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

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

This is the unofficial origin of Nigerian music in football and football gaming. The song didn鈥檛 get there through a licensing deal. It was through piracy. Bootleggers who copied and resold the game swapped its audio, so a whole generation grew up with a Nigerian song built into their football game. Nigerian music got into football through the back door, facilitated by the very people playing it.

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

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

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

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

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

READ NEXT:听The 20 Catchiest Nigerian Choruses of the 21st Century

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

Four years later, to make the official song of the FIFA World Cup 2026. It was performed at the opening ceremony of the biggest sporting event on earth, and during its half-time show. The Super Eagles didn鈥檛 qualify for the tournament, beaten by DR Congo in a playoff, so the country鈥檚 music reached where the team couldn鈥檛.

This song isn鈥檛 a track buried at number sixty on a hundred-song playlist. It鈥檚 the official song of the FIFA World Cup, and it鈥檚 a different category from a soundtrack slot. A playlist inclusion is a song EA licensed. A World Cup anthem is the sound FIFA chose to represent the entire tournament.

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

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

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

Nigerian music hasn鈥檛 yet been handed one of these on its own. But that鈥檚 a small complaint next to the distance already covered. Twenty years ago, the only way to hear a Nigerian song in a football game was to get a pirated or cracked version. That was a workaround born out of exclusion because the music wasn鈥檛 offered a way into the centre.

Now the music stands on its biggest stage. But getting on the stage isn鈥檛 the same as owning it.听Nigerian music is present because EA, FIFA, and a Colombian headliner鈥檚 label chose to include it, and it holds its place only as long as they keep choosing. It has gone from exclusion to inclusion. What it鈥檚 yet to win is command of the room.

We鈥檝e gone from being ignored to being invited, but the real work won鈥檛 be done until we own a seat at the table.

ALSO READ: 10 Performances from the 2020s that turned Nollywood Actors Into Stars

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. 鈥�30 billion for the account o鈥� 鈥� Davido, 鈥淚f鈥� (2017)

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

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

2. 鈥淢onday to Saturday, outside for my daily 2k鈥� 鈥� Zerrydl, 鈥淔IND MONEY鈥� (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. 鈥淥ne million dollar / E lo lo ma je tin ba se si naira / Eh, owo!鈥� 鈥� Olu Maintain, 鈥淵ahooze鈥� (2007)

If you were around when 鈥淵ahooze鈥� 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 鈥淥ne million dollar鈥� line was so popular that it became a catchphrase for the era鈥檚 鈥測ahoo boy鈥� opulence culture 鈥� even though Olu Maintain has always publicly insisted the song is about hard work, not internet fraud.

4. 鈥淚 got plenty dollar in my name / I got plenty naira in my name鈥� 鈥� P-Square, 鈥淐hop My Money (Remix)鈥� (2011)

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

5. 鈥淏illion dollar baby鈥� 鈥� Seyi Vibez, 鈥淏D Baby鈥� (2022)

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

6. 鈥淏illion dollar dream, but I鈥檓 still broke.鈥� 鈥� Superwozzy,听 鈥淏illion Dollar Dreams鈥� (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. 鈥淚 remember when I was praying for a million naira / Ego nsego na loud akaligo a million naira鈥� 鈥� Jeriq, 鈥淏illion Dollar Dream鈥� (2022)

This one is the intro and title track of Jeriq鈥檚 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鈥檒l Accidentally Binge Till 3 AM 

8. 鈥淧ounds sterling lawa n fi n se tissue.鈥� 鈥� Olamide, 鈥淲ho U Epp鈥� (2016)

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

9. 鈥淗alf a million dollars, when I smile for the picture.鈥� 鈥� Burna Boy, 鈥淏undle By Bundle鈥� (2025)

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

10. 鈥淢e, I don touch money, I like am / Dollar signs load am鈥� 鈥� Adekunle Gold, 鈥淐oco Money鈥� (2025)

Here, AG Baby is flexing that he鈥檚 now rich and that the dollar is his preference. For more emphasis on his love for money, he states, 鈥淏itch, better have my money鈥�, a nod to Rihanna鈥檚 song of the same title.

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

These Nigerian albums captured Gen Z so perfectly that years from now, people will revisit them the same way older generations talk about timeless classics. And when Gen Z becomes parents, don鈥檛 be surprised if these are the albums they force their kids to listen to during long lectures about 鈥渞eal music.鈥�

African Giant 鈥� Burna Boy (2020)

African Giant is politically charged, sonically diverse and unapologetically Nigerian. Songs like 鈥淎nybody鈥� and 鈥淐ollateral Damage鈥� will be referenced by future generations as definitive moments, and the album will be regarded as one that shifted culture and propelled Afrobeats to global dominance.

Listen on: Apple Music | Spotify

Beautiful Imperfection 鈥� Asa (2010)

Before the Alt茅 kids were mixing genres, Asa was fusing Yoruba folk, indie-pop, soul and jazz. Songs like 鈥淏e My Man,鈥� 鈥淲hy Can鈥檛 We,鈥� 鈥淧reacher Man,鈥� and 鈥淭he Way I Feel鈥� showcase her gift for turning regular emotions into poetic musings. Her songwriting carried emotions that cut across age groups. This album is embedded in the childhood memories of older Gen Zs. It鈥檚 the 鈥渕ature鈥� music millennials loved, but was so incredibly catchy that kids couldn鈥檛 help but sing along to every word.

Listen on:听听|听

Superstar 鈥� Wizkid (2010)

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

Listen on:听听|听

Laughter, Tears & Goosebumps 鈥� Fireboy DML (2014)

This is a flawless debut album. If there鈥檚 one album that Nigerian Gen Z generally agrees has 鈥榥o skips,鈥� it鈥檚 Laughter, Tears & Goosebumps. Here, vulnerability stopped hiding in the backseat. Fireboy DML sings about experiences of being young without leaving out older listeners. From young love to heartbreak and other joys of life. It鈥檚 like a transition from teenage years to young adulthood. It鈥檒l be remembered as one of the blueprints for the modern Afro-R&B sound.

Listen on:听听|听

Mr. Money With the Vibe 鈥� Asake (2022)

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

Listen on: Apple Music | Spotify

READ THIS: Nigerian Artists Who Have Never Released a Mid Album

19 & Dangerous 鈥� Ayra Starr (2021)

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

Listen on: Apple Music | Spotify

rare. 鈥� Odunsi (The Engine) (2018)

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

Listen on:听听|听

Mandy & Jungle 鈥� Cruel Santino (2019)

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

Listen on: Apple Music | Spotify

Boy Alone 鈥� Omah Lay (2022)

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

Listen on: Apple Music | Spotify

ROOTS 鈥� The Cavemen. (2020)

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

Listen on: Apple Music | Spotify

ALSO READ: 10 Nigerian Songs to Listen to When You鈥檙e Not Feeling Okay

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

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

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

(FKA 2Face Idibia)

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

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

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

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

READ THIS:听Why Are Nigerian Pop Albums So Forgettable These Days?

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

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

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

From New Era (2016) to Maverick (2023), Kizz Daniel’s albums are packed with hits. He adheres strictly to perfecting melodies and crafting a catchy hook, skills he consistently applies across full-length projects without losing steam. Kizz Daniel operates under the self-proclaimed title of 鈥淣o Bad Songz,鈥� and his albums actually live up to the boast.

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

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

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

ALSO READ:听10 Great 3-Album Runs by Nigerian Artists, Ranked

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

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

10.

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

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

9.

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

Wizkid鈥檚 run follows the evolution of a boy wonder into a global icon. (2011) is arguably one of the most influential debuts in Afrobeats history. The album produced generational hits like 鈥淗olla at Your Boy,鈥� 鈥淧akurumo鈥� and 鈥淭ease Me.鈥� (2014), features the timeless 鈥淥juelegba鈥� and secures his status as a local legend. (2017) is Wizkid boldly experimenting with R&B, Caribbean and other international sounds, to lay the groundwork for the global 鈥淢ade In Lagos鈥� era that followed.

8.

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

The African Number One Bad Girl built her legacy on this formidable three-album run. Tiwa Savage鈥檚 debut, , arrived in 2013 when Nigerian pop was still heavily male-dominated. It immediately establishes her as the country鈥檚 leading female pop star. It has hits like 鈥淜ele Kele Love,鈥� 鈥淟ove Me鈥� and 鈥淓minado.鈥�

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

7.

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

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

6.

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

Few modern artists have dominated the Nigerian charts as quickly as Asake. His debut , broke multiple streaming records on Apple Music Nigeria and Spotify and had hits like 鈥淛oha,鈥� 鈥淭erminator鈥� and 鈥淪ungba.鈥� He followed with Work of Art, which delivered the smash single 鈥淟onely at the Top鈥�, one of the longest-charting Nigerian songs on streaming platforms. His third album, Lungu Boy boosts his commercial momentum and global expansion.

5.

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

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

READ NEXT:听20 Nigerian Albums That Shaped Gen-Z

4.

Run: Certificate (2006) 鈫� Gongo Aso (2008) 鈫� Tradition (2009)

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

3. P-Square

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

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

2.

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

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

1.

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

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

In 2008, he released , an experimental project that continued his momentum, featuring songs such as 鈥淓nter the Place鈥�. 

ALSO READ:听Why Are Nigerian Pop Albums So Forgettable These Days?

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

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

14. The Palmwine Express 鈥� Show Dem Camp (2019)

Show Dem Camp鈥檚 The Palmwine Express spins love through the lens of longing, nostalgia and Afro-folk warmth. Tec, Ghost and their collaborators glide between romantic desire and relational reflections over palmwine-inflected production. The romance here isn鈥檛 a high-stress ballast. Just chill ambience and drinks. When you think of The Palmwine Express, think of a Lagos sunset date at Tarkwa Bay, where conversations flow smoothly and are sometimes as eruptive as the ocean.

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

Listen: |

13. Chemistry 鈥� Falz and Simi (2016)

Chemistry is an 鈥渁re they or aren鈥檛 they?鈥� moment in Nigerian pop culture. Before Simi and Deja鈥檚 dad made it official, her musical synergy with Falz was so thick you could cut it with a knife. The project is a seven-track fan-fiction come to life and leans into the playful and flirtatious gimmick and language that the two of them spoke clearly.

Chemistry shines because it refuses to take itself too seriously while delivering high-quality songwriting. Tracks like 鈥淐hemistry鈥� and 鈥淓nough鈥� are anthems for those who know that love is about being satisfied with your partner, even when money isn鈥檛 overflowing. If there鈥檚 a Nigerian album with collaborative storytelling that captures the butterfly-inducing phase of a new romance, it鈥檚 this one.

Listen: |

12. Red Velvet 鈥� Waje (2018)

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

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

Listen: |

11. Made In Lagos 鈥� Wizkid (2020)

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

Listen: |

10. Boo of the Booless 鈥� Chike (2020)

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

Boo of the Booless is the comforter of the heartbroken, especially during the 2020 lockdown. A song like 鈥淩unning (To You)鈥� is the pledge of devotion. The album鈥檚 songwriting also proves Chike鈥檚 ability to use English, Igbo and Pidgin in relatable ways that make love feel homegrown and authentic. Tracks like 鈥淣akupenda鈥� and 鈥淔orever鈥� balance sweet romanticism with real-world depth. When it comes to modern classic Nigerian romantic records, count this in.

Listen: |

9. Passport 鈥� Tay Iwar (2014)

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

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

Listen: |

READ NEXT: 10 Nigerian Musicians Who are Surprisingly Good Actors 

8. King of Love 鈥� Kizz Daniel (2020)

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

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

Listen: |

7. The Journey 鈥� Sean Tizzle (2014)

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

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

Listen: |

6. Year of R鈥檔鈥橞 鈥� Capital F.E.M.I (2012)

Year of R鈥檔鈥橞 is a golden-era romantic classic. Capital F.E.M.I stayed true to the classic R&B blueprint during an era dominated by club bangers. Year of R鈥檔鈥橞 is a love letter to the genre itself, full of the kind of vocal runs, falsettos, and deep-cut lyrics that defined the West’s ’90s and early 2000s R&B scene, but with an unmistakable Nigerian soul. The standout 鈥淣ever Felt A Love鈥� is a throwback gem that still hits the spot when you鈥檙e feeling sentimental.

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

Listen: |

5. Before We Fall Asleep 鈥� Johnny Drille (2021)

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

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

Listen: |

4. R & BW 鈥� Banky W (2013)

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

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

Listen: |

3. Expressions 鈥� Styl-Plus (2006)

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

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

Listen: |

2. Body and Soul 鈥� Plantashun Boiz (2000)

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

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

Listen: |

1. Hitsville 鈥� Paul Play (2005)

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

Listen: |

ALSO READ: 10 Nigerian Music Industry Players Share Predictions for Afrobeats 2026

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

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

What makes Jamz FR exciting is her fusion of styles and her ability to navigate between bangers and introspective tunes. She taps into the essence of Afropop while layering in influences from R&B and reggae鈥憈inged vocal styles. When artistry is rooted in authentic experiences and a lifelong love of music, you鈥檒l get songs with clarity and heart like 鈥淪ober鈥�, 鈥淟ose Ya鈥� and her latest 鈥淛amzy Vibe.鈥�

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

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

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

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

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

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

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

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

READ NEXT: The 2025 Nigerian Songs Getting Nigerians Through the Year

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

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

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

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

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

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

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

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

He doesn鈥檛 chase trends, he shapes them, with glitchy trap styles, sharp flows and beats that defy easy categorisation. That experimental edge places him at the forefront of a new underground movement in Nigerian music. A key part of what makes Zaylevelten stand out is his work as a producer under the name Tenski. He plays a major role in crafting his own sound, producing much of his material, and ensuring identity, self-sufficiency and that the music reflects his vision from the ground up.

His recent project, 1t g0t crazy and its deluxe version, showcase his off鈥慿ilter experimentation and street鈥慳ware confidence, with features that also signal his growing influence.

ALSO READ: 10 Nigerian Music Projects That Deserved More Love in 2025

Since the Academy introduced the 鈥楤est African Music Performance鈥� category in 2023, more Nigerian artists have found themselves in Grammy conversations. 

For many, submitting to the Grammys isn鈥檛 just a bid for validation; it鈥檚 a marker of evolution. It signals ambition, confidence, and a belief that speaks beyond Billboard charts, Afrobeats playlists and TikTok trends.

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

Ayra Starr

She submitted:

• 鈥淕imme Dat鈥� featuring Wizkid for 鈥楤est African Music Performance鈥�
• 鈥淕imme鈥� Dat鈥� featuring Wizkid for 鈥楤est Music Video鈥�
• 鈥淗ot Body鈥� for 鈥楻ecord of the Year鈥�
• 鈥淗ot Body鈥� for 鈥楽ong of the Year鈥�

Likely to be nominated:

• 鈥淕imme鈥� Dat鈥� featuring Wizkid for 鈥楤est African Music Performance鈥�

Why?

Ayra Starr is already a Grammy nominee for 鈥淩ush,鈥� and Wizkid鈥檚 five nominations and one win make him a proven Academy favourite. Their chemistry on 鈥淕imme Dat鈥� is undeniable, and the category tends to reward high-profile collaborations with global reach. This is one of the most secure Nigerian bets of the year.

Asake

He submitted:

• 鈥淲HY LOVE鈥� for 鈥楤est African Music Performance鈥�

Likely to be nominated:

• 鈥淲HY LOVE鈥� for Best 鈥楢frican Music Performance鈥�

Why?

Following back-to-back 鈥楤est African Music Performance鈥� nominations for 鈥淎mapiano鈥� in 2024 and 鈥淢MS鈥� in 2025, it鈥檚 safe to say that the Grammys love them some Asake. I expect that recognition to continue with the solid 鈥淲HY LOVE.鈥�

Burna Boy

He submitted:

• No Sign Of Weakness for 鈥楢lbum of the Year鈥�
• No Sign Of Weakness for 鈥楤est Global Album鈥�
• 鈥淟ove鈥� for 鈥楤est African Music Performance鈥�
• 鈥�4 Kampe II鈥� with Jo茅 Dw猫t Fil茅 for 鈥楤est Global Music Performance鈥�

Likely to be nominated:

• No Sign Of Weakness for 鈥楤est Global Album鈥�
• 鈥淟ove鈥� for 鈥楤est African Music Performance鈥�
• 鈥淲gft鈥� with Gunna for 鈥楤est Melodic Rap Performance鈥�

Why?

Burna鈥檚 a Grammy darling with 11 nominations and one win. He鈥檚 been nominated every year he鈥檚 submitted, and is one of the rare Nigerian acts to be nominated outside of the 鈥楢frican鈥� or 鈥楪lobal鈥� categories, earning a nod for 鈥楤est Melodic Rap Performance鈥� for 鈥淪ittin鈥� On Top of the World鈥� with 21 Savage. Expect him to be the most nominated Nigerian this year. 

Davido

He submitted:

• 5IVE for 鈥楤est Global Album鈥�
• 5IVE for 鈥楤est Artwork鈥�
• 5IVE for 鈥楤est Album of the Year鈥�
• 鈥淲ith You鈥� for 鈥楤est African Music Performance鈥�
• 鈥淲ith You鈥� for 鈥楽ong of the Year鈥�
• 鈥淲ith You鈥� for 鈥楻ecord of the Year鈥�
• 鈥淲ith You鈥� for 鈥楤est Music Video鈥�

Likely to be nominated:

• 5IVE for Best 鈥楪lobal Album鈥�
• 鈥淲ith you鈥� for 鈥楤est African Music Performance鈥�

Why?

顿补惫颈诲辞鈥檚 5IVE is one of his most acclaimed albums yet, and the viral success of 鈥淲ith You鈥� 鈥� boosted heavily by Omah Lay 鈥� makes it difficult for voters to ignore. As one of the inaugural nominees of the 鈥楤est African Music Performance鈥� category, Davido already has name recognition with Grammy voters. Expect multiple nominations here.

READ NEXT: Nigerians Who Have Won or Been Nominated for Grammys: A Complete List

Olamide

He submitted:

• 鈥淏illionaires Club鈥� featuring Wizkid and Darkoo for 鈥楤est African Music Performance鈥�

Likely to be nominated:

• 鈥淏illionaires Club鈥� featuring Wizkid and Darkoo for 鈥楤est African Music Performance鈥�

Why?

After earning his first Grammy nomination with Asake for 鈥淎mapiano,鈥� Olamide returns with another heavy collaboration. Wizkid鈥檚 presence already boosts a submission, and 鈥淏illionaires Club鈥� is already beloved for its sleek production and cross-market appeal. It fits perfectly into the Academy鈥檚 taste profile for this category.

Omah Lay

He submitted:

• 鈥淲ith You鈥� with Davido for 鈥楤est African Music Performance鈥�

Likely to be nominated: 

• 鈥淲ith You鈥� with Davido for 鈥楤est African Music Performance鈥�

Why?

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

Rema

He submitted:

• 鈥淏aby (Is It A Crime)鈥� for 鈥楤est African Music Performance鈥�

Likely to be nominated:

• 鈥淏aby (Is It A Crime)鈥� for 鈥楤est African Music Performance鈥�

Why?

After getting his first Grammy nomination for HEIS in 2025, Rema tenders 鈥淏aby (Is It A Crime)鈥�, as his Grammy 2026 submission. The song samples four-time Grammy winner Sade Adu鈥檚 鈥淚s It A Crime鈥� and remains one of the best and most versatile releases in Afrobeats this year. It would be a shocker if this didn鈥檛 make the cut. 

Wizkid

He submitted:

• Morayo for 鈥楢lbum of the Year鈥�
• Morayo for 鈥楤est Global Album鈥�
• 鈥淧iece of My Heart鈥� featuring Brent Faiyaz for 鈥楻ecord of the Year鈥�
• 鈥淧iece of My Heart鈥� featuring Brent Faiyaz for 鈥楽ong of the Year鈥�
• 鈥淧iece of My Heart鈥� featuring Brent Faiyaz for 鈥楤est African Music Performance鈥�
• 鈥淜ese (Dance)鈥� for 鈥楤est Music Video鈥�

Likely to be nominated:

• Morayo for 鈥楤est Global Album鈥�
• Ayra Starr鈥檚 鈥淕imme Dat鈥� for 鈥楤est African Music Performance鈥�

Why?

With five nominations and one win, Wizkid is another certified Grammy darling. I expect him to show up in 鈥楤est Global Album鈥� for the celebrated Morayo, but I think his strongest chance for a nomination in the 鈥楤est African Music Performance鈥� category will be for his work on Ayra鈥檚 Starr鈥檚 鈥淕imme Dat,鈥� instead of his own single, 鈥淧iece of My Heart.鈥�

ALSO READ: 10 Nigerian Music Projects That Deserved More Love in 2025

Everyone talks about love online, but what鈥檚 it really like offline? We鈥檙e collecting anonymous stories for 91大神鈥檚 biggest relationship survey yet. Share your truth听.

Every artist has that one song they wish could be removed from their catalogue 鈥� the track that makes them wince whenever fans scream at shows, or the one they recorded just to please a label, a producer, or even their younger self who didn鈥檛 know better. 

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

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

鈥淚t’s too vulnerable and it shouldn’t have been for public consumption.鈥� 鈥� , singer-songwriter.

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

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

After that conversation, I felt a little down and birthed the chorus: 鈥淎siko n lo, oun lo o / Tell me when do I feel loved?鈥�

The message has three parts for me. The first is a question of 鈥淒o I love myself?鈥� The second is, 鈥淗ow do I love you if I don’t even love myself?鈥� and the third is, 鈥淲hy do you love people who don鈥檛 care about you?鈥�

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

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

鈥淗ow could I be celebrating a new release when people were fighting for justice and getting shot at?鈥� 鈥� , rapper and singer.

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

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

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

鈥淭he producer came back again and asked to be added as a primary artist to the release.鈥� 鈥� , rapper.

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

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

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

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

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

鈥淥ne can tell that it was just a good day in the studio, not a lot of thoughts were put into it.鈥� 鈥� , singer-songwriter.

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

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

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

READ NEXT: Had I Known: 8 Nigerian Actors and the Roles They Regret Turning Down

鈥淚 realised the title itself carried a perception I did not want associated with me.鈥� 鈥� , rapper and singer.

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

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

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

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

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

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

鈥淚 had to remove a long-time friend from that record just to fit in this artist鈥檚 verse.鈥� 鈥� , rapper and producer.

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

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

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

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

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

鈥淭hat shit hurt my motivation, for real.鈥� 鈥� , rapper.

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

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

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

So, I added three other songs alongside 鈥淔all鈥�. When I eventually did release the tape in August, 鈥淔all鈥� would get the lowest streams across all platforms. Mentally, I couldn鈥檛 understand why no one was listening to this one in particular. I thought it was the best.

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

鈥淎fter a deep reflection, I began to see why they thought the line signals tribalism.鈥� 鈥� , rapper.

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

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

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

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

I lost that round and any chance of winning the prize money. After a deep reflection, several listens and deciphering of my own lyrics, I began to see why they thought the line signals tribalism, even though it wasn鈥檛 my intention. Now, I have a song out that people are likely to call tribalistic streaming.

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

鈥淲hat made me regret putting it out was when my seven-year-old nephew found that particular song.鈥� 鈥� , rapper.

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

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

鈥淚 was completely consumed by grief and couldn’t even think about promoting the music.鈥� 鈥� , singer-songwriter.

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

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

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

Do you have a story of regret? Share it with us by filling out .

ALSO READ: How Nigerians Become Notorious on the Internet

Music distributors, often called distros, are third-party companies that help artists upload and manage their music across platforms like Spotify, Apple Music, Boomplay, and others. In theory, they should make it easier for artists to get paid for their streams and maintain control over their catalogue. But for many artists, especially those without industry power, these companies can become a source of stress, confusion, and exploitation.

In this As Told To, a musician Tayo* shares his experience with a well-known Lagos-based distributor. What started as a promising partnership quickly turned into a cautionary tale about what can go wrong when transparency is missing in the music business.

This is Tayo鈥檚 story as told to Marv.

In 2021, I was in an experimental phase and eager to start distributing my music. I was searching for the best distribution company that would offer a seamless process and genuinely support me and my music. I didn鈥檛 know which platform to trust to get my songs out there, but I knew what I wanted: playlist placements and distribution to all the major Digital Service Providers (DSPs) like Spotify, Apple Music, and others.

One Nigerian distribution company kept popping up, both in my online searches and conversations with people in the industry. The fact that they were based in Lagos gave me even more confidence. Having boots on the ground made it feel like they truly understood how to get Nigerian artists onto DSPs and playlists.

Still, I was cautious. I didn鈥檛 want to end up like the many musicians who鈥檝e had to call out their distributors on social media for withholding or mismanaging royalties. When I reached out to them, they told me their focus was on young, independent artists. They also mentioned a 70:30 revenue split: I鈥檇 keep 70% while they took 30%. That didn鈥檛 feel entirely fair鈥擨 wasn鈥檛 convinced a distro should take that much from my royalties. But almost every musician I knew personally was using them. One of my friends had just signed on with them, and things seemed to be going well. So I decided to give it a shot.

ALSO READ: 10 of the Best Programs Currently Airing on Free-to-Air Nigerian TV

I also brought on a talent manager who had worked with my friend through the same distributor. We released two singles, and everything went smoothly. The manager went above and beyond, securing top playlist placements for my songs. I was genuinely impressed.

But then, things started to change.

They stopped taking me seriously and began doing the barest minimum. When I asked them to support my music, even with a simple repost on social media, they made it seem like I was asking for too much.

Then, I requested access to my backend to view my streaming numbers and revenue across platforms, but they ignored me. All my efforts to try to reach them were in vain.

Things got worse. Scheduling a music release became a hassle. I鈥檇 have to chase them for nearly a month to align with my release calendar. And even then, they鈥檇 upload my music with mistakes: misspelt names (mine and the featured artists鈥�), wrong metadata, and missing details. I鈥檇 have to demand a takedown and wait another week or two for a corrected reupload. This unprofessionalism robbed me and my listeners of consistency and the experience of enjoying my music without unnecessary delays.

When I finally tried to withdraw the small royalties my music had earned, I reached out again. But they sent me a report that didn鈥檛 match what I saw on my Spotify for Artists and Apple Music dashboards. 

I鈥檓 aware that streams from Nigeria and abroad generate different revenues. I had experience with other distributors before them, so I knew how these backends and reports should look. But the report they showed me made no sense. They didn鈥檛 grant me direct access to see for myself. I had to wait for filtered, incomplete updates via email or WhatsApp.

It began to feel deeply unfair. We were supposed to be partners. They were taking 30% of the revenue, yet offering zero transparency. 

When I demanded that they withdraw all my songs from the platforms, they cited a clause in our agreement: no withdrawals until I hit $100 in revenue. I鈥檇 need hundreds of thousands of streams just to reach that point. So I forgot about it.

In 2023, I co-founded a music company with a friend. We help musicians release their songs and provide marketing support. I looked around for distribution partners but found no takers. So reluctantly, I returned to the same distro, but only for distribution. My company handled everything else.

They ended up distributing music for over 30 artists on our roster. We created individual contracts for each artist, but the distro mishandled the paperwork again. When I asked for the reports, they said all artist data had been lumped under my profile. There was no way to view individual artist earnings or even know how many streams each artist had.

READ NEXT: My Girlfriend Almost Killed Me With Billing Because I Hang Out With Celebrities

The final straw came when one of my artists pulled in over 200,000 Spotify streams鈥攎ostly from outside Nigeria鈥攁nd the report said the music only earned $60. That made no sense. There were over ten artists actively streaming under my company that year. How could the combined earnings be so low? I asked for a breakdown, but they didn鈥檛 provide any.

It was beyond frustrating.

They eventually apologised for the lack of transparency and flawed reporting, but that was it. No action. No corrections. My numbers and those of the artists I managed remained tangled together with no clarity or accountability.

By mid-2024, I decided to cut ties. I asked them to shut down my catalogue and pay me what was owed. What followed was a long, silent drama. For over six months, they ignored me. Eventually, I had to call them out publicly on X. Other artists who had similar experiences joined the conversation, amplifying my complaint until it reached the founder and CEO.

He privately messaged me to apologise on behalf of his staff and promised to fix it. Later, he asked for my account details to process the payment, but the amount he sent didn鈥檛 reflect what I was owed. Some artists were still unaccounted for, and the breakdown they provided remained vague.

To this day, the distributor hasn鈥檛 fully closed my company鈥檚 catalogue. Some songs have been removed, others are still live鈥攕treaming and earning revenue linked to their system.

Editor鈥檚 Note: We decided to withhold the name of the musician so he could speak publicly on a sensitive matter.

.

ALSO READ: In Her New EP, Goodgirl LA Sells Desire to Nigerian Women Ready to Indulge