Below are the nominees for the highly anticipated ceremony, which is scheduled to take place in Canada.

Album of the Year

• Catharsis — Fola
• Clarity of Mind — Omah Lay
• G.O.A.T — Erigga
• Morayo — Wizkid
• The Machine Is Coming — Odumodublvck
• This One Is Personal — Tiwa Savage
• No Sign of Weakness — Burna Boy

Best Rap Single

• 2:02PM in London — Odumodublvck
• ACL — Blaqbonez
• Man2Man — Dremo
• PDSTRN — Moshood
• Nkemakonam — Tuff King
• Wuse Tu — Zaylevelten, Mavo
• John Wick — Zhus Jdo

Song of the Year

• Arike — Kunmie
• Hey Jago — Poco Lee, Shoday & Rahman Jago
• Hot Body — Ayra Starr
• Joy Is Coming — Fido
• MMS — Asake & Wizkid
• With You — Davido & Omah Lay

Afrobeats Single of the Year

• Fun — Rema
• Jogodo — Asake & Wizkid
• Laho — Shallipopi
• With You — Davido & Omah Lay
• You — Fola
• Bundle by Bundle — Burna Boy

Best Performer (Live)

• Adekunle Gold — Live at the National Theatre, Lagos
• Asake — Red Bull Symphonic
• Ayra Starr — Global Citizen Festival 2025
• Johnny Drille — Johnny’s Room Live 6
• Ruger — Live at Indigo at The O2, London (2025)

Best R&B Album

• Before We Became Strangers — Kunmie
• Catharsis — Fola
• Qing Madi — I Am the Blueprint
• Love Is a Kingdom — Tems
• Reflection Station — Tay Iwar
• This One Is Personal — Tiwa Savage

Best Recording of the Year

• Arike — Kunmie
• Amaeya — How Do You?
• Rema — Baby (Is It a Crime)
• Omah Lay & Elmah — Coping Mechanism
• Davido & Omah Lay — With You
• Fola — You

Best Alternative Album

• SDC — Afrika Magik
• Sewa — Detox
• BOJ — Duplicity
• Wizard Chan — Healers Chapel
• Scottyolorin — Olorin Pack
• Zaylevelten — Then 1t Got Crazy

Digital Artiste of the Year

• Asake
• Ayra Starr
• BNXN
• Chella
• Fola
• Mavo
• Seyi Vibez
• Wizkid

Next Rated

• Fido
• Fola
• Llona
• Mavo
• Shoday

Best Male Artiste

• Adekunle Gold
• Asake
• Fola
• Mavo
• Rema
• Wizkid
• Burna Boy

Rookie of the Year

• Amma
• Danpapa GTA
• Firstklaz
• Kidd Carder
• NO11
• Priesst
• OG Abbah

Best R&B Single

• 6:35 — Layefa
• How Do You? — Amaeya
• I Love You — Amma
• What You Need — Tems
• Winter & Summer — Magixx
• You4Me — Tiwa Savage

Songwriter of the Year

• Adekunle Gold — Many People
• Victony — Cough Syrup (w/ BNXN)
• Wizard Chan — Time Traveler
• Fola — Who Does That?
• Kunmie — Arike
• Amaeya — How Do You?

Best Vocal Performance (Female)

• Layefa — 6:35
• Amaeya — How Do You?
• Sewa — Lagos Lovin
• Qing Madi — Scumbag
• Liya — Skin to Skin
• Tiwa Savage — You4Me

Best Inspirational Single

• Sunmisola Agbebi & Yinka Okeleye — Amioluwa
• Lawrence Oyor — Favour
• Sinach — Idinma (You Are Good)
• Emma OMG — Ko’rin Iyin (I Will Praise You)
• Gaise Baba & Lawrence Oyor — No Turning Back II
• Mercy Chinwo — We Move

Best Vocal Performance (Male)

• Adekunle Gold — I’m Not Done
• Flavour — Orente
• Magixx — Summer & Winter
• Odeal — Patience
• Syemca — Love Egbugomo
• Tay Iwar — Bad Belle

Producer of the Year

• Magicsticks — Jogodo
• P. Priime — MMS
• Ragee — Hot Body
• Sarz — Getting Paid
• Tempoe — With You

Best Collaboration

• CKay & Mavo — Body (Danz)
• Mavo & Wave$tar — Escaladizzy
• Poco Lee, Shoday & Rahman Jago — Hey Jago
• Odumodublvck & Victony — Pity This Boy
• Davido & Omah Lay — With You
• Mr Eazi & King Promise — See What We’ve Done
• Chief Priest & Spyki — Finally

Songwriter of the Year

• Adekunle Gold — Many People
• Victony — Cough Syrup (w/ BNXN)
• Wizard Chan — Time Traveler
• Fola — Who Does That?
• Kunmie — Arike
• Amaeya — How Do You?

Afrobeats Album of the Year

• 5ive — Davido
• Captain — BNXN
• Clarity of Mind — Omah Lay
• Fuji — Adekunle Gold
• Morayo — Wizkid
• No Sign of Weakness — Burna Boy

Best Female Artist

• Ayra Starr
• Qing Madi
• Sewa
• Tems
• Teni
• Tiwa Savage

Lyricist on the Roll

• Blaqbonez — ACL
• Dremo — Man2Man
• Modenine — If You Like Gym (w/ Odumodublvck)
• PDSTRN — Moshood
• Ycee — Man2Man Remix (w/ Dremo)

Best Rap Album

• Tuff King — Black Sheepizen (The 13th Disciple)
• A-Q — GE3 (The Beginning)
• Erigga — G.O.A.T
• JeriQ — King
• Blaqbonez — No Excuses
• Odumodublvck — The Machine Is Coming

Best Street-Hop Artiste

• Famous Pluto — Na Scra
• Kashcoming — All My Money
• Poco Lee — Hey Jago (w/ Shoday & Rahman Jago)
• Seyi Vibez — Shaolin
• Shallipopi — Laho
• Tuff King — Nkemakonam
• Rybeena — Gaddem (w/ Shoday)

International Artiste of the Year

• Ciara
• Dave
• Gunna
• Jazmine Sullivan
• Shenseea
• Tiakola

Best Southern African Artist

• ​Ciza 🇿🇦
• ​DJ Maphorisa 🇿🇦
• ​Jazzwrld 🇱🇸
• ​Kabza De Small 🇿🇦
• ​Tyla 🇿🇦
• ​Uncle Waffles 🇸🇿

​Music Video of the Year

• ​Director Pink — 10 Kilo
• ​TG Omori — Afroculture
• ​DK — Bundle by Bundle
• ​Jyde Ajala — Wizard Chan
• ​Meji Alabi — Who’s Dat Girl
• ​Dammy Twitch — With You

​Best Alternative Song

• ​Cyk Baddie — Luwa.mp4 & Jeleel!
• ​Sewa — Lagos Lovin
• ​Wizard Chan — Oliver
• ​Blnde — Omo To Sexy
• ​Wave$tar — Prada Baby
• ​Obongjayar — Sweet Danger
• ​Chief Priest, Boypee & Zoro Swagbag — Summer Adina

Best West African Artiste

• ​Black Sherif 🇬🇭
• ​Himra 🇨🇮
• ​KiDi 🇬🇭
• ​King Promise 🇬🇭
• ​Moliy 🇬🇭
• ​Wally B. Seck 🇸🇳
• ​Stonebwoy 🇬🇭

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Released on May 11, 2026, the project wasted no time climbing the charts, landing at number two on the Apple Music Nigeria Top Albums chart on its release day  an early sign of the anticipation that had been building around the partnership.

That momentum had already started weeks earlier with the release of the lead single “Back Outside,” which gave listeners their first glimpse into the chemistry between both artists.

The song quickly caught attention, eventually debuting at number one on Apple Music Nigeria and reportedly generating more than 22 million streams alongside over two million video views within its first few weeks.

For fans familiar with their history, the EP feels less like a surprise collaboration and more like a natural progression. BNXN and Sarz had previously connected successfully on songs like “Gwagwalada” and “Pidgin & English,” records that helped establish the creative chemistry now fully explored on The Game Needs Us.

Entirely produced by Sarz, the project blends Afrofusion, Afrobeats, and contemporary pop influences while still leaving room for experimentation. Across tracks like “Rum & Soda,” “Emotional High,” and “Frank Sinatra,” the duo leans into themes of love, emotional distance, vulnerability, and nightlife culture.

Speaking about the project, BNXN explained that the EP was intended to reflect both the current state and future direction of African music.

“The Game Needs Us, just as the name implies,” he said. “This project brings together two of Nigeria’s greatest forces to deliver a refreshing yet reflective experience. To show the dynamics in the African sound and to give a feel of where the future of the sound is headed.”

Sarz also described the collaboration as an opportunity to stretch his sound creatively.

“After ‘Gwagwalada’ and ‘Pidgin & English,’ it’s only right we continue that chemistry. Working on this record with him helped me explore some African and South American sonic themes,” he said.

The EP marks BNXN’s first major release in nearly ten months following his album CAPTAIN, while also serving as Sarz’s first major project since Protect Sarz At All Costs.

Over the years, both artists have become important figures in Afrobeats’ global expansion. BNXN, formerly known as Buju, rose to prominence after a viral freestyle caught the attention of Zlatan Ibile, eventually building a career that includes UK chart success, a Headies Next Rated win, and multiple acclaimed projects.

Sarz, on the other hand, remains one of the most respected producers in the genre, with credits spanning major records from artists like Wizkid, Lojay, Burna Boy, and Wande Coal.

Running just over fifteen minutes, The Game Needs Us keeps things concise and cohesive, favouring quality and replay value over unnecessary length — a format that increasingly defines successful collaborative EPs in today’s streaming era.

Listen to “The Game Needs Us.” HERE

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The forthcoming EP is expected to house five tracks and comes right on the momentum of their already buzzing lead single, Back Outside, which dropped in April and quickly caught the attention of fans.

With Sarz’s polished, forward-thinking production and BNXN’s smooth, emotionally rich vocals, there’s a growing sense that this project could land as a strong statement moment for both acts.

For Sarz, this isn’t unfamiliar territory. Over the years, he has built a reputation for crafting intentional joint projects that stretch sound and creativity.

From I Love Girls With Trobul with Wurld to LV N ATTN alongside Lojay and Sweetness with Obongjayar, his collaborative runs have consistently delivered fresh perspectives within the Afrobeats space.

On the other side, BNXN continues to show a knack for reinvention and strategic partnerships. His catalogue reflects a willingness to explore different sounds and formats, including his 2024 joint effort with Ruger, which produced fan favourites like Bae Bae, Ilashe, POE, and Romeo Must Die (RMD).

With The Game Needs Us, both artists appear to be aligning their strengths at just the right moment. The early signs point to a concise but impactful body of work—one that could easily extend their streak of standout collaborations while reinforcing their place in shaping the current soundscape.

 

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The single, released through EMPIRE, arrives as BNXN’s first official outing in months since his well-received Captain album.

It feels like a smooth reintroduction; his signature laid-back melodies glide effortlessly over Sarz’s refined, rhythm-driven production, echoing the mood of stepping back into the spotlight after time spent sharpening his craft.

The timing is also interesting, coming shortly after remarks from Fat Joe, which the record subtly answers. Here, BNXN further proves why Fat Joe’s statement holds no water, as he shows the world why he’s one of the most talented artists in Africa.

Sonically, Back Outside leans into an eclectic mix. Sarz paints with a blend of African and South American influences, layering crisp percussion over smooth, flowing synths.

BNXN matches that energy with sharp, reflective lyricism—touching on his deliberate time away and hinting at a more active run ahead. Their synergy, already familiar from records like Gwagwalada, shows up again in full force, making this one feel right at home whether you’re in the gym or cruising through the night.

Beyond just a single track, the track sets the tone for something bigger. It serves as an early glimpse into their upcoming joint album, expected later in 2026. BNXN has described the project as a breath of fresh air, reflecting his current state of mind and a renewed commitment to his craft. With its easy replay value and confident energy, Back Outside makes one thing clear—the flexing has officially resumed.

Listen to “Back Outside” HERE

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Ace Nigerian producer and music executive Osabuohien Osaretin, widely known as Sarz, has opened up about the persistent infrastructure challenges in Nigeria, revealing that he has never experienced round-the-clock electricity in the country.

Speaking on a recent episode of the Afropolitan Podcast, the 36-year-old beatmaker highlighted how inconsistent power supply negatively affects the creative industry, especially music production.

“I was born and raised in this country and I have never experienced electricity for 24 hours,” Sarz lamented, underscoring a reality that many Nigerian creatives continue to navigate daily.

He explained that inspiration often strikes at unpredictable moments, but without stable electricity, translating ideas into finished work becomes a challenge.

“There are times when I wake up feeling inspired and I want to create music but there is no light. Sometimes, even when you want to buy fuel, they will tell you there is a strike or scarcity. And then you end up doing nothing and the potential just wastes,” he said.

For Sarz, creativity is as much about mental readiness as it is about resources. He noted that the absence of reliable infrastructure hampers artists and producers who rely heavily on studio equipment and electricity to execute their craft.

“As a creative person, you need to be mentally charged to perform at your best. So, when the infrastructure is lacking the moment you are mentally charged, it is a challenge,” he emphasized.

The producer’s reflections shed light on a broader concern facing Nigeria’s creative economy, highlighting how systemic challenges continue to impact even the country’s most celebrated talents.

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Speaking on the Afropolitan podcast, Sarz got candid about streaming payouts, promotion costs, and what it really means to work behind the scenes in today’s industry.

He broke it down with a simple comparison:

“A million streams from the United States is maybe $3000-$5000..That same 1 million streams from Nigeria is arguably maybe $300-$500, but it will cost you the same amount to market or promote a song in Nigeria as much as it would cost you abroad,” he remarked.

In other words, the effort to push a song can be just as expensive locally, but the financial return? Nowhere near the same.

Sarz explained that the gap largely comes down to economics. Listeners in Western countries typically pay higher subscription fees because their economies are stronger.

Back home in Nigeria, the love for music is undeniable, but disposable income is a different story. Many fans simply can’t afford premium streaming subscriptions, which makes streams from Nigeria less valuable in monetary terms.

Then he shared something even more striking:

“It’s funny if I say this, but in Nigeria, I haven’t received any residual income from my music from Nigeria. So as someone behind the music, as a producer, we’re only as good as the advance we get from the artists paying you for a beat.”

For years, especially before Afrobeats gained global dominance, producers often depended heavily on upfront payments. Any extra compensation after that was largely at the artist’s discretion.

“For a long time, until Afrobeats became global, lots of times you’re literally at the mercy of the artists, mainly the artists too. If they feel like you’re important enough to be compensated more after they’ve paid you, that mercy is what helps you earn a living.”

Rather than dwell on frustration, Sarz said he chose to adapt.

“I don’t think my destiny is tied on anyone. I can’t blame myself for being here in Nigeria, and I can’t blame myself for being in the situation. I have to figure it out, so you just have to find ways to make things work.”

That mindset pushed him to expand beyond just producing beats.

“So this is why I started making my own music, DJing, trying different things, then collaborative albums, dabble into signing artists. You just can’t be someone behind the music and just do that here. I think you have to do more to make things work.”

Looking ahead, Sarz believes broader economic change is key.

“We [Nigerian entertainers and executives] are waiting for the state of the country to get better so other things can start improving.

“I think we have done very well with the resources that we have and with all the obstacles against us.

“I mean, people are streaming music, the people that can’t stream, can’t afford it. But people listen to music across the country and if they can’t afford streaming, it just means that they don’t have the money to.

“And how do we empower them? Back to the government. So, we are just waiting till the economy gets better.”

Through it all, his message is clear: the talent is there, the audience is there, and the passion is there. What’s missing is an economic system that allows everyone, creators and consumers alike, to fully benefit from it.

 

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When Rolling Stone unveiled its “100 Best Albums of 2025” on December 3, the list quickly became more than just a ranking. It became a conversation. A celebration. And for many, a puzzle.

Three Nigerian albums and one by a Ghanaian-American star broke into the highly coveted list, signalling the global force African music has become. Yet from Lagos to London, the loudest chatter wasn’t only about the names listed but about the one name conspicuously missing: the African Giant himself, Burna Boy.

At the very top of the continent’s representation is none other than Sarz, the iconic producer who has shaped the sound of modern Afrobeats. His debut studio album, Protect Sarz at All Costs, landed at a stunning No. 27, marking a defining moment in his evolution from behind-the-scenes mastermind to full-fledged artist.

The album, hailed as a “reinvention of his legacy,” hosts heavyweight collaborators including Asake on “Happiness,” while weaving Malian kora traditions into sleek Afropop production on tracks like “Getting Paid.” It’s the kind of project that feels both futuristic and rooted—exactly the blend that propelled it into the upper tiers of the global list.

Next up is Amaarae, whose genre-bending album Black Star secured the No. 37 spot. The Ghanaian-American star continued her rebellion against Afrobeats conventions, crafting a world where Brazilian funk, Ghanaian highlife, and glimmering futuristic pop collide.

Critics were especially enamored with “S.M.O.” and the dance-floor favourite “Stuck Up,” the former snagging the title of third-best song of 2025 from Pitchfork. Amaarae’s vision? Decadent, defiant, and deeply rooted in identity.

Further down the ranking, Afrobeats king Davido appears with 5ive, proudly taking the No. 73 spot. The album stands as a victory lap of sorts, an artist with more than a decade at the top reminding the world why he’s still essential.

Featuring the Grammy-nominated hit “With You” with Omah Lay, alongside the Chris Brown collaboration “Titanium” and the spiritual standout “Holy Water,” 5ive reinforces Davido’s unmatched ability to blend crossover appeal with homegrown energy.

Rounding out Africa’s presence is 24-year-old rising star Fola, whose debut project, Catharsis, grabbed No. 88. His inclusion felt symbolic of a shift toward a more vulnerable, emotionally open strain of Nigerian pop.

Described as an “emotional rollercoaster,” the album trades chest-thumping bravado for introspection on tracks like “Gokada” and “Lost”, featuring Kizz Daniel. For many, Fola’s rise is proof that global audiences are now embracing the softer, soul-baring corners of Afrobeats.

Four African Albums Feature on RollingStone’s “Best 100 Albums of 2025” list

27. Sarz — Protect Sarz At All Costs
37. Amaarae — Black Star
73. Davido — 5ive
88. Fola — Catharsis pic.twitter.com/EUQB4hb88u

— NOTJUSTOK (@NOTJUSTOK) December 4, 2025

But the biggest shock? Burna Boy’s absence. His eighth studio album, No Sign of Weakness, released in July 2025, was widely tipped to cut. It wasn’t just commercially visible—it recently earned a 2026 Grammy nomination for Best Global Music Album, his fifth nod in that category.

Despite impressive features from Mick Jagger on “Empty Chairs” and Stromae on “Pardon,” the project faced a mixed critical response and became Burna’s lowest-peaking album on the Billboard 200, debuting at No. 200.

The Grammys saw its value. Rolling Stone, apparently, did not.

Instead, editors seemed drawn toward emerging narratives, new textures, and fresh sonic risks leaving one of Africa’s most dominant voices on the outside looking in.

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The race for Nigeria’s most-streamed projects of 2025 is heating up, and, unsurprisingly, it’s the usual titans setting the pace.

According to fresh data compiled by The Debut Hub, a popular music insights page on X (formerly Twitter), Davido, Burna Boy, and BNXN currently occupy the top three spots on the ranking of the most-streamed Nigerian albums on Spotify this year so far.

While the list is not an official Spotify release, it has become one of the most widely circulated and respected summaries of Nigerian streaming performance, highlighting how far Afrobeats has travelled globally. Collectively, the 20 projects on the list have amassed a staggering 2.214 billion streams in 2025 alone.

Davido’s “5ive” and Burna Boy’s “No Sign of Weakness” Dominate the Charts

At the summit sits Davido with his fifth studio album, 5ive, racking up 320 million streams to become 2025’s most-streamed Nigerian project so far.

Released earlier this year, the album has been hailed for its confident fusion of Afrobeats, pop, and amapiano influences, another testament to Davido’s staying power and global resonance.

In second place is Burna Boy’s No Sign of Weakness with 250 million streams, extending the Grammy winner’s remarkable streak of top-performing albums. Since African Giant in 2019, Burna has consistently dominated global charts with projects that blend introspection, swagger, and sonic innovation.

BNXN (formerly Buju) completes the top three with his project CAPTAIN, which has earned 193 million streams. Once known primarily for his collaborations, BNXN’s solo success with CAPTAIN proves his growth into a self-sustaining star capable of carrying a full-length project to commercial success.

Odumodublvck, Olamide, and Others Keep the Heat On

The rest of the top 10 reflects a healthy mix of sonic diversity within the Afrobeats ecosystem. Odumodublvck’s THE MACHINE IS COMING takes the fourth spot with 153 million streams, followed by Oxlade’s OFA: Deluxe Edition at 145 million and Olamide’s self-titled Olamidé with 127 million.
Producers and experimentalists like Sarz (Protect Sarz At All Costs) and rising stars like Fola, T.I Blaze, and Seyi Vibez also make notable appearances, proof that Nigerian audiences and the global diaspora are engaging deeply with a wide range of sounds.

One of the biggest talking points around the list is the absence of Wizkid.
The omission, however, isn’t a reflection of waning influence; it’s simply a matter of timing. Wizkid’s last album, Morayo, dropped in November 2024 as a heartfelt tribute to his late mother.

The project, though outside the 2025 data window, set a new record for the highest opening week for an African artist on Spotify.

Rather than focus on an album cycle, Wizkid has taken a different approach this year, staying visible through strategic collaborations. In 2025 alone, he has appeared on global hits like “Gimme Dat” with Ayra Starr, “Billionaires Club” with Olamide and Darkoo, “Forever Be Mine” with Gunna, and “Dynamite” with Tyla.

Each collaboration has garnered millions of streams worldwide, reinforcing Big Wiz’s position as Afrobeats’ most bankable feature artist, maintaining presence without the fatigue of a traditional rollout.

If one thing is clear from the 2025 streaming data, it’s that Afrobeats has evolved into a multi-dimensional global movement. The fact that all 20 projects reportedly crossed 50 million Spotify streams in a single year underscores the genre’s massive streaming power and cultural consistency.

While Davido, Burna Boy, and Wizkid remain Afrobeats’ foundational pillars, new voices like Rema, BNXN, Odumodublvck, Asake, and Ayra Starr continue to expand its emotional and sonic reach, blending heritage with innovation.

Top 20 Most-Streamed Nigerian Projects of 2025 (So Far)

As compiled by The Debut Hub (X)

1. 5ive — Davido (320M)
2. No Sign of Weakness — Burna Boy (250M)
3. CAPTAIN — BNXN (193M)
4. THE MACHINE IS COMING — Odumodublvck (153M)
5. OFA: Deluxe Edition — Oxlade (145M)
6. Olamidé — Olamide (127M)
7. Protect Sarz At All Costs — Sarz (114M)
8. Catharsis — Fola (110M)
9. Shakur (Deluxe) — T.I Blaze (94.9M)
10. Children of Africa (EP) — Seyi Vibez (84.8M)
11. Uzama The 3rd (EP) — Famous Pluto (79.6M)
12. Gen Z — Zinoleesky (73.5M)
13. Olayemi (EP) — Fido (73.2M)
14. Before We Became Strangers (EP) — Kunmie (62.4M)
15. Synergy (EP) — Hyce, BoyPee & Brown Joel (57.7M)
16. Symbol of Hope — Zlatan (57.5M)
17. Uncle K: Lemon Chase (EP) — Kizz Daniel (56.6M)
18. Viva Lavida — Joeboy (54.4M)
19. BlownBoy RU — Ruger (54.1M)
20. INDUSTRY MACHINE — Odumodublvck (53.5M)

Top 20 most streamed 2025 Nigerian projects on Spotify so far:

1️⃣ 5ive — 320M
2️⃣ No Sign Of Weakness — 250M
3️⃣ CAPTAIN — 193M
4️⃣ THE MACHINE IS COMING — 153M
5️⃣ OFA: Deluxe Edition — 145M
6️⃣ Olamidé — 127M
7️⃣ Protect Sarz At All Costs — 114M
8️⃣ catharsis — 110M
9️⃣ Shakur…

— THE DEBUT HUB (@thedebuthub) November 2, 2025

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What began as a standout track from Lojay’s breakout EP LV N ATTN, produced by the ever-consistent hitmaker Sarz, has now grown into an international success story, one that has just been stamped with Gold certification in the United States.

The Recording Industry Association of America (RIAA) made it official on Wednesday, October 29, 2025, confirming that Monalisa (Remix), featuring American superstar Chris Brown, has sold and streamed over 500,000 units across the country.

It’s been quite a journey for the song. When it first dropped, Monalisa quickly became a fan favorite across Nigeria and the African continent. But it was the remix with Chris Brown that catapulted it into global fame, a seamless blend of Lojay’s soulful vocals, Sarz’s sleek production, and Chris Brown’s signature R&B vibe.

The collaboration didn’t just top charts; it made waves across radio stations, playlists, and dance floors from Lagos to Los Angeles.

🚨 Lojay’s “Monalisa” with Sarz & Chris Brown is now certified GOLD in the US 🇺🇸

— The song has sold over 500,000 units in the region 🔥👏🏽 pic.twitter.com/T66KrQWGCE

— 𝗔𝗟𝗕𝗨𝗠 𝗧𝗔𝗟𝗞𝗦 📀 (@AlbumTalksHQ) October 29, 2025

For Lojay and Sarz, this milestone marks another proud chapter in their ever-rising careers. The duo has become synonymous with pushing Afrobeats beyond borders, and this latest recognition only reaffirms their influence on the global stage.

Interestingly, this isn’t the first time Lojay and Chris Brown have struck Gold or rather, platinum.

Earlier this year, their joint single Sensational was certified Platinum by the RIAA after crossing the one-million-unit mark in combined sales and streams.

With Monalisa now officially Gold, the song stands as yet another shining example of how Afrobeats continues to bridge continents, cultures, and sounds, uniting fans around the world through rhythm and soul.

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Nigerian record producer Sarz has officially received his UK Afrobeats Chart Award for his chart-topping hit “Getting Paid,” featuring Wizkid, Asake, and Jamaican dancehall star Skillibeng.

The long-awaited presentation took place on Tuesday, October 28, 2025, at the BBC 1Xtra studio in London, where Sarz was honoured for the single’s remarkable chart run.

The track, from his debut album Protect Sarz at All Costs (released September 26), debuted at No. 1 on the UK Official Afrobeats Chart on October 5, 2025, and held the top spot for three consecutive weeks, a feat that underscores its global impact and infectious appeal.

During the live presentation, the host praised Sarz’s consistency and humourously acknowledged the delayed recognition, saying:

“The album is banging and let’s just say, getting paid. Wizkid, Asake, and Skillibeng held onto the number one spot for three weeks, my guy, and you’ve finally been able to join us. So this is a delayed presentation.”

Dressed in a sleek black leather outfit and dark sunglasses, Sarz accepted the award with gratitude, saying:

“Thank you guys so much. I love you guys. This is second home, to be honest. I love the UK.”

The host wrapped up with a playful nod to Sarz’s signature mantra:

“Sarz must be protected at all costs.”

“Getting Paid” blends Sarz’s minimalist production style with Asake’s infectious melodies, Wizkid’s silky delivery, and Skillibeng’s dancehall edge, resulting in a sonic fusion that perfectly captures Sarz’s reputation as one of Africa’s most innovative and genre-defining producers.

Sarz receives his #1 UK 🇬🇧 Afrobeats Chart Plaque for his track, “Getting Paid” with Wizkid, Asake & Skillibeng. pic.twitter.com/NEvl9p11hR

— HYPETRIBE (@hypetribeng) October 28, 2025

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The first trailer, released on Monday, September 29, 2025, offers a brief yet intimate glimpse into Sarz’s world. Viewers see him cooking up beats in the studio, catching pure vibes with his collaborators, and pausing to reflect on a journey that has taken him from a young dreamer to one of Afrobeats’ most trusted architects.

This documentary doesn’t arrive in isolation. Its title is lifted straight from Sarz’s recently released album, Protect Sarz at All Costs , a body of work boasting star power from the likes of Wizkid, Asake, Gunna, and others.

Together, both projects feel like two halves of one bold statement: music and visuals working hand in hand to tell the full story of his artistry and resilience.

For now, details on when and where the documentary will premiere remain under wraps. Still, the trailer alone has been enough to spark buzz across social media.

Many fans see it as more than entertainment; it’s a rare backstage pass into the life of the man behind some of Afrobeats’ biggest records, tracing his path from his early days in Benin City to his rise as a global sound shaper.

With Protect Sarz at All Costs: Lay of The Land, Sarz isn’t just walking down memory lane. He’s making a clear statement—securing his place in history as one of the master builders of today’s Afrobeats soundscape.

 

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The energetic anthem is the third track on Sarz’s brand-new album, Protect Sarz At All Costs. Check out the catchy lyrics below and sing along!

Sarz, Asake, Wizkid & Skillibeng

Intro: Asake
E lo je k’ori yin pe
E lo je k’ori yin pe
E lo je k’ori yin pe
Je k’ori yin pe
E lo je k’ori yin pe
Ah, Ah, Aah

Verse 1: Wizkid
Let me tell you sey you no go fit stand one minute when we come back around
Feel it, move up your body right now
Mami, don’t ever worry
Fake love no dey impress, I got vision
Burn dem, free dem, dem never listen
We took a million and flip the precision
Yeah
Give me something wey I no fit see anywhere
They wanna try but dem no fit see me for there
You’re messing with a lion
Big shark bigger than a titan
I need a hundred percent, not dividend
They wanna know what’s the reason for the violence
I get big league long time, the money energize
And every time I’m shining, one of a kind
I know most days dem dey try take me down
But they move too slow, but man no dey around

Pre-Chorus: Asake
E lo je k’ori yin pe
E lo je k’ori yin pe
E lo je k’ori yin pe
Je k’ori yin pe
E lo je k’ori yin pe
Ah, Ah, Aah

Chorus: Asake
Man we’re getting the pay, pay
Man we’re getting the pay, pay
Man we’re getting the pay, pay
Getting the pay, pay
Man we’re getting the pay, pay
Ah, Ah, Aah

Verse 2: Skillibeng
Stacking paper
Yeah
Bad man, chill off, me nah reaper
Stacking cash by the ****, **** cash
**** by the *****, with tha laser
Navigate her to the moon and…
Hmmm…
….and we getting the pretty girls too
Running world place like a portion
It’s a universe program

Pre-Chorus: Asake
E lo je k’ori yin pe
E lo je k’ori yin pe
E lo je k’ori yin pe
Je k’ori yin pe
E lo je k’ori yin pe
Ah, Ah, Aah

Chorus: Asake
Man we’re getting the pay, pay
Man we’re getting the pay, pay
Man we’re getting the pay, pay
Getting the pay, pay
Man we’re getting the pay, pay
Ah, Ah, Aah

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