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.

READ NEXT: 10 Addictive Nollywood Shows You’ll Accidentally Binge Till 3 AM 

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

In this list, we will be sharing some TV shows that we know will keep you up till 3 AM. It’s a mix of genres but they all promise to keep you glued to your TV following characters who will have you laughing, crying and yelling in frustration. 

Beyond The Veil 

Season: 2

Episodes: 12

Director: Nadine Ibrahim

Genre: Drama

Streamer: Prime Video 

Directed solely by Nadine Ibrahim, the series follows a group of northern women (Na’ima, Badriya aka Baddie, Zainab aka Zizi, Hanifa and Surrayah) who are navigating their friendships, careers and romantic interests. It follows these muslim women in the modern world, pulling you into their riveting and relatable worlds as one episode flows into the next. 

Watch Beyond The Veil on

Shanty Town

Season: 1

Episodes: 6

Director: Dimeji Ajibola 

Genre: Crime Thriller 

Streamer: Netflix 

The underbelly of Lagos always makes for captivating drama and Shanty Town is proof of that. It follows a group of sex workers who are trying to free themselves from the servitude of kingpin, Scar (Chidi Mokeme). It documents the cycle of violence and abuse that the slum life brings and these Nollywood characters will stay with you till late in the night.

Watch Shanty Town on

To Kill A Monkey

Season: 1

Episodes: 8

Director: Kemi Adetiba 

Genre: Crime Thriller 

Streamer: Netflix 

The culture around fraud in Nigeria is one that has been deeply intertwined in our history. In To Kill a Monkey, Kemi Adetiba tackles the new age version of this fraud with Efe (William Benson) who is brought into this life of crime and wealth by Oboz (Bucci Franklin), the leader of a cybercrime enterprise. Efe’s rise to wealth and the challenges he faces makes for Nollywood television you can’t take your eyes off. 

Watch To Kill A Monkey on

Inside Life 

Season: 1

Episodes: 6

Director: Clarence Peters

Genre: Crime Thriller, Fantasy  

Streamer: Netflix 

We all know Clarence Peters for his many music videos but his foray into Nollywood television makes for a mind bending, genre fluid documentation of the suffering of Nigerian life. It follows different Nigerians, a struggling student, a video vixen, a troubled family, and takes you into their lives of despair. The mystery that dwells underneath the suffering keeps you coming back for more. 

Watch Inside Life on

Crime and Justice Lagos 

Season: 1

Episodes: 6

Director: Mak ‘Kusare, Yinka Edward, Onyinye Egenti 

Genre: Procedural 

We always hear about the atrocities of Lagos and in this series we finally see a somewhat  competent police unit try and solve these atrocities. Kelechi (Folu Storms) and Danladi (Ibrahim Jammal), detective partners in the unit, must go around Lagos solving these crimes and grappling with the ways their work affects them personally. What keeps you is the vibrant filmmaking and the reality of the stories the show tackles. 

.

Blood Sisters

Season: 2

Episodes: 8

Director: Biyi Bandele, Kenneth Gyang, Kayode Kasum, Daniel Oriahi 

Genre: Crime Thriller 

Streamer: Netflix 

The bond of a friendship between women can survive anything, including murder. In this kinetic Nollywood series, we follow Sarah (Nancy Isime) and Kemi (Ini Dima-Okojie) after they murder the former’s abusive fiance. The show is constantly moving from the first episode and explores familial dysfunction, abuse and the ways wealth holds power in Nigeria. The thrill of the chase will have you hitting “next episode” till the sun rises.  

Watch Blood Sisters on

Far From Home

Season: 1

Episodes: 5

Director: Catherine Stewart, Kayode Kasum

Genre: Crime, Young adult 

Streamer: Netflix

Ishaya Bello (Mike Afolarin) was born into dire circumstances but he constantly dreams of more. This premise of the show allows us to follow him as he navigates a new life in an elite academy thanks to a scholarship. It contrasts his life of poverty with the life of the wealthy students he meets and learns that no matter where he lands, trouble always follows. 

Watch Far From Home on

Flawsome

Season: 2

Episodes: 26

Director: Tola Odunsi

Genre: Drama 

A Nollywood TV show about female friendship is made to be binged and that’s exactly what Flawsome is. Following four women (Rahmat, Dolapo, Ifenyinwa, Ivie), it takes you on a journey where they face corporate challenges, relationship complications and life battles while still trying to keep their core friendship going. 

Skinny Girl In Transit 

Season: 7

Episodes: 77

Director: Bunmi Ajakaiye, Muhammad Atta Ahmed, Ema Edosio

Genre: Drama, Comedy 

Streamer: YouTube

One of the original binge darlings, Skinny Girl In Transit follows Tiwalade over six seasons as she tries to lose weight and juggle all her relationships and life demands. We follow her growth and triumph one episode at a time which keeps you captivated by this relatable protagonist and all her troubles. 

Watch Skinny Girl In Transit on

The Men’s Club

Season: 5

Episodes: 63

Director: Tola Odunsi 

Genre: Drama, Comedy 

Streamer: Prime Video 

The show revolves around four men (Aminu, Louis, Lanre and Tayo) as they navigate their relationships. It’s a rare entry into the lives of modern Nigerian men and the challenges they face which makes each episode an enthralling look into dynamics you might have seen in real life. 

Watch The Men’s Club on

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.

READ NEXT:��The 40 Greatest Wande Coal Songs, Ranked

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?

If you’ve been on the internet at any point since February 2025, you’ve most likely seen or read about Ashton Hall. He’s the American fitness influencer who broke the internet with a viral video of his hilariously insane 4 a.m. (mouth tape, ice-water face plunges, banana peels rubbed on his skin, and a very specific brand of sparkling water) all timestamped with military precision. The clip racked up hundreds of millions of views, got parodied by everyone and their mama, and turned Hall into one of the most memed men on the internet, currently with almost 19 million Instagram followers.

Since then, Hall has leaned all the way into the internet-famous-guy-goes-places pipeline, taking his format on the road. After a viral earlier in 2026, he announced a continent-wide “African Ashton Hall” search and kicked off a two-week Africa tour, touching down first in Ghana and is currently in Nigeria.

He’s been in the country for about a day now. Here’s everything he’s been up to so far.

When Ashton Hall landed in Nigeria, he got welcomed with a cultural dance troop, as is custom for Nigerians for some reason.

He also joined them to dance while draped in a Nigerian flag. Because why the hell not?

He got yelled at by the car spotter people who seemingly stand by the side of the road and scream at every cool car they see.

They were probably expecting more than a fist bump in return, though.

Got quizzed on his knowledge of Nigerian pidgin English slangs.

“Give it to me in a sentence” is very much giving Akeelah and the Bee.

Got hoisted in the air without warning at an event organised by Nigerian fitness influencers.

I love how mentally-prepared he seemingly is for anything. Anybody else would’ve thought they were being attacked.

Got yelled at again by hella noisy bodybuilder and fitness influencer, Jack Manuel.

Visiting Nigeria as a famous streamer must be so stressful. From their POV, I imagine it’s just people screaming at you from every corner.

Was asked to “bless” an army of area boys and ended up doing so, but not in the way they wanted.

LMFAO!

Got dared to carry a 104kg sack of maize out of a truck.

You know the real winner here? The person whose job it was to bring out that sack. They were able to get free labour out of Ashton under the guise of entertainment. Work smarter, not harder.

Was talked into going on a midnight run/silent disco on the streets of Lagos with a pack of muscle bros.

I pity the fool who tries to rob this crew.

Was forced to reveal who his trainer is.

Who knew Meshkiey had a secret fitness trainer career? Guess you can’t judge a book by its cover. If you want a body like Ashton’s, do as Meskiey said: “Drink water, lift weights, and eat your meat.”

Met Don Jazzy.

That’s it. Meeting THEE Don Jazzy is enough of an honour.

Had to turn down a group of kids who challenged him to a race with the caveat that if they win, he’ll give them $1,000.

They saw multiple people beat him in races online and came here trying to finesse. LMAO!

–

What do you think about Ashton Hall’s time in Nigeria so far?

ALSO READ: The 10 Best Nollywood Movies Of 2026 So Far, Ranked

Published in 2018, Adeyemi’s Children of Blood and Bone has become a smash hit. With the novel and its two sequels, “Children of Virtue and Vengeance” and “Children of Anguish and Anarchy” (collectively known as the “Legacy of Orïsha” trilogy) spending weeks on the New York Times Bestseller List.��

Since the adaptation was announced, it’s been a series of dramatic events. So, here is a timeline of all the events from the moment we found out about the adaptation till now.

March 2018: Fox acquires rights to Children of Blood and Bone

Fox 2000 (producers of The Percy Jackson films and The Devil Wears Prada) acquired the film rights to the book in a massive seven figure deal.��

December 2020: Transfer of rights

The film rights of the book were transferred to LucasFilm, but it never really took off and ended up getting stalled.

January 2022: Paramount acquires trilogy rights

Paramount Pictures acquired the rights to the “Legacy of Orïsha” trilogy in a highly competitive bidding war.��

December 2023: Director of Children of Blood and Bone named.

Gina Prince-Bythewood, director of The Woman King, was announced to direct “Children of Blood and Bone” and co-write the screenplay with Adeyemi, with casting as the next crucial step.����

January 2025: Lead cast announced

Thuso Mbedu, Amandla Stenberg, Damson Idris and Tosin Cole were announced as the lead actors for the film. This was the beginning of the film’s troubles. There was a ton of backlash at the casting, especially the role of Princess Amari who is dark skinned in the book being given to Amandla. There were also complaints about the lack of local Nigerian talent in the casting. But Tomi was quick to defend Amandla’s casting and remind us that an open casting call would be held for Nigerian talent.��

February 2025: Shooting begins

Shooting for the film started, with the cast sharing photos from their location in South Africa.��

March 2025: Casting call results announced to criticism

The results for the casting call were finally announced with Pamilerin Ayodeji and Shamz Garuba being announced as the newcomers. Additionally, Richard Mofe Damijo and Ayra Starr were also announced as part of the cast. This was met with online ridicule as Tomi had made such a big deal of the open casting call, only for us to get two relatively new names and two already established stars.��

June 2025: Shooting completes

The director announced that shooting had been completed at last.��

July 2026: Tomi Adeyemi distances herself from adaptation

The author made an announcement on social media distancing herself from the adaptation despite having producer and writer credits. She shared screenshots from an alleged�� conversation dated late February with Amandla. In the conversation, she warned her to never bring up her name again in any interviews.��

This adaptation has been plagued with one controversy after another and, also, this isn’t Tomi’s first online controversy. In 2018 she accused acclaimed romance author Nora Roberts of plagiarizing�� her book title. This led Nora Roberts to write a blistering blogpost after which Tomi retracted her accusations and apologized.

With all the issues clouding this adaptation, will you be watching the film come January next year? 

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.

.

ALSO READ: The 10 Best Nollywood Movies Of 2026 So Far, Ranked

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.

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Our countrymen might be absent but the love for football transcends patriotism. From Portugal to England, Argentina to Senegal, we asked Nigerians what countries they are adopting for the World Cup.

France — Excel, 23, Male

I’m supporting France because of Mbappe. They jokingly call him a dictator but I just think he’s misunderstood and I am rooting for him to win two world cups before thirty which would be an insane achievement. I am also supporting Portugal because Bruno Fernandez plays for them and also plays for Manchester United, the club I support. His winning will improve his chances of winning the Balon d’Or.

Portugal — Divine, 26, Male 

I’m supporting Portugal because I think Ronaldo is the greatest football player in the world and he needs to win a World Cup to prove the naysayers wrong.

France — Alpha, 24, Male 

I’m supporting France because the whole team is basically made up of Africans. If Nigeria can’t make it in at least let me support a country with African representation.

No Allegiance — Tobi, 24, Male

I’m supporting any country with the hottest players, my allegiance lies with beauty.

Norway — Didi, 29, Female  

I’m supporting Norway because I think Erling Haaland is the hottest man ever. African countries are playing nonsense. No rage, no desire, no passion.

Portugal — Inem, 25, Male 

I’m supporting Portugal because of Bruno Fernandez and Brazil because they have the most beautiful women.

Norway — Nic, 26, Male 

I’m supporting Norway because I also support Manchester City and Haaland plays for both. I’m dedicated to both club and country.

Argentina and Spain — Ebube, 26, Male

I support both countries because of Messi and Yamal. They’re the chosen ones so any of them winning is a win for me.

Portugal — Becca, 24, Female 

My real support is for Ronaldo because that’s my GOAT.

France — Kenyo, 24, Male

I support France because the supreme leader Mbappe is their captain.

Which country do you support? Let us know. 

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.

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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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