Released as a meeting point between contemporary Afropop and modern dancehall, the song finds both artists leaning into their strengths while creating a lively cross-cultural blend. Fireboy brings his smooth melodies and polished vocal delivery, while Masicka adds the raw edge and intensity associated with Jamaica’s dancehall scene.

Produced by Ramii, CLAAT! is built around a hard-driving bassline, sharp percussion, and a fast-moving rhythm that gives the record an immediate club-ready feel. The production leaves enough space for both singers to establish their personalities without either side overpowering the other.

Fireboy sets things in motion with a soulful performance and an infectious hook, balancing themes of attraction with the confident swagger that has become part of his musical identity. Masicka follows with a more rugged delivery, switching the energy up with his unmistakable dancehall cadence and Jamaican patois.

 

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At the heart of the record is a story about attraction, confidence, street credibility, and enjoying the rewards that come with hard work. Rather than feeling like a forced international collaboration, the chemistry between both artists comes naturally, with their contrasting styles fitting neatly into the same sonic space.

CLAAT! ultimately works because Fireboy’s melodic Afropop approach and Masicka’s gritty dancehall energy complement rather than compete with each other. The result is a vibrant Lagos-meets-Kingston record that feels equally at home on a dancefloor, in the streets, or blasting through a car speaker.

Listen to “Claat!” HERE

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The appointment also sees her become the first woman to executive produce a soundtrack of this scale, further expanding her influence beyond recording and performing.

In addition to overseeing the soundtrack’s creative direction, Tems recorded three brand-new original songs for the project, giving fans fresh music while helping shape the sonic identity of one of the year’s most anticipated movie releases.

The soundtrack also boasts an impressive lineup of Nigerian stars, with Ayra Starr, BNXN, and Fireboy DML contributing to the project. Their inclusion, alongside Tems’ leadership, reinforces the growing influence of Afrobeats on the global entertainment stage.

Acclaimed filmmaker Gina Prince-Bythewood revealed why Tems was the natural choice to lead the soundtrack, applauding her creativity and the quality of the final body of work.

“I wanted Tems to curate the soundtrack. I wanted her to executive produce it. She’s actually the first woman to executive produce a soundtrack at this level, which is incredible. She put together an epic soundtrack. There are absolutely no skips… The soundtrack is so amazing, and I’m so proud of Tems, who had never done this before and created something truly extraordinary.”

The director’s praise highlights the confidence placed in Tems to create a soundtrack capable of matching the scale and emotion of the film. Her new role reflects a significant step in her artistic journey, showcasing her ability to lead major creative projects beyond the recording studio.

Adding further star power to the production, Burna Boy has been appointed executive music consultant, working alongside Tems to help shape the overall musical direction of the soundtrack.

 

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Speaking on the collaborative effort behind the project, Prince-Bythewood also shared details of the carefully assembled lineup.

“Then Burna Boy came on board as the executive music consultant. We’ve got three new Tems tracks. We’ve got Fireboy DML, BNXN (Benson), and Ayra Starr.”

Adapted from Tomi Adeyemi’s bestselling fantasy novel, Children of Blood and Bone has already generated enormous anticipation ahead of its release. With some of Nigeria’s biggest music stars contributing to its soundtrack, the film is expected to make an even stronger impact globally, while further cementing Afrobeats’ growing presence in Hollywood and international cinema.

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According to data from Nigeria’s leading music chart publication, TurnTable Charts, the singer’s debut and sophomore albums have emerged as the most-streamed records since digital music consumption skyrocketed.

At the very top sits Asake’s 2023 sophomore album ‘Work of Art,’ which has racked up a staggering 661.2M streams. Lauded by both fans and critics, the album continues to appear on the upper echelons of streaming charts, proving its enduring appeal. His debut, ‘Mr Money With The Vibe,‘ isn’t far behind, claiming the second spot with 634M streams, while his third album, ‘Lungu Boy‘, secures the sixth position with 387M streams.

This remarkable dominance underscores Asake’s emergence as an era-defining star, one whose music has reshaped Afrobeats’ soundscape while tipping the industry’s commercial balance in his favor. Spotify Nigeria’s recent data further validates this, naming him the most-streamed artist of all time on the platform since its Nigerian launch in 2021.

Asake first broke into the mainstream with his hit EP ‘Ololade Asake‘ in January 2022. With a vibrant blend of energetic rap flows and smooth Fuji-inflected melodies, alongside producer Magicsticks’ masterful use of log drums, he delivered hit singles that propelled him to superstar status.

With three albums in the top 10, Asake is clearly the king of Nigeria’s streaming era and one of the most defining figures in contemporary Nigerian pop music.

While Asake dominates with three entries in the top six, other Nigerian stars also make their mark. Burna Boy logs three albums, with two landing in the top 10: his 2022 hit-filled album ‘Love, Damini‘ at No. 4 (436.8M streams) and 2023’s ‘I Told Them’ at No. 9 (308M streams). His 2020 Grammy-winning album ‘Twice As Tall‘ rounds out his entries at No. 19 (235.3M streams).

Other multiple-entry artists include Davido, whose fourth album ‘Timeless‘ ranks fifth (428M streams), while his fifth album ‘5IVE‘ appears at No. 15 despite being released in 2025. Wizkid claims two spots with his sixth album ‘Morayo‘ at No. 10 (301.4M streams) and ‘Made In Lagos‘ at No. 13 (264.1M streams). Seyi Vibez also features twice: ‘Billion Dollar Baby‘ at No. 8 (331.1M streams) and ‘Thy Kingdom Come‘ at No. 17 (245M streams).

Here’s the full rundown of the Top 20 Most Streamed Albums in Nigeria Since 2020:

1. Asake – ‘Work Of Art’ – 661.2M
2. Asake – ‘Mr Money With The Vibe’ – 634.4M
3. Omah Lay – ‘Boy Alone’ – 512.6M
4. Burna Boy – ‘Love, Damini’ – 436.8M
5. Davido – ‘Timeless’ – 428.5M
6. Asake – ‘Lungu Boy’ – 387.4M
7. ODUMODUBLVCK – ‘EZIOKWU’ – 346.6M
8. Seyi Vibez – ‘Billion Dollar Baby’ – 331.1M
9. Burna Boy – ‘I TOLD THEM’ – 308M
10. Wizkid – ‘Morayo’ – 301.4M
11. Young Jonn – ‘Jiggy Forever’ – 271.6M
12. Kizz Daniel – ‘Maverick’ – 266.4M
13. Wizkid – ‘Made In Lagos’ – 264.1M
14. BNXN – ‘Sincerely, Benson’ – 260M
15. Davido – ‘5ive’ – 252.7M
16. Fireboy – ‘Playboy’ – 246.5M
17. Seyi Vibez – ‘Thy Kingdom Come’ – 245M
18. ⁠MohBad – ‘Blessed’ – 241.9M
19. Burna Boy – ‘Twice As Tall’ – 235.3M
20. Rema – ‘HEIS’ – 230.1M

With numbers like these, Asake has cemented his place not just as a streaming titan but as a game-changer for Nigerian music in the digital age.

 

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Sitting comfortably at the top is Asake with his 2023 smash hit, “Remember.” The track has now earned the title of the most-streamed song in Spotify Nigeria’s history, reinforcing Asake’s status as one of the country’s most dominant hitmakers.

The announcement comes at a time when Nigeria’s digital music consumption is booming. According to Spotify’s data, local streaming has surged by nearly 300 percent in the last two years alone, a clear sign that Nigerian listeners are fully locked into homegrown sounds.

And when it comes to dominance, Asake didn’t just take the crown; he practically owns the room. The street-pop star occupies four spots in the top ten, underlining his stronghold on the street-pop and Afro-fusion wave.

Trailing closely behind “Remember” at number two is “Dealer” by fast-rising act Ayo Maff, featuring Fireboy DML, a collaboration that blends fresh energy with established star power.

Afrobeats heavyweight Wizkid also makes a strong showing. His upbeat track “Kese (Dance)” ranks at number four, while his joint effort with Asake, “MMS,” secures the ninth spot.

Emerging talent is not left out either. Rising singer Fido claims two entries on the chart with “Awolowo” and “Joy is Coming,” signalling a growing appetite among listeners for emotionally rich, relatable records.

Other notable appearances include “With You” by Davido and Omah Lay, as well as “Doha” by Seyi Vibez.

Top 10 Most-Streamed Songs on Spotify Nigeria (All-Time)

1. Remember – Asake
2. Dealer – Ayo Maff ft. Fireboy DML
3. Awolowo – Fido
4. Kese (Dance) – Wizkid
5. Lonely At The Top – Asake
6. Joy is Coming – Fido
7. With You – Davido & Omah Lay
8. Terminator – Asake
9. MMS – Asake & Wizkid
10. Doha – Seyi Vibez

Five years in, Spotify Nigeria’s numbers tell a powerful story. Afrobeats is not just thriving globally; it’s being streamed heavily at home. And if this list is anything to go by, Nigerian listeners know exactly who they want on repeat.

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The singer, whose real name is Adedamola Oyinlola Adefolahan, made this known while speaking on the 90s Baby podcast, where he offered an honest glimpse into how he defines success in an industry often obsessed with charts, awards, and constant comparisons.

According to Fireboy, his true sense of fulfillment comes from knowing that his music connects deeply with listeners, not from being ranked on so-called “Top 5” or “Top 10” lists.

He explained that as long as people genuinely relate to his songs and feel seen through his music, he remains confident and satisfied with his journey.

The Peru hitmaker stressed that online debates, ratings, and critics’ opinions do not determine his worth as an artist. Instead, he places greater value on the emotional bond he shares with his audience, a connection he believes is far more powerful than industry accolades.

Fireboy also noted that he is fully aware that many of his fans see him as the best artist in the world, and for him, that level of admiration is more than enough motivation to keep creating music from a place of honesty and passion.

“I don’t really care about Top 5 or Top 10, as long as I have fans who rate me,” the singer said. “I know that I have fans that think I’m the best artiste in the whole world, and that is good enough for me. I’m a very contented person.”

He added that this mindset has helped him stay grounded despite his growing fame. By prioritising his craft over external validation, Fireboy believes he has avoided the pressure that often comes with chasing industry recognition, allowing him to remain true to himself and his sound.

“I don’t really care about Top 5 or Top 10, as long as I have fans who rate me, I know that I have fans that think I’m the best artiste in the whole world. — Fireboy DML
pic.twitter.com/iTAdYUvgSn

— YabaLeftOnline (@yabaleftonline) December 13, 2025

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The result is Unfinished Business, his third studio album, a 13-track journey that feels like stepping into a time capsule and finding the contents glowing brighter than you remember.

For many Nigerians, ID Cabasa isn’t just a producer; he’s part of the country’s musical DNA. As the mastermind behind Coded Tunes, he helped shape the sound that birthed giants like Olamide, 9ice, and Reminisce.

Those mid-2000s years were the foundation of modern Afrobeats, and with Unfinished Business, Cabasa pulls from that era, “reimagining” his beloved hits with original voices and today’s brightest stars. He’s not simply dropping an album; he’s curating a moving, breathing museum of Nigerian music history.

At the heart of the project is “Photocopy Reimagined,” a reunion that feels almost cinematic. Hearing 9ice step back onto one of the most important records of his career, now dressed in a 2025 production glow, is goosebump material.

Vector joins him, weaving a verse that respects the original’s message of authenticity while flexing the layered wordplay he’s known for. Cabasa keeps the song’s gritty percussive spirit intact, but everything is sharpened, polished, and tuned for modern speakers. It feels like the “Alapomeji” spirit walked into the future and found its rhythm waiting.

 

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Then there’s “Olufunmi Reimagined,” the track that feels like Cabasa threw a class reunion and a talent show into the same room. Styl-Plus’ iconic ballad is reborn through a powerhouse lineup: BOJ, Joeboy, Fireboy DML, and Odumodublvck.

The contrast is delicious, with Odumodu’s gritty, drill-tinted delivery bouncing off Joeboy’s softness, Fireboy’s emotional depth, and BOJ’s smooth Alté resonance. It shouldn’t work, but it does. Cabasa’s production gives each artist air to breathe, proving just how adaptable his sonic blueprint is.

But perhaps the clearest statement of the album’s purpose comes on “Bere Mi,” where Zlatan and T.I Blaze bring the street-hop energy of today onto a foundation built over a decade ago.

Cabasa uses the collaboration to make a quiet but powerful point: the new wave didn’t appear out of thin air; it grew from roots he helped plant. The album becomes both a reminder and a revelation, linking the past with the present through drums, melodies, and memory.

What makes Unfinished Business shine isn’t just nostalgia. It’s Cabasa’s understanding of his role. He’s not just flipping old records for sentiment; he’s orchestrating experiences. Every feature feels intentional. Every update feels like a respectful dialogue between eras.

 

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The album is warm, cohesive, and carefully crafted the kind of project that makes older fans smile knowingly while giving younger listeners a front-row seat to a history lesson disguised as a playlist.

In the end, Unfinished Business proves a simple truth: great music never really fades. It only waits for the right moment and the right hands to be reintroduced. And for Cabasa, “unfinished” doesn’t mean incomplete. It means the story is far from over.

Listen to Unfinished Business HERE.

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After years of anticipation and quiet hints, veteran producer Olumide Ogunade, famously known as ID Cabasa, is finally ready to open the vault. This Friday, December 5, 2025, he will unveil Unfinished Business, an album many consider a long-overdue return from one of Afrobeats’ most important architects.

For weeks, whispers about the project have stirred excitement across the industry. And rightly so. Cabasa isn’t just releasing an album; he’s stepping back into the spotlight with a lineup powerful enough to bridge generations.

Long before Afrobeats became the global wave it is today, ID Cabasa helped shape its early blueprint. Through his iconic Coded Tunes label, he nurtured the careers of Olamide, 9ice, Reminisce, and others who would eventually become pillars of modern Nigerian music.

Now, with Unfinished Business, he revisits that legacy but with the energy and voices of a new era riding beside him.

The 12-track project reads like a celebration of Afrobeats’ past, present, and future. Cabasa pulls in some of today’s biggest hit-makers — Olamide, Zlatan, Fireboy DML, Bella Shmurda, Joeboy, Darkoo, Pheelz, Boj, Odumodublvck, and more.

But he doesn’t stop there. He reaches into the archives, dusts off classics, and rebuilds them with fresh faces. “Photocopy” returns with the combined brilliance of Vector and 9ice, while the timeless “Olufunmi” is reborn through Boj and Joeboy.

 

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Cabasa describes the idea as something deeper than nostalgia a way to remind older fans where the sound started while handing younger listeners a refreshed doorway into Nigeria’s musical heritage.

Before music took over his life, Cabasa briefly flirted with a career in economics and banking.

But destiny clearly had other plans. His signature production style a fusion of local melodies, street influences, and modern rhythm made him one of the early masterminds behind the Afrobeats explosion. His fingerprints are still present in the work of many top acts today.

Unfinished Business, released under Coded Tunes/Ziiki Media, carries the weight of both reflection and reinvention. And for many, it is more than an album it is another chapter in Cabasa’s long-standing contribution to defining the sound of a generation.

With nostalgia woven into innovation, this project is poised to be one of Afrobeats’ defining releases of the year a reminder that legends never truly leave; they simply return when the music needs them most.

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Nigerian rap powerhouse Olamide Adedeji, simply known as Olamide, lit up London on Saturday night as he shut down the iconic 12,500-capacity OVO Arena Wembley with a performance that felt like a homecoming, a celebration, and a legacy moment all at once.

The night kicked off on an electrifying note the moment Olamide launched into “Lagos Boys,” instantly sending a wave of excitement through the arena. From that moment, the tempo never dropped.

Hit after hit, verse after verse, fans roared back every lyric as if they’d waited years for this exact night and in many ways, they had.

Before long, the show morphed into a full-blown YBNL reunion. One by one, Olamide’s protégés Asake, Fireboy DML, Lil Kesh, Pheelz, and Bella Shmurda stormed the stage, turning the concert into a star-studded family affair.

The crowd ate it up, witnessing a spectacular 50-song run that doubled as a tribute to both Olamide’s catalogue and the dynasty he has built.

Olamide’s epic entrance to his OVO Arena concert in Wembley, London 🇬🇧 pic.twitter.com/rLtcI34DaQ

— EMPIRE (@EMPIRE) November 23, 2025

From timeless street anthems like Wo!!, Shakiti Bobo, and Eru to fresh collaborative moments with the YBNL signees, the night felt like a living documentary of Olamide’s journey.

His surprise guests didn’t just add hype; they underscored a powerful truth: Olamide isn’t only a performer; he’s a mentor, a builder, and the quiet engine behind some of Afrobeats’ biggest modern stars.

Wembley pulsed with energy as fans danced, screamed, and belted out every track, creating a shared nostalgia that bridged old fans and new ones. It was a subtle reminder that even with the heated rivalries and shifting tides in Nigeria’s music scene, Olamide’s influence remains unshakeable.

Nearly a decade after his last solo UK headline show in 2016, his return to the London stage felt symbolic. The world has changed, Afrobeats has gone global, and still, Olamide stands tall as one of Nigeria’s most impactful musical exports.

In the end, the night was bigger than a sold-out concert; it was a statement. A celebration of Afrobeats’ global reach. A nod to Olamide’s longevity. And perhaps, one of the most unforgettable evenings of his career.

Olamide’s OVO Arena performance didn’t just reaffirm his star power it reminded everyone why his music continues to move streets, charts, and hearts across the world.

 

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This Gold certification confirms that the record has surpassed 500,000 units in combined sales and streams across the U.S., a feat that highlights not only the duo’s star power but also Afrobeats’ steady rise in one of the world’s most competitive music markets.

For Fireboy DML, it’s another major win. Bandana becomes his second RIAA Gold record, following the worldwide success of Peru and its blockbuster remix with Ed Sheeran. The achievement further solidifies his status as a leading global voice of Afrobeats.

The moment is just as monumental for Asake. This certification marks his first-ever Gold plaque in the U.S., a milestone that reflects his meteoric rise since breaking out with his genre-blending style, an infectious mix of Afrobeats, Fuji, and Amapiano.

🚨 Fireboy DML’s “Bandana” featuring Asake is now certified GOLD in the US 🇺🇸

— It becomes Asake’s 1ST & Fireboy DML’s 2ND song to achieve this milestone in the region 🔥 pic.twitter.com/VnBrqof3dZ

— 𝗔𝗟𝗕𝗨𝗠 𝗧𝗔𝗟𝗞𝗦 📀 (@AlbumTalksHQ) November 13, 2025

It’s another powerful stamp on a career that has quickly become one of the most talked-about in African music today.

Released in 2022 as part of Fireboy’s Playboy album rollout, Bandana became an instant cultural wave. It dominated Nigeria’s TurnTable charts for seven weeks and captured listeners with the seamless mix of Fireboy’s velvety vocals and Asake’s street-rooted flair.

Now, with its RIAA Gold certification, Bandana continues its legacy as one of Afrobeats’ standout global collaborations, proof of how far the genre and its brightest stars have travelled.

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Peace by Piece is more than a song, as it tells the story of emotional survival. It also depicts the lifestyles and musical history of both artists.

Fireboy DML expresses vulnerability in his music. He tells stories of love and attraction, healing and hurt and others. This is obvious in his credits like LTG, Adedamola and others. While Pheelz’ focus is melodious music that’s danceable.

The two shared behind the scene pictures on set of the EP before the release. They released Peace by Piece on September 26, 2025 and the album feels natural. They released the EP under the trio of YBNL, Rii Collective, and EMPIRE record labels.

The Five Tracks

The EP is a subtle music with five tracks and a listening time of 13 minutes. It is produced in soft and monotous voice without loud blisters. Fireboy seemed sincere and which reminds us of how he rose to prominence.

1. On a Kentro

Kentro is the first track on the EP with 2:41 minutes. This seems like a prayer point and some sort of religious demonstrations. It speaks about finding inner peace.

2. Gozi

“Gozi” is the second track on the EP and more melodious than the first track. The vocals on this track is rhythmic and it adopts the amapiano music tune. It also combines the Igbo catchphrase “ O gozi rim ma gozi and English. It is 2:55 minutes.

3. Shake

Shake is the third track and a combination of high tempo rhythm and serene groove. It is as if Fireboy was flirting in this track. This track lasts 2:22 minutes.

4. Young Again

This is the fourth EP and it is filled with promising lyrics. This track spans 2:42 minutes.

5. ILWY

This is the fifth track and it is filled with love statements and confessions. It has a soft ending and 2:51 listening time.

Chart Topping

On it’s debut date, Peace by Piece ranked number 5 on Apple Music’s Nigeria Top Albums chart.

In Nigeria the EP ranked Top4, in Sierra Leone it ranked Top 2 while it ranked Top 20 in Malawi and Zimbabwe.

On Spotify the EP garnered thousands of streams on it’s release day in Nigeria. One of the singles, Kentro debuted over 153,586 streams on Spotify Nigeria.

Watch the music video below:

 

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On Monday, September 29, 2025, the Afrobeats star unveiled photos of his latest transformation, reminding fans that he’s as fearless with fashion as he is with music.

In the pictures, Fireboy is seen sporting a striking fiery red low-cut hairstyle, eyebrow piercings fitted with matching red studs, layers of silver chains draped across his neck, shiny earrings, and dark shades that add an extra edge.

To top it all off, what looks like a glossy lip finish gives the style an almost futuristic polish. He even switched up his social media profile pictures to lock in the new vibe.

As expected, reactions came in waves. Some fans praised the Peru hitmaker for breaking barriers and embracing creative self-expression without fear. Others confessed they were stunned by the sharp turn in appearance.

Of course, this isn’t Fireboy’s first time switching up his image, but many agree it’s one of his most daring fashion statements yet.

Whether you love it or raise an eyebrow, one thing is clear: Fireboy knows how to set the conversation rolling and keep both fans and critics guessing about what’s coming next.

 

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Serving as the opening track on the much-anticipated EP Peace By Piece, the song sets the tone with its infectious rhythm and catchy vibe. Dive into the lyrics below and sing along!

Pheelz & Fireboy DML – On A Kentro Lyrics

If you ask me wetin I dey find?
I’m still looking for my piece of mind
You no know wetin I don survive
So no dey tell me how to live my life

Dori mi mu!
Ẹmi Mimọ
Ẹsẹ mi n gbọn
But I stand strong
Tell your neighbor!
Ase lo n fọ
On a kentro
Jẹ ka ma lọ

Jẹ ka ma lọ
Jẹ ka ma lọ

Ọmọ ọlọmọ laarin ero
When I had nowhere to go
Dey live my life on the road
But I know I’ll find my way
Obleee every Saturday
Dorime no fit cure my pain
But Oluwa don cover me
The blessings dey fall like rain

Dori mi mu!
Ẹmi Mimọ
Ẹsẹ mi n gbọn
But I stand strong
Tell your neighbor!
Ase lo n fọ
On a kentro
Jẹ ka ma lọ

Jẹ ka ma lọ
Jẹ ka ma lọ

Jẹ ki n rọna gbe gba
Ki n ma stack that paper
To ba n gbemu na back to sender
Imma see you later
Mo dẹ ti ja Elijah
Mo dẹ ma jaye mi pa
A dẹ ma rale wọn pa o
Wọn le le, wọn le ba!

Dori mi mu!
Ẹmi Mimọ
Ẹsẹ mi n gbọn
But I stand strong
Tell your neighbor!
Ase lo n fọ
On a kentro
Jẹ ka ma lọ

Jẹ ka ma lọ
Jẹ ka ma lọ

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