Known for his sharp lyricism and versatility across hip-hop and Afropop, Dremo uses the track to channel frustration and reflection, delivering a more confrontational sound that leans heavily into conscious rap.

The title—drawn from a popular Nigerian Pidgin expression meaning “they don’t really care about us”—sets the tone for the record’s defiant message.

Built on heavy bass and minimal but intentional production, “Dem No Really Send Us” puts Dremo’s storytelling front and center. Across rapid-fire verses, he reflects on his personal journey in Nigerian hip-hop while also addressing broader societal struggles, including the impact of poor governance and everyday survival in a challenging system.

The rapper frames the song as both personal and collective, tapping into the mindset of Nigerians pushing forward despite institutional neglect. His delivery blends introspection with intensity, reinforcing his reputation as one of the country’s most technically gifted lyricists.

The release also forms part of a larger rollout tied to his 2026 projects, including The Chronicles of Bamidele and the Man2Man series, signaling a highly active and focused phase in his career.

Early reactions from fans have been largely positive, with many describing the track as a return to the raw energy and storytelling depth reminiscent of his earlier Codename-era work. By leaning into his strengths as a lyricist, Dremo reasserts his position in the rap scene with a record that is both socially conscious and unapologetically direct.

Listen to “Dem No Really Send Us.” HERE

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Speaking during an interview with Echo Room, the rapper revealed that the label’s structure heavily revolved around its founder, Davido, leaving other artists to find their own footing.

According to Dremo, the label functioned more like a platform than a fully supportive system, as he struggled to achieve his personal goals during his time there. He added that the experience ultimately influenced his decision to go independent and take full control of his career.

He also spoke about the lack of collaboration within the label, noting that even among label mates like Idowest, joint efforts were rare as everyone was focused on surviving in the industry.

“I didn’t collaborate with Idowest who was my label mate and fellow rapper because at that time we were all striving to stay afloat in the music industry. Even DMW as a whole didn’t collaborate much, we never had a record label album. The management focused only on Davido. The label didn’t give me money. It was like a platform. I didn’t get what I wanted from the label,” he said.

Dremo’s revelations offer a rare behind-the-scenes look into the workings of one of Nigeria’s biggest record labels, while highlighting the challenges artists sometimes face within major music camps.

 

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On the track, Dremo speaks candidly about personal conflicts and industry friction, calling out names as he sets the record straight.

Man2Man is built on themes of honesty, responsibility, and straightforward dialogue, encouraging disputes to be resolved respectfully face-to-face, man to man, instead of through rumors or social media theatrics.

Dremo – ‘Man2Man‘ Lyrics

Brother man
If we get issue make we iron am
Whether na artiste to artiste
Or man to man
So if you hear your name don’t take it personal
Just want to say my mind
Allow me to fire down
If we get issue make we iron am
Whether na artiste to artiste
Or man to man
So if you hear your name don’t take it personal
Just want to say my mind
Allow me to fire down

Baddo, been trying to get a verse from you
Baba you jonze me e no reach make I vex for you
You na idan, I know sey you no get writers block
Cos I don use that same format for one rapper before
Olohun gbo
Featured Patoranking for wonder
Him go dey wonder why I no ginger promote
am
Bro
Raba bin no dey to shoot the video
I bin dey fight to survive life bin dey throw me
gidigbo
Phenom, I’m sorry to throw you under the bus
But you tell me sey Phyno tell you sey him no
like how I dey move
Cos when i go him crib, I went with so many
boys
Baba no vex we were coming from a show
before we headed to you
Oxlade, I happy sey we die the situation wey
we get because of that Miami babe

Odumodu a mutual friend tell me sey you no like me?
I no do you anything why you go yarn that kind p?
Ahnhan
Make FC free me na, I don tire
Kini mo shey fun yi na
Na Wiz and David get fight
But dem see space put me inside
Na me dem just dey enter for the timeline
A birdie told me Ajebo hustlers dey vex for me
Sey I been jonze dem when they were trying to get a verse from me
But I remember that night I was so damn tired
I still dey smoke that year I was so damn fried
E get one producer wey test my gangster sha
Him bin dey do falafolo we later beat am sha
I no dey like fight I no be problem child
But if you bring am come my side me no go let am slide

Brother man
If we get issue make we iron am
Whether na artiste to artiste
Or man to man
So if you hear your name don’t take it personal
Just want to say my mind
Allow me to fire down
If we get issue make we iron am
Whether na artiste to artiste
Or man to man
So if you hear your name don’t take it personal
Just want to say my mind
Allow me to fire down

Too many many too many yarnings (yak)
Once upon a time hear the story telling
I beat Sarz for mortal Kombat
The bet was if I win him go give me free instrumental
Baba, be like na this year I go need that beat jor
CKay Yo, I go need that feature
Cause when I bin dey hot I gave you 2 verses
And I no stress you so please don’t stress me
I’m on a journey of spiritual cleansing
I wan clear all the smoke wey dey with Buju Benson
Buju Benson I’m over this trolling p
Wait, I take it back you are still a bowling pin
Davido the money wey you promise me shey you never wan give me?
Abi no be your WhatsApp number end with 52 ni?
Sarkodie I was just having fun with it
Didn’t see nothing wrong with it
I fucked with the song really
But V.E.C, se mo pe e se mi cause egbon mi ni yin
You sounded hostile for Adesope podcast
Talking like we not cool and you ain’t really fucking with me?
But I’m hoping that it’s nothing really

Brother man
If we get issue make we iron am
Whether na artiste to artiste
Or man to man
So if you hear your name don’t take it personal
Just want to say my mind
Allow me to fire down
If we get issue make we iron am
Whether na artiste to artiste
Or man to man
So if you hear your name don’t take it personal
Just want to say my mind

This post appeared first on Mp3bullet.ng... Read Original post on “Man2Man” Lyrics by Dremo.

The track is a finely crafted piece that blends introspection with sharp storytelling, showcasing Dremo’s ability to pair deep, relatable themes with polished delivery. With Man2Man, the rapper taps into raw emotion and lived experiences, making the song resonate on a deeper level.

One of his notable releases this year, “Man2Man,” continues a run of songs that highlight Dremo’s artistic growth while staying true to the distinctive sound that has earned him a loyal fan base. It reflects maturity in both writing and performance, proving that he is evolving without losing his identity.

 

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Production on the record is handled by The Kazez, whose touch provides a solid, well-balanced backdrop for Dremo’s verses. The synergy between rapper and producer results in a smooth yet impactful sound that allows the message of the song to shine.

Whether you’re a longtime supporter or just discovering his music, Man2Man stands out as a compelling listen. With its emotional depth, strong lyricism, and refined production, the track is a must-have for anyone who appreciates thoughtful and well-executed hip-hop.

Listen to ‘Man2Man‘ HERE

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The track is a bar-heavy, braggadocio-laden duel between two of the country’s finest lyricists, trading verses with precision, swagger, and unapologetic intensity.

Phenom, known for his intricate rhyme schemes, opens with a flow that reaffirms why he’s considered one of Nigeria’s most formidable wordsmiths. His delivery is sharp, layered with double entendres and clever metaphors that demand attentive listening.

Dremo matches this energy effortlessly, bringing his punchy, confident style that’s packed with quotable lines and Instagram-caption-ready bars. The chemistry between them is undeniable, feeling like a live cypher captured in the studio.

The metaphor of Balenciaga anchors the song, symbolizing status, exclusivity, and the grind needed to survive in the industry. But the luxury talk is more than fle it’s a vehicle for lyrical mastery.

The production is minimalistic yet menacing, with heavy 808s and a brooding piano loop that leaves ample room for their flows to shine.

Balenciaga isn’t aiming for radio domination; it’s built for the purists, the fans hungry for bars in an era of autotune and melodies. It’s a hard-hitting, head-nodding reminder that in Nigerian rap, skill and penmanship still reign supreme.

Phenom and Dremo have reasserted their place at the top, delivering a track that demands respect, attention, and repeat listens.

Listen to Balenciaga HERE.

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The title, derived from the Swahili word for “patience,” perfectly encapsulates the project’s core: a portrait of an artist who has taken his time to refine both his craft and message.

Blending Afrobeats, highlife, R&B, and Afro-soul, SABALI unfolds as a deeply personal yet universally resonant narrative of love, resilience, and ambition. It’s the sound of an artist reconnecting with his essence while exploring fresh creative ground.

Peruzzi’s warm, honeyed vocals glide effortlessly over mid-tempo grooves, layered percussion, and lush instrumentation, conjuring imagery of Lagos nights alive with emotion and possibility.

His songwriting remains sharp, introspective, and textured, offering glimpses into quiet triumphs, romantic vulnerability, and the unrelenting pursuit of success.

From the confessional opener “Die It” to the genre-bending “Apala Drill” featuring Davido, Peruzzi builds a sonic universe where patience meets innovation. “Perfect Situation,” a reunion with Davido, Mayorkun, and Dremo, delivers pure DMW nostalgia, while “Cooking Pot” with Jeriq adds a gritty street flair steeped in hustle and swagger.

Each collaboration feels intentional, from “Nuff Respect” featuring Jesse Jagz, which dives into lyrical depth, to “Mad Oh” with The Cavemen, blending contemporary groove with highlife’s timeless warmth. On “You,” featuring Kemuel, Peruzzi slips into melodic tenderness, while “Ecstasy,” with JujuBoy and Nana Kwabena, explores dreamy, transcendent moods.

The album’s second half keeps the energy alive “Legalise” stands out as a heartfelt solo declaration, “Time of My Life” featuring Esoterica ties things together on a celebratory note, and surprise cameos from Timaya, Zlatan, Terri, Bella Shmurda, Gazo, and The Flowolf round out a feature list that bridges generations and genres.

SABALI is more than a comeback; it’s a statement of evolution and endurance. Peruzzi’s deliberate pacing gives space for emotional honesty, proving that patience not only shapes character but also refines artistry.

Already climbing streaming charts and earning critical praise for its emotional depth and collaborative synergy, SABALI reaffirms Peruzzi’s reputation as one of Afropop’s most expressive storytellers, a voice equally at home in moments of reflection and celebration.

Available now on all major platforms, SABALI invites listeners into Peruzzi’s world, a place where patience meets passion, and every beat carries the quiet victory of growth.

Listen to SABALI HERE.

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More than just a song, Daily 2K reads like a personal credo, a rhythmic journal of resilience, grit, and unshakeable ambition.

Built on a rich fusion of Afrobeats and hip-hop, Daily 2K exists in dual realms, both danceable and deeply reflective. The beat doesn’t just underscore the lyrics; it becomes an extension of the message.

With every throb of bass and snap of percussion, Dremo paints a portrait of success not as a stroke of luck, but as the result of relentless consistency.

Where many songs try to dazzle with excessive production, Daily 2K thrives in its minimalism. The production is sharp, clean, and intentional, a backdrop that lets Dremo’s voice rise front and centre.

The track breathes, allowing every word, pause, and inflexion to land with full impact. It’s a masterclass in control and clarity.

 

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Dremo, whose journey spans from Edo State roots to his rise through Ibadan and eventual signing to Davido’s DMW, pours his lived experience into every bar. His flow is confident but never complacent. Each line feels like it carries the weight of real miles travelled, of battles fought in both the studio and the street.

What makes Daily 2K stand out is its commitment to consistency, not just in theme but in spirit. Dremo doesn’t glorify shortcuts or overnight fame. Instead, he elevates the steady grind, the 2,000-naira-a-day mindset, as a metaphor for progress. Whether literal or symbolic, “2K” becomes a unit of hustle, a small but vital daily victory on the road to something bigger.

This isn’t just a motivational banger; it’s a blueprint for survival, success, and self-belief in a world that rarely offers second chances.

Daily 2K reminds us that legends aren’t made in moments—they’re built in the margins of each day, brick by brick, bar by bar, beat by beat.

Listen to Daily 2k HERE.

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Widely known as the “Mayor of Lagos” since his breakout in 2016 with Eleko, Mayorkun’s latest project showcases an artist evolving, reflecting, and still delivering hits that move crowds and playlists alike.

Still The Mayor comes four years after his sophomore album Back In Office (2021), and a year after his 2023 EP Love.. For Free. The new album, initially slated for release on May 2 but delayed to allow for additional fine-tuning, is Mayorkun at his most refined yet. Balancing his signature charisma with matured themes and production, he delivers an album that is at once personal and panoramic in its reach.

The album boasts eight high-profile collaborations, including Davido, Fireboy DML (featured on two tracks), Rotimi, King Promise, Olivetheboy, Dremo, The Flowolf, and Michii. Each guest brings their unique flair, making for a rich, textured listening experience.

The lead single Innocent, featuring Fireboy DML, sets the tone with its introspective lyrics and smooth blend of melodies. On Reason 2 Japa, Mayorkun addresses the Nigerian emigration crisis with sharp, heartfelt storytelling laid over an Amapiano-inspired beat.

Blessings on Blessings with Davido and Diamonds with Fireboy DML lean heavily into Mayorkun’s talent for catchy hooks, while Konko Below lights up the streets with its pulsing energy. On Hold Body, King Promise adds a soulful touch to an R&B-leaning jam perfect for late-night vibes.

Behind the boards, producers like Speroach Beatz and Clemzy help craft a soundscape that reflects Afrobeats’ global growth. Traditional rhythms mix effortlessly with R&B, Afropop, electronic, and subtle rap influences. The album’s sonic diversity echoes the genre-bending boldness of Mayorkun’s 2020 hit Geng, but here, it’s more polished, more daring.

Tracks like Industry Girl (Interlude), a posse cut featuring The Flowolf, Dremo, and Michii, highlight Mayorkun’s curatorial instincts, though not all risks fully land.

“Still The Mayor” arrives at midnight!
Big ups to everyone who worked on this project with me.. It’s a special one for many reasons.. ❤️ pic.twitter.com/2SC8GaaEEs

— MAYORKUN (@Mayorkun) June 12, 2025

Lyrically, Still The Mayor finds Mayorkun stepping into a more reflective mode. On Reason 2 Japa, he laments:

“I’m chasing dreams, but the system’s a cage.”

Still, his trademark charm remains. On Diamonds, he quips:

“My shine too bright, e dey blind them.”

This balance between sober realities and joyful braggadocio is part of what continues to make Mayorkun so relatable and magnetic.

The album is not without its minor missteps. The opener, while energetic, may feel like a jarring start for some listeners expecting a smoother introduction. Similarly, Industry Girl, despite its ambition, comes across as slightly overcrowded. Yet, these moments are the exceptions, not the rule.

From his humble beginnings as a former banker who posted music covers on social media, Mayorkun has grown into one of Afrobeats’ brightest stars. His debut album, The Mayor of Lagos, established his hit-making credentials. Back In Office proved he could sustain the momentum. Now, Still The Mayor marks a new era—an artist with global vision and full command of his artistry.

Accompanied by a high-profile listening party in Accra and a planned African tour, the album’s rollout points to even bigger ambitions.

Still The Mayor is not just a celebration of Mayorkun’s rise—it’s a confident reminder that his reign is far from over.

Listen to Still The Mayor album HERE.

This post appeared first on Mp3bullet.ng... Read Original post on Mayorkun Reclaims His Crown with Bold Third Album Still The Mayor.

DefEars Management, in collaboration with Dapper Live, is excited to announce the much-anticipated return of Trenchfest, set to take Lagos by storm this December.

With the support of Coke Studio and Jameson Whiskey, the event promises to be the ultimate celebration of Nigeria’s vibrant music culture, uniting fans from around the world for an unforgettable experience.

Headliners and Star Performances
Leading the impressive lineup is Afrobeats legend Wande Coal, renowned for his soulful voice and chart-topping hits.

Fans can expect a show-stopping performance from the music icon, whose career has consistently pushed boundaries in Afrobeats and Afropop.

Joining him on stage is an array of talented artists, including Ice Prince, T.I Blaze, Balloranking, L.A.X, Otega, Dremo, and Kashcoming.

Rising stars like TML Vibez, ZerryDL, Marley Kiddo, and Reehaa will also bring their dynamic energy to the festival, alongside talented acts such as Tolibian, Rybeena, Bahdman Niko, and Fazil. With over 20 performers, Trenchfest Lagos is poised to be the ultimate showcase of Nigerian musical talent.

Event Details

• Date: December 27, 2024
• Venue: Police College, Ikeja, Lagos
• Tickets: Available now at Naijatix.com

Attendees are encouraged to secure their tickets early, as this must-attend concert of the Detty December season is expected to sell out quickly.

A Celebration of Music and Culture
Trenchfest Lagos aims to elevate the festival experience by blending the infectious sounds of Afrobeats with the electrifying energy of street music. Following the resounding success of Trenchfest Ibadan, this Lagos edition promises to surpass expectations, delivering high-energy performances and a vibrant festival atmosphere that captures the spirit of Nigeria’s dynamic music scene.

About DefEars Management
With over a decade of talent management and event production excellence, DefEars Management continues to set the standard in Nigeria’s entertainment industry. The company’s notable achievements include the successful Trenchfest Ibadan and the celebrated Any Given Sundays series. Specializing in connecting local talents with global opportunities, DefEars Management is dedicated to nurturing creativity and celebrating African culture through music and content.

Mark your calendar for December 27, 2024, and get ready to witness Lagos come alive with music, culture, and the magic of Trenchfest!

 

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A heated exchange between Nigerian singer BNXN (formerly Buju) and rapper Dremo has sparked a frenzy on the microblogging platform X. The drama unfolded when a troll suggested that BNXN was using 30BG for trends, prompting a scathing response from the singer.

BNXN’s now-deleted post read: “No go stream Dremo dem.” This perceived diss sparked a quick retort from Dremo, who described BNXN as a “bowling pin.”

Dremo claimed he was minding his own business before his name was mentioned, implying that BNXN initiated the beef.

The exchange took a turn when a fan advised Dremo to confront BUJU, to which he replied: “He doesn’t have one.” This response has left many wondering what Dremo meant, fueling further speculation about the nature of their feud.

This is not the first time BNXN has been involved in a public feud. He previously had a rift with DMW boss Davido after a fan undermined his status.

The incident highlights the ongoing tensions and rivalries within the Nigerian music industry, with artists frequently engaging in public disputes and shade-throwing on social media.

The exchange between BUJU and Dremo has left fans divided, with some supporting each artist. As the drama unfolds, it remains to be seen how this beef will impact their careers and relationships within the industry.

One thing is certain – the Nigerian music industry will continue to be plagued by public feuds and rivalries.

 

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You see sey i de my own before bowling pin mention my name , I no dey find wahala but if wahala come no wahala

— DREMO🔥🐉 (@Dremodrizzy) July 25, 2024

He doesn’t have one https://t.co/LifRNc1NaE

— DREMO🔥🐉 (@Dremodrizzy) July 25, 2024

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Nigerian rapper Vector appears to have downplayed the recent rap feud involving Sarkodie and Dremo.

In a statement, Vector reportedly commented, “I don’t have any thoughts about what Sarkodie said.” Regarding fellow Ghanaian rapper Dremo, who has also engaged in the exchange, Vector remarked, “Dremo can take swipes if he wants to.”

The tension between the rappers escalated after a Sarkodie song that some Nigerians interpreted as disrespectful towards Nigerian artists. Sarkodie clarified that he was merely referencing well-known Nigerian musicians and denied any disrespect.

"I don't have any thoughts about what Sarkodie said…Dremo can take swipes if he wants to"

– Vector pic.twitter.com/z6LzB4NLmZ

— @𝗼𝗻𝗲𝗷𝗼𝗯𝗹𝗲𝘀𝘀𝗯𝗼𝘆 (@OneJoblessBoy) June 12, 2024

Recall, Sarkodie stirred up controversy with his track, “Brag,” where he doesn’t hold back, targeting big names like Davido, Wizkid, and Burna Boy.

Released on May 10, 2024, the song has ignited heated debates among music enthusiasts, especially in Nigeria. In the track, Sarkodie claims credit for paving the way for Nigerian acts and places himself alongside Grammy-winner Burna Boy and Ghanaian rapper Black Sherif.

The bold assertions in “Brag” have sparked intense discussions about rivalry and influence within the music industry.

He said: “Wizkid came when I was already doing it, Davido came when I was already improving “ Sark Fires shots at Wizkid and Davido as he demands some respect

“Odowgu came through Black Sherif to Asake, Crazy some people think I’m losing it. My biggest Competition is Kendrick and J Cole “ Sark Fires more shots at Mi Abaga , Burna and Jovi”

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Nigerian hip-hop sensation, Aboriomoh Raymond Femi, popularly known as Dremo, boldly affirms his undeniable talent in the face of criticism.

The former DMW artiste, famed for hits like ‘Ojere,’ asserts that while critics may label him ‘broke’ or claim he’s fallen off, one thing remains steadfast: his innate talent.

Taking to his official Twitter handle, the 30-year-old artiste declares, “Say anything about me—call me broke, call me ‘eru,’ or whatever names y’all come up with—but don’t ever say I’m not talented. E dey body.”

Amidst everything, fans react and it goes like this

Making music takes personal devoted time in the studio, this social media chest beating adds no value to your non-existent fanbase. Your career has potentials, you just need to brag less and put in more actual studio work. Write from the heart to connect more with ur audience. My wise counsel.

@sales_unwana; Okay… So you agree you fell off. Now let’s analyze why? Your hip hop songs were a banger. I loved them. What happened broh?

@khanofkhans11_; You no need this argument. You’re good. Na grace be koko. Thought you and Ycee would have held it down for the rap culture but God knows best.

@MeetSunshineMay; Hi @Dremodrizzy Can you direct me to one studio work of yours that made beyond 500k views? Your single of 2016, “Ojere” managed to turn heads but since then it has been a spiral downwards, do better.

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