped its audio, so a whole generation grew up with a Nigerian song built into their football game. Nigerian music got into football through the back door, facilitated by the very people playing it.

But music has always gone hand in hand with football, and it’s through EA’s FIFA franchise, which launched in 1997, that it became part of gaming. FIFA: Road to World Cup 98 was the first game in the series to license real pop music (not commission its own). Blur’s “Song 2” blared over the intro. That was the beginning. Under Steve Schnur, who has run EA’s music operation for most of the years since, the FIFA soundtrack became a tastemaker. The soundtracks became the reason a teenager in Lagos or London might discover Phoenix through FIFA 09 or Sigur Rós through FIFA 11. EA chose the songs and, in doing so, shaped global taste in music. “That’s a FIFA song” became its own category of music.

Africa began showing on that official stage before the decade was out. (sung partly in Nigerian Pidgin) on the 2009 FIFA 10 soundtrack. This makes her the first Nigerian artist on an official FIFA game.

The next year, EA built a dedicated soundtrack for its 2010 FIFA World Cup South Africa game, and Schnur singled out the Nigerian drummer Babatunde Olatunji among other African artists. But that was world-music curation for a tournament staged in Africa, not Nigerian pop music. Afropop, soon to be everywhere on the current soundtrack, was still warming up.

The big breakthrough came on FIFA 20. London-based on the official soundtrack. There was also “Awa Ni” by American duo The Knocks with Nigerian artist Kah-Lo on it. They became the first of a new generation, and the wave came fast behind them. FIFA 21 brought Fireboy DML’s “Scatter,” with Rema, Skepta and Burna Boy appearing on the game’s VOLTA street-football playlist. By FIFA 23, the presence had swelled: Seun Kuti, Pheelz, BNXN, Olamide, Bad Boy Timz. In the space of four years, Nigerian music went from “Oou, we made it” to expected.

Then it wobbled. When EA dropped the FIFA name and launched the rebranded EA Sports FC 24, Nigerian music was left entirely off the main soundtrack. The only Nigerian on it was Obongjayar, and only through a guest feature on a British rapper’s track. FC25 brought Nigerian music back the next year, with Rema and Shallipopi’s “Benin Boys,” Omah Lay, and Obongjayar again. Then FC26 dropped it once more, leaving Obongjayar—on his fifth appearance across four editions—as the lone Nigerian-born name while bigger stars came and went. The relationship, in other words, is real but not guaranteed. Each year, EA decides again whether Nigerian music is in or out.

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This makes the World Cup song a different, higher-ceilinged one than a video game soundtrack. The official World Cup anthem is its own tradition, older than the video game and separate from it. It runs back through decades of tournament songs to landmarks like Giorgio Moroder’s “Un’estate italiana,” the swelling anthem of Italia ‘90, and takes in Ricky Martin’s “” and Shakira’s own “” along the way. A Nigerian first joined this list in 2022 when the lead single of the Qatar World Cup theme song, with American singer Trinidad Cardona and Qatari singer Aisha.

Four years later, to make the official song of the FIFA World Cup 2026. It was performed at the opening ceremony of the biggest sporting event on earth, and during its half-time show. The Super Eagles didn’t qualify for the tournament, beaten by DR Congo in a playoff, so the country’s music reached where the team couldn’t.

This song isn’t a track buried at number sixty on a hundred-song playlist. It’s the official song of the FIFA World Cup, and it’s a different category from a soundtrack slot. A playlist inclusion is a song EA licensed. A World Cup anthem is the sound FIFA chose to represent the entire tournament.

Thread the timeline, and you can see that pirated games in the mid-2000s, where Nigerians had to insert their own music by force, were door-openers. The music travelled from something game players ripped into the game to something its biggest stage is platforming. But it’s not quite the triumph it looks like yet.

Twice now, a Nigerian artist has been on a World Cup song, and both times as a guest. Davido on “Hayya Hayya” with two other singers. Burna Boy is alongside Shakira on “Dai Dai” which he co-wrote with five others. The song came out on a Latin label Shakira signed to. A World Cup song often brings several countries together on one track, so shared billing is common. But it’s not the rule, as those earlier solo songs show. The format allows a single artist to carry it, which means the supporting role here was a choice rather than something the format forced. But set that beside the rest of the timeline, and a pattern holds rather than breaks. Nigerian music made the FIFA soundtrack, then got dropped, then returned, then got dropped again.

It reached the World Cup, but as a guest on someone else’s song. At every stage, the genre is present because someone else chose to include it. EA, perhaps, owes Nigerian music nothing. A soundtrack is theirs to fill however they like, and dropping a genre is a normal commercial call.

Nigerian music hasn’t yet been handed one of these on its own. But that’s a small complaint next to the distance already covered. Twenty years ago, the only way to hear a Nigerian song in a football game was to get a pirated or cracked version. That was a workaround born out of exclusion because the music wasn’t offered a way into the centre.

Now the music stands on its biggest stage. But getting on the stage isn’t the same as owning it.��Nigerian music is present because EA, FIFA, and a Colombian headliner’s label chose to include it, and it holds its place only as long as they keep choosing. It has gone from exclusion to inclusion. What it’s yet to win is command of the room.

We’ve gone from being ignored to being invited, but the real work won’t be done until we own a seat at the table.

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Anyway, for the moneymakers and everyone aspiring to be wealthy, here are ten lines where Nigerian musicians counted their money out loud, or likened their visions and ideas to huge sums of money.

1. “30 billion for the account o” — Davido, “If” (2017)

The line sits in the song’s chorus, which is about impressing a love interest with cash. The 30 billion, now adopted as his gang name, is just an exaggeration. It’s not a real balance, which is the whole point of the boast.

Hol’up! Before you proceed, have you bought your ticket to the NairaLife Conference 2026?

2. “Monday to Saturday, outside for my daily 2k” — Zerrydl, “FIND MONEY” (2024)

Zerrydl opens his verse with this line about his hunger for cash. It frames the song as a daily hustle jam, which is why the modest 2k figure is the point.

3. “One million dollar / E lo lo ma je tin ba se si naira / Eh, owo!” — Olu Maintain, “Yahooze” (2007)

If you were around when “Yahooze” was the hottest single in town, you probably know this line. And you also know its context, especially when you look closely at the song title. The “One million dollar” line was so popular that it became a catchphrase for the era’s “yahoo boy” opulence culture — even though Olu Maintain has always publicly insisted the song is about hard work, not internet fraud.

4. “I got plenty dollar in my name / I got plenty naira in my name” — P-Square, “Chop My Money (Remix)” (2011)

The line is to impress the women flicking around them, to announce that they’re super-rich and all bills are on them.

5. “Billion dollar baby” — Seyi Vibez, “BD Baby” (2022)

This line is worth the flex. What Seyi Vibez is saying is that he’s a wealthy figure. It’s self-exaltation.

6. “Billion dollar dream, but I’m still broke.” — Superwozzy,�� “Billion Dollar Dreams” (2019)

Rapper Superwozzy makes a blunt admission that ambition has outrun the bank balance. This sentiment is a recurring one across Nigerian Street-Hop.

7. “I remember when I was praying for a million naira / Ego nsego na loud akaligo a million naira” — Jeriq, “Billion Dollar Dream” (2022)

This one is the intro and title track of Jeriq’s debut album. The rapper looks back on the days he wanted a million in his bank account. Now, he can blow that amount of money on exotic marijuana.

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8. “Pounds sterling lawa n fi n se tissue.” — Olamide, “Who U Epp” (2016)

This line is Olamide’s boast that even foreign currency like pounds sterling is casually disposable, like tissue paper.

9. “Half a million dollars, when I smile for the picture.” — Burna Boy, “Bundle By Bundle” (2025)

What this means is that whenever Burna Boy smiles for a picture, he’s flashing his diamond-studded tooth valued at $500k at your camera.

10. “Me, I don touch money, I like am / Dollar signs load am” — Adekunle Gold, “Coco Money” (2025)

Here, AG Baby is flexing that he’s now rich and that the dollar is his preference. For more emphasis on his love for money, he states, “Bitch, better have my money”, a nod to Rihanna’s song of the same title.

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These Nigerian albums captured Gen Z so perfectly that years from now, people will revisit them the same way older generations talk about timeless classics. And when Gen Z becomes parents, don’t be surprised if these are the albums they force their kids to listen to during long lectures about “real music.”

African Giant — Burna Boy (2020)

African Giant is politically charged, sonically diverse and unapologetically Nigerian. Songs like “Anybody” and “Collateral Damage” will be referenced by future generations as definitive moments, and the album will be regarded as one that shifted culture and propelled Afrobeats to global dominance.

Listen on: Apple Music | Spotify

Beautiful Imperfection — Asa (2010)

Before the Alté kids were mixing genres, Asa was fusing Yoruba folk, indie-pop, soul and jazz. Songs like “Be My Man,” “Why Can’t We,” “Preacher Man,” and “The Way I Feel” showcase her gift for turning regular emotions into poetic musings. Her songwriting carried emotions that cut across age groups. This album is embedded in the childhood memories of older Gen Zs. It’s the “mature” music millennials loved, but was so incredibly catchy that kids couldn’t help but sing along to every word.

Listen on:����|��

Superstar — Wizkid (2010)

What makes Superstar special is that it arrived at a turning point for Afrobeats. Nigerian pop music was evolving from the older 2000s template into something youth-driven and melody-heavy. It balances pop appeal with personality perfectly. It was the soundtrack to end-of-year school parties, the era of sharing songs via Bluetooth, and fighting over who knew the lyrics to “Holla at Your Boy” first. It represents a simpler time in Nigeria, right before social media completely took over. The run of singles on this album is still studied today, and for many Gen Z Nigerians, it’s tied to childhood memories and early teenage years.

Listen on:����|��

Laughter, Tears & Goosebumps — Fireboy DML (2014)

This is a flawless debut album. If there’s one album that Nigerian Gen Z generally agrees has ‘no skips,’ it’s Laughter, Tears & Goosebumps. Here, vulnerability stopped hiding in the backseat. Fireboy DML sings about experiences of being young without leaving out older listeners. From young love to heartbreak and other joys of life. It’s like a transition from teenage years to young adulthood. It’ll be remembered as one of the blueprints for the modern Afro-R&B sound.

Listen on:����|��

Mr. Money With the Vibe — Asake (2022)

No one had a chokehold on Nigeria quite like Asake did in 2022. He fused Fuji, Amapiano and street-hop with choral backups in a way that had never been done before. MMWTV was the soundtrack to every club, bus ride and party. Gen Zs will play “Organise” and “Joha” for their kids to show them what street takeover really is.

Listen on: Apple Music | Spotify

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19 & Dangerous — Ayra Starr (2021)

This album captures youthful exuberance and personal growth through a mix of Afrobeats, R&B, and pop. Ayra Starr is the clearest bridge between the old Mavin Records sound and a fully Gen Z-esque Afrobeats aesthetic. 19 & Dangerous is a coming-of-age playbook for an entire generation of young Nigerian women. That alone gives it staying power.

Listen on: Apple Music | Spotify

rare. — Odunsi (The Engine) (2018)

Before the mainstream fully understood what the Nigerian alternative scene was doing, Odunsi dropped rare. and forced everyone to pay attention. He blended alté aesthetics, R&B, synth-pop, Afrobeats and indie influences into something completely different from what the rest of the industry made at the time. For the Gen Zs who spent 2018 obsessed with VHS-style music videos, film cameras, and retro fashion, this album isn’t just music; it is a lifestyle time capsule. When they play it for their kids, it will be to show them the exact moment the Nigerian underground took over cool-kid culture.

Listen on:����|��

Mandy & Jungle — Cruel Santino (2019)

Every track on Mandy & The Jungle is unorthodox, from the transitions to the mood swings to the world-building. Songs like “Rapid Fire,” “Freaky,” “Sparky,” and “Morocco” carried a rebellious, genre-fluid vision that gave a lot of Gen Z listeners permission to stop caring about musical boxes. It made Nigerian music feel borderless in a new way. Mandy & The Jungle is an audio-visual experience heavily inspired by Y2K nostalgia, early 2000s Nollywood occult classics, anime and gothic themes. Gen Z parents will not just play the music for their kids; they will have to explain the vibe: the camcorders, the fashion, and the sheer DIY rebellion of the visuals. Santi created a subculture with this album.

Listen on: Apple Music | Spotify

Boy Alone — Omah Lay (2022)

Gen Z is a generation uniquely open about mental health, anxiety and existential dread, and Omah Lay expresses that over infectious Afrobeats production. Boy Alone is dark, introspective, and vulnerable. Tracks like “Soso” and “Understand” will be remembered as the moments when mainstream Nigerian pop music explored melancholy while remaining groovy.

Listen on: Apple Music | Spotify

ROOTS — The Cavemen. (2020)

In the thick of 2020, The Cavemen. Released ROOTS. It embraces highlife music with warmth, patience and cultural pride. Songs like “Anita,” “Beautiful Rain,” “Bolo Bolo,” and “Ifeoma” sounded deeply rooted in Igbo musical traditions while still connecting effortlessly with younger listeners who may never have grown up listening to classic highlife records. That bridge between generations is a huge reason the album feels classic-worthy. ROOTS helped Gen Z reconnect with indigenous Nigerian sounds in a modern context.

Listen on: Apple Music | Spotify

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From afropop to hip-hop and alternative lanes, the artists on this list share one thing in common: a zero-skip discography. Their albums prioritise resonance, cohesive storytelling, high-value production, and elite songwriting and sequencing.

Anendlessocean is a Gospel artist who thrives in the alternative and indie space. His music projects such as OCTAGON (2024), Sceptre (2025), Hexagon (2024) and Decagon (2023), are immersive experiences built on flawless vocals, soothing melodies and sharp, introspective songwriting. His music is relatable to folks in the church or the world.

Asake’s rise to stardom came with a heavy expectation, but he has delivered consistently on every album. Albums like Mr. Money With The Vibe (2022) and Work of Art (2023) are completely devoid of filler. The highly distinctive fusion of Fuji music, choral vocals and Amapiano already set him apart in the industry. LUNGU BOY (2024) and M$ney (2026) are experimental in sound but still keep listeners engaged.

(FKA 2Face Idibia)

As the pioneer of modern Nigerian pop, 2Baba’s discography is a blueprint for longevity. From Face 2 Face (2004) to Warriors (2020), he has never dropped a mid album. His projects remain top-tier perhaps because he roots them in strong themes such as social consciousness, romance and African unity.

Blaqbonez refuses to be boxed into a single genre, and that’s why his albums never really feel repetitive. He has released projects like Last Time Under (2018), Mr Bombastic (2019), Sex Over Love (2021), Young Preacher (2022), Emeka Must Shine (2023) and No Excuses (2025), that have high replay value and show his mastery of blending entertaining rap flows and catchy hooks with afropop, dancehall, Amapiano, etc. He remains one of the most consistent and successful Nigerian rappers to date.

Tiwa Savage has maintained her status as the Queen of Afrobeats through quality control. Albums like Once Upon a Time (2013), R.E.D (2016), Celia (2020), Sugar and Garri (2024) and This One Is Personal (2025) highlight her ability to seamlessly blend R&B, pop and Afrobeats. Her commanding vocal performances, A-list production choices and her ability to evolve her sound without losing her core identity.

Even before the Grammy phase, Burna Boy’s music projects have been outstanding. His Grammy run, from African Giant (2020) to Twice as Tall (2021) and No Sign of Weakness 2025), proves his dedication to making albums. And they’re widely acclaimed for his great use of live instrumentation, lyricism, storytelling, and his ability to transition smoothly between afropop, dancehall, hip-hop, and highlife.

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Wizkid’s discography captures the evolution of modern Afrobeats. Every era comes with a reinvention. Superstar (2010), his debut, is a pop masterpiece. Ayo (2014) and Morayo (2024) find him exploring Afrobeats sensibilities, while Sounds For the Other Side (2017), Made in Lagos (2020) and More Love, Less Ego (2022) are a global blueprint for smooth, mid-tempo Afro-fusion. His albums succeed because of their incredible replay value, infectious melodies and great arrangements.

SDC, as they’re fondly called, holds one of the most flawless and extensive catalogues in African music. By dividing their albums into two distinct lanes — the rap-heavy Clone Wars series and the highlife-infused Palmwine Music series — Ghost and Tec put their creativity to work in distinctive ways. They’re also master curators. They combine thought-provoking, mature rap verses with catchy production and perfectly selected guest features to create albums that are culturally significant and timeless.

Ayra Starr represents the new generation of popstars. Across 19 & Dangerous (2021) and The Year I Turned 21 (2024), she has proven capable of releasing albums that are cohesive, unapologetic and carried by her powerful songwriting and vocals. Themes like youth, ambition and romance set her music apart.

From New Era (2016) to Maverick (2023), Kizz Daniel’s albums are packed with hits. He adheres strictly to perfecting melodies and crafting a catchy hook, skills he consistently applies across full-length projects without losing steam. Kizz Daniel operates under the self-proclaimed title of “No Bad Songz,” and his albums actually live up to the boast.

His albums such as Rave & Roses (2022) and HEIS (2024) are sonic experiments that paid off excellently. He refuses to play it safe; he consistently introduces fresh vocal cadences, jolting production and complex global influences — and these have made his music successful and impactful.

Asa’s discography is GOATED. From her self-titled debut in 2010 to V (2023), she has prioritised artistic integrity over only commercial pressure. Her music is rooted in live instrumentation and emotive storytelling that resonate and almost fit into every life. Every Asa album is an intimate, perfectly rehearsed live concert.

Fireboy DML established himself as one of the brightest stars of modern Afrobeats when he debuted with Laughter, Tears & Goosebumps (2019). The album is famously praised for having zero skips. He has sustained this quality across his discography — APOLLO (2020), Playboy (2022) and adedamola (2024) — by relying on his pen game. His albums are excellent because he matches emotionally resonant lyrics with captivating vocal performances.

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For a Nigerian artist, achieving this means navigating a fickle market and a rapidly shifting sonic identity. Whether it’s the indigenous rap takeover of the early 2010s, the R&B-infused pop of the mid-2000s, or the modern global expansion of the late 2010s, these album runs represent the moments when these ten artists held the entire industry in a chokehold.

These are the 10 Nigerian artists who delivered the most flawless three-project streaks in history.

10.

Run: Yahoo Boy No Laptop (YBNL) (2012) → Baddest Guy Ever Liveth (2013) → Street OT (2014)

Between 2012 and 2014, Olamide was the undisputed voice of the streets. He won the Headies’ Album of the Year for all three of these consecutive projects, a feat that may never be repeated. gave hits like “First of All” and stretched his impact beyond the underground. leaned fully into his braggadocious street persona, while delivered massive records like “Shakiti Bobo.” Together, these albums cemented Olamide’s influence on Nigerian street pop and rap.

9.

Run: Superstar (2011) → Ayo (2014) → Sounds From the Other Side (2017)

Wizkid’s run follows the evolution of a boy wonder into a global icon. (2011) is arguably one of the most influential debuts in Afrobeats history. The album produced generational hits like “Holla at Your Boy,” “Pakurumo” and “Tease Me.” (2014), features the timeless “Ojuelegba” and secures his status as a local legend. (2017) is Wizkid boldly experimenting with R&B, Caribbean and other international sounds, to lay the groundwork for the global “Made In Lagos” era that followed.

8.

Run: Once Upon a Time (2013) → R.E.D (2015) → Celia (2020)

The African Number One Bad Girl built her legacy on this formidable three-album run. Tiwa Savage’s debut, , arrived in 2013 when Nigerian pop was still heavily male-dominated. It immediately establishes her as the country’s leading female pop star. It has hits like “Kele Kele Love,” “Love Me” and “Eminado.”

She followed with (2015), which is packed with commercial singles like “My Darlin” and “Standing Ovation.” Years later, (2020) increased her global reach with collaborations with Sam Smith and Davido. The album also debuted on the Billboard World Albums chart and earned a spot on Time Magazine’s best albums of the year. Tiwa Savage remains one of the most internationally visible African pop stars of her generation.

7.

Run: Talk About It (2008) → MI2: The Movie (2010) → The Chairman (2014)

M.I. Abaga’s albums feel like cinematic experiences; he knows how to curate music. (2008) redefined Nigerian Hip-Hop. (2010) is a star-studded blockbuster that has a commercial edge Nigerian Hip-Hop needed at the time. (2014), after a four-year wait, proved his lyrical and conceptual brilliance with songs like “Bad Belle”, “Human Being” and “Brother.” Again, he proved he could evolve with pop trends and still be light-years ahead of the competition.

6.

Run: Mr. Money With The Vibe (2022) → Work of Art (2023) → Lungu Boy (2024)

Few modern artists have dominated the Nigerian charts as quickly as Asake. His debut , broke multiple streaming records on Apple Music Nigeria and Spotify and had hits like “Joha,” “Terminator” and “Sungba.” He followed with Work of Art, which delivered the smash single “Lonely at the Top”, one of the longest-charting Nigerian songs on streaming platforms. His third album, Lungu Boy boosts his commercial momentum and global expansion.

5.

Run: Outside (2018) → African Giant (2019) → Twice As Tall (2020)

This is Burna Boy’s “ascent to the throne” run. He went from a misunderstood genius to a global phenomenon in three steps. (2018) gave us “Ye” and a new Afro-fusion blueprint; (2019) is a sprawling, Grammy-nominated masterpiece. (2020) followed next and finally secured the Grammy. This run proves he’s exactly who he said he was: an African giant.

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4.

Run: Certificate (2006) → Gongo Aso (2008) → Tradition (2009)

9ice’s run was legendary, one that many young people today will not understand. (2006) showed his potential as an indigenous powerhouse and pushed him into mainstream superstardom. (2008) swept every award in sight when it came out. (2009) followed up with hits like “Gbamu Gbamu.” With these albums and their indigenous winning formula, 9ice owned the streets.

3. P-Square

Run: Get Squared (2005) → Game Over (2007) → Danger (2009)

The Okoye twins’ released albums that felt like national events. (2005) made them African superstars; (2007) became one of the best-selling African albums of all time with hits like “Do Me.” (2009) proved they could easily maintain that white-hot momentum.

2.

Run: Asa (2007) → Beautiful Imperfection (2010) → Bed of Stone (2014)

Asa’s self-titled debut, (2007), remains one of the most critically respected Nigerian albums ever. It’s a classic that introduced “Jailer.” Her second album, (2010), features a brighter, more upbeat, soulful production. It also�� produced the widely loved single “Be My Man.” Her third album, , continued her reputation for thoughtful songwriting and emotional depth. These albums cemented Asa as one of the most artistically consistent voices in modern Nigerian music.

1.

Run: Face 2 Face (2004) → Grass 2 Grace (2006) → The Unstoppable (2008)

2Baba’s first three solo projects provided the foundation for the contemporary Nigerian music industry. (2004) gave us “African Queen,” one of the most important Afropop songs ever recorded, which helped introduce Nigerian pop to wider African and international audiences. (2006), his sophomore, has big hits like “If Love is a Crime.”

In 2008, he released , an experimental project that continued his momentum, featuring songs such as “Enter the Place”. 

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Across eras and genres, these projects show how Nigerian artists have learned to romance us properly with songs and lyrics that confess, and melodies that stick after the song ends. Whether it’s devotion that feels sacred or longing that feels unresolved, each album here captures love as something lived, not just sung about.

From the legendary boy bands that taught a generation of men how to woo, to the modern-day lover boys and girls redefining intimacy with alt-R&B and soulful Afrobeats, I have curated a list. These are 14 of the best Nigerian romantic albums.

14. The Palmwine Express — Show Dem Camp (2019)

Show Dem Camp’s The Palmwine Express spins love through the lens of longing, nostalgia and Afro-folk warmth. Tec, Ghost and their collaborators glide between romantic desire and relational reflections over palmwine-inflected production. The romance here isn’t a high-stress ballast. Just chill ambience and drinks. When you think of The Palmwine Express, think of a Lagos sunset date at Tarkwa Bay, where conversations flow smoothly and are sometimes as eruptive as the ocean.

This music is a celebration of the beauty of companionship, without unnecessary theatrics. It’s for people who have outgrown talking stage drama and just want something stable. 

Listen: |

13. Chemistry — Falz and Simi (2016)

Chemistry is an “are they or aren’t they?” moment in Nigerian pop culture. Before Simi and Deja’s dad made it official, her musical synergy with Falz was so thick you could cut it with a knife. The project is a seven-track fan-fiction come to life and leans into the playful and flirtatious gimmick and language that the two of them spoke clearly.

Chemistry shines because it refuses to take itself too seriously while delivering high-quality songwriting. Tracks like “Chemistry” and “Enough” are anthems for those who know that love is about being satisfied with your partner, even when money isn’t overflowing. If there’s a Nigerian album with collaborative storytelling that captures the butterfly-inducing phase of a new romance, it’s this one.

Listen: |

12. Red Velvet — Waje (2018)

With soul-soaked arrangements and lyrics that pulse with emotions and intimacy, Red Velvet cements Waje as one of Nigeria’s purest voices on love. The dreamy melodies and powerful alto guide listeners through longing, affection, and the kind of vulnerability that only great love albums can reach.

True to its name, Red Velvet is smooth, rich and a little bit indulgent. Waje’s vocal range on this project moves from soulful blues to upbeat pop without breaking a sweat. She uses her voice to explore the multifaceted nature of a woman’s heart and perspectives. It is for the grown and sexy; a dense soundtrack for those who appreciate the finer details of a well-crafted love story.

Listen: |

11. Made In Lagos — Wizkid (2020)

What makes Made In Lagos romantic is its mood. Wizkid trades his younger “Soco” vim for something much more refined, sensual and international. Here, Wiz brings mellow delivery, lush instrumentation and themes of connection and longing. He sings about how his love interest makes him feel, including her desires, AKA “She tell me say.” Made In Lagos delivers heart-music that works whether you’re cruising at sunset or plotting your next reunion with someone special.

Listen: |

10. Boo of the Booless — Chike (2020)

Chike really woke up and chose to be the spokesperson for every single person in Nigeria. Boo of the Booless’ storytelling and blends of highlife and R&B stir the soul. He covers the entire spectrum of the heart, from the ecstatic highs of finding “The One” to the agonising pain of watching them walk away.

Boo of the Booless is the comforter of the heartbroken, especially during the 2020 lockdown. A song like “Running (To You)” is the pledge of devotion. The album’s songwriting also proves Chike’s ability to use English, Igbo and Pidgin in relatable ways that make love feel homegrown and authentic. Tracks like “Nakupenda” and “Forever” balance sweet romanticism with real-world depth. When it comes to modern classic Nigerian romantic records, count this in.

Listen: |

9. Passport — Tay Iwar (2014)

Though a mixtape technically, Passport announced Tay Iwar as a future neo-soul heart-whisperer. Long before the Alté scene went mainstream-ish, a 17 year old Tay Iwar changed the frequency of Nigerian R&B with this album. It’s a moody, atmospheric project with production ethereal enough to draw listeners into the nuances of intimacy and longing.

Tay Iwar’s approach to romance is deeply personal and sonic-heavy. The track “Gabriel” stands as a slow-burn album that proved he was light-years ahead of his time in terms of sound design and emotional depth. Passport is for those who view love as a spiritual experience rather than just a social one.

Listen: |

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8. King of Love — Kizz Daniel (2020)

Vado D’Great didn’t name this album King of Love just for the aesthetic; he actually put in the work to prove the title. This 17-track manifesto of pop perfection explores the sweetness, highs and faults, playful flirtations, occasional pettiness, and the sheer obsession that comes with being in love. Kizz Daniel has an uncanny ability to find the most infectious melodies to pair with his “lover boy” lyrics.

While some tracks flirt with controversy, the album’s big heart lies in its willingness to talk about relationship realities without a soft-focus gloss on modern love. Whether he’s singing about the “Ada” of his dreams or navigating the complexities of “Boys Are Bad”, Kizz keeps the romance present. It’s the kind of album that works just as well in a club as it does at a wedding reception. It’s a versatile staple in the Nigerian romance song canon.

Listen: |

7. The Journey — Sean Tizzle (2014)

In 2014, Sean Tizzle was the golden boy of Nigerian pop, and The Journey was his crowning achievement. This album is a pop hit that’s incredibly romantic and still maintains its street appeal. The album won Best R&B/Pop Album at The Headies in 2014 because it strikes the sweet spot between feel-good romance and relatable flirtations.

Songs like “Perfect Gentleman” heavily contributed to the modern Nigerian wedding “first dance” session. Sean Tizzle’s ability to mix catchy hooks with heartfelt lyrics made this album a massive success, and it continues to hold a special place in the hearts of those who remember the high-energy romance of the mid-2010s.

Listen: |

6. Year of R’n’B — Capital F.E.M.I (2012)

Year of R’n’B is a golden-era romantic classic. Capital F.E.M.I stayed true to the classic R&B blueprint during an era dominated by club bangers. Year of R’n’B is a love letter to the genre itself, full of the kind of vocal runs, falsettos, and deep-cut lyrics that defined the West’s ’90s and early 2000s R&B scene, but with an unmistakable Nigerian soul. The standout “Never Felt A Love” is a throwback gem that still hits the spot when you’re feeling sentimental.

It is an album for the R&B heads and those with a bit of old-school charm. While not everyone remembers it today, this project helped plant the seeds for modern Nigerian R&B stylings.

Listen: |

5. Before We Fall Asleep — Johnny Drille (2021)

Johnny Drille is the undisputed patron saint of hopeless romantics. His debut album, Before We Fall Asleep, is a candlelit confession, a beautifully crafted diary that is as vulnerable as it is honest. His songwriting, smooth bedroom-pop production and tender singing make this album feel like a love letter that one crumples, blushes at, and plays again anyway.

He explores love from first sparks to complicated heartbreak. It’s a refreshing alternative project that ranges from folk-pop to acoustic ballads. “Driving in the Rain” is the perfect example of his ability to capture the quiet, intimate moments that define a relationship. This is one of Nigeria’s most sincere romantic albums in recent years.

Listen: |

4. R & BW — Banky W (2013)

Before Banky W became a film star and politician, he was the undisputed king of Nigerian R&B, and R & BW was his peak. It’s a big expression of love songs. “Yes/No” from the album is a popular proposal anthem for a generation, and for good reason — it seeks a lifetime of companionship. Intentional in its details, every Valentine’s Day is this album’s anniversary (Banky W released it on February 14, 2013).

Banky W manages to capture the Mr. Capable persona perfectly to deliver an album that is as smooth as his signature Fedora hats. From charismatic romance to smooth vocals and high-value production, this album remains a definitive R&B project that sets a very high bar for anyone following in his footsteps.

Listen: |

3. Expressions — Styl-Plus (2006)

Styl-Plus was the OG boy band that had every Nigerian girl in a chokehold in the mid-2000s. Expressions is a strong body of work that combines fine singing with resonant stories about heartbreak, chasing crushes, and the unique struggle of Nigerian long-distance love. We were all collectively begging “Olufunmi” not to go, regardless of whether we actually had an Olufunmi in our lives. Till this day, Wwe all still beg Olufunmi.

Styl-Plus’ brilliance to fuse soulful R&B with pop sensibilities made them pioneers, and this album remains an iconic work of romantic music and the gold standard for vocal groups in the Nigerian music industry.

Listen: |

2. Body and Soul — Plantashun Boiz (2000)

Plantashun Boiz, comprising 2Face (2Baba), Faze, and Blackface, walked so Styl Plus could run.  Their album, Body and Soul,  brought a level of vocal harmony and “lover boy” energy that Nigeria at the turn of the millennium had never seen before.

It’s the blueprint for the entire R&B movement that followed. “You and I” is a timeless classic that still melts hearts more than twenty years later. The soulful energy of the trio captured the essence of young love, making this album an essential piece of Nigerian music history that every romantic needs to hear.

Listen: |

1. Hitsville — Paul Play (2005)

We have to pay homage to the man who made the R&B transition look effortless. Paul Play Dairo’s Hitsville is a classic of romantic soul that unites the older generation’s highlife style and R&B. He brought class and timelessness to the genre that few have mastered. “Angel of My Life”, one of the album’s biggest hits, is arguably one of the greatest Nigerian love songs ever recorded. Hitsville is timeless music that still gets played today. Paul Play’s contribution to the romantic music scene is foundational, and this album is a Nigerian R&B magnum opus.

Listen: |

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I’ve done the search, sifting through the independent releases, the sleeper hits and the underground gems to identify important voices.

These are the ten Nigerian artists who should be on your radar: rising stars and underrated talents whose music, style and vision promise to make them impossible to ignore.

What makes Jamz FR exciting is her fusion of styles and her ability to navigate between bangers and introspective tunes. She taps into the essence of Afropop while layering in influences from R&B and reggae‑tinged vocal styles. When artistry is rooted in authentic experiences and a lifelong love of music, you’ll get songs with clarity and heart like “Sober”, “Lose Ya” and her latest “Jamzy Vibe.”

Reehaa stands out because she brings a female presence to a space often dominated by male streetpop acts. She has a music style grounded in both tradition and contemporary youth expression. She writes about real experiences and youthful perspectives in ways that feel relatable to her generation, not as an imitation but as an authentic voice of her own. Her songs often blend Yoruba and Pidgin English and lends her music cultural depth and broad appeal.

Her music carries both upbeat tracks and more introspective ones. Her recent singles, such as “Sati Ramoni” and collaborations with artists like Shallipopi and DJ Neptune, demonstrate her growing confidence, versatility and relevance. She’s increasingly seen not just as a rising woman in music, but as a contender shaping the future of Nigerian Street-Pop.

The velvety falsetto of Musta4a’s voice distinguishes him from his peers in the Nigerian contemporary music scene. Across Afropop, R&B and those hazy, soul-leaning pockets where emotions reside, he operates with ease. Though he’s a lover at heart, his songwriting stitches reflection and youthful exuberance that feel admiringly dreaming or lived in. Both approaches work for him.

His latest release, Musty & Yugo Vol. 1, an EP with Yugoszn, is proof of his instincts for forward-thinking collaborations and his ability to create chemistry. He’s growing his catalogue, he’s signed to a major publisher (Sony Music Publishing (West Africa)), and momentum is gathering around him. All these suggest one thing: a fuller evolution is on the horizon, and next year might be when it finally tips.

Abtraktt’s journey from underground releases to broader acclaim shows a creative restlessness that refuses to sit still. His music weaves hip-hop, trap, and afrobeats to convey everyday experiences. Abstraktt’s first EP, The Yellow Tape, marks a turning point and showcases his ability to shift between introspective storytelling and high‑energy tracks that groove just as hard as his lyrical raps. His latest, Uncle Yellow, showcases his approach as rhythm‑forward hip‑hop that favours versatility over genre limits.

With a growing catalogue that resonates with a broad audience and a knack for memorable hooks, Abstraktt is an artist worth watching as he pushes his Hip‑Hop style into 2026 and beyond.

From her early appearances opening for Ladipoe to her breakthrough releases, Elestee has demonstrated a range across styles, blending rap with Afropop. Her debut projects, Lifesize Teddy and POISN, showcase her lyrical ability, vocal flexibility and willingness to cross genre lines. Tracks like “Space”, featuring Ajebo Hustlers, have become some of her most-streamed songs, helping establish her presence in the Nigerian music landscape.

Elestee can deliver tight rap verses, shift into sung choruses and adapt her voice to different moods. She refines her sound with every release. Her recent EP, Mentally I’m Here, marks another step in her journey, showcasing her growth and her determination to seize her moment.

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Ibadan remains a breeding ground for alternative artists and musicians experimenting with music in a constantly evolving way. Syntax, The Creator is one of those artists and he makes music that takes listeners into spaces of introspection, celebration and creative expansiveness.

His Room 203 (2024) and Rvivi (2025) EPs express this vividly, with collaborations and features that expand his sound. If experimentation is where your interests lie, this singer-producer is always ready to turn “What if..?” into “What is” with his music.

Versatility sets Fimi apart. One moment, she’s dropping compelling, braggadocious and sensual rap verses. Next, she has flown into melodic hooks and artsy performances into her visuals, displaying the traits of zeitgeist hip-hop. She’s a new voice contributing to a growing space for authentic female participation in Nigerian Hip-Hop. In 2026, Fimi is an artist to watch.

As Afrobeats expands, the most recent releases are fusions that incorporate other styles. oSHAMO is a new artist at the heart of this approach. Born in Lagos and now based in the UK, his music seamlessly mixes Afrobeat, Fuji, Amapiano, and hip-hop with exciting melodies that carry the heart of Nigerian musical heritage into new sonic spaces. His debut EP First of My Kind maps his journey from Agege to London and marks him as a storyteller as much as a performer.

On his new EP, I D R I S, he gets personal and transitions to both infectious dance-floor moments and introspective narratives. In his own way, he serves as a cultural bridge, threading the soul of Lagos into London’s global soundscape.

�����à grounds her music in Afro-soul, but with the gleams of R&B, jazz and pop. It’s a rich fusion that carries both mainstream and niche circles in its arms, but the speciality of �����à’s music lies in her stories. She backs it up with her debut album, Detox. Every song is a sincere narrative, whether examining love, loss, reflection or personal growth. 

With sold-out shows both in Toronto and Nigeria, including stage performances with established artists like Asa and The Cavemen., �����à is emerging as one of the new, bold voices of alternative music in this part of the world.

Zaylevelten is one of Nigeria’s most compelling emerging voices in rap and alternative Afro‑fusion. He fuses street energy, trap influence and experimental sound into something distinctly his own. Zaylevelten’s breakout came through a series of strong releases and viral moments, especially a track like “Maye.” This song helped him build a loyal fanbase that connects with his unpolished and laid-back delivery.

He doesn’t chase trends, he shapes them, with glitchy trap styles, sharp flows and beats that defy easy categorisation. That experimental edge places him at the forefront of a new underground movement in Nigerian music. A key part of what makes Zaylevelten stand out is his work as a producer under the name Tenski. He plays a major role in crafting his own sound, producing much of his material, and ensuring identity, self-sufficiency and that the music reflects his vision from the ground up.

His recent project, 1t g0t crazy and its deluxe version, showcase his off‑kilter experimentation and street‑aware confidence, with features that also signal his growing influence.

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Since the Academy introduced the ‘Best African Music Performance’ category in 2023, more Nigerian artists have found themselves in Grammy conversations. 

For many, submitting to the Grammys isn’t just a bid for validation; it’s a marker of evolution. It signals ambition, confidence, and a belief that speaks beyond Billboard charts, Afrobeats playlists and TikTok trends.

Below, I highlight the Nigerian artists I believe are most likely to be nominated for the 2026 Grammy Awards, based on past Grammy data and the strength of their submissions.

Ayra Starr

She submitted:

• “Gimme Dat” featuring Wizkid for ‘Best African Music Performance’
• “Gimme” Dat” featuring Wizkid for ‘Best Music Video’
• “Hot Body” for ‘Record of the Year’
• “Hot Body” for ‘Song of the Year’

Likely to be nominated:

• “Gimme” Dat” featuring Wizkid for ‘Best African Music Performance’

Why?

Ayra Starr is already a Grammy nominee for “Rush,” and Wizkid’s five nominations and one win make him a proven Academy favourite. Their chemistry on “Gimme Dat” is undeniable, and the category tends to reward high-profile collaborations with global reach. This is one of the most secure Nigerian bets of the year.

Asake

He submitted:

• “WHY LOVE” for ‘Best African Music Performance’

Likely to be nominated:

• “WHY LOVE” for Best ‘African Music Performance’

Why?

Following back-to-back ‘Best African Music Performance’ nominations for “Amapiano” in 2024 and “MMS” in 2025, it’s safe to say that the Grammys love them some Asake. I expect that recognition to continue with the solid “WHY LOVE.”

Burna Boy

He submitted:

• No Sign Of Weakness for ‘Album of the Year’
• No Sign Of Weakness for ‘Best Global Album’
• “Love” for ‘Best African Music Performance’
• “4 Kampe II” with Joé Dwèt Filé for ‘Best Global Music Performance’

Likely to be nominated:

• No Sign Of Weakness for ‘Best Global Album’
• “Love” for ‘Best African Music Performance’
• “Wgft” with Gunna for ‘Best Melodic Rap Performance’

Why?

Burna’s a Grammy darling with 11 nominations and one win. He’s been nominated every year he’s submitted, and is one of the rare Nigerian acts to be nominated outside of the ‘African’ or ‘Global’ categories, earning a nod for ‘Best Melodic Rap Performance’ for “Sittin’ On Top of the World” with 21 Savage. Expect him to be the most nominated Nigerian this year. 

Davido

He submitted:

• 5IVE for ‘Best Global Album’
• 5IVE for ‘Best Artwork’
• 5IVE for ‘Best Album of the Year’
• “With You” for ‘Best African Music Performance’
• “With You” for ‘Song of the Year’
• “With You” for ‘Record of the Year’
• “With You” for ‘Best Music Video’

Likely to be nominated:

• 5IVE for Best ‘Global Album’
• “With you” for ‘Best African Music Performance’

Why?

�ٲ��������’s 5IVE is one of his most acclaimed albums yet, and the viral success of “With You” — boosted heavily by Omah Lay — makes it difficult for voters to ignore. As one of the inaugural nominees of the ‘Best African Music Performance’ category, Davido already has name recognition with Grammy voters. Expect multiple nominations here.

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Olamide

He submitted:

• “Billionaires Club” featuring Wizkid and Darkoo for ‘Best African Music Performance’

Likely to be nominated:

• “Billionaires Club” featuring Wizkid and Darkoo for ‘Best African Music Performance’

Why?

After earning his first Grammy nomination with Asake for “Amapiano,” Olamide returns with another heavy collaboration. Wizkid’s presence already boosts a submission, and “Billionaires Club” is already beloved for its sleek production and cross-market appeal. It fits perfectly into the Academy’s taste profile for this category.

Omah Lay

He submitted:

• “With You” with Davido for ‘Best African Music Performance’

Likely to be nominated: 

• “With You” with Davido for ‘Best African Music Performance’

Why?

Omah Lay is the heart of “With You,” one of 2025’s biggest Afrobeats records. His melodic control and emotional delivery elevate the track, and the Grammys often reward breakout performances within collaborations. If this song lands — and it should — Omah Lay will deservedly join the growing list of Grammy-nominated Nigerians.

Rema

He submitted:

• “Baby (Is It A Crime)” for ‘Best African Music Performance’

Likely to be nominated:

• “Baby (Is It A Crime)” for ‘Best African Music Performance’

Why?

After getting his first Grammy nomination for HEIS in 2025, Rema tenders “Baby (Is It A Crime)”, as his Grammy 2026 submission. The song samples four-time Grammy winner Sade Adu’s “Is It A Crime” and remains one of the best and most versatile releases in Afrobeats this year. It would be a shocker if this didn’t make the cut. 

Wizkid

He submitted:

• Morayo for ‘Album of the Year’
• Morayo for ‘Best Global Album’
• “Piece of My Heart” featuring Brent Faiyaz for ‘Record of the Year’
• “Piece of My Heart” featuring Brent Faiyaz for ‘Song of the Year’
• “Piece of My Heart” featuring Brent Faiyaz for ‘Best African Music Performance’
• “Kese (Dance)” for ‘Best Music Video’

Likely to be nominated:

• Morayo for ‘Best Global Album’
• Ayra Starr’s “Gimme Dat” for ‘Best African Music Performance’

Why?

With five nominations and one win, Wizkid is another certified Grammy darling. I expect him to show up in ‘Best Global Album’ for the celebrated Morayo, but I think his strongest chance for a nomination in the ‘Best African Music Performance’ category will be for his work on Ayra’s Starr’s “Gimme Dat,” instead of his own single, “Piece of My Heart.”

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Everyone talks about love online, but what’s it really like offline? We’re collecting anonymous stories for �鶹��Ƶ’s biggest relationship survey yet. Share your truth��.

Every artist has that one song they wish could be removed from their catalogue — the track that makes them wince whenever fans scream at shows, or the one they recorded just to please a label, a producer, or even their younger self who didn’t know better. 

Not every gamble pays off in the fast-paced world of Nigerian music, where trends shift as quickly as TikTok sounds. Sometimes, the beat slaps, but the lyrics age poorly. Other times, the song simply doesn’t represent who the artist has grown to become.

In this list, we revisit 10 Nigerian artists who are brutally honest about the songs they’d delete if they could. 

“It’s too vulnerable and it shouldn’t have been for public consumption.” — , singer-songwriter.

I just released my latest single, “,” and many people loved it. But what they don’t know is that the songwriting’s backstory isn’t sweet.

My mom’s friend’s daughter got married, which prompted my mom to ask me if I was seeing anyone. I told her I wasn’t and was focusing on only music for now. She said it was no problem, and I should take my time, whenever I’m ready.

After that conversation, I felt a little down and birthed the chorus: “Asiko n lo, oun lo o / Tell me when do I feel loved?”

The message has three parts for me. The first is a question of “Do I love myself?” The second is, “How do I love you if I don’t even love myself?” and the third is, “Why do you love people who don’t care about you?”

It’s too vulnerable and shouldn’t have been for public consumption.

Even one of my backup singers isn’t comfortable singing a part of the song where I say, “Do I even love myself?” That song should never have seen the light of day. Sitting in my vault, it’s one of those songs that should have been something solely for me.

“How could I be celebrating a new release when people were fighting for justice and getting shot at?” — , rapper and singer.

I remember the #EndSARS protest in 2020 clearly, but not in the way most people do. While the streets were filled with protesters and youths fighting for their lives, I was at home, celebrating. I had just released a new song titled “.” The plan was to do a big social media push, get it everywhere, and celebrate the moment.

I was so focused on the drop. The song was a banger; it was something I’d worked on for months, and I was so proud of it. We had the artwork ready, the marketing plan, everything. I was on my phone, watching the streams go up, feeling that rush. But then I looked outside: people were marching and chanting. My friends were posting videos from the protests, their voices thick with anger and passion.

It hit me all at once. My new song was completely out of touch with the reality on ground. How could I be celebrating a new release when people were in the streets, fighting for justice and getting shot at? The moment I realised it, my excitement turned to shame. I pulled back from all the promotion, but it was too late. The song was out there. To this day, it’s a reminder of a bad decision.

“The producer came back again and asked to be added as a primary artist to the release.” — , rapper.

Early in 2023, I was invited to a recording camp by a producer, and I was the only artist there. After transporting myself to the location and back with my money, the day ended quite productive and we made two songs. Not long after the session, the producer sent me an mp3 mixdown of just one of the songs we made together.

At the time I had a two-year management contract I was running on, but I had the creative freedom to make whatever I wanted. I played that one song I got off the session to my team, and they were confident the song would make a perfect single for the album I was making at the time. Months after that initial recording session, I called the producer to let him know my plans for the record and even offered a 50% split. He agreed to the terms, but insisted I give him an advance payment.

A year later, I officially released the song, titled “”, after so much drama and stalling, the producer came back again with a different request and asked to be added as a primary artist to the release. At that point I was already drained after spending over a hundred thousand naira on the post production and the distribution. It didn’t feel like it was worth the stress anymore. So, I didn’t give in to his request.

The producer took the song down. In less than a month, he came again, trying to get me to put the song back up on DSPs, but I was done and ignored him. The song is still on Audiomack, but that’s it.

Meanwhile, he didn’t even talk about the second song we made or send me a mixdown like he did with the first one. In fact, I still haven’t heard it since 2023 when we made it.

“One can tell that it was just a good day in the studio, not a lot of thoughts were put into it.” — , singer-songwriter.

I should have thought of a better plan before I released “” in 2020. My producer and I were on a high when we made that song, just two guys in a room, happy to be making music. You can hear it in the track; it’s pure studio euphoria. No big plan or deep thought, just a good vibe. I listened to it and thought, “What’s the harm in putting this out?” My team loved it, so I figured that was all the sign I needed. I released it without a second thought.

And then, nothing. The song just existed. It didn’t blow up, but it didn’t flop either. I thought I should’ve had a better plan to push it. But looking back now, maybe why the song just sat there, adding nothing to my career, good or bad, was because one can easily tell that it was just a good day in the studio and there weren’t a lot of thoughts put into it.

I released the song in the spur of the moment, and now I have a track out there that I wish I shelved for good or took the time to properly finish. Though I’m learning these days that songs are like kids, we give birth to them, but can’t be sure what they’d turn out to be. The best I can do is put out what I won’t hate releasing after some time.

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“I realised the title itself carried a perception I did not want associated with me.” — , rapper and singer.

The year was 2023, and I had just arrived in Enugu for my youth service. The city had an energy I immediately connected with, and I was soaking it all in, meeting people, exploring, and feeling inspired.

It was around that time I linked up with Jubal (J-V-B-A-L), a talented producer from the University of Nigeria, and Munna, an experimental alternative rapper. We decided to make a track that sampled a trending sound at the time called “.” Just to be clear, the song was not about glorifying any substance, it was just a vibe, a piece of music we felt people would enjoy. And they did.

We performed it a few times, and the audience loved it. On Spotify alone, it racked up over 10,000 streams in just a few months. It felt like one of those moments where everything clicks, and you cannot help but smile at the reception.

Fast forward to 2024, when I finished NYSC and stepped into the professional workforce. A few weeks into my new role, some of my superiors discovered my TikTok, and specifically, that song. I was called into HR. The conversation could have been intimidating, but I did not panic. I just said something along the lines of, “Ma, if you are the one who sings like this, will you not post it online?”

Was I bold? Definitely. Surprising? Absolutely. But it worked. I left the room calm and unshaken.

As I continued to grow professionally, I started reflecting on the song. Even though the message was not about the substance, I realised the title itself carried a perception I did not want associated with me professionally. So, I made the tough decision to take the song down, even though it had been one of my most popular tracks.

“I had to remove a long-time friend from that record just to fit in this artist’s verse.” — , rapper and producer.

There was an artist I really wanted to collaborate with in 2022. I reached out, and at first, he acted interested and responded like he was down to do it. But then, out of nowhere, he ghosted me. No replies. Nothing.

Trying to keep the idea alive, I decided to offer payment for a verse. As soon as money came into the picture, he suddenly showed up again, responsive, cooperative and ready to record. We agreed and he sent in his verse. As the release date approached, his manager started acting very enthusiastic. He even said I should be open and communicate with them about the release. The artist echoed the same sentiment. They both made it seem like we were all on the same page and excited to push the song.

When the song finally dropped and I reached out to the manager for help with Audiomack support, he hit me with, “Do I work at Audiomack?” That one sentence told me everything I needed to know.

The artist barely did any promo, but when it came time to talk about royalties, he was quick to ask for his share.

What makes it worse is that I had to remove a long-time friend from that record just to fit in this artist’s verse. I made that choice thinking it would elevate the track. In hindsight, I regret releasing the song at all and that was eventually pushed me to remove it from all DSPs.

“That shit hurt my motivation, for real.” — , rapper.

So far, in my career, I’ve tried out a bunch of different sounds. I’ve never been scared of new beats and styles. That’s how I keep my creation process natural and unforced.

I once made a song titled “” in January 2024. It’s a drill song with trap influences, and I delivered a strong vocal performance in both pidgin and English. When I played this song for friends and sent it out to fellow creatives, their heads bopped uncontrollably. They urged me to drop as a matter of urgency, and with the way the drill soundscape was gaining popularity, I felt like that was the best idea. I was feeling myself and thought I had done something special with the song.

But it didn’t drop on time. I relocated to the U.K and had to get acclimated with my new environment and figure many things out first. This led to a 6-month hiatus. When I got back to music and was ready to release the song, I thought, “Why give them one song, when I can put out an EP and make them understand what’s been going on with me?”

So, I added three other songs alongside “Fall”. When I eventually did release the tape in August, “Fall” would get the lowest streams across all platforms. Mentally, I couldn’t understand why no one was listening to this one in particular. I thought it was the best.

What exactly I did wrong with that track, I don’t know. I used to think I should have packaged it as a single, but from the way it was regarded and overlooked, I’d say I’d rather have not dropped and enjoyed that one with my friends.

“After a deep reflection, I began to see why they thought the line signals tribalism.” — , rapper.

In 2020, I released an EP that has a song titled “,” a straight up braggadocious display of lyricism. Everyone that jammed it when it dropped loved it. I received great responses. Someone even said, “This is the kind of rap jam one would expect from the OGs.” I felt good about that compliment.

Then in 2021, I joined a cypher and rap battle competition to win $1,000. I prepared seven fresh verses and added the verses from “Hold My Glass” to it. I made it to the second tier of the competition. When it was my turn to battle again, I went hard, using the verses from “Hold My Glass.” I was confident AF in what I did. 

When it was time to get the verdict, I was disqualified. Why? A few of the judges didn’t like one of my lines: “I came from where the Civil War hero came from / Benjamin Adekunle, the Black Scorpion.”

In all honesty that’s a clever line and an homage to someone from my town. The person just happened to participate in the Nigerian Civil War, which in the judges opinion shouldn’t have been lauded..

I lost that round and any chance of winning the prize money. After a deep reflection, several listens and deciphering of my own lyrics, I began to see why they thought the line signals tribalism, even though it wasn’t my intention. Now, I have a song out that people are likely to call tribalistic streaming.

I’m not a big fan of the song anymore, but I really regret not realising what those judges did before I put it out.

“What made me regret putting it out was when my seven-year-old nephew found that particular song.” — , rapper.

So, I made a song titled “” in 2023 and it’s about sexcapades and smoking weed, but I don’t indulge in those in real life. Over time, I began to feel weird and cringe whenever I heard it play. It isn’t who I am and doesn’t represent me in any way.

But what caused the regret of putting it out was when my seven-year-old nephew, who is a big fan of my music, picked up his mom’s phone to search for my music and found the track. I felt shame, like I had disappointed the little lad. From thereon, I have kept most of my songs socially conscious and PG-13.

“I was completely consumed by grief and couldn’t even think about promoting the music.” — , singer-songwriter.

I had just recovered from a nasty femur fracture that happened in late 2020, when I got back to making music. I poured everything I had into a new EP, a project that was deeply personal to me. I even titled it Ad Meliora, which means “towards better things.” I was ready to move past the injury and the struggle. The first track, “Anytime,” was one of the best records I’d ever created. I felt it was a strong start, a sign of better things to come.

I dropped the EP on July 7th, 2022. Just five days later, on July 12th, my dad passed away.

Suddenly, the whole meaning of Ad Meliora felt twisted. It was a cruel irony. I was completely consumed by grief and couldn’t even think about promoting the music. The project just… dropped. All that effort, all that hope, and it landed with no post-release promotion. I struggled with grief and eventually took it down. Looking back, I just wish I hadn’t released it when I did.

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