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.

ALSO READ: 14 Nigerian Music OGs and the Stars They Helped Discover

From the early foundation laid by mid-2000s pioneers to the modern global platforms built by contemporary icons, these talent pipelines have shaped the evolution of Nigerian and African music. This is a list of Nigerian music OGs and the artists whose careers were transformed under their guidance.

1.

ID Cabasa is a veteran music producer and the founder of Coded Tunes. He’s instrumental in shaping the indigenous street-hop sound in Nigeria from the mid-2000s to the early 2010s.

: After collaborating closely with ID Cabasa on his breakthrough album Gongo Aso (2008), 9ice had huge continental success and won multiple awards. He went on to release other successful albums and establish his own label, Alapomeji Ancestral Records.

: Benefiting from Coded Tunes’ platform and ID Cabasa’s production, Seriki established himself as a notable indigenous rapper. He built a solid core fanbase with his street-relatable lyricism and released acclaimed projects, including his debut album, Seriki’s Diary.

: He was discovered and nurtured under Coded Tunes. He also released his debut album, Rapsodi (2011), to critical acclaim under the same label. He subsequently founded YBNL Nation and became one of Africa’s most successful hip-hop artists and music executives.

2.

Olamide, AKA Baddo, is a multi-award-winning rapper and the founder of YBNL Nation. He has built a reputation as one of Africa’s most influential artists and music executives by consistently discovering and launching the careers of mainstream superstars.

: After signing to YBNL Nation in 2014, Lil Kesh dominated the airwaves with back-to-back hit singles like “Shoki” and “Efejoku.” He later left to establish his own imprint, YAGI Records, and continued releasing music.

: After getting exposure under YBNL, Chinko Ekun gained mainstream recognition, especially for his off-the-top freestyles. He later left YBNL and released the 2018 smash hit “Able God” under Dek-Niyor Entertainment. The track won him ‘Best Street Hop Artiste’ at The Headies.

: Initially signed to YBNL, where he released his acclaimed debut album Gold (2016), Adekunle Gold transitioned into a global star. He has since released multiple chart-topping albums, secured an international record deal with Def Jam, and performed at major global festivals such as Afro Nation.

: He joined YBNL in 2022 and has achieved unprecedented chart dominance with his fusion of Amapiano, Afrobeats and Fuji. He has released four highly successful albums, releasing the latest under his Giran Republic imprint. He has also earned two Grammy nominations and sold out major global arenas, including the O2 Arena in London and Barclays Centre in New York.

3.

Banky W is a veteran R&B singer and co-founder of Empire Mates Entertainment (E.M.E). He played a pivotal role in transitioning Nigerian contemporary music to the global stage during the early 2010s.

: Under E.M.E, Wizkid released his seminal debut album Superstar (2011) and Ayo (2014) that laid the foundation for his global superstardom. He later founded Starboy Entertainment, toured globally and has become one of the most-streamed African artists in history.

: After his stint at E.M.E., where he gained initial mainstream exposure, Skales founded OHK Music Records and signed with Baseline Music. He released the massive 2014 hit “Shake Body,” which became an international club anthem, and has maintained a consistent career with multiple studio albums.

4.

Don Jazzy is a legendary music producer and the founder of Mavin Records. He is widely regarded as one of the most successful record executives in African music history. 

: After joining Mavin Records, Tiwa Savage released multiple successful projects and singles, and established herself as the “Queen of Afrobeats.” She eventually signed a global deal with Universal Music Group, collaborated with international stars like Beyoncé, and performed at King Charles III’s coronation concert.

: Since her debut under Mavin Records in 2021, Ayra Starr has become a leading figure in the global Afrobeats movement. She has earned two Grammy nominations for her hit “Rush” and “Gimme Dat”, released successful albums, and toured extensively alongside major international artists.

5. D’Prince

D’Prince is a singer and the founder of Jonzing World, an imprint operating in partnership with Mavin Records. He has successfully pivoted from a performing artist to a highly effective A&R and record executive. He discovered Rema and worked in partnership with Don Jazzy’s Mavin Records.

: He was launched by Jonzing World in partnership with Mavin Records in 2019. Since then, Rema has achieved global fame. His 2022 song, “Calm Down,” featuring Selena Gomez became the highest-charting African song on the Billboard Hot 100. He has performed at Coachella and several prestigious global concert venues. His 2024 album HEIS earned a nomination for Best Global Music Album.

: He was discovered and signed to Jonzing World in 2021. Ruger released his debut EP Pandemic in 2021, with the hit single “Bounce.” He achieved continental success with subsequent releases like “Dior” and “Asiwaju” before launching his own label, Blown Boy Entertainment, in 2024.

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6. and (Kennis Music)

Kenny Ogungbe and Dayo “D1” Adeneye are veteran broadcasters and the founders of Kennis Music. They revolutionised the Nigerian music industry in the late 1990s and 2000s by providing structure, promotion and distribution for local artists.

: After the Plantashun Boiz disbanded, 2Baba signed with Kennis Music and released Face 2 Face (2004), which gave us the mega-hit “African Queen.” He became the first winner of the MTV Europe Music Award for ‘Best African Act’ and is now recognised globally as an Afrobeats pioneer.

Eedris Abdulkareem: Under Kennis Music, Eedris released a string of beloved albums and singles including “Jaga Jaga” and “Mr. Lecturer” (2004). He became one of the most prominent voices in Nigerian hip-hop and notably carried the Olympic torch for Nigeria in 2004.

: After his exit from The Remedies, Tetuila found massive solo success with Kennis Music, releasing hits like “My Car.” He became a staple of early 2000s Afropop across the continent.

: With Kennis Music’s backing, Paul Play successfully transitioned from a producer and backup vocalist to a mainstream R&B star. His hits like “Angel of My Life” and “Mo So Rire” got him multiple industry awards and solidified his legacy in Nigerian R&B.

7.

Femi Kuti is a widely-recognised Afrobeat musician, a multiple Grammy nominee and the eldest son of Afrobeat pioneer Fela Kuti. He has spent decades touring globally and advocating for social justice through his music.

: Benefiting from his father’s mentorship and playing in his Positive Force band, Made Kuti launched his solo career. He has released a critically acclaimed album For(e)ward (2021) and secured a Grammy nomination alongside his father for their joint album Legacy +. Made Kuti has established himself as a highly skilled multi-instrumentalist carrying the Afrobeat torch.

8.

Timaya is an OG dancehall and Afropop artist and the founder of Dem Mama Records. He has maintained consistent mainstream relevance in the music industry for nearly two decades.

: He was signed to Dem Mama Records in 2018 and introduced his “Continental Boy” sound to the mainstream. He collaborated with Timaya on hits like “Kom Kom” and released his debut album Citizen of the World (2021). King Perry has carved out a niche in the dancehall and Afropop space.

9.

Burna Boy is a Grammy Award-winning global music superstar and the founder of Spaceship Records. Burna is widely recognised as global ambassador of Afrobeats and known for selling out major stadiums worldwide.

: After getting Burna Boy’s co-sign and feature, BNXN got more mainstream exposure. He also has an appearance on projects like Wizkid’s Made in Lagos. He has won a Headies award, released a successful debut album, and became one of the most sought-after featured artists in Afrobeats.

10.

Moses Bliss is a famous gospel singer, worship leader and founder of Spotlite Nation. He’s known for gospel hits like “Too Faithful” and “Daddy Wey Dey Pamper.”

: After receiving a co-sign and signing with Spotlite Nation in 2023, Ebuka Songs gained widespread recognition in the gospel music scene. His breakout single “I Will Pray” became a big hit and has given him global performance engagements and awards within the Nigerian Christian music community.

11.

Steve Babaeko is an advertising executive, entrepreneur and the founder of X3M Music. His record label provided a structured and professional platform that nurtured one of Nigeria’s foremost alternative, soul and R&B talents.

: After signing to X3M Music in 2014, Simi released breakout singles like “Tiff” and “Jamb Question,” which appeared on her award-winning sophomore album Simisola (2017). She has since founded her own independent label, Studio Brat.

12. and

iLLBliss (a veteran rapper and music executive) and Clarence Peters (a renowned music video director and producer) co-founded Capital Hill Music and The Goretti Company. Through their partnership, they provided crucial management, audio production and visual direction for a new generation of Nigerian artists.

: Under the management of The Goretti Company, Phyno transitioned from a behind-the-scenes producer to a frontline artist. He released his classic debut album, No Guts No Glory, in 2014. He completely took indigenous Igbo rap to the mainstream, founded his own imprint, Penthauze Music, and has remained a continental heavyweight with multiple hit albums.

13.

BNXN is an award-winning singer, songwriter and the founder of T.Y.E (To Your Ears) Entertainment. Having navigated his way from an independent internet talent to a mainstream global star, he used his imprint to launch an emerging artist like taves.

: He benefitted from BNXN’s co-sign and officially signed to his T.Y.E imprint in partnership with Atlantic Records UK briefly. After gaining mainstream attention, capitalised on this momentum by releasing successful singles like “Eleyele” and “Folake.” He has since established himself as a rising star in the global Afro-R&B space.

14.

Davido is a multi-award-winning global Afrobeats superstar and the founder of Davido Music Worldwide (DMW). He’s been instrumental in identifying and launching the careers of several mainstream African artists through his label’s extensive reach and resources.

: Discovered on social media and signed to DMW in 2016, Mayorkun found immediate mainstream success with his debut single “Eleko.” Since then, he has�� won the Headies ‘Next Rated’ award and released a critically acclaimed album, The Mayor of Lagos (2018).

: He signed to DMW alongside Mayorkun in 2016. Dremo served as the primary rap act for the label. He released his Codename EP series and has maintained a consistent presence in the Nigerian hip-hop scene through solo releases and collaborations.

: After joining the DMW camp, Peruzzi became widely recognised for his exceptional songwriting and heavy vocal contributions to the label’s biggest collaborative hits. He has simultaneously built a highly successful solo career, released acclaimed projects like Huncho Vibez, Rum & Boogie and SABALI.

ALSO READ:��Why Are We Obsessed With Labelling Every Song?

Here are the 10 best Nollywood movies to binge on YouTube this July.

10. (2026)

Running time: 2h 7m

Director: Uduak-Obong Patrick

Genre: Romance

Naya (Sophie Chioma) falls into Chris’ (Saga Adeolu) life one night, after a few too many drinks. She points at him in public, claims him as her man and blacks out in his arms. Chris ropes her into a fake-dating arrangement for a family event. Naya sets strict boundaries, but those quickly go out the window when his family instantly grows fond of her.

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9. (2026)

Runtime: 1h 57m

Director: Gabriel Okoroji Sirkome

Genre: Comedy

Imagine mourning your husband, only for the man to casually resurrect and walk through the front door, with a brand-new wife (Uche Montana) in tow. The first wife’s grief multiplies when she realises her husband used his death to start a whole new family. Before they even finish dragging each other, more hidden wives start crawling out of the woodwork, all aggressively fighting for their spot in this man’s messy life.

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8. (2025)

Running time: 1h 42m

Director: Moses Imobhio

Genre: Romance

Buchi (Eso Dike) is trying to marry to save his father’s business. His childhood bestie, Ihuoma  (Bamike “Bambam” Olawunmi), has secretly liked him for years, but after a drunken night leads to unplanned sex, he proposes a fake engagement. Feeling highly disrespected, Ihuoma cuts him off. By the time Buchi realises he fumbled a queen, she’s become pregnant.

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7. (2025)

Running time: 1h 38m

Director: Great Valentine Edochie

Genre: Drama

Jason (Eso Dike) is about to get married, but the arrival of his territorial younger sister turns his life into a house of commotion. The fiancée (Vivian Kaiam) and the sister-in-law (Okawa Shaznay) have bad blood over who gets his attention, turning the house into a warzone.

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6. (2025)

Running time: 1h 36m

Director: Great Valentine Edochie

Genre: Drama, Romantic

After her divorce and a forced career break, Chigo (Bolaji Ogunmola) moves back to her parents’ house. She unexpectedly bumps into Izu (Blossom Chukwujekwu), her childhood bestie, who’s also fighting for his life. They bond over shared trauma and old memories, and together figure out how to heal and approach family pressures and love.

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5. (2026)

Running time: 2h 15m

Director: Uche Alexmoore

Genre: Drama

With less than a year left to live, April (Osareme Inegbenbor) brings Honor (Chinonso Arubayi), a village babe, to the city, to serve as a surrogate for her husband, Mark (TooSweet Annan). When the IVF treatments keep failing, Mark and Honor start catching feelings, turning April’s dying wish into a messy love triangle.

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4. (2026)

Running time: 1h 40m

Director: Uduak-Obong Patrick

Genre: Drama

Kayima (Ekama Etim-Inyang) thinks she has finally found true love, but she gets betrayed. As if that isn’t enough, a tragic accident leaves her blind, her dad mysteriously vanishes, and kidnappers drop a ransom demand. She becomes lonely, and everything looks bleak until an unexpected guy steps into the picture, ready to be the light and love she didn’t see coming.

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3. (2026)

Running time: 1h 32m

Director: Uduak-Obong Patrick

Genre: Romance

Folarin (Chris Attoh) is a guy whose wealthy family controls his love life; Firefunmi (Teniola Aladese) is a lady who’s allergic to patriarchal BS. Fate brings them into a fake situationship, but catching feelings is out of the plan. Until fake romance turns into the real deal.

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2. (2026)

Running time: 1h 25m

Director: Great-Val Edochie

Genre: Comedy, Drama

Mutiat (Kemi Apesin), an auxiliary nurse, traps Onyema (Uzor Arukwe) into marriage with a fake pregnancy. Now, they’re stuck together. When a patient mysteriously dies on Mutiat’s watch, the couple attempts to cover it up, but that spirals into a chaotic, dark comedy.

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1. (2026)

Running time: 1h 43m

Director: Edafe Eruotor

Genre: Comedy, Drama

Daniel (Deyemi Okanlawon) and Jessica’s (Chioma Chukuwuma) marriage went from couple goals to all kinds of problems. Choking on financial stress and resentment, they’re busy fighting a cold war that traumatises their young son, Lucas (Fiyin Asenuga). Soon after they begin therapy sessions, a new babe comes into Daniel’s life, tearing apart his family further.

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When Rema put out his sophomore album HEIS in 2024, the internet reached for a label almost immediately. Some called it Mara, some filed it under EDM, and some claimed it was the comeback of the Pangolo or hyper-fast street music of the Terry G era. It’s none of those. He’s an Afrofusion artist who dedicated a single project to a different sonic style. But one album is an experiment; it doesn’t make a new genre, let alone spark a resurgence of a style that was never a formal genre to begin with.

That’s the pattern running across Nigerian contemporary music right now: a talking drum under a synth line, a chorus that switches into Yorùbá or other local languages before sliding back into English or not at all. These are called texture in music, and they don’t reclassify a song. A guitar interpolation from the 1970s doesn’t make a song Highlife. It’s Highlife because the artists follow the genre’s specific logic, and this goes for other music genres.

None of this is a knock on modern production. A Dance, Fuji, Juju or Highlife song can run through modern mixing, drum machines and whatever the studio has, but modernity doesn’t nullify a genre; what does is half-measures that pull the aesthetic without its structure. Commitment is the real test here. An artist can make a modern, current-sounding song and still be, principally, playing by an older genre’s rules. The Cavemen are a prime example of this, having successfully committed to the modern interpretation of Highlife rather than just borrowing its elements. In contrast, a trending track like is playing a different game: it borrows the elements of the ‘80s Boogie and Electronic music (like Chris Okotie and Mike Okri did), but overlays it with modern Yorùbá flavours. Both are great, but only one is building a genre. However, what’s happening right now, at large, isn’t that.

So this cluster of nostalgia-driven songs doesn’t have a real name yet, and it shouldn’t. What’s happening is closer to sketching the sound than building and completing. Artists are testing ideas from a place of curiosity and nostalgia, not from a settled artistic position. As we saw with Rema’s HEIS, one album is a brilliant evidence of curiosity, not the birth of a movement. Before this can be called a resurgence or even a new genre, there needs to be consistency: an artist returning to the same well more than once. A handful of one-off experiments running in parallel shouldn’t get mistaken for a pattern.

Call it what it actually is for now: Afro and the mix of other genres it fuses. Contemporary artists are using traditional Nigerian sound as a mood board — borrowing a synth here, or a Yorùbá folk chant there, much like Solana does on “OKUNKUN.” That’s allowed. A working title only needs to change once a dedicated subculture forms around a sound. The audience has to identify with it completely, not just to enjoy it as a temporary flavour inside a broader genre. Cruel Santino achieved a version of this with his experimental, industrial-Alté Subaru Boys: FINAL HEAVEN album. He built a universe of Punk and video game soundscapes that his audience aggressively identifies with. That’s what creating a subculture actually requires. But for the broader industry right now, that’s a level of dedication that’s yet to happen, and it begs another discourse that even goes beyond just music.

Why are creators and consumers obsessed with labelling everything in the first place?

For a logical reason: cultural exchange. A label functions like a shipping tag. It’s easier to move something across borders and languages when it travels with a name attached. “Afrobeats” moves in a way that “a song from Lagos” never will. A label compresses the whole of a cultural context into something a stranger can grab onto fast, and that matters when the goal is export.

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A second explanation brings us to our post-modern reality of things running through the algorithm. Since social media reorganised itself around interest instead of around who you actually know, labels became how creators attach an identity to their work, sometimes on purpose, sometimes without fully clocking that they’re doing it. Platforms use labels and tags to sort content and decide who gets shown what.

Ifoghale Wilson, a designer and visual artist, digs deeper: “Culture is really fragmented, so creators can’t lean on the old faithfuls. They have to stimulate little corners of the internet best they can. And labels work in that regard, especially when there are loads of listeners who identify with that label for some reason.” By claiming these isolated corners, the label becomes a dividing line. It signals who’s part of the subculture and who isn’t.

As music journalist and culture curator Ayomide “AOT2” Tayo points out, this is how labels create a sense of exclusivity. But given the current structure of Nigerian music, that exclusivity is usually just a sugar rush; sweet for a moment, but quick to fade. AOT2 adds, “the ones that last are propagated by a culture, not an individual.” Exclusivity on its own doesn’t build anything that lasts, nor does it produce a renaissance. What exclusivity builds is cults. Look at Cruel Santino’s Subaru Boys: FINAL HEAVEN — his extreme commitment to a niché, hyper-specific sound built a fiercely loyal cult following, but it remained intentionally an exclusive space. It’s a great achievement, but not a widespread cultural movement. Inclusivity is where culture-building is: through a sound becoming porous enough that more people can step into it without needing to be the 1%.

At the core of this trend lies the audience, and exactly why there’s such a sudden appetite for this blend of modern and traditional sounds right now.

Part of the answer, according to writer and culture consultant The Jide Taiwo, is about the country itself. He says, “Nigeria, at its core, is a blend of many things, languages and histories that don’t always agree with each other but somehow share one element. In a postmodern era, things bleed into each other far more easily than they did thirty years ago. The line between old and new, traditional and contemporary, blurs more easily now, and that blurring shows up in the music because it shows up in everything else the culture touches.”

Audiences, often without realising it, are drawn to a blend of something familiar from a past era, plus wherever the culture currently stands. Using “OKUNKUN” again as an example. The audience is doing more than just responding to its good, catchy hook; it’s relishing a trusted popular music structure that’s wrapped around a cultural moment.

Put all the aforementioned factors side by side, and a single element starts to show through all of them. The genre resurgence question stays unresolved because it sits entirely downstream of two other larger forces: algorithmic fragmentation and the audience’s appetite for nostalgia. Labels are reached for because an algorithm-run culture needs a flag planted fast, and a listener needs a name to identify with faster than an artist needs to build a genre’s identity. Whether we like it or not, the audience’s appetite, not a commitment to older genres, is what most artists are actually responding to when they mix the old with the new. It’s capitalisation on what the audience wants, not a stylistic pledge.

Which is also why stylistics, not language, are what actually build a genre. Singing a hook in Yorùbá doesn’t make a Yorùbá genre song. Most of the new-age songs trying to recreate a classic sound or mimic a traditional genre’s style rarely leave anything behind. They come, generate a burst of excitement among younger listeners, earn a nod of recognition from older ones, make some noise and slowly disappear. This isn’t because the artists lack talent, but rather because these songs are built to feed that same nostalgia-driven appetite described above instead of being rooted in genuine genre commitment.

There’s a mimetic element in all of this worth naming plainly. Music, first and foremost, is expression. Genre is our rudimentary way of sorting that expression into something we can talk about and file next to other things. Across artificial intelligence, memes and mimetic language generally, the pattern for what sticks stays consistent: a single idea compressed into something that travels easily, that a person can grab in a short time without losing the point.

Virality runs on giving people something new wrapped around something familiar, which is why old-school cool keeps resonating no matter how many production cycles pass. What happens if this appetite eventually goes deeper, past novelty into real commitment, is hard to say. Maybe it grows into something sustained, or it stays exactly what it is right now, just a moment. Nobody knows yet, and any certainty here is mere guessing.

The genre question should be about attention instead, because attention right now runs on nostalgia. And it isn’t even remotely unique to music. It shows up anywhere people try to guess what’s coming next in fashion, film or other art forms. People are constantly negotiating their relationship with the past, engaging with one era and disengaging from another, over and over. It’s the same cycle of human consumption as it’s always been. The internet/algorithm just made it faster.

So the next time an artist like Rema or Solana drops an experiment, we don’t need to invent a new genre to understand it. We just need to pay attention.

ALSO READ: What We Demand When We Ask Celebrities to “Speak Up”

From thrilling epics, romantic entanglements and hostage dramas, Nollywood has back-to-back hits on Netflix. If you’re looking for what to watch on the streamer this month, here are the 10 best Nigerian movies to watch this July.

10. (2024)

Running time: 1h 40m

Director: Toka McBaror

Genre: Comedy, Thriller

Akpos (Ayo Makun) is on his very first day as a waiter in a posh Abuja hotel hosting a big event for the Minister of Poverty Alleviation (Shaffy Bello). A heavily armed ex-army captain (Bucci Franklin) and his boys hijack the building and take everybody hostage. Then it goes from kidnapping to a revolution, forcing everyone to answer the question: Who is responsible for this country’s problems?

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9. (2022)

Running time: 1h 50m

Director: Tope Adebayo and Adebayo Tijani

Genre: Epic, Thriller

Oba Adegbite (Odunlade Adekola) just wants to enjoy his new crown, but a powerful thief, Ageshinkole (Femi Adebayo), shows up to scatter his kingdom. Ageshinkole is such a menace that he beats up witches, wizards, warriors and literally everyone the King sends. The problem gets so big that the King forces his head hunter (Ibrahim Chatta) on a suicide mission to bring the thief’s head or lose his own.

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8. (2023)

Running time: 1h 55m

Director: Kunle Afolayan

Genre: Drama

Four stubborn friends (Ruby Akubueze, Kayode Ojuolape, Fawad Aina and Ebiesuwa Oluwaseyi) go to play in the mountains and somehow stumble on a bag of diamonds. Tempted and excited, they take it for themselves. But the diamonds come with wahala. They belong to some dangerous people who’ll go to any length to get them back. Now, these kids have gone from planning their new, rich life to running around for survival.

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7. (2021)

Running time: 1h 52m

Director: Idea Chukwuma “Onesoul” Innocent

Genre: Epic

Trained by her dad, Ogbu (Enyinna Nwigwe), Igbinogun (Damilare Kuku) leads a gang of misfit thieves to steal from the rich and give to the poor. But the problem starts when she embarrasses the Prince (Blossom Chukwujekwu) so badly in battle that the man literally deletes himself out of shame. The kingdom is upside down and Igbinogun suddenly has to step up and become the leader of her village.

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6. (2022)

Running time: 1h 36m

Director: Date Olaitan

Genre: Horror, Thriller

Busola (Immaculata Oko-Kasum) thinks she has secured a soft life when she falls for Tunji (Efa Iwara), a fine boy from a super-rich family. But the red flags start waving almost immediately. Tunji’s family is hiding some dark, creepy secrets, and Busola quickly realises that marrying into this kind of wealth is far from a blessing. 

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5. (2023)

Running time: 1h 36m

Director: Walter Banger

Genre: Drama, Romance

Toyin (Dakore Egbuson-Akande) and Uche (Nse Ikpe-Etim) are lifelong besties until one man, Sunday (Oris Erhuero), enters the chat and scatters everything. It first starts as a harmless crush, then turns into a messy love triangle that tests the limits of their sisterhood.

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4. (2022)

Running time: 1h 28m

Director: Walter Taylaur

Genre: Drama

Brume (Daniel Etim-Effiong) is battling life problems: his mom just died, his wife’s dealing with infertility, and two corrupt policemen (Frank Donga and Toyin Oshinaike) are extorting him. Then, the worst happens: his wife is murdered by the officer. Brume teams up with his guy, Dammy (Deyemi Okanlawon), to pose as a flamboyant yahoo boy, lure the corrupt cops and kidnap them. From there, it becomes a chaotic hostage drama fueled by revenge.

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3. (2025)

Running time: 1h 39m

Director: Moses Inwang

Genre: Drama, Romance

Adaora (Nse Ikpe-Etim) is a rich, single lady who falls for fine boy stylist Jaiye (James Gardiner) just to escape family pressure. But that’s a huge mistake because Jaiye is scum. He and his partner Anna (Erica Nlewedim) scam Adaora blind, force her to get an abortion, fake his death, and set her up for jail. Adaora gets out, catches him living large with a new family, and goes into revenge mode and wreaks havoc.

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2. (2022)

Running time: 1h 30m

Director: Kayode Kasum

Genre: Drama

Otas (Chimezie Imo) is just trying to go to NYSC camp when a tragic accident leaves a friend dead, and the police wrongfully pin the death on him as a murder. With Otas locked up, his mom, Adesuwa (Dakore Egbuson-Akande), is forced to confront her own dark past and trauma tied to Nigerian police brutality.

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1. (2025)

Running time: 1h 51m

Director: Daniel Etim Effiong

Genre: Crime, Drama

Gosi (Daniel Etim-Effiong) travels to Ekiti for his best guy Fola’s (Kunle Remi) wedding to Derin (Genoveva Umeh). The wedding is beautiful until Nigeria happens. On the drive to the hotel, gunmen disguised as herdsmen ambush their convoy. They kill the groom and drag Gosi, Derin and a bunch of other motorists into the bush to demand ransom. Long story short, this is a direct look at the ghetto that is Nigeria’s insecurity crisis.

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Now, with many listeners currently vibrating to the sounds of his brand-new 2026 album, KING COAL, it’s only right that I pay homage to the elder statesman of Afropop. So, I took on the task of ranking his top 40 greatest Wande Coal songs of all time. All lovers of King Coal’s music should gather here.

40. “Ebelebe” (feat. Wizkid) (2023)

After years of fans asking for another collaboration, Wande Coal and Wizkid finally reunited on “Ebelebe” in 2023, and the chemistry hadn’t aged a day.  It’s a bouncy Afropop song with mostly melodies and little lyrics about women and good times. Only a few artists understand melody like these guys.

39. “Dem Go Pay” (2025)

Wande Coal trolls his pocket watchers, flexes his rich circle and demands his dues in this song. If you’re coming to him for any service, you’d better come along with handsome cash in hand.

38. “Will You Be Mine” (with LeriQ) (2018)

On this LeriQ-produced love song, Wande Coal leans into the kind of songwriting that first made him one of Afrobeats’ romantic voices. Wande’s vocals float over gentle instrumentation. Every line has room to breathe, letting his buttery R&B vocals become pure magic.

37. “Adura” (2015)

This is a spiritual bop from the Wanted album. It’s great because Wande Coal took us to church but still made sure our shoulders were bouncing. A prayer point has never grooved this hard.

36. “Tur-key Nla” (2017)

Wande Coal makes a song for women with thick thighs. It’s an unfiltered club wrecker.

35. “Iskaba” (with DJ Tunez) (2016)

Teaming up with DJ Tunez, he made a song that became almost impossible to escape in clubs, parties and weddings. His catchy hook does most of the heavy lifting, proving that he has an unmatched gift for writing melodies that stick. It’s one of his biggest hits.

34. “Monster” (2015)

One of the best songs from Wanted, this tells us how money, hustle and success bring out the toughness in a man. The song’s memorable chorus and wide appeal make it bang.

33. “Iyawo Mi” (2015)

“Iyawo Mi” is Wande Coal making promises of love and turning romance into an irresistible jam.

32. “My Way” (2015)

Produced by Maleekberry, “My Way” is Wande Coal professing love and making promises of all he’ll do for his lover. He has made plans and he’s convincing her to let them do it his way.

31. “Superwoman” (2015)

“Superwoman” is a tribute to the strength and beauty of women. Its songwriting and rich vocals have earned it a place among the finest love songs in his catalogue.

30. “Same Shit” (feat. AKA) (2015)

“Same Shit” blends afropop and hip-hop without either artist overshadowing the other. Wande sings about making money, living rich and lifestyle, while late South African rapper AKA emphasises it with a sharp verse.

29. “Wanted” (2015)

This title track of Wanted captures Wande Coal at a turning point in his career. After leaving Mo’Hits and navigating music without a label, he returned with an album that reaffirmed his presence in Afropop. It’s a fitting centrepiece for the album.

28. “Ballerz” (2017)

“Ballerz” became one of Wande Coal’s biggest post-Mushin 2 Mo’Hits hits, embracing the extravagant spirit of enjoyment. Its catchy hook and playful lyrics made it an instant favourite at parties and on the radio.

27. “Sexcellence” (2015)

This is spicy and sensual Wande Coal. Although technically a freestyle, it’s great because it shows off his mature, grown-and-sexy persona. Despite the song’s hyper-fast tempo, he gets seductive without missing a single step.

26. “Come My Way” (2021)

The song is built on confidence and the message that authenticity will always outlast trends. It reflects Wande Coal fully comfortable in his own lane.

READ NEXT: The 20 Best Nigerian Songs of 2026 So Far, Ranked

25. “Ode Lo Like” (2019)

This song title translates to “They like fools” in Yoruba. It’s a light social commentary and mid-tempo groove about people like those they can take for granted. It can be applied to almost every relationship or transaction.

24. “Kpe Paso” (feat. Olamide) (2023)

This song brings Baddo and Wande together to give us an instant owambe classic. Wande Coal’s melodies stay ever sharp and Olamide’s street charisma is unmistakable. Fuji-pop at its finest.

23. “Ashimapeyin” (2015)

On “Ashimapeyin”, which means “We will call you,” Wande Coal celebrates ambition and success and tells haters he isn’t currently on their time and would call them when there’s a need for them, AKA never.

22. “Baby Hello” (2014)

This is a fast-paced Wande Coal that attempts to call on his love interest. The way Wande rides this beat proves that every lung is built differently.

21. “Dearly” (feat. Qing Madi) (2026)

This is no doubt a beautiful generational bridge. This song links up with the Gen-Z vocalist Qing Madi to make one of the best love songs of the year. It shows his ability to evolve while remaining one of Afropop’s most compelling singers.

20. “Amorawa” (feat. Burna Boy) (2013)

Before Burna Boy became a global superstar, he teamed up with Wande Coal on “Amorawa,” a lively Afropop-dancehall song that carries the message of “real recognises real.” You can call this members-only music if you like.

19. “Aye Dun” (feat. Skuki) (2014)

Wande Coal tasted and knew he’s never going back to poverty. In between success and enjoyment, the song reflects gratitude for life’s wins. “Life is sweet”, as the title says in English.

18. “Rotate” (2013)

“Rotate” is Wande Coal’s instruction to whine your waist. It’s driven by groove, and the production takes centre stage. One of his standout singles from the early 2010s.

17. “Again” (2020)

Few comeback records have landed as perfectly as “Again.” It was released after a long stretch without a major solo hit, and it became one of Nigeria’s biggest records of 2020. It introduced him to a new generation while reminding older fans why they fell in love with his music. Easily one of the defining songs of his career.

16. “Gentility” (with melvitto) (2019)

Production by melvitto. Vocal performance by Wande Coal. This is a sleeper hit that randomly blew up on TikTok years later. “Gentility no be stupidity” is a life motto.

15. “So Mi So” (2018)

“So Mi So’ leans into Wande Coal’s playful side, pairing flirtatious lyrics with breezy Afropop production by Juls. It rewards repeat listens with its infectious chorus.

14. “Been Long You Saw” (2015)

This track is one of the hidden gems from his Wanted album. “Been Long You Saw” captures the excitement and awkwardness of reconnecting with his fans after a long absence.

13. “Who Born the Maga” (feat. K-Switch) (2009)

“Who Born the Maga” became one of the standout records from Mushin 2 Mo’Hits. It’s built around humour and catchy street-inspired songwriting that warns against being taken for a fool. It’s one of his fan favourites.

12. “The Kick” (feat. Don Jazzy) (2013)

Produced by Don Jazzy, “The Kick” was one of the songs that signalled Wande Coal’s successful transition into a new phase of his career after leaving Mo’Hits. The song’s production and memorable hook gave him one of his biggest solo hits of the decade. It’s among his greatest because it blends mainstream appeal with the vocal finesse that has always been his trademark.

11. “See Na Like This” (2009)

Social commentary Wande sheds light on the struggles of the average Nigerian. It’s great because it shows his depth and reflects the Nigerian reality, past or present.

10. “Kiss Your Hands” (feat. Ikechukwu) (2010)

This Wande Coal jam is an African crossover that shook the continent. It’s built around romance and easygoing melodies, and it shows how far his sound travelled across West Africa.

9. “Go Low” (2015)

“Go Low” sets the dance floor on fire. If you were outside in the early 2010s, this song had you in a chokehold. The transition in the beat midway is legendary.

8. “Ten Ten” (2009)

This song is one of the many reasons Mushin 2 Mo’Hits became a modern Afropop classic. Wande Coal turns everyday expressions into a fun, youthful and endlessly replayable song.

7. “Taboo” (2009)

“Taboo” is one of the finest slow-burning moments on Mushin 2 Mo’Hits. On the hypnotic song, Wande Coal gets into his lustful mood and delivers a sensual song about women, swinging hips and waist beads.

6. “Plan B” (2015)

“Plan B” showcases Wande Coal’s knack for turning romantic uncertainty into compelling pop music. Though it isn’t one of his biggest commercial hits, it’s one of his strongest cuts because of its rich songwriting and melody.

5. “Se Ope” (2009)

This is a thanksgiving bop. It earns its spot as an uplifting song that feels both personal and universally relatable, because Nigerians will never stop needing a song to aggressively thank God at parties.

4. “You Bad” (feat. D’Banj) (2009)

Pairing Wande Coal with D’Banj was always going to produce fireworks, and “You Bad” delivers that. D’Banj brings his larger-than-life charisma, while Wande anchors the song with sweet appreciation for baddies. Their contrasting styles make the collaboration exciting. It’s one of the defining records of the Mo’Hits era and one of Wande’s most entertaining collaborations.

3. “Bumper to Bumper” (2009)

Few songs introduced Wande Coal to mainstream audiences quite like “Bumper to Bumper.” It was released before Mushin 2 Mo’Hits, and the single became a nationwide hit thanks to its unforgettable chorus. It established him as one of Nigeria’s brightest new stars. Its cultural impact alone makes it one of the most important songs in his catalogue.

2. “Private Trips” (2012)

This song leans into romance and intimacy. It’s sexy, and Wande proves he can make a pop track that still keeps its Nigerian soul intact.

1. “Ololufe” (2009)

If one song captures Wande Coal’s genius as a singer, it’s “Ololufe.” It’s a timeless love song with heartfelt lyrics, rich harmonies, and memorable melodies that’s top of the list at weddings, parties and sing-alongs years after its release. It’s arguably one of the greatest Nigerian contemporary love songs ever recorded.

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Born Iweh Pascal Odinaka, Poco Lee helped popularise the Zanku and Gbese dance movements and became the heartbeat of Nigerian street-hop and party culture. Over time, he transitioned from a viral street dancer to a reputable hypeman and cultural voice.

Today, dropping his name in a track has gone from a casual shoutout to a stamp of approval. From Wande Coal to Davido and Ayra Starr, artists cite Poco Lee as a seal of approval for elite footwork and overall coolness. Below are ten moments Poco Lee was immortalised in song lyrics.

10. “Dollar” — B-RED feat. Davido & Peruzzi

Lyrics: “You make me dance like I’m Poco Lee.”

B-Red teams up with Davido and Peruzzi to deliver a big-ballers anthem. And what’s an extravagant party without dance steps to match? The mention of Poco Lee here serves as a flex as the dancer represents the peak of Afrobeats party culture.

9. “ZaZoo Zeh” — Portable feat. Olamide and Poco Lee

Lyrics: “Poco Lee gbemi trabaye / Jeka jo zeh o / Poco Lee ogba dancer o.”

This song is Portable’s introduction. It name-drops the dancer to honour him, rightfully, as Poco Lee is regarded as the link between Portable and Olamide, who features alongside both of them in the song. This proves Poco Lee’s influence is in the mainstream street-hop.

8. “Desperado” — Cheque

Lyrics: “Move like Poco.”

Cheque’s “Desperado” gives a nod to Poco Lee. The dancer is synonymous with hustling his way from the Lagos streets to global stages. I mean, if you hustle hard and eventually make it, why not dance like the guy even your fave artists love to be around?

7. “Small Money” — Nasboi

Lyrics: “Make you dance and party like Poco Lee.”

Poco’s core relevance is being the life of the party. The reference to him here is clear: if you aren’t dancing with his level of energy, you aren’t doing it right.

6. “GBESUNMO” — Wande Coal feat. Ruger and BNXN

Lyrics: “Dance like Poco Lee.”

On Wande Coal’s new album (King Coal) is “GBESUNMO” featuring new-school artists BNXN and Ruger. BNXN references Poco Lee, and it’s basically a call to move the body like the popular dancer.

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5. “Diamonds” — Mayorkun (feat. Fireboy DML)

Lyrics: “Dancing like Poco Lee.”

It’s the same here, a call to dance. Mayorkun and Fireboy use the line “Dancing like Poco Lee” to farm his aura. Poco Lee’s effortless footwork is an equivalent of the flashy, soft-life fantasy the song is selling, because if there are people who know how to make looking cool seem easy, Poco Lee is one of them.

4. “MJ (Remix)” — Bad Boy Timz (feat. Mayorkun)

Lyrics: “So de le gbese bi ti Poco Lee?”

Bad Boy Timz and Mayorkun brilliantly juxtapose the King of Pop (Michael Jackson) with the King of Afrobeats Dance by asking, “So de le gbese bi ti Poco Lee?” (Can you step like Poco Lee?). This line solidifies Poco Lee’s status as a modern-day dance legend on par with international icons.

3. “Awuke” — Davido (feat. YG Marley)

Lyrics: “Move body like Poco jo.”

This song has a clear instruction to “Move body like Poco jo.” Davido, an acquaintance of Poco Lee, uses his name to inject a Lagos street-hop element into a cross-continental banger.

2. “Oshe” — Wande Coal (feat. Wizkid)

Lyrics: “Move like Poco Lee.”

This is a new collaboration between Wande Coal and Wizkid. The mention of Poco Lee here underscores his popular appeal. Even the OGs of modern Afrobeats recognise him as an undisputed face of Nigerian dance.

1. “Rush” — Ayra Starr

Lyrics: “Make you dance like Poco Lee.”

In her massive breakout hit, Ayra Starr sings, “Make you dance like Poco Lee.” It’s a good line that proves Poco’s influence isn’t limited to the streets or the boys; he’s the benchmark for pop icons across all demographics of the Afrobeats ecosystem.

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As we hit the mid-year mark, I look back at these impressive music projects, from the chart dominators to the underdogs, to pick the best of the best in 2026 so far. Here are 10 albums and EPs, ranked.

10. THE RETURN (Eze Onyịkọ) — Aguero Banks

THE RETURN (Eze Onyịkọ), Aguero Banks’ new album, is a street-grounded project with its teeth deep in grit and self-reflection. Intimately, it explores survival, spirituality and hard-earned victory. With its suspenseful production, the album pairs hard-hitting bars with melodic assists from an elite roster of collaborators such as Chike, Ajebo Hustlers, and Wizard Chan. The East has long represented contemporary Nigerian Hip-Hop, and Aguero Banks is one of its vital voices.

Listen on: |

9. The Game Needs Us — BNXN and Sarz

Singer BNXN and producer Sarz’s collaborative 5-track EP comes with an ambitious title. It almost delivers up to its declaration, but falls short in its diversity. The laid-back sound relies on Sarz’s immaculate, stripped-back R&B and pop production, letting BNXN’s vocal performance take centre stage. Thematically, it’s based on the familiar narrative arc of modern romance, alternating between toxicity and emotional and sensual attachment. The centrepiece of the project is the choir-backed “Back Outside.”

Listen on: |

8. WELCOME 2 THE VILLE — Apex Village

Seven years after the release of their debut, Abuja-based collective Apex Village makes a definitive return with their sophomore album, WELCOME 2 THE VILLE. The ambitious 14-track project expands the group’s core vision, introducing new members such as Laime and Azanti. The tape explores UK drill to trap and Afrobeats sounds and it’s mainly produced by Thrill Max. positions the crew at the vanguard of Nigerian Hip-Hop’s generational shift.

Listen on: |

7. Mafia Busine$$ — Naija House Mafia

Naija House Mafia (Jamie Black, Sigag Lauren and Calix) is a pioneering group in Nigeria’s electronic movement that’s been a favourite in the rave scene for a while now. On their debut five-track project, the group delivers a mix of Afro-house, Gqom and 3-Step and Fulani folk music, while reimagining nostalgic Afropop classics. One sure thing is, the music will sweat you out and make you dance.

Listen on: |

6. Clarity of Mind — OMAH LAY

OMAH LAY’s highly anticipated sophomore album, Clarity of Mind, arrives with a high sense of renewal. It’s framed as a critical turning point for both the artist and the genre, and expected to be the calming force that takes listeners past the dark introspection of his previous work. But instead, the album falls back into the same orbit. Just that the music still bangs. It utilises OMAH LAY’s unique and evocative vocal style to give a soothing collection of songs centred on healing, clarity and solace. Some of the album moments are songs like “ARTIFICIAL HAPPINESS”, “JAH JAH KNOWS” and “MARY JANE.”

Listen on: |

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5. ITEM VII — Ema Onigah

If you’re not familiar with Ema Onigah, he’s a young but seasoned singer-songwriter who has co-written for artists such as Tekno. On his new EP, he digs further into his rap cadence with an Afropop style. He shows how expressive he can be in his compositions, such as “Chance” and the most viral track, “With You.” This project is a showcase of an artist who’s constantly experimenting and trailblazing his own lane.

Listen on: |

4. Diamond In the Process — Jiire Smith

Operating outside the Lagos music scene, 22-year-old Abu Dhabi-based Nigerian singer-songwriter Jiire Smith puts out his debut EP, Diamond In A Process. It’s rooted in a soulful, intimate and deliberately unhurried R&B-Soul sound. The EP reflects the multicultural worldview shaped by his upbringing in Abuja and life in the UAE. The themes range from patience and discipline to love and grief. This is the soundtrack for the underdogs and those who are a work in progress.

Listen on: |

3. Agaba Romantic — Joeboy and Wizard Chan

Joeboy’s pop sensibilities and Wizard Chan’s mysticism collide to make Agaba Romantic, a 7-track collaborative inspired by desire, introspection, love and romance. The music blends influences from Afropop, Highlife, Reggae, and South-South gyration. It delivers some of the best songs of the year: “100 Meters” and “Fall Back In Your Arms.”

Listen on: |

2. Love Is a Machinery — Anendlessocean

Expanding on the romantic themes introduced in his 2024 EP Hexagon, Anendlessocean releases his most thorough and complete love album yet. He treats romance as a seed to be planted and nurtured. The songwriting and production of the album weave through mid-tempo soul, acoustic ballads, indie grooves, and Amapiano log drums to give a full, beautiful yet complex spectrum of devotion and love.

Listen on: |

1. M$NEY — Asake

Written from his new transatlantic base in Los Angeles, Asake’s 13-track fourth studio album, M$NEY, serves as a boastful celebration of financial freedom, success and identity that captures the artist fully leaning into his “Mr. Money” persona. Moving away from the loose experimentation of his previous project, LUNGU BOY, the album marks a notable return to his signature Afrofusion sound: a blend of Afropop and Amapiano log drums with House-music production. M$NEY is lyrically light, but packed with infectious, rotation-ready hits that make him Mr. Money With the Vibe.

Listen on: |

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This list highlights 20 songs that stood out above the noise between January and June 2026. In selecting them, I considered quality, songwriting, production, replay value, cultural impact and the conversations these records generated among listeners. Some became unavoidable hits; others earned their place through sheer craftsmanship, but all captured Nigerian music in the first six months of the year.

These are the best Nigerian songs of H1 2026.

20. “Oh My Days” — Islambo

Street sounds have dominated the airspace for a while now, and Islambo is one of its most exciting voices. In two minutes, he floats on a hypnotic Afrofusion production, dropping catchy, humorous, hustle-oriented puns and one-liners, interspersed with self-praise as a lamba craft master. He stays consistent with his predilection for street lingo and happy-hour music; “Oh My Days”, his first drop of the year, is proof.

19. “OGO” — Danny S

What’s a song for the street if you don’t pay homage to it? Danny S takes his tribute even further by using this song, “OGO” — meaning glory, which is now slang for the rich and successful — to name-drop popular areas in Lagos as evidence of his street credibility around the metropolis. This song has all the elements of a great street-hop track: a tight production, fun catchphrases, and relatability.

18. “Omoge” — Falz

Falz is back with a new single to serenade women who love to boogie down. The production adds flair with bites from Sir Shina Peters’ “Omoge To Rewa” (1989) and Afro-Juju sound. It balances humour and romance with fun. Proper owambe material.

17. “ỌGBỤ EGO” — Aguero Banks

This is the ninth track on Eastern rapper Aguero Banks’ new album THE RETURN (Eze Onyịkọ), where he delivers a chorus and a verse about ambition and street philosophy. This is daily discourse about money and survival turned to motivation.

16. “Aura Salad” — SSSoundgawd and Mavo

“Aura Salad” is a direct link to where Nigeria’s new underground scene is headed. The music is freeform: rhymes, flows and melodies are unconventional and overall rides on personality-driven performances. SSSoundgawd and Mavo are at the forefront of this new movement that’s penetrating to this mainstream.

15. “FRE$H” — Victony

Victony is always experimenting with sound. On his latest, he hypes up his love-interest on a bubbly Afropop sound. The chorus is contagious, the whole songwriting is smooth and his confidence doesn’t overtip into arrogance — just a guy in a moment of lover’s rock and self-glaze.

14. “Jogodo” — Wizkid and Asake

Wizkid and Asake, two of Nigeria’s most influential stars, meet to give us a 4-track EP which houses “Jogodo.” With an unrelenting range of melodies and lyrical snapshot of big ballers’ lifestyle, they supply a good time. Nothing more to this than a fun time.

13. “Akonuche” — Priesst

Priesst is a rising rapper and singer who went viral this year with “Akonuche” single, a motivational song centering on goals, resilience and smart work. It’s one of the most resonant songs of the year so far.

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12. “Yapa Yapa” — Jiire Smith

It’s upbeat and feels like disco here. “Yapa Yapa” gets Jiire Smith in a groove to talk about how people will always have things to say about you if you’re important. In recent times, the Nigerian R&B and Soul music scene has seen a surge in its pedigree of brilliant musicians. Jiire Smith is one of them, and this is his latest offering.

11. “OKUNKUN” — Solana and Killertunes

This Killertunes-produced Afro-fusion track, sung largely in Yorùbá, introduces singer Solana to the Nigerian audience who are looking for something fresh. “OKUNKUN”, meaning darkness in Yorùbá, explores themes of faith and resilience. It’s definitely one of the most talked about and unorthodox music releases of 2026.

10. “Dearly” — Wande Coal feat. Qing Madi

Wande Coal links with Qing Madi to make a track for Valentine’s Day and lovers. It’s an incredible display of their vocal dexterity. They trade verses and emotions to create a tender love record that cuts across any age group.

9. “ARTIFICIAL HAPPINESS” — OMAH LAY

OMAH LAY, our resident sad boy, explores the struggles of masking inner pain with temporary, superficial highs. It paints the picture of the reality of living a seemingly perfect or fun life on the outside while battling emptiness, depression and anxiety on the inside.

8. “Romeo and Juliet” — Abefe

Abefe is currently one of the most talked and trending artists on TikTok right now. After going viral with a snippet post of “Romeo and Juliet”, he finally puts it out. This sweet afropop borrows from the familiar love story of Romeo and Juliet to demonstrate devotion and desire through the Gen-Z lens. Abefe and his song are one of the best music finds on TikTok this year.

7. “Back Outside” — BNXN and Sarz

BNXN and Sarz get active again with the single “Back Outside”, the centrepiece of their collaborative The Game Needs Us EP. This is just them saying they’re back to doing what they love most: music. BNXN’s chorus, hook and verse are honeyed. Sarz’s production is elite. 

6. “Fall Back In Your Arms” — Joeboy and Wizard Chan feat. Braye

This tender opening track from the Agaba Romantic EP is all about emotional safety, love and connection. The fusion of Joeboy’s pop instincts with Wizard Chan’s mystic energy and Braye’s soulful contribution makes it a comforting listen. This is collaboration done right.

5. “Tornado” — Ayra Starr

Ayra Starr continues to tease her Starrgirl era. This song is a braggadocious one, an Afropop-and-synth-pop hybrid laced with Latin percussion. She knows who she is and proves once again that she is one of the most compelling voices of her generation.

4. “Chanel” — Blaqbonez feat. Asake

Blaqbonez and Asake are old university mates who get back together on “Chanel” as music stars. They sing and rap about being stylish, locking down the No. 1 spot on the Official Nigeria Top 100. It’s a hit that still has more moments ahead of it.

3. “Big Bum Bum” — Kidd Carder feat. Mavo

This is a bouncy, playful, memorable song about a woman’s behind and nightlife. As direct as it is, Kidd Carder and Mavo don’t overcomplicate it. Just groove, lamba, loud speakers and slow whine.

2. “With You” — Ema Onigah

Ema Onigah is an exciting vocalist who blends rap and singing into a unique style. Here, he delivers a jam about romantic commitment, arguably his best yet. It’s versatile and catchy.

1. “Forgiveness” — Asake

So far in 2026, Asake has the best album, and “Forgiveness” is one of the unforgettable tracks on it. Though the beat is dance-ready, Asake gets into a reflective mood. He sings about divine grace, old friends, giving grace, moving forward and keeping focus on his passion. The log-drums are heavy and the flows are impeccable. Peak Asake.

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As we await her , I revisited her discography to look at how far she’s evolved and made a ranking that goes deep into her most defining tracks.

To ensure a well-rounded breakdown, each track is ranked based on relatability, cultural influence and the “IT” Factor. Whether you’re a long-time fan or looking to get into her music, or you need jams to whine to or songs against bad vibes, you should start here. This list highlights Ayra Starr’s 40 greatest songs.

40. “1942” (feat. Milar) (2024)

Named after the infamous luxury tequila 1942, this goes beyond the allure of partying. It’s about a reckless, necessary escape from the pressures of fame and expectations. Alongside her brother Milar, Ayra Starr sings about letting go of overthinking and living entirely in the moment.

39. “Ija” (2020)

Ayra Starr is under a spell, discarding her usual hard-girl front to tell her love interest that she’s ready to go to war for his affection. She effortlessly switches between English and Yoruba, delivering lines that feel like a late-night confession.

38. “Birds Sing of Money” (2024)

Ayra steps away from the usual relationship drama to deliver a catchy, elite hustle manifesto. When she sings about the very birds in the sky chirping, they chirp about bags, luxury and financial abundance. This is her letting us know she’s successful and it’s permanent.

37. “Karma” (2021)

We’ve all had that one ex who treated the relationship like a game, convinced they could rubbish your heart and move on like it’s cool. But on this standout track from her debut EP, Ayra Starr, she stops playing nice and reminds us that the universe always keeps receipts.

36. “DITR” (2020)

Before she was globally recognised as Sabi Girl, Ayra Starr used her self-titled debut EP to show that she’s a storyteller who isn’t afraid to tell difficult stories. “DITR” (Diamond in the Rough) is a beautiful, cautionary tale that explores the chaotic realities of growing up in the modern world.

35. “Amin” (2021)

“Amin” is a pop song about hope. It’s built around prayers, affirmations and manifestations, and it expresses Ayra’s desire for greatness while maintaining optimism. It’s uplifting.

34. “Memories” (2020)

She sings beautifully about freezing time and making unforgettable memories with the ones she loves before the crazy ride of life speeds up again.

33. “Control” (2024)

If you ever needed proof that Ayra Starr was born to rule the stage, “Control” is the track that settles the debate. It’s a heavy dose of Afropop and a bad bitch anthem to remind yourself that you’re the one running the show.

32. “Woman Commando” (feat. Anitta and Coco Jones) (2024)

This is the mission statement of Ayra Starr’s The Year I Turned 21 era: confident and not shrinking. International singers Anitta and Coco Jones join Ayra in celebrating female friendship and freedom. They turn a night out into a declaration of power.

31. “Lonely” (2021)

Hard girl, hard girl, but once loneliness hits, everybody folds. This song is for when you’re desperately missing your ex. Play it when the “strong babe” facade finally crumbles, and you’re ready to risk it all for one more late-night text.

30. “Lonely” (Refix) (feat. Zinoleesky) (2022)

If the original version of “Lonely” was a late-night bedroom cry, this refix is the official invitation to bring those tears straight to the club.

29. “Ase” (2022)

This song was originally dropped during Ayra Starr’s COLORS Show performance. The title itself means “Amen” in Yoruba, and she uses the lyrics to lay down a decree of protection over her life and her peace of mind. She makes it clear that she’s not available to negative energy.

28. “Toxic” (2021)

On this standout track from her debut album, 19 & Dangerous, Ayra Starr ditches self-righteousness to look right in the mirror and admit that she might actually be the problem. But instead of trying to fix it or do better, she’s saying, “Yes, I’m toxic, but what are you going to do about it?” This is a song you’ll find yourself romanticising your own red flags.

27. “Snitch” (feat. Fousheé) (2021)

“Snitch” is dedicated to that specific breed of exes who cannot seem to keep your name out of their mouths after a breakup. Ayra calls him out immediately for playing the victim and running his mouth like a loose faucet. “Snitch” is a jam for when you find out that someone you used to ride for is moving like a double agent and gossiping about you behind your back

26. “In Between” (2021)

The pressure of adulthood and keeping it all together is a lot. For a debut album packed with bad-bitch anthems and confident flexes, “In Between” brings the moment Ayra Starr cracks and gives us a great, vulnerable song. She validates every single person who feels overwhelmed by the weight of expectations.

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25. “Running” (feat. Lojay) (2022)

A promise to never see the same shege twice in her relationships. If the person you love won’t get serious, you might as well move on and warn them to focus on their journey too.

24. “Sare” (2020)

When she dropped her self-titled debut EP, “Sare” is one of the songs that shows that she’s an old soul in a Gen-Z body. If you listened to this song and felt a sudden rush of nostalgia, your ears were not deceiving you. Ayra interpolates the legendary Lijadu Sisters’ 1979 classic, “Orere Elejigbo,” to bridge the gap between Nigerian music royalty and the new school. She sings of an unashamed invitation to romance.

23. “Fashion Killer” (2021)

Long before Ayra Starr became a global ambassador for the micro-skirt revolution, she used this track on her first album to let the world know that her wardrobe is lethal.

22. “Skinny Girl Anthem” (feat. Kayykilo) (2022)

In a time choked by the BBL epidemic and the constant societal pressure to be “slim thick,” Ayra Starr comes through with “Skinny Girl Anthem.” This is the song for everybody who has ever been told to “eat more so the wind doesn’t blow you away.” It shuts down all the unsolicited body-shaming and doubles down that looking skinny is a flex and a half.

21. “Bridgertn” (2021)

This song establishes a new world order in which she makes the rules and breaks every stereotype. Ayra Starr demands that you “Bow down to the queen” before casually announcing her plans to “twerk on my throne.” Whether she’s threatening to send her army after her haters or stepping on necks in her designer boots, she’s not to be played with.

20. “Gimme Dat” (feat. Wizkid) (2025)

“Gimme Dat” links Sabi Girl up with Big Wiz for the second time after “2 Sugar”. Ayra sets the tone for a sensual, romantic song. Wizkid smoothly slides in with charm. It’s an uptempo, funky Afrobeats groove that compels you to grab your lover, cure your sanko and lose your home training.

19. “Away” (2020)

This song talks about protecting your peace and refusing to eat the breakfast somebody’s child tries to serve you. From the start, Ayra sets the tone that she’ll never be the victim. She packs up all the toxic energy and tells it to go “away, away, away.”

18. “21” (2024)

Adulting is a scam, but this soundtrack Ayra Starr made for it is fire. “21” is the title track of her sophomore album and is the coming-of-age anthem for every Gen-Z babe who’s securing the bag and crying in her bedroom. She kicks things off by addressing everyone who ever called her too young or too foolish, telling them to respectfully choke on their opinions because she’s running things her way.

17. “Bloody Samaritan” (2021)

“Bloody Samaritan” is the song that transformed Ayra Starr from one of Nigeria’s most exciting newcomers into a bona fide star. The song is her refusal to let critics, envy and negativity dictate her path. The song’s title itself plays on the idea of protecting yourself from people whose concern isn’t as genuine as it seems.

16. “Cast (Gen Z Anthem)” (2021)

Ayra Starr addresses the society’s moral police on “Cast.” It’s an unapologetic Gen-Z manifesto for choosing your own happiness over everyone else’s unsolicited opinions.

15. “Last Heartbreak Song” (feat. Giveon) (2024)

Ayra drops the hard-girl facade to ask the embarrassing question: “Shey I just dey waste my time?” We’ve all been there, ignoring red flags just because somebody called us their peace. But true to her promises, she draws a firm line, declaring that this is the absolute last time she’s writing a sad song over a relationship.

14. “Lagos Love Story” (2024)

Dating in Lagos is globally recognised as an extreme sport. But on “Lagos Love Story,” Ayra Starr gives us a rare glimmer of hope. She paints the picture of a “God when” Lagos romance. The main premise of the song is about catching the right vibe, locking eyes with a fine boy, and successfully bypassing all the usual talking-stage drama that comes with living in Lagos.

13. “Jazzy’s Song” (2024)

As the Mavin princess, it’s only right that she drops a track paying homage to the Don himself. By seamlessly sampling Wande Coal’s absolute 2009 classic, “You Bad” — which was originally produced by Don Jazzy — Ayra Starr bridges the gap between the legendary Mo’ Hits era and her Gen-Z domination.

12. “Goodbye (Warm Up)” (feat. Asake) (2024)

This is about moving on. “Goodbye (Warm Up)” is the song for dusting yourself off, blocking a toxic number and entering your unbothered era. Ayra sings: “I do not accept your apology / Just lemme be, just lemme free.” This is a song to jam when you say goodbye to your ex and warm up for your next adventure.

11. “Bad Vibez” (feat. Seyi Vibez) (2024)

Ayra Starr and Seyi Vibez are operating on a strict “no entry” policy for haters, fake friends and negative energy in general. As simple as that.

10. “Commas” (2024)

If your primary love language is bank alerts and avoiding unnecessary wahala, then “Commas” is the song for you. Ayra gives us the blueprint for having tunnel vision. Why stress over other people’s opinions when you can just focus on multiplying the zeros in your account balance?

9. “Orun” (2024)

Ayra Starr captures that feeling when life is showing you shege, and you just want to tap out. But the Sabi Girl doesn’t accept defeat. It’s a reminder that even the baddest Gen-Z pop stars need divine backup when the weight of the world gets too tough.

8. “The Kids Are Alright” (2024)

If there’s one thing about grief, it’s that it sneaks up on you. This song is a vulnerable, open letter to her late father. It leaves us with just Oyinkansola (Ayra Starr): a young babe navigating loss while trying to make her dad proud. But the tear-jerker is the outro. Hearing Ayra and her siblings dropping life updates for their dad (“I’m in school now,” “I’ve got a daughter now”) is heavy in the most beautiful way possible.

7. “Who’s Dat Girl” (feat. Rema) (2025)

Ayra Starr and Rema’s chemistry makes the song great. They lean fully into their celebrity status, trading lines about attraction, luxury, and the feeling of knowing all eyes are on you. It’s a sleek, flirtatious pop jam.

6. “Rush” (2022)

Throughout the track, she reflects on the sacrifices behind success, the people rooting against her and her determination to keep moving regardless. “Rush” is Ayra Starr singing about her overflowing wins.

5. “Beggi Beggi” (feat. Ckay) (2021)

If the phrase “what are we?” were a song, it’d be this one. Navigating the talking stage in this street is already a dangerous game, and Ayra Starr teams up with Africa’s Boyfriend, Ckay, to sing about it. She’s begging this boy not to do her “strong thing” or play hard to get.

4. “Rhythm & Blues” (2023)

On “Rhythm & Blues”, Ayra Starr hangs up her combat boots, throws away the padlock to her heart and surrenders to romance. This is for when that tough facade finally crumbles and you catch yourself smiling at your phone, texting someone you really like. It’s sweet and catchy.

3. “Hot Body” (2025)

“Hot Body” finds Ayra Starr fully aware of the effect she has on people and isn’t downplaying it. She knows she’s the main character in the room and owns the spotlight. Her confidence is contagious.

2. “Sability” (2023)

If “Bloody Samaritan” announced Ayra Starr’s rise, ”Sability” proved she could turn into a cultural phenomenon. It expresses her appeal as an artist. It’s confident, playful without being shallow, distinctly Nigerian, and accessible to a global audience.

1. “All The Love” (2025)

This song is a soul-stirring one about healing, closure and reclaiming one’s magic. She sings about taking back “all the love” she used to give others and redirecting that beautiful energy back into herself, her peace and the people who actually deserve it. It’s a reminder that choosing oneself is the biggest flex.

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