An Induction into the Rock & Roll Hall of Fame

Fela was just inducted into the Rock & Roll Hall of Fame as part of the Early Influence category, making him the first Nigerian-born artist, and the first African solo artist, to receive the honor.

The Hall has long celebrated artists who reshaped global music, and Fela’s inclusion cements Afrobeats within that pantheon. It also serves as a long-overdue cultural correction. For decades, African musical innovations have profoundly influenced international sounds without institutional recognition. Fela’s induction validates not only his genius but the entire tradition he forged from jazz, highlife, funk, and Yoruba rhythms.

A Grammy Lifetime Achievement Award

In January 2026, Fela received a posthumous Lifetime Achievement Award from the Recording Academy, becoming the first African artist to earn this distinction.

He never won a Grammy in his lifetime, yet the world continues to catch up. This honor acknowledges the enduring power of his fusion of infectious grooves with sharp political lyricism. From Lagos dancehalls to global stages, his sound has inspired generations of musicians across continents.

Fela Kuti Legacy and International Recognition

These posthumous milestones are part of a broader revival. The Broadway musical Fela!, backed by producers like Jay-Z and Will Smith, brought his life and music to international theater audiences, blending biography, dance, and rebellion in true Fela fashion.

His tracks have been sampled, studied, and reinterpreted across genres. Documentaries, vinyl reissues, academic courses, and cultural exhibitions continue to treat his work not merely as entertainment, but as vital historical testimony.

Fela’s Enduring Message

What sets Fela apart is that his art was never just sonic. Through Afrobeat, he forged a powerful language of resistance. Songs like “Zombie” and “Sorrow, Tears and Blood” addressed topics such as military brutality, corruption, and colonial legacies with fearless satire and rhythmic urgency. Decades later, these tracks feel strikingly contemporary amid ongoing struggles with governance and inequality across Africa and beyond.

Fela documented realities that persist, and that timeless relevance explains why his music doesn’t age.

The Legend Time Could Not Contain

To call Fela a legend feels almost inadequate. Legends are remembered; Fela is continually rediscovered.

Nearly thirty years after his death, he is still achieving historic firsts that many artists pursue in their lifetimes: the first Nigerian in the Rock & Roll Hall of Fame, the first African to receive a Grammy Lifetime Achievement Award, and a global influence that keeps expanding.

Perhaps that is the ultimate legacy: not simply to be remembered, but to keep demanding attention, reflection, and action long after one is gone.

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1. Fun by Rema

With Rema’s “Fun,” patience takes center stage. When he says, “Omo mi e go hard before e go soft… universe no like force,” it reflects the idea that effort matters, but forcing outcomes rarely works. Some things unfold better when you allow them to happen in their own time.

2. Disturbing U by Ayra Starr & Darkoo

On “Disturbing U,” Ayra Starr and Darkoo bring confidence into focus. “Even if na wheel barrow carry me come, I go still raise my shoulder” speaks to self-assurance regardless of background. It’s a reminder that how you carry yourself can shift how you experience the world.

3. We Plenti by Simi & Cobhams Asuquo

There’s a sense of reassurance in “We Plenti” by Simi and Cobhams Asuquo. When they say, “This life na turn by turn o, your time dey come,” it captures the idea that life moves at different paces for different people. It also does a good job of reminding you that you are not alone in your struggles.

4. Common Person by Burna Boy

Burna Boy keeps things grounded on “Common Person.” The line, “I be common person, but my happiness still be my own oh,” highlights the fact that joy and dignity are not reserved for a certain status. They belong to everyone, regardless of their current circumstances.

5. This Year (Odun Yi) by Jaywon

On “This Year (Odun Yi),” Jaywon leans into hope and forward thinking. “Things will be better this year,” reflects the determination many people hold onto when things aren’t fully figured out yet. It’s less about certainty and more about choosing to hope whilst still in progress.

6. Uyo Meyo by Teni

With “Uyo Meyo,” Teni reminds listeners of the power of belief. “Everybody is born a winner, if only you just believe,” points to self-belief as a foundation for growth. It may sound simple, but maintaining belief in the face of adversity is often the hardest part of the journey.

7. Sunshine by Asake

Lungu boy Asake has always had a way with words, and Sunshine is no exception. On this song, he frames struggle as part of the process. “All my pains and struggles steady lighting my candle,” suggests that challenges can contribute to growth, shaping resilience in ways that are not always visible in the moment.

When tough times threaten to last, these Nigerian songs hit different because they give you the much-needed ginger to make it through the day.

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For the past five years, Joeboy has navigated the emotional corridors of love and heartbreak, crafting songs that stand the test of time. However, this signature strength only shines through on select tracks from his third full-length album, ‘Viva Lavida’, which translates from Spanish to “live life” or “long live life.” 

‘Viva Lavida’ captures Joeboy’s romantic and vulnerable expressions through deft melodies, with these themes spilling into one or multiple sequenced songs.

The album opens with ‘Innocent,’ a mid-tempo track where Joeboy is hopelessly enamoured by his muse, his naïveté morphing into unshaken devotion over a laid-back instrumental that complements Joeboy’s delivery. The song closes with what sounds like a soul sample, adding a layered flavour to the well-crafted opener before transitioning into ‘Abena,’ an Afropop track where Joeboy assumes the persona of a sugar daddy, ready to lavish gifts if only she dances. The production on ‘Abena’ is minimalist but vibrant, with guest artist Tempoe’s delivery adding texture, making the track the longing record that it is.

On “Streets Are Lonely”, he reflects on the effort he puts into being a better partner, lamenting that he isn’t receiving the same commitment in return. The instrumental, like the guest artist’s delivery, evokes distress, and like most of the production choices on Viva Lavida, it’s a simple, slow-tempo one. Aware of how daunting the dating scene—the “streets”—can be, he advises both himself and his partner to strive for a smoother relationship.

The project picks up momentum with tracks four and five, where Joeboy continues into matters of the heart on some of the album’s most remarkable lead singles. “Taxi Driver” sees him seeking solace from emotional turmoil, mourning a lost love but remaining resolute in his decision to move on. The Y2K-evoking harmonies of “SMH” are strong and lingering, with Joeboy choosing to extend its original two-minute runtime with an additional verse. “Magdalene” rides on simple guitar progressions, flutes, and elements of Tempoe’s production, transporting the listener to soundtracks reminiscent of Igbo Nollywood.

While ‘Viva Lavida’ maintains a certain sonic consistency, the album feels disjointed, missing the mark on what it aims to achieve. 

Still, standout moments emerge, like “Sunset,” featuring Brazilian pop singer Elana Dara, with Joeboy finding himself in a familiar R&B fusion space, daydreaming and pouring his heart out. The track is followed by “Adenuga,“ a model Afro-pop record featuring the ethereal presence of Qing Madi. Now with a more robust production in contrast to the first half of the album, Joeboy assures his muse of financial security, getting hyperbolic and even promising them the world. On “Free of Charge”, featuring Olamide, he steps away from his comfort zone, sing-rapping over a bouncy and energetic T.U.C.-produced beat.

As ‘Viva Lavida’ nears its end, Joeboy becomes more solemn and introspective. “Osadebe” is a reminder to stay true to himself and a nod to Highlife legend Chief Osita Osadebe, best known for his song “Osondi Owendi” (meaning “one man’s food is another man’s poison”), which Joeboy repeatedly chants on the track. He sets aside love narratives on “Hey Father” to reflect on resilience, embracing a carefree approach to life, aware of God’s protection as he continues his journey and career. The song takes a humorous turn as he shouts out colleague Portable and playfully bites his pen: “Zazu go reason you o, Zeh ko to Zeh ri o.” Meanwhile, “Sinner” is a confessional track on a mellow but moving production by Type A, as Joeboy acknowledges his flaws yet remains grateful for God’s unconditional blessings. ‘Viva Lavida’ closes with the uplifting “I’ll Be Okay,” with Joeboy finding solace and strength in Wizard Chan’s conscious, borderline spiritual delivery. “I’ll Be Okay” puts a fitting end to the LP, offering listeners a warm embrace with Wizard Chan’s prayer-like delivery that truly connects.

There is a slight disconnect between Joeboy’s ability as an artist and the execution of ‘Viva Lavida’. Unlike the lead singles, which exude his musicality and catchy, sing-along appeal, much of the album lacks the engaging delivery that typically defines his stickier records and successful songs.

The album’s executive producer, Tempoe—Joeboy’s frequent collaborator, whose vocals appear on tracks like “Abena,” “Streets Are Lonely,” and “Magdalene”—clearly dictates much of the sound direction, contributing to over half of the album alongside other producers like Dera, Semzi, and T.U.C.

‘Viva Lavida’ could be seen as a carefree, experimental project that finds Joeboy stepping into new sonic territory. But at its core, something feels amiss, resulting in its uneven execution. Is ‘Viva Lavida’ a reflection of an artist searching for reinvention? To this writer, it appears to be a silent tug-of-war for creative ownership between Joeboy and the executive producer, Tempoe.

STREAM THE FULL ALBUM BELOW.

Rating 7/10

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Ema Onigah’s upbringing, steeped in rich cultural heritage, is vividly reflected in his music, which harmoniously blends traditional African sounds with contemporary Afrobeats rhythms. Tracks like “Ave Maria” and “VIBES & INSHA” embody the novelty of Ema’s music, showcasing uncommon flows and cadence—a peculiarity rarely found within the vast Afrobeats-scape. His music blends tradition with innovation, solidifying his status as a rising star in the Afrobeats scene.

In 2023, Ema Onigah released his debut EP, ‘Dust Off’, a six-track project that has amassed over a million streams. The EP which spawned his hit single “DEY SO” with Ozedikus, peaked at number 14 on Spotify’s Top 50 Nigeria chart, heralding Ema’s arrival on the music scene. His distinct sound—imagine a Busta Rhymes utilizing Afrobeats—is characterized by a rhythmic complexity and emotive delivery that permeated his 2023 EP and captivated audiences worldwide.

Ema’s collaborative spirit was also evident in his feature on Ejoya’s ‘Class of ‘23’ album, where he teamed up with TAR1Q and Brown Joel on the hit song “Canabi”, highlighting a deep awareness and versatility to thrive both as a solo artist and a collaborator. 

Beyond his compelling vocal performances, Ema Onigah is a talented songwriter whose knack for crafting engaging lyrics that has made him a force to be reckoned with in the industry. And his pen has birthed songs for heavyweights like Tekno and Reekado Banks.

Ema’s artistry lies in seamlessly blending tradition with innovation, creating music that feels both familiar and refreshingly original. With his unique blend of traditional rhythms and modern Afrobeats sensibilities, Ema Onigah is poised to become a significant force in an impending Afrobeats future filled with innovative sounds and captivating melodies.

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Hailing from Nigeria, this talented artist is not just another face in the crowd, not at all, he is becoming a force to reckon with as he is captivating audiences with his unique sound and infectious energy.

Born in Lagos, Nigeria, Ayomide Mafoluku Ayodele grew up in the rich cultural city which served as a background for his early musical influences. Growing up in a family that appreciated music, Ayo was exposed to various genres, from traditional Nigerian sounds to contemporary pop and hip-hop. His passion for music began at a young age, leading him to experiment with songwriting and performance during his teenage years.

Ayo Maff’s journey to stardom began in earnest when he released his debut single, Saturday Night, in 2023. The track quickly gained traction on social media platforms, particularly TikTok, where its catchy hook and danceable beat inspired countless challenges and covers. This viral moment shot Ayo into the spotlight, earning him a dedicated fanbase and recognition from industry insiders.

Following the success of Saturday Night, Ayo Maff released, Jama Jama, which showcased his versatility as an artist. The EP also featured collaborations with established names in the Afrobeats scene. Tracks like Street Anthem & Dealer received critical acclaim, thanks to Ayo’s ability to blend traditional Afrobeats elements with contemporary sounds.

In 2022, he was nominated for the “Best New Artist” award at the Nigerian Music Awards, a testament to his growing influence and popularity. His music has also garnered millions of streams on platforms like Spotify and Apple Music, with ‘Dealer‘ achieving over 10 million streams within months of its release.

As Ayo Maff continues to rise in the music industry, the future looks incredibly bright. With plans for more full-length albums and collaborations with international artists, he is poised to take Afrobeats to new heights. His dedication to his craft, combined with his unique sound and relatable lyrics, positions him as a key player in the genre’s evolution.

In a world where music transcends borders, Ayo Maff is not just a Nigerian artist; he is a global ambassador for Afrobeats. As he continues to break barriers and redefine the sound of contemporary African music, fans and critics alike eagerly await what this rising star will achieve next. Keep an eye on Ayo Maff; his journey is just beginning, and the best is yet to come.

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Following his mom’s death and subsequent funeral, the reclusive and mysterious Wizkid persona was displaced in the advent of ‘Morayo’, giving way to an emotionally upset side of Wizkid. The album rollout saw multiple listening parties, event appearances, and two contrasting lead singles released a month apart. The tracks—“Piece of My Heart” and “Kese (Dance)”—hinted at the possibility of an eclectic project, one where Wizkid skilfully navigates diverse genres grounded in Afrobeats.

Ranging from melancholic depths to upbeat party rhythms, ‘Morayo’ captures Wizkid’s past and present sonic facets, all arranged with lush production. The sequencing of tracks is tailored in terms of tempo or otherwise tied together thematically, allowing for a smooth listen.

The album opens with “Troubled Mind,” unexpectedly featuring the golden vocals of Nigerian Fuji legend K1 De Ultimate and his live band eulogising Wizkid, paving way to the melodies of a taking drum and trumpet. Here, Wizkid acknowledges his inner turmoil, suggesting that creating ‘Morayo’ isn’t just an artistic endeavour or a tribute but also a means of escape. This explains why he didn’t set out to make a 16-track album with pensive grief as a theme but rather to find relief through music. It also explains why songs like Kese (Dance), A Million Blessings, Bad For You, and Lose showcase different aspects of Wizkid. 

The project continues with groovy records like ‘Karamo’ the dance-floor-ready “Kese (Dance),” and the Asake-assisted “Bad Girl.” On ‘Bad Girl’—a stark difference from their sombre collaboration earlier in the year—both artists exhibited a slicker chemistry with a cyclic delivery that hugs the production. Much of the refinement in ‘Morayo’ can be attributed to the contributions of other brilliant creatives involved in the execution process.

Shifting gears, the soulful R&B ballad “Time” offers a reprieve from the gyration-heavy tracks, drawing listeners into a more serene Afrobeats and R&B soundscape. “Piece of My Heart” stands out as a masterful performance of Afrobeats and contemporary R&B, a sublime melding of both worlds. Similarly, “Break Me Down” fuses these styles with dancehall influences and DAMEDAME’s evocative vocals, resulting in a compelling record. On this track, Wizkid describes a sensual arrangement with a love interest, where emotional detachment is evident, yet their physical intimacy is electrifying.

Teased alongside tracks like “Soji” and “Kese (Dance)” at the UK listening party, “Bend” was designed as a club disruptor, particularly for the women who love to party. The lively track spills seamlessly into “A Million Blessings,” a boastful, introspective track produced by P2J and The Elements, where Wizkid confidently dismisses any competition, wielding his lyrics like championship belts.

The silky “Après Minuit” (French for “After Midnight”) is bound to be a listener’s favourite, with its sonorous opening by Wizkid and Tiakola’s enchanting vocals. Both artists express their desires to their respective love interests. As it closes, Jazmine Sullivan‘s voice can be heard opening on the passionate ‘Bad For You‘, followed by Wizkid’s coo. The synergy between her and Wizkid, particularly in the second and third verses, makes it difficult to believe this is their first collaboration on a single. It’s the kind of tipping that every great, timeless music carries.

“Don’t Care” is another introspective track, rich in storytelling as Wizkid reflects on the ups and downs of his journey. Anaïs Cardot, who was introduced to the Afrobeats scene through Asake’s third studio album, reappears on “Slow.” Her feather-light yet captivating vocals open the track, and Wizkid follows suit effortlessly, creating a tender love ballad.

The album closes with two reflective tracks: “Lose” and “Pray.” Both are packed with musings on life’s complexities, delivered with witty metaphors and aphorisms. “Lose” stands out as one of Wizkid’s best melodic performances on the album, coupled with impressive storytelling and relatable scenarios.

As Wizkid admitted 15 tracks earlier on ‘Troubled Mind,’ “Right now, me just wan vibes and think, but my troubled mind wan sing, yeah,” he generously gives listeners access to his vibes, thoughts, and melodies—an honest orchestration of his troubled mind. 

Rating 7.5

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A testament to his musical legacy and how much impact he has had in the industry, Egberi Papa 1 of Bayelsa, as he is also known, uses “Gladiator” to reflect on his journey to stardom. From his humble beginnings in his hometown, his breakthrough with the hit song “Dem Mama” in 2005, to working his way to the top. He has had his battles, fought bravely, overcame them, and tasted victory like a true gladiator.

An influential Afrobeat and dancehall artist born Inetimi Timaya Odon, Timaya announced himself with the single “Dem Mama” which spoke on the oppression and hardship experienced by the people of the Niger Delta. Over the last two decades, Timaya has grown as a person and as an artist, successfully combining Afrobeat with dancehall as well as bits of reggae into his sound. Undeniably a pioneering figure in the Nigerian music industry, Timaya has released timeless hit singles and albums, all of which have cemented him as a certified hitmaker.

Released on the 14th of August 2024, Timaya’s 9th studio album, “Gladiator,” is a 12-track album running for 36 minutes featuring a star-studded roster of A-list artists that Timaya enlisted to make the album even more spectacular. Stars such as Phyno, Olamide, Tiwa Savage, Alpha P, and Jamaican sensations Konshens brought even more rhythm and style to this masterpiece. At the helm of production, iconic producers Young D, Jonny Blaze, and Masterkraft. It’s nothing new to see Young D and Timaya working together, as they have always been collaborating frequently. These producers, who are known to create anthems, didn’t disappoint with this one.

Serving as the first track on the Gladiator album is the track titled “Payback,” which speaks on Timaya turning his past struggles. If there’s anything we know about Timaya, it’s the fact that he is not scared to speak about his struggles in the early parts of his life and how he used the hardships to work his way to victory, and that is exactly what the track “Payback” is all about. He speaks about proving doubters wrong and doing what they told him he couldn’t do.

“Live-Style” is a sweet and chill afrobeat tune that you can add to your playlist for a soothing night drive. As the title says, this track has Timaya speaks on the lifestyle he has been blessed with and how he doesn’t involve himself with anything that wants to weigh him down. The perfect song to have you nodding and vibing as you cruise on your late-night drive.

On the third track, ‘Sweet Us’ takes us back to Timaya’s roots with a nostalgic afro-dancehall vibe. This tune resonates with everyone who has had non-believers who have constantly undermined them. “Sweet Us” is definitely one track to have the party going, as it features a rhythmic dancehall beat that can get anyone up on their feet dancing.

The tracks “Compozure,” “Smile,” and “Treasure” add a layer of romance and charm to the album. A masterful blend of afrobeats and dance hall, “Compozure” speaks on understanding what his woman wants and how he admires qualities about his woman. “Smile” speaks of his love for his woman, and how he needs her in his life if not, he would be lost. In “Treasure,” Timaya enlists the trio of Phyno, Olamide, and Alpha P as they create a romantic, and harmonious romantic track that’s definitely going to be on repeat for the lover boys at heart.

As the record progresses, the track ‘Free’ offers a reflective look into Timaya’s current state of mind, highlighting his journey of self-discovery. For ‘Whinin Criminal,’ Timaya teams up with Mr. Killa to bring us a tune with so much high-energy dancehall sound that Timaya uses to capture the essence of an infectious dancehall party spirit.

Timaya & the African bad girl Tiwa Savage collaborate on ‘In My Head’ which infuses Afro Pop and Dancehall, while ‘Dey Your Dey’ stands out as a self-empowerment anthem. The album then concludes with ‘Na Money’, which explores the influence of wealth, and ‘Get Your Money Right’, a relentless anthem of hustle and determination.

Timaya showed us in this album that he is not done giving us good hits and doing what he does best. He reminds us why he has been in the game for so long and why he is one of the most respected figures in the industry.

Listen to Timaya’s Gladiator and share your thoughts below.

Rating: 8/10

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From the start of Rema‘s journey to the drop of “HEIS“, they were subtle signs of insurgency and defiance signalled through the aggressive switch of his overall persona. He adopted a dark and somber look, which showed the blatant and stark contrast to the high-school-demography pandering Rema  that we knew from the start of his career. It was a message hidden in plain sight. A deliberate message signalling the arrival of a Rema that has come of age. 

Rema‘s quoted self-acclamation turned out to be the burning fuel for his new Agenda, and one would think he would be done with just a shift in Persona. Instead, it was all a pre-meditated attempt at disruption of the African music industry. 

Setting the stage for his calculated disruption, Rema commences the album with “March Am” — a drum-heavy, chest-thumping track set against the backdrop of a dramatic organ-like progression. He employs the renowned crowd vocal technique, layering different facets of his vocals to craft a compelling hook: “I dey March am, I dey March am!” This signifies his relentless drive and unwavering hunger for success, undeterred by his achievements.

One cannot overlook the masterful use of catchy refrains on “HEIS,” as evidenced in tracks like “Ozeba” and “Azaman.” Both are fast-paced, head-bopping, rhythmic, and highly amplified. “Azaman” once again showcases Rema’s insatiable hunger for wealth, while “Ozeba” highlights his penchant for stirring trouble. Just before the hook, Rema reiterates, “I go do my best to make all of una vex!” followed by the repetitive scream of “Ozeba.” The term “Ozeba” is an Edo word that translates to “big problem.”

The extensive creativity exhibited throughout this long play would have been unforeseen considering the emergence of the album’s lead single. Featuring a collaboration with his fellow tribesman and one of the nation’s foremost rappers, Shallipopi, they crafted a tribal anthem that venerates the “Benin Boys.”

When it comes to music recording, what more embodies creativity than good use of samples? The track ‘Villain’ and ‘War Machine’ sampled Lana Del Rey’s ‘A&W’ and Ace Spectrum’s  ‘I don’t want to play around’ respectively. Sitting comfortably on ‘A&W’ chord progression, ‘Villain’ followed the already established theme of the Long Play by reiterating Rema’s defiance and this time around, his hardihood. One would think that ‘War Machine’ would start off as the name implies; but Ace Spectrum’s ‘I don’t want to play around’ introduced a peaceful start to the impeding chaos displayed on the song.

Yayo, the initial fan favourite saw Rema bragging about his financial status. Delivered over perfectly laid log drums, he takes his listener on a brief tour of his material exploits. In similar fashion, Rema decides to laugh at his transducers on ‘HeHeHe’. With an unconventional approach to delivery, songwriting, and vocal prowess, he informs his critics that he won’t be taking it easy on them. “Monday morning talking about me while I’m making money” he reminds them that he makes money while they talk.

Commencing in dramatic fashion, the album’s title track, “HEIS,” epitomizes Africanism through its instrumentation. It skilfully employs African percussions and log drums, creating a fitting foundation for the exquisite Swahili chant in the hook and background vocals.

Ending an album with such sonic intensity and clear direction would typically prompt considerable deliberation and discussion. However, despite the dominant themes of self-adulation, materialism, and provocation that permeate the album, Rema chose to conclude the long play with a reflective track titled “Now I Know.” Reflecting on his deprived childhood, traumas, and paranoia, he uses this sole melancholic song on “HEIS” to assure everyone that he is aware of those who truly love him.

Reflecting on the outset of the ‘HEIS’ journey, it is evident that a deliberate message was intricately woven into every approach and creative direction. From the persona rollout to the album launch, ‘HEIS’ was a premeditated attempt at disruption, and It ought to be assessed with this context in mind.

As far as art is concerned, music should be for the musician first, and then for the audience later. Let it loose, and let who ever connects, connect. Having this in mind, one would then have to judge the album from the lenses of execution. Rema endeavoured to forge a new path and successfully brought his abstract ideas to life. In terms of production quality, creativity, delivery, arrangements, and all the critical indicators of a high-calibre music project, ‘HEIS’ demonstrates that Rema is genuinely in his element, and we hope to see more artist boldly take on the baton of creativity. 

Listen to the album and give us your verdict.

Rating 7.8 

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Burna Boy has reached another remarkable milestone in his career, receiving a BRITs plaque for surpassing 2 billion streams in the UK. The Afro-fusion superstar was presented with the plaque during his electrifying London show, commemorating the fifth anniversary of his critically acclaimed fourth studio album, African Giant.

The show, sponsored by YouTube Music Nights, was a night to remember, filled with nostalgic performances and heartfelt moments. This recognition comes after Burna Boy previously expressed his disappointment over the delayed acknowledgment of his 1 billion streams plaque. Having surpassed the 2 billion streams mark since 2021, this accolade is a testament to his sustained popularity and the enduring impact of his music on a global scale.

Fans and music enthusiasts alike celebrate Burna Boy’s continued success and eagerly anticipate his next ground-breaking achievements.

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The Evolution of Rema

Rema has evolved from his introduction to us by Jonzing World and Mavin Global as that unique kid with a distinct, fashion style synonymous with the alté music scene to the ‘Rave Lordé’ of a community known as Ravers. In recent times, he has slowly transitioned from the Ravage Uprising phase, largely themed in red, and is embracing a darker, edgier new world. Lately, he is donning darker fabrics, primarily black, and brandishing cigarettes like the threat and renegade that he is.

Each project brought its own vogue, which not only stimulated his brand but also helped impress the phase, his music, and his message on listeners.

Here’s how Rema’s wardrobe mirrors his music, the musician’s creative direction, and how it’s changed over time.

Rema’s car freestyle days (2019-2020)

When Rema was gradually launched into the music scene, he was unique, as was his fashion choice—streetwear and bold. He often wore loose tees, baggy jeans, jorts, one or two neckpieces, dangling earrings, and finger accessories. He would sometimes pop out in a face mask, a sweatshirt, or an unhooded hoodie. 

In music videos, he donned a simple, short-sleeved tee shirt tucked in jeans or cargo pants, a cross bag, chest rigs, his braided dreadlocks hung free, and a demeanor that ultimately propelled him into the mainstream. By 2020, when he released the Rema compilation, he had established the teddy bear imagery as a trademark to his brand. It came in a variety of sizes and appeared in photo shoots, music videos, and even concerts. Rema claims that “Teddy,” as he often refers to his nonhuman friend, has a sentimental connection to him. He shared the narrative about Teddy on the Afrobeats podcast  by Adesope Olajide (shopsydoo).

Endsars protest, Peace of mind, post-debut pipeline (2022-2023)

In the heat of the Endsars movement in October 2020, Rema posted a selfie of himself with shaved hair to show solidarity against the police brutality. Fans were outraged, while a minority understood why he did it. He explained on ‘Capital Xtra’, an American radio show, that “his mind space wasn’t matching his look”. Rema released “Peace of Mind” in December of the same year, a 3-minute track where he bared his emotions, shared how deeply distressed he was, and expressed how the country was driving him nuts. This song also paid homage to those killed by the Endsars movement. In general, Rema’s artistic state, music releases, and fashion choices are avenues that mirror the message he’s trying to pass at the time, inviting fans to peek not only through the lens of his music but through as many outlets as possible.

Rema’s bat symbol has been around for as long as Teddy, but it was only used as an emoji to sign off on captions and messages addressed to the Raver community. According to the artist, he chose the imagery because it serves as a constant reminder of where he’s from—Benin City.

He grew out his hair and groomed it in handsome ways. Rema’s tattoo is famed for being the most symmetrical amongst his peers, meticulously drawn across his torso and forearms. Its orderliness is what most people find attractive and aesthetically pleasing.

Now, remember the statement about his bag getting bigger? To commemorate his status as a global superstar, the unprecedented success of the Rave & Roses album, and the Ultra Album Phase, Rema unveiled a custom chain, dubbed “The Ornament of Ravery,” in a short dramatic video clip with a text overlay that read, “THIS IS NOT A CHAIN, IT’S AN ARTEFACT.” The esteemed A Jewellers worked on the artefact for over 840 painstaking hours to bring it to life. 

The chain drew elements from the debut album art and has become a significant symbol for him and his fans. 

RAVAGE UPRISING (2023-2024)

Rema has inferred countless times that his outward appearance is typically a consequence of what he feels inside—both emotionally and mentally. As he bids farewell to his iconic debut album era, he prepares fans for the next. Rema shared a video on social media on October 22nd last year that doubled as a declaration of a new era and a new project—Ravage Ep. The one-minute video embraces dreary, dull red, and a silhouette of Rema with a punk hairstyle dances to the unreleased music in the background. A sequence of atomic explosions unfolds in the backdrop, but the artist silhouette raves on in the midst of smoke, embers, and sparks from an unknown fire source. He followed up with more unreleased music, sticking to the same formula as ‘DND’. The videos are packed with punk-rock-inspired themes: bizarre, rebellious, energetic, and edgy. Rema is adorned with a black cloak and combat boots. With Teddy’s brief demise, the bat imagery takes on a more prominent role, and everything gets darker; we see bat wings sticking out of the musician’s back and spreading all the way.

Growing up, an artist’s great success was often tied to selling their soul to the devil through a cult known as the “Illuminati.” Rema’s avant-garde symbol choices, combined with his global fame, have earned him these claims. Many consider such art expressions excessively unorthodox, particularly in Nigeria, where the artist is from. Elements such as the Ravage Ep artwork, the bats, odd social media posts, and his 02 Arena performance fuel the allegations leveled against him.

Gothic Rave Lordé (2024)

Originally, the word “Goth” dates as far back as 300 AD. It described nomadic Germanic tribes known as the Visigoths and Ostrogoths. These tribes played a significant role in the decline of the Roman Empire. However, over time, the term “Goth” took on a negative connotation, becoming associated with barbarism and destruction. By the nineteenth century, the definition of goth had become clear, referring to a subculture characterized by dark, gloomy, and garish elements.

Here are reasons as to why we think Rema might be in a goth-inspired moment, ushering us into a world where blackness is synonymous with light. 

1. Rema’s new bat logo

Okay. It’s sick! And if we’re being honest, it isn’t archetypal creative expressions of the Afrobeats genre, but Afrorave? Absolutely!

On June 18th, Rema posted a logo of a bat on his Instagram story—not the typical image of a bat, but its skeletal remains that appeared to be carved from metal rather than bones. The logo as it appears is a gothic illustration of a bat, perhaps skeletal, but with sharp outlines like it’s made of metal. Its thin ribs and long spine stretch out dramatically, like wings. The bat’s skull has empty sockets for eyes, and it appears to be screaming silently. We think it’s relatively creepy and dark. And what other genre is known for expressing art in this form? 

2. He is refashioning. A whole lot of black

Lately, we’ve seen Rema build on the existing Ravage wardrobe, acquiring and popping out in more darker outfits. In a video circulating of the global star at Louis Vuitton’s Menswear Spring/Summer 2025 show as part of Paris Fashion week, Rema was asked for a styling tip, and he said, “Black is safe.” He now has a teardrop piercing and a new habit of smoking cigarettes. Many have critiqued him, however, labeling him a fake geeker (an internet slang for a person who is disingenuous and lacks the genuine zeal of true enthusiasts of a particular interest). But who cares, really, as long as the aesthetic strengthens this whole new phase? Smoke away, Remy boy!

3. Afrobeats Bruce Wayne

Rema has dubbed himself a lot of names, like the Prince of Afrobeats, HIM, Rave Lordé, and Afrobeats Bruce Wayne, amongst others. Bruce Wayne is… Hold on, let’s not kid? We’ll presume you know who Bruce Wayne is. Bruce Wayne is Batman, from the DC Comics’s Batman comic series. Rema’s allegory makes a lot of sense, given that he’s Batman. Get it?

Two days before the release of his first single, since he’d given us a glimpse into this era, the artist shared a video. A figure believed to be Rema is seen cloaked, standing on a rooftop in a dimly lit city—perhaps rave city—with his own bat signal as sinister music crescendos in the background. In the comics, the giant rooftop spotlight serves as a summoning signal by the police, specifically Commissioner Gordon, as a symbol of hope to the citizens of Gotham when seen in the night sky, and as an intimidation tactic on criminals, but in Rema’s case, his peers and community of ravers.

4. BENIN BOYS

Rema’s first official single, “Benin Boys,” confirms that the artist is indeed infusing goth—a subculture of punk rock—into his music. From the fashion choice of Rema and the featured artist, Shallipopi, to the artwork of the song, and the bleak music video littered with flying bats and battered with neon lights.

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