The 14-track project brings together a mix of solo records and high-profile collaborations, marking another important step in his growing career.

The album’s title draws inspiration from football, where the number nine shirt is traditionally worn by a team’s main striker. FOLA has embraced that comparison, positioning himself as the hitmaker expected to deliver when it matters. With 9, he puts that confidence to the test.

Ahead of the release, FOLA gradually introduced listeners to the project through a series of singles. These included Treat U Right featuring Ayra Starr, attention!, and fine ting (fine $hit). He later joined forces with Bella Shmurda and Zlatan on it’s over, released on September 10 alongside an official music video. The collaboration also serves as the album’s closing track.

Beyond the singles, a few records have already generated interest. Crime reportedly reworks elements of 2Baba’s 2006 classic, If Love Is a Crime, while WAF gained traction online after an unreleased version surfaced on TikTok in May.

The album also boasts an impressive guest list. Davido appears on 2am In Toronto, BNXN features on My Type, and Darkoo joins FOLA on Hold U Down. These collaborations bring different voices into the project while giving listeners more reasons to explore the full tracklist.

Still, 9 arrives with expectations attached. FOLA’s debut album, Catharsis, surpassed 100 million streams and spent several weeks at the top of the Official Nigeria Top 100 Albums chart, helping establish him as one of the artists to watch in the Nigerian music scene.

Since then, he has continued building his catalogue through collaborations with artists including Victony, Bella Shmurda and BNXN. His appearance alongside Davido and Mayorkun on B4 B4 further strengthened his profile.

Now that 9 is out, the focus shifts to what FOLA does next. With a successful debut behind him and an album packed with collaborations and previously teased records, he has another opportunity to show that he can consistently deliver the hits his growing audience expects.

Listen to the “9” album HERE

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Set for release on October 9 through Dangbana Republik and EMPIRE, the 14-track project features an impressive mix of collaborations, bringing together Davido, Ayra Starr, BNXN, Darkoo, Bella Shmurda, and Zlatan.

Sharing the tracklist, FOLA explained that the album was built around personal experiences and a deliberate creative process, with each record carrying its own meaning.

“Made this one with some of my favourite producers, musicians and artists. Every song came from somewhere real, every detail meant something.”

He also shared his hope that the project connects with listeners wherever they might find themselves when it arrives.

“Wherever you are, whatever you’re going through, it is my hope that when you hear it, this album finds you at the right time. 9 is coming.”

The album begins with “awade” before moving into “how many?” Davido then joins FOLA on the third track, “2am in Toronto,” which is also scheduled to arrive ahead of the full album.

Elsewhere, Ayra Starr features on “treat u right,” while BNXN appears on “my type.” Darkoo joins the project on “hold u down,” and Bella Shmurda and Zlatan team up with FOLA for the closing record, “it’s over.”

The complete tracklist for 9 is:

1. awade
2. how many?
3. 2am in toronto — ft. Davido
4. stubborn
5. miss u ii
6. in order
7. treat u right — ft. Ayra Starr
8. attention!
9. fine $hit
10. waf
11. crime
12. my type — ft. BNXN
13. hold u down — ft. Darkoo
14. it’s over — ft. Bella Shmurda x Zlatan

 

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The album title also ties into FOLA’s football-inspired identity. The singer has previously described himself as “the striker,” making the number nine a fitting reference to the position traditionally associated with a center-forward.

There is also a nostalgic touch on the project, with “crime” reportedly incorporating a sample from a classic record by Nigerian music legend 2Baba.

9 follows FOLA’s debut album, Catharsis, and arrives at a point when the singer is building serious momentum around his growing catalogue and live performances.

Before the full project lands, fans will get an early taste of the album through “2am in toronto” with Davido, scheduled for release on Friday.

With a strong guest list and 14 tracks ready to go, FOLA’s 9 is shaping up to be an important next step in his musical journey.

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In a statement released on Wednesday, September 16, Poco Lee’s team acknowledged the people who have assisted the entertainer behind the scenes and urged the public to avoid spreading negative or unverified narratives about the matter.

The statement read:

“Hello Everyone, we would like to publicly acknowledge that Zlatan, along with others, has been extremely supportive and helpful through this matter.

“Their involvement, support, and effort have been vital to moving things forward. We deeply value their ongoing support and dedication, and we kindly request that everyone refrain from spreading negative narratives.”

Zlatan’s acknowledgement comes after Poco Lee himself previously mentioned Burna Boy and Rahman Jago while speaking about the difficult experience he faced in the UK.

Although his management did not reveal the specifics of Zlatan’s involvement, the latest statement makes it clear that the singer has been among those supporting Poco Lee during the legal ordeal.

 

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The situation began in August when reports surfaced that Poco Lee had been detained in the UK over sexual offence allegations. He was subsequently charged with five offenses: two counts of rape, one count of attempted rape, and two counts of assault by penetration.

Throughout the case, Poco Lee’s management has repeatedly stressed that the allegations should not be treated as proof of guilt. The team has also pushed back against unverified reports surrounding the matter, including claims involving alleged drink spiking, stating that such claims were not among the charges before the court.

Poco Lee was granted bail in September after spending several weeks in custody. Although reports later emerged that he had been released and claims circulated that the complainant had withdrawn the case, the legal proceedings remained active.

The next stage of the case is scheduled for February 8, 2027, when the plea hearing will take place, while the trial is expected to commence on March 8, 2027.

For now, Poco Lee’s management continues to appeal for restraint as the case proceeds through the UK legal system, urging the public to allow the appropriate legal process to take its course.

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The collaboration pairs FOLA’s melodic approach with Bella Shmurda’s street-pop energy and Zlatan’s unmistakable delivery, creating a record that moves between vulnerability and celebration.

Produced by Shallythechampion and Sbthaproducer, “It’s Over” rides on a driving Afro-fusion groove layered with soft drums, crisp rimshots, and brass elements. The production keeps the rhythm moving without becoming overcrowded, allowing each artist to bring their personality to the song.

FOLA takes the lead with a soulful chorus that sets the emotional direction of the record, reflecting on the journey from struggle to triumph. Bella Shmurda follows with his familiar blend of street wisdom and spiritual reflections, adding another layer to the song’s message.

Zlatan then raises the energy with a fast-paced verse filled with Yoruba punchlines and his signature ad-libs, giving the track the street-ready finish his fans have come to expect.

Together, the three artistes find a natural chemistry on “It’s Over,” turning personal struggles and past obstacles into a collective celebration of progress.

The new release sees FOLA further expand his sound while connecting with two of Nigerian street-pop’s established voices, resulting in a record that feels equally suited to personal victory moments and loud street celebrations.

Listen to “It’s Over” HERE

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The conversation began after Zlatan shared a glimpse of one of his bank accounts, showing a balance of more than N500 million. The revelation quickly caught the attention of social media users, with many reacting to the sizeable figure.

Portable was among those who found the amount difficult to believe. The singer questioned how a musician could have such a large sum sitting in a personal account, suggesting that there could be more to the figure than meets the eye.

Taking his reaction further, Portable speculated that the money may not belong to Zlatan personally. He also suggested that if the rapper indeed owned the entire sum, it could raise questions about possible money laundering or other activities that had not been made public.

Rapper Zlatan Turns Heads As He Flaunts A Mere N504 Million+ Balance In His Wallet.

.#macdanielsblog Zlatan pic.twitter.com/nopFWy1ckL

— Mac Daniel’s Blog (@MacDanielsBlog) September 6, 2026

“It’s not possible for a musician to have ₦500M in his account. Most of these musicians are involved in money laundering and cartel businesses.” — Portable throws shade at Zlatan 😳 pic.twitter.com/2rhbtGXmx7

— AYANFE (@CHULLY1010) September 6, 2026

Zlatan eventually caught wind of Portable’s comments and responded in his usual playful manner. Rather than engage in a lengthy back-and-forth, the rapper teased Portable for being surprised by the amount in his account.

”With all the soap and Fanta, 500m still go far for my guy eye”, he responded.

The exchange has since added another entertaining moment to the ongoing social media conversations surrounding Nigerian celebrities, with fans weighing in on both artistes’ reactions.

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The project takes its title from a significant period in Kunmie’s life, representing the age when he began to fully understand and embrace his artistic identity.

Following the success of his breakout record Arike, the album gives listeners a much closer look at the experiences that shaped him, including the bold decision to leave home at 16 in pursuit of his musical ambitions.

Sonically, 22 sits at the intersection of Afro-soul, R&B, and modern African pop. Warm acoustic elements, atmospheric keys, and layered vocals create a soft but detailed backdrop for Kunmie’s expressive delivery.

His distinctive voice remains at the center of the project, carrying the emotional weight of each record with a natural sense of vulnerability.

The album also brings together an impressive collection of collaborators, with Zlatan, Phyno, Lojay, Wizard Chan and Joeboy adding their individual styles to different moments across the project.

 

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Beyond its sound, 22 feels deeply autobiographical. Kunmie uses the album to reflect on growing into adulthood, chasing ambition, dealing with heartbreak, and maintaining faith while navigating the uncertainties that come with success.

The rapid attention surrounding his music also becomes part of the story. Rather than presenting himself as someone who has everything figured out, Kunmie explores the pressure, self-doubt and vulnerability that can accompany a sudden rise, turning those experiences into honest songwriting.

 

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A post shared by Kunmie (@kunmieofficial)

At its core, 22 is a reflection of perseverance and self-discovery. The album allows Kunmie to move beyond the recognition of his breakout records and establish himself through a fuller, more personal body of work.

Now available across major streaming platforms, 22 introduces Kunmie as an artist with a clear sense of identity, emotional depth and a story that extends far beyond the hits that first brought him into the spotlight.

Listen to “22” HERE

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The release follows his recent collaboration with ODUMODUBLVCK on MOTION SICKNESS, but this time Zlatan takes centre stage alone, delivering a record designed to keep the streets moving and the dancefloors busy.

Produced by PuffyBeatz and Chech, ITALAWA runs on a fast-paced blend of Amapiano log drums and Yoruba-inspired percussion. The production is intentionally loud and restless, creating the perfect backdrop for Zlatan’s animated delivery, rapid chants, trademark ad-libs, and punchy one-liners.

The title itself carries a strong street message. ITALAWA, a Yoruba expression commonly used to signal being outside and present, becomes a statement of confidence, survival, and staying firmly in the game. Zlatan uses the record to celebrate financial progress, resilience, and the everyday hustler while throwing playful shots at those who doubt his journey.

 

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As expected, the rapper keeps the energy high throughout, weaving street wisdom, humour, and catchy phrases into a performance that feels almost impossible to sit still to. The song’s frantic rhythm also gives it the kind of infectious quality that could easily inspire a new dance trend across social media.

With ITALAWA, Zlatan once again leans into the cultural energy that has made him one of Lagos’ most recognisable street-pop voices. Rather than overthinking the formula, he simply delivers what his audience knows him for: loud energy, street language, infectious rhythm, and plenty of confidence.

Listen to “Italawa” HERE

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The street-hop star is set to return to his alma mater, Moshood Abiola Polytechnic, on July 1 for an event tagged “Homecoming.” More than just a concert, the occasion will also mark the unveiling of a brand-new music studio designed to help students and aspiring entertainers develop their creative skills.

News of Zlatan’s return generated excitement across the campus, with students, staff, and fans turning out in large numbers to welcome the award-winning artist back to the institution where he once studied.

Fans can expect an energetic performance featuring some of Zlatan’s biggest records, while there is also speculation that he could be joined by some surprise guest artistes during the July 1 event.

Away from the music, the highlight of the homecoming is expected to be the launch of the on-campus recording studio.

The facility will be equipped with professional-grade recording equipment and is intended to serve as a creative hub for students interested in music production, recording, and content creation.

By removing some of the financial barriers that often stand in the way of emerging talent, the initiative is expected to provide young creatives with a platform to learn, experiment, and bring their ideas to life.

For Zlatan, the project represents more than a return to familiar grounds—it is an opportunity to invest in the next generation and inspire future stars from the same campus where his own story began.

 

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Dropped on May 29, 2026, the project arrives as a bold statement of intent, showcasing an artist steadily stepping into her full creative identity.

Known for her soulful blend of Afrobeat, R&B, and global influences, Qing Madi continues to carve out a unique lane in the Nigerian music landscape. Her sound is often defined by emotional depth, smooth vocal delivery, and a natural ability to connect with both local and international audiences.

On “Barely Legal,” she expands that identity even further, pulling together an impressive lineup of heavyweight collaborators that spans multiple generations of Nigerian music. The EP features appearances from Tiwa Savage, BNXN, Victony, Zinoleesky, Zlatan, Flavour, Wande Coal, Rotimi, and Eemoh, creating a rich blend of styles and influences.

Sonically, the project moves fluidly across Afrobeats, soulful melodies, and contemporary African rhythms. Tracks like “Come Slide” highlight her ability to float effortlessly over modern production while maintaining her signature softness and emotional clarity.

Beyond its sound, “Barely Legal” carries a deeper narrative of growth, confidence, love, and youthful expression. It captures a transitional phase in both life and artistry, where curiosity meets ambition and experimentation meets direction.

What makes the EP particularly notable is how it bridges generations. With veterans like Tiwa Savage, Flavour, and Wande Coal appearing alongside newer voices such as Victony and Zinoleesky, the project becomes a meeting point between legacy and the future of Afrobeats.

Critics and listeners alike are already pointing to the EP as a pivotal moment in Qing Madi’s rise, one that could position her for even broader international recognition in the near future.

Ultimately, “Barely Legal” is more than just a sophomore project. It is a declaration that Qing Madi is not only growing but also intentionally shaping her space within the global music conversation through bold collaborations and an unmistakable Afro-fusion identity.

This post appeared first on Mp3bullet.ng... Read Original post on Qing Madi Levels Up With Star-Studded EP “Barely Legal”.

Built around a catchy guitar-driven loop, the record finds both artists addressing critics while reaffirming loyalty to their roots and the streets that shaped their rise. The sound leans heavily into gritty rap textures fused with indigenous street-hop energy, creating a restless, chant-like anthem that has quickly begun trending on TikTok.

On “Motion Sickness,” ODUMODUBLVCK delivers his signature deep-toned, aggressive flow, layering intense street storytelling with raw conviction. Zlatan complements him with his trademark bounce, slang-heavy delivery, and infectious rhythm, adding a lighter but equally impactful counterbalance to the record’s intensity.

The track continues ODUMODUBLVCK’s strong 2026 run, following his earlier release “THEY LOVE ME” and arriving after his expansive 23-track debut album INDUSTRY MACHINE, which closed out 2025 with a heavyweight lineup of collaborators including Skepta, Wizkid, Stormzy, Davido, Saweetie, Cash Cobain, Pa Salieu, Giggs, Patoranking, Seun Kuti, and Zlatan.

Lyrically, “Motion Sickness” is packed with street-coded confidence and braggadocio, with both artists trading bars about success, envy, and survival in a competitive industry. ODUMODUBLVCK’s verse leans into intense imagery and emotional grit, while Zlatan injects humour and street wisdom through his energetic ad-libs and punchlines.

“My sweet oroma/ She can go nuts if I use my hot head (Hot head)/ My enemies cry, e don too much e go full for bucket/ Dem go still apply Aboniki balm if dem feel my success/ Odumodublvck guide o, motion too much, ọmọ motion sickness,”

With its viral momentum and street-rooted authenticity, “Motion Sickness” further cements both artists as key voices in Nigeria’s evolving rap and street-hop landscape, blending raw storytelling with mainstream appeal.

Listen to “Motion Sickness” HERE

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The singer, still reacting to the outcome of his bout against comedian Carter Efe, expressed frustration over what he described as selective support within the music industry.

According to him, many of his colleagues who rarely attended his concerts were quick to attend the boxing event, not out of support, but to witness his loss.

In a series of emotional statements, Portable claimed that while his music shows often go unnoticed, the same figures turned out in numbers when it came to the fight.

His words …

“If I host show them no go come. My concerts them no dey come. But as then see boxing all the celebrities come. Na my downfall them come to watch. Ehena. My concerts dem no dey come.

Those who dey hat£ on me Dey celebrate belt wey I don collect 2 time’s. if too say na music show concert them no go come as them won see my down fall all my enemi£s come out to f!ght against me I don’t only f!ght Carter na all my £nemies Dey him back dey celebrate pass who get belt.

God pass them I Dey celebrate new Born Glory Una still Dey hat£ on me you, you on your tv Dey look for my down fall, God use am bless me with Pikin. Some of Una for this music industry no fit give woman belle…

God pass Una na me collect 40m before I enter ring na only 10m me and him Dey f!ght for so na belt you never see before. See me see Davido and Zlatan Dey use my my boxing belt Dey enter club. A!yeyin ti baj£ you fit get money make you no get sense. You fit blow make you no fit enter ring f!ght me. I Don first Una enter ring f!ght I no be Una mate for that way.

Una music no Dey tend again all my songs don cover Una shine why them no go Dey vex. Zlatan Dey run all peoples page wey post bad about me to drop h@te comment na yourself you Dey do…”

Beyond the outburst, Portable insisted that the loss has not affected his achievements, pointing out that he earned significantly from the fight and remains focused on his personal life, particularly the recent birth of his child, which he described as a greater blessing.

He also alleged that some figures within the industry are actively fueling negative conversations about him online, a claim that adds another layer to the ongoing tension surrounding his name.

Despite the controversy, the situation continues to stir reactions across social media, further highlighting the rivalry, emotions, and spectacle that now surround celebrity boxing and its growing intersection with Nigeria’s music scene.

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Released under Oosha Records and EMPIRE, the record is produced by hitmaker Yung Willis and arrives as a high-energy blend of street gospel and club-ready Afro-street sound. Driven by heavy basslines and a fast-paced rhythm, the track fuses spiritual gratitude with raw, unfiltered street energy.

Zlatan opens the song with his trademark Zanku flair, layering playful ad-libs and infectious confidence over the beat, while still delivering a verse that carries surprising lyrical sharpness. ODUMODUBLVCK follows with his signature deep-toned intensity, injecting grit and commanding presence that elevates the record’s street appeal.

At the center of it all is Fido, whose melodic yet rhythmic delivery ties both contrasting styles together. His performance ensures the track remains accessible to mainstream listeners while still resonating strongly with the street audience that both featured artists dominate.

Despite its spiritual title, “Dance For Jesus” leans heavily into dancefloor energy, creating a bold contrast between its theme of gratitude and its high-octane production. The irony has not gone unnoticed by fans, adding to the song’s viral appeal.

Already gaining traction online, the record is trending across social media platforms, especially TikTok, where a dance challenge has begun to spread rapidly. It also reflects a growing 2026 trend where artists blend religious or spiritual themes with street-hop intensity to create music that is both celebratory and energetic.

With its mix of faith, fun, and street credibility, “Dance For Jesus” stands out as one of the year’s most talked-about releases.

Listen to “Dance For Jesus” HERE

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