Nigerian singer Flavour N’abania has taken to social media to caution men about pursuing married women, sharing a message that blends humor, wisdom, and cultural insight.

On his X account, the veteran highlife star urged men to resist temptation and pray against influences that might push them toward another man’s wife. He warned of the potentially destructive consequences, writing:

“Agu! pray against oringo Wey go carry you to dey reason another man wife. If you reach that level your life don spoil o.”

For context, “oringo” in Igbo refers to a reckless, YOLO-style lifestyle that disregards consequences. In Flavour’s message, it describes the kind of wayward mindset that can lead a man astray, highlighting the importance of self-discipline and spiritual vigilance.

The post aligns with a side of Flavour that fans have seen increasingly over the years: a man committed to purpose, discipline, and long-term goals.

In a candid YouTube interview, he recalled turning down a woman in the United States who offered him a comfortable life abroad, choosing instead to return to Nigeria and focus on building his music career.

“She was selling me this American dream…I compared my life back home, where I was going, what was happening,” he explained.
“I still have this dream. I want to be a recording artist. This is not me.”

Through both his words and his past choices, Flavour continues to advocate for integrity, patience, and commitment to one’s personal journey, reminding men that chasing convenience over purpose can come at a high cost.

Flavour shares the story of how his career almost ended in America. He chose pursuing his dream in Nigeria over staying back in the US when a lady made him an offer.

📽️: OfficialFlavour via YouTube pic.twitter.com/aMwf1j32cq

— Pulse Nigeria (@PulseNigeria247) March 5, 2026

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“Uzo Ano” is a triumphant and spiritually grounded anthem centered on perseverance, blessings, and unstoppable success. Through the lyrics, both artists express gratitude to God, resilience in the face of opposition, and pride in their Eastern Nigerian roots, while highlighting hard work, consistency, and global achievement.

Built around the recurring phrase “wa ya ụzọ anọ” (spread it in four ways), the song symbolizes abundance, shared success, and the multiplication of blessings despite challenges.

Phyno & Flavour – “Uzo Ano“ Lyrics

Onwebedi ihe ị fu
Ikpele m no na ana nso
Ka echi ka tata mma
Anyị afugo ọkụ mmụọ
Fa nachọ ka Oku m nyuo
Mana adiro ama aka
Nna, a ga na achu aja
Ka ikpe maba ndị mmụọ

Tete ula n’ututu gote coke na ọkpa
Wa ya ụzọ anọ
Madam, Wa ya ụzọ anọ
Oji Igbo, Wa ya ụzọ anọ
Yeah

Same OG, so ife change bu the zeros na my bank account
Anom game mànà ọ sochim na tap-u pad
Live up to my name, me my music my 9 to 5
Now, ọ soso machine park-i na my parking lot
Turn it up, did everything they said can’t be done
Go against the odds, Anam agbalu ha torch
Been around the world, and I’m still the one
For my peace, mpa onwelo, let thy will be done

I get so many reasons why I can’t give up o, oh
When I remember where I come from, I can’t fuck up o
Chi nyelum blessings, mpa wa ya ụzọ anọ
When you share the cake, mpa wa ya ụzọ anọ
(Yeah, Oji Igbo, wa ya ụzọ anọ)
I can never lose, no matter wetin dey come my way
Nke anyị melu jụọ oyi, anyi eme ya ozo
When I pray for blessings, fa enyem ya ụzọ anọ
When you share the cake, mpa wa ya ụzọ anọ
(Oji Igbo, wa ya ụzọ anọ)

(Onwebedi ihe Ị fu)
Yeah
Ife Ekwensu nye nwoke bu wete isi, were isi
Grinding make them see me, kedu mgbe ọ ga enwe isi
Dreams Lamborghini, melu fa ji esu imi
Tell a hater step up, mu ka ị na ebulu ịlụ (ka usu)
Akwum ka okwulu ọkà
Fa cho ka mụ woba ada
Tụọ ha nga nkpulu oka
Ndị iro afuba oja
Smiling mana n’ime obi fa, Oke n’ataka akpa
You go pay, ma ichom; etinyem time n’ula
Yh, Ife nine emego align
Push me to the mud, still mputa ka na shine
I do am my way, kupulunum n’adim fine
Live am like my last, ka umuasa bia na a whine
Inwe kwanu choice
Ị like Ife anyi n’eme mana inwe kwanu guts
Yarn-iba dust
I’m not a king in the East, I’m a God in the East
Winner circle, anyi ama fu defeat
Yeah

I get so many reasons why I can’t give up o, oh
When I remember where I come from, I can’t fuck up o
Chi nyelum blessings, mpa wa ya ụzọ anọ
When you share the cake, mpa wa ya ụzọ anọ
(Yeah, Oji Igbo, wa ya ụzọ anọ)
I can never lose, no matter wetin dey come my way
Nke anyị melu jụọ oyi ọ, anyi eme ya ozo (Ịse)
When I pray for blessings, fa enyem ya ụzọ anọ
When you share the cake, mpa wa ya ụzọ anọ
(Oji Igbo, wa ya ụzọ anọ)

Ikpele m no na ana nso
Ka echi ka tata mma
Anyị afugo ọkụ mmụọ
Fa nachọ ka Oku m nyuo
Mana adiro ama aka
Nna, a ga na achu aja
Ka ikpe maba ndị mmụọ

Tete ula n’ututu gote coke na ọkpa
Wa ya ụzọ anọ
Madam, Wa ya ụzọ anọ
Oji Igbo, Wa ya ụzọ anọ
Yeah

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Released under Penthauze Music, the title, meaning “Four Roads” in Igbo, symbolises a crossroads of culture, success, and destiny, perfectly encapsulating the duo’s artistic journey.

The track is a vibrant celebration of Igbo heritage, blending contemporary Afropop rhythms with the traditional Highlife sounds that have defined Phyno and Flavour’s partnership.

Phyno delivers punchy, rhythmic Igbo rap verses, while Flavour provides soaring melodic hooks, creating a synergy that is both infectious and deeply rooted in cultural pride.

Produced by Jayswag, the song features live percussion and brass, giving it a rich, authentic, and high-end sound.

Lyrically, “Uzo Ano” explores themes of resilience, ambition, and the choices that shape one’s path to greatness, reflecting the duo’s position as established moguls who remain connected to their roots.

Already sparking celebrations of culture among fans, the track is a perfect soundtrack for traditional ceremonies, festive gatherings, and high-energy parties, cementing Phyno and Flavour’s legacy as the kings of the East.

In 2026, “Uzo Ano” is more than just a song; it’s a cultural statement, reaffirming that these icons are far from finished with their reign in African music.

Listen to “Uzo Ano” HERE

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Nigerian singer Kcee has finally spoken on the long-whispered friction between himself and highlife superstar Flavour, revealing that their complicated history stretches back to the early days of Flavour’s career.

In an interview on Yanga FM Lagos, Kcee recounted a moment many fans never knew happened, a time when Flavour was brought to him as an up-and-coming artist seeking a record deal.

According to the “Limpopo” hitmaker, he turned down the opportunity because, at the time, he simply didn’t see the potential.

Kcee explained that the supposed rift between them may have grown from what he described as a “superiority complex,” adding that his own humility often gets misread as weakness.

Despite being consistently successful over the years, he said some fellow artists underestimate his talent simply because he doesn’t brag about his achievements.

“I came into the music industry before Flavour,” he said, recalling how Soso Soberekon had introduced a young Flavour to him. “I was already driving exotic cars and balling before he came to Lagos. I told Soso I can’t sign Flavour because I didn’t see potential in him at that time. It wasn’t because I have something against him.”

Kcee admitted he still doesn’t fully understand why Flavour seems to harbour resentment, especially over past claims of someone “copying” him. But he believes that sometimes, tension arises when people expect you to remain at a certain level only for you to rise beyond their predictions.

“When some people had written you off, hoping that you would be stagnant, and you work hard and get to a level they don’t expect you to reach… that was what happened,” he added.

Despite the whispers and perceived rivalry, Kcee remains unbothered. He says the industry has taught him that time eventually exposes the truth and talent.

“A lot of my colleagues underrate my talent, and my humility also contributed to that. Because I don’t brag. I don’t need it. But time will always prove them wrong,” he said. “Some of those who doubted me in the past have come to apologise and admitted they were wrong.”

For Kcee, his focus remains the same: putting in the work and letting the music speak louder than any lingering tension.

💣

“…person wey Soso bring make I sign? I don dey drive Hummer, Navigator, dey ball before im from East come. I was a freaking big boy… I say I no wan sign. Time go tell.”

Kcee finally addresses the long-rumoured rift with Flavour. pic.twitter.com/N9AxUzMlev

— @𝗼𝗻𝗲𝗷𝗼𝗯𝗹𝗲𝘀𝘀𝗯𝗼𝘆 (@OneJoblessBoy) December 6, 2025

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With Afroculture, he doubles down on the sound that shaped him, delivering a project that feels like a warm embrace from the motherland.

The 13-track album isn’t just a collection of songs; it’s a cultural diary, a deliberate celebration of highlife, Igbo folklore, and pan-African rhythm. For Flavour, this isn’t branding; it’s bloodline. As the “Ijele” of Africa, he arrives dressed in full regalia, inviting listeners to a sonic festival that’s as colourful as a village masquerade.

The opening track, Afroculture, featuring Senegal’s legendary Baaba Maal, sets the tone without hesitation. Their collaboration feels monumental, a blend of spiritual vocals and earthy highlife grooves that paints a picture of West Africa in harmony.

 

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It’s music that doesn’t just entertain; it travels. And while Flavour’s respect for tradition anchors the album, he also welcomes the new wave. Appearances from Pheelz and Kizz Daniel inject youthful spark into the project, proving highlife can be both timeless and trendy without losing its essence.

True to form, Flavour’s pen stays rooted in familiar territory, serenading women with soft charm, celebrating success with chest-high pride, and dishing out the kind of wisdom you’d hear from elders during village gatherings.

Contributions from hype maestros like Waga G add that unmistakable “Ogene” humour, the kind that lights up any celebration. The instrumentation seals the experience: real horns, real guitars, real percussion music that breathes, music with a heartbeat.

 

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With Afroculture, Flavour reminds everyone why his relevance has outlived trends. He isn’t reacting to the moment; he defines his moment. While others chase the tide, he remains the ocean itself.

This album stands tall as a confident, joyful, deeply African masterpiece from a man who has nothing left to prove yet still gives everything.

Listen to Afroculture HERE.

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From its very first beat, the record feels like an awakening, a pulse that draws you in with its blend of traditional percussion, spiritual chants, and cross-border energy.

It’s not just a song; it’s a dialogue between generations, between Nigeria and Senegal, between the past and the present.

The track opens like a sunrise over the Sahel drums rolling, voices rising, and then Baaba Maal’s unmistakable call pierces through the rhythm.

Moments later, Flavour joins in with his warm, highlife tone, and suddenly, two worlds become one sound. Sung in Igbo, Pulaar, and English, their verses weave a story of identity, unity, and pride, a reminder that despite borders and languages, Africa’s heartbeat is collective.

The chorus soars with the kind of anthemic power only these two veterans can summon, bold, hopeful, and deeply spiritual. Flavour’s production is meticulous yet organic: the talking drums converse with guitar riffs, the harmonies breathe, and nothing feels forced.

There’s a sophistication to the arrangement that respects both artists’ roots while creating something refreshingly modern.

 

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Visually, TG Omori’s direction elevates Afroculture into an experience. The music video flows between the earthy textures of Senegal’s drum circles and the festive streets of Nigeria, drawing a vivid map of shared ancestry.

The choreography, a seamless blend of traditional and modern dance, tells its own story of continuity, of how movement and rhythm have always been languages of connection across the continent.

For Flavour, this collaboration feels like a return to purpose, a continuation of his lifelong mission to keep African highlife alive and evolving. For Baaba Maal, it’s another chapter in his decades-long journey of using music as a tool for unity and social consciousness.

 

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Together, they’ve crafted something that feels timeless, a song that belongs as much in a village festival as it does on a global stage.

In an era where Afrobeats often leans toward pop gloss, Afroculture stands tall as a reminder of the continent’s depth, proof that music can still carry memory, meaning, and magic. It’s rooted yet boundless, proud yet inviting.

When the final note fades, what lingers is not just the rhythm but the resonance, the feeling that you’ve just witnessed Africa speaking to itself, and to the world, in perfect harmony.

Listen to Afroculture HERE.

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Two years in the making, Symbol of Hope, Zlatan’s third studio album, has finally arrived, and it’s everything the Zanku pioneer promised: raw, introspective, unfiltered, and full of heart.

This isn’t just an album; it’s a living testament to endurance, grit, and the unshakable belief that where you start doesn’t have to determine where you end up.

From the very first note, it’s clear that Symbol of Hope is more than a music project, it’s a philosophy. Across 15 tracks, Zlatan turns his life story into a sonic blueprint for survival, equal parts cautionary tale and motivation manual.

The album’s title isn’t just symbolic; it’s deeply personal. In a candid sit-down featuring his son Shiloh, Zlatan revealed how his own struggles growing up in Ikorodu shaped the spirit of the project.

“When I was growing up, I used to have people I looked up to. I saw people who made it from nothing to something,” he shared. “They were symbols that gave me hope. And now, a lot of people look up to me too, including you. I’ve become a symbol of hope to many.”

That sentiment echoes through the entire project. On “Pay Day,” Zlatan fires back at his doubters with calm defiance, while “Oyoyo” finds him in a reflective mood, embracing patience and self-belief. These are the words of a man who’s seen both the hustle and the harvest.

 

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Of course, Zlatan doesn’t walk this journey alone. Symbol of Hope reads like a celebration of the Afrobeats family tree. Davido, Olamide, Flavour, Victony, Mayorkun, Shallipopi, Bhadboi OML, Qing Madi, Lojay, Idowest, TerryTheVoice, and FOLA all join the movement. Yet, their appearances feel organic, not strategic, like friends returning home for a long-awaited reunion.

One of the album’s most striking moments comes on “Gimme Your Love,” where Zlatan reconnects with Olamide, his early supporter and collaborator from 2017’s My Body.

Their synergy is effortless, gritty, emotional, and nostalgic. Meanwhile, Davido jumps on “Hip Hop Messiah” to co-sign Zlatan’s claim to cultural leadership, and Flavour blesses “Genesis” with a soulful layer of Highlife depth. Rising star Qing Madi brings tenderness and introspection to “Demons,” confronting fame’s mental toll with poise beyond her years.

Musically, Zlatan sounds sharper than ever. He balances his trademark street bravado with maturity, gliding between chest-thumping anthems and heartfelt storytelling.

Tracks like “Odeshi” and “Happy Day” bang hard for the hustlers, while “Diamond” explores love through the lens of survival, a poetic confession from someone who’s learned that in the streets, affection and ambition often collide. “Alpha & Omega” with Bhadboi OML peels back the layers, revealing a spiritual side that’s rarely seen but deeply felt.

 

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What ties it all together is Zlatan’s evolving artistry. His delivery remains fierce, but now there’s restraint and clarity where there once was chaos. You can feel the discipline of a man who’s not only rapping to survive anymore but also to inspire.

Symbol of Hope follows 2019’s Zanku and 2021’s Resan, but this time, Zlatan isn’t just chasing hits; he’s cementing a legacy. Every verse, feature, and beat feels intentional, a culmination of everything he’s learned since his Ikorodu days.

In the end, Symbol of Hope isn’t just about Zlatan’s triumph; it’s about everyone who sees themselves in his journey. It’s a love letter to dreamers, hustlers, and believers who refuse to be defined by struggle.

The Zanku Boss hasn’t just dropped an album; he’s delivered an anthem for a generation that never stops pushing. The message is clear: hope isn’t found; it’s created.

Listen to Symbol of Hope HERE.

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Global music authority Billboard has rolled out its highly anticipated ranking of the 50 greatest Afrobeats songs of all time, celebrating the genre’s remarkable rise from West Africa to global dominance.

According to the outlet, the countdown will be revealed in phases, with ten songs published weekly until the ultimate number one is crowned. The rollout began on Tuesday, July 22, 2025.

The selection represents Billboard’s editorial picks and shines a spotlight on Afrobeats classics that shaped the sound, alongside modern chart-toppers that pushed the genre beyond the continent.

Below are the tracks ranked from No. 50 to No. 1:

50. Weird MC — Ijoya
49. Nonso Amadi — Tonight
48. Timaya — Dem Mama
47. Jazzman Olofin & Adewale Ayuba — Raise Da Roof
46. Victony & Tempoe — Soweto
45. Olu Maintain — Yahooze
44. Ice Prince & Bruno — Oleku
43. Kizz Daniel & Tekno — Buga
42. Libianca — People
41. Asake — Peace Be Unto You
40. Davido ft. Musa Keys — UNAVAILABLE
39. Skales — Shake Body
38. Lojay & Sarz — Monalisa
37. Oxlade — KU LO SA
36. Maleek Berry — Kontrol
35. Tekno — Pana
34. P-Square — Personally
33. Runtown — Mad Over You
32. Mavin All Stars — Dorobucci
31. Ayra Starr — Rush
30. Burna Boy & Zlatan — Killin Dem
29. Amaarae & Moliy — Sad Girlz Luv Money
28. Fireboy DML — Peru
27. Wande Coal & DJ Tunez — Iskaba
26. Mr Eazi & Efya — Skin Tight
25. Wizkid — Pakurumo
24. Afro B — Drogba (Joanna)
23. Olamide — Bobo
22. Burna Boy — Last Last
21. Tiwa Savage & Don Jazzy — Eminado
20. Phyno ft. Olamide — Fada Fada
19. Sarkodie ft. Castro — Adonai
18. Fuse ODG ft. Itz Tiffany — Azonto
17. Wande Coal — Bumper to Bumper
16. D’Banj — Fall in Love
15. Yemi Alade — Johnny
14. Davido — Dami Duro
13. R2Bees ft. Wande Coal — Kiss Your Hand
12. 9ice — Gongo Aso
11. Styl-Plus — Olufunmi
10. P-Square — Chop My Money (Remix)
9. Burna Boy — Ye
8. Davido — Fall
7. D’Banj — Oliver Twist
6. CKay — Love Nwantiti
5. Wizkid ft. Tems — Essence
4. Rema — Calm Down
3. Flavour — Nwa Baby (Ashawo Remix)
2. Wizkid — Ojuelegba
1. 2Baba — African Queen

The list balances pioneers like 2Baba, Weird MC, and D’Banj, who laid the foundation for Afrobeats, with new-gen superstars such as Rema, Asake, and Ayra Starr, whose sounds are driving the genre into new territories.

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This was a first showcase of his talent. With powerful vocals, masterful highlife production, and a deep connection to his cultural roots, Uplifted solidified Flavour’s reputation as a gifted artist.

At the time of its release, Uplifted smashed through borders and cultural divides, all thanks to Flavour’s deep commitment to celebrating his Nigerian roots, especially his Igbo heritage. This powerful connection to his culture has made him a major force, not just in Nigeria, particularly in the East, but also among the Igbo community dotted around the world.

The sheer success of Flavour’s cultural expression is highlighted by Spotify data from Uplifted and his other tracks. Even though his songs are deeply rooted in his culture and often sung in Igbo, they’re getting massive plays all over the globe.

Uplifted itself has stayed a big deal on streaming platforms, with its standout tracks racking up some serious numbers. Among the most-streamed hits from the Uplifted album are Ashawo Remix, Adamma, and Oyi (I dey Catch Cold). 

These tracks, along with other timeless fan favourites like Time To Party, Nwa Baby (Ashawo Remix), and Game Changer (Dike) have all contributed significantly to Flavour’s overall streaming success, proving their lasting appeal. Reflecting on the album’s anniversary during an exclusive chat with Spotify, Flavour revealed that for him, “Adamma” truly captured the essence of Flavour from the Uplifted album era.”

From the heart of Nigeria to global playlists: Flavour’s universal pull

Flavour’s music does have a universal pull. His songs have popped up in over 2 million user-made playlists, which shows just how much people are connecting with and sharing his tunes.

And get this: in the last three years, from 2022 to 2024, Flavour’s music has seen a growth in streams, a total stream increase of 134% globally, and a 573% increase across Sub-Saharan Africa.

While 51% of his total audience is in Nigeria, his influence stretches far and wide with the USA, UK, Canada, South Africa, and France all among his top listening countries. That’s a truly global footprint, reaching across Africa, Europe, and America.

Leading Flavour’s listenership in Nigeria is a strong showing from Lagos, accounting for 38% of his Nigerian audience. The Federal Capital Territory (FCT) and Rivers State also follow closely, making up 22% and 16% respectively, together claiming 76% of his Nigerian audience.

He also enjoys love in the east as two Eastern Nigerian cities, Enugu and Onitsha, break into his global top 10. Big international cities like Greater London, Johannesburg, and New York City feature prominently too. This wide geographical spread shows how his music crosses all sorts of borders.

Who’s listening? A look at Flavour’s fanbase

Flavour’s audience is diverse  with Gen Zs (18-24 year olds) as his biggest fans globally and across Sub-Saharan Africa. This strong youth appeal is vital for his long-term success. While his music celebrates women, men form the majority of his listeners globally (57%) and in Sub-Saharan Africa (63%). 

The lasting success of Uplifted highlights how digital streaming has completely changed the music industry. Platforms like Spotify have given artists like Flavour ways to connect with fans everywhere.

These days, streaming data gives us a clear, numbers-based look at an artist’s reach, showing that Flavour’s cultural stories, delivered in fluent Igbo, truly resonate far beyond Nigeria’s borders.

Flavour’s strong link to his Igbo roots, seen in his music, has driven his global success, acting as a cultural bridge for Nigerian traditions. The ongoing popularity of Uplifted and his other songs on streaming platforms proves that genuine cultural expression, mixed with great artistry, ensures lasting success today. As Uplifted hits 15 years, it showcases the power of culture worldwide. 

This post appeared first on Mp3bullet.ng... Read Original post on The Legacy of Uplifted: How Flavour N’abania’s Classic Album Elevated Igbo Sound Worldwide.

Nigerian highlife superstar Flavour has once again shown his humorous side after reacting to a viral tweet suggesting that his musical gifts were bestowed upon him by a mami water — a mythical water spirit from African folklore.

The unexpected moment unfolded on X (formerly Twitter), when a user, @SolomonN38455, jokingly asked:
“Flavour, is it true that it is mami water that teaches you how to sing?”

Flavour, known for his rich vocals, commanding presence, and electrifying performances, didn’t miss a beat. With a cheeky wink to the myth, he replied:
“Chai. My secret is out.”

The playful response sparked a flurry of reactions online, with fans enjoying the banter and praising Flavour’s sense of humour. Some even jokingly requested a “ritual link-up” with the supposed water spirit for their talent upgrade.

Flavour, whose real name is Chinedu Okoli, has long captivated audiences with his fusion of traditional highlife and contemporary African rhythms. From elite weddings to global stages, he remains a top-tier performer, and now, apparently, the rumored protégé of mythical forces.

Chai. My secret is out 😩 https://t.co/YZktymMeR0

— Flavour of Africa (@2niteFlavour) April 15, 2025

A public feud has erupted between Nigerian music stars KCee and Flavour, stemming from KCee’s latest song, which closely resembles Flavour’s hit ‘Doings.’

Flavour seemed to initiate the controversy with a cryptic post on X, writing “Copy copy akaria“—a phrase implying imitation. Though he didn’t mention KCee directly, KCee took the comment as a jab and quickly responded with strong words.

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The Headies Academy has officially unveiled the lineup of performers for the much-anticipated 17th edition of the Headies Awards, scheduled to take place on April 27, 2025, at the Landmark Event Centre in Lagos.

Among the top acts taking the stage:

• Shallipopi, who received six nominations, including the highly coveted Next Rated category.
• Qing Madi and Nasboi, also contenders for Next Rated, will bring their fresh energy to the Headies stage.
• Chike, a past Headies winner and this year’s four-time nominee, including a nod for Song of the Year, will deliver a soulful performance.
• Flavour, the legendary highlife musician and Headies Lifetime Achievement Award recipient, is also confirmed to perform—bringing cultural richness to the lineup.

Tagged “Back to Base,” this edition marks the award ceremony’s return to Nigeria after two consecutive years in the United States. In a symbolic gesture, the U.S. Consular General recently hosted a premiere event where the Lagos State Commissioner for Tourism hailed the homecoming as a “welcome development.”

To address growing concerns over irregular timelines, the Headies Academy revealed that two editions will be held in 2025—one in April and another in December—to close the gap year and realign the calendar.

 

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This year’s nomination list has sparked heated reactions, with fans and industry insiders calling out notable omissions and guideline inconsistencies, particularly in nominating ineligible materials. Despite this, major stars like Rema, Tems, Odumodublvck, and Ayra Starr lead the pack with multiple nods.

Headies Executive Producer Mr. Ayo Animashaun recently expressed concern about dwindling local support, noting that the Grammys have become more celebrated in Nigeria—a shift he hopes to change by rekindling national pride in the Headies.

With performances from rising stars and veterans alike and a renewed focus on local culture and credibility, the 17th Headies is shaping up to be both a celebration and a turning point for Nigeria’s most iconic music award.

This post appeared first on Mp3bullet.ng... Read Original post on Headies 2025: Full Performers Lineup Unveiled for the Show.

The eligibility period for this year’s awards spanned from April 1, 2023, to July 31, 2024, during which numerous Nigerian artists released remarkable projects—some of which were recognized, while others were surprisingly overlooked.

However, the Headies faces unique challenges, notably its recurring scheduling delays and execution issues. In this article, we examine some of the most striking omissions from the 17th Headies nomination list.

(Note: This analysis assumes that all omitted works were submitted for consideration.)

• Best Recording of the Year

Nominated:

– TEMS—“Burning”
– SEYI VIBEZ—’Different Pattern’
– BURNA BOY—’Higher‘
– AYRA STARR & GIVEON—’Last Heartbreak Song’
– SARZ feat. LOJAY – ‘Billions‘

Notable Snubs:
– Asake—“Lonely At The Top”
– OdumoduBlvck—”Blood On The Dance Floor”

Asake’s ‘Lonely At The Top‘ was arguably the defining track from his sophomore album ‘Work of Art,’ boasting a refined composition that stood out during the review period. OdumoduBlvck’s ‘Blood On The Dance Floor’ was another masterfully crafted record, making its omission surprising.

• Producer of the Year

Nominated:

– SARZ—’ Happiness‘
– LONDON—’Ozeba’
– MAGICSTICKS—’Basquiat‘
– REMA/PRODUCER X/CUBEATZ/DEATZ/KLIMPERBOY—’Hehehe‘
– DIBS—’Different Pattern‘

Notable Snubs:

– P.Priime
– Jay Synths
– Blaise Beatz
– KZITO

P.Priime had an exceptional year, contributing significantly to Rema’s ‘HEIS‘ album. Jay Synths, who crafted Flavour’s ‘Big Baller‘ (nominated for Song of the Year), and Kizz Daniel’s ‘Ojapiano,’ also deserved consideration. Blaise Beatz’s work on ‘Twe Twe‘ and KZITO’s contributions to Victony’s ‘Pier 46′ further highlight the gap in the nominations.

• Best Collaboration

Nominated:

– Tiwa Savage feat. Asa—’Emotions‘
– OdumoduBlvck, Bloody Civilian & Wale—’Blood On The Dance Floor’
– Shallipopi feat. OdumoduBlvck—’Cast‘
– Chike & Mohbad—’Egwu‘
– Qing Madi & BNXN—’Ole‘
– Kizz Daniel & Davido – ‘Twe Twe Remix‘
– Wizkid feat. Zlatan—’IDK‘

Notable Snubs:

– BNXN & Ruger – “Poe”

The collaborative track ‘Poe‘ by BNXN and Ruger was a standout hit, making its absence from this category quite unexpected.

• Afrobeats Single of the Year

Nominated:

– Young Jonn feat. Kizz Daniel & Seyi Vibez—’Big Big Things‘
– Kizz Daniel—’Twe Twe Remix’
– Chike feat. Mohbad—’Egwu‘
– Asake—’Remember‘
– Hyce, Boypee & Brown Joel feat. Davido—’Ogechi Remix‘
– Flavour—’Big Baller’

Notable Snub:

– Kcee—”Ojapiano”

As one of the biggest Afrobeats hits of the eligibility period, Kcee’s ‘Ojapiano‘ had a significant cultural and commercial impact. Its omission is arguably one of the most glaring oversights.

• Lyricist on the Roll

Nominated:

– A-Q—’Mogadishu”
– M.I Abaga—’Chocolate City Cypher‘
– Blaqbonez—’Chocolate City Cypher’
– Ladipoe—’Hallelujah‘
– Alpha Ojini—’Efeleme‘

Notable Snub:

– OdumoduBlvck

With tracks like ‘MC Oluomo’ and ‘Saint Obi,’ OdumoduBlvck demonstrated superior lyricism, making his exclusion from this category quite puzzling.

• Rookie of the Year

Nominated:

– Llona
– Kaestyle
– Taves
– ZerryDL

Notable Snubs:

– TML Vibez
– Muyeez

Both artists made an impact in the Nigerian mainstream with their breakout projects, and many expected at least one to secure a nomination.

• Best Street-Hop Artist

Nominated:

– Seyi Vibez—’Different Patterns’
– Ayo Maff feat. Fireboy DML – ‘Dealer’
– Shallipopi feat. OdumoduBlvck—’Cast‘
– Zhus Jdo—’Johnbull‘
– Mohbad—’Ask About Me’

Notable Snub:

– Kashcoming

With ‘How Low’ and his DJ YK-assisted ‘Oblee,’ Kashcoming left a mark on the street-hop scene, making his exclusion surprising.

• Song of the Year

Nominated:

– Kizz Daniel—’Showa‘
– Ayra Starr—’Commas‘
– Chike & Mohbad—’Egwu‘
– Asake—’Lonely At The Top’
– Rema—’Ozeba‘
– Flavour—’Big Baller’

Notable Snub:

– Kcee—”Ojapiano”

Given its immense popularity, ‘Ojapiano’s‘ absence is particularly notable. The track revitalized Kcee’s career and introduced the Igbo flute (Oja) into the Amapiano wave.

• Artiste of the Year

Nominated:

– Davido
– Ayra Starr
– Asake
– Rema
– Tems
– Burna Boy

Notable Snubs:

– Seyi Vibez
– Kizz Daniel

Seyi Vibez and Kizz Daniel had stellar years, with their projects delivering some of the biggest Nigerian hits. Their exclusion raises questions about the selection criteria.

• Final Thoughts

The Headies, while an essential platform for recognizing musical excellence, continues to grapple with issues of execution and timing. The lack of a fixed calendar year creates eligibility confusion, resulting in inconsistencies.

For instance, Omah Lay’s ‘Moving‘ was nominated despite falling outside the window, and Phyno’s ‘Full Time Job’ was initially listed, then removed after backlash.

Additionally, while new categories were introduced, others—such as Alternative/Traditional Song & Album—were axed without explanation, sidelining a significant portion of Nigerian talent.

For the Headies to maintain credibility and grow in prestige, the organizers must refine their processes, adhere to a structured timeline, and ensure transparency in their selections.

Only then can it truly serve as a definitive reflection of Nigeria’s evolving music landscape.

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