From Streets to Sound: Who Is Danpapa GTA?

Born Akinlemibola Omotoyosi Daniel in Lagos State and raised in Ikotun, Danpapa GTA is not your typical breakout story. He’s a singer, rapper, producer, and sound experimenter whose music resists neat categorisation — a hallmark of the underground’s deepest thinkers. Growing up absorbing the chaotic rhythms and textures of Lagos, from early comfort to sudden financial hardship after his parents committed fully to evangelism, he blends Afropop’s cadence with trap-inflected rhythms and alternative sensibilities that feel simultaneously familiar and refreshingly alien.

His aesthetic from silver-blonde hair to a lithe, grunge-meets-alte presence — reflects a generation of creatives drawing on eclectic influences without being beholden to one lane or sound. He channels socio-cultural realities with lyricism as sharp as his production choices, grounding his work in everyday politics and street vernacular often drawn from lived childhood isolation, silence, and later self-expression through rap and drawing.

Musical DNA: Style, Experimentation, and Sonic Identity

Danpapa GTA’s music occupies the liminal zone between Afrobeats, hip-hop, and experimental electronic production, a space that defies genre purity. Where mainstream Afrobeats often leans polished and universal, his sound revels in texture, mood, and structural unpredictability — long intros, odd beat switches, and intentionally unpolished pacing. Tracks from his ‘Genz Kuti’ era, following earlier releases like the Chanel EP and Pressure in 2024 and Balenciaga Kuti in 2025, display a willingness to fuse danceable rhythms with introspective lyricism and raw sonic palettes.

In particular, “Suffering & Smiling” showcases Danpapa’s ability to marry commentary with contagious energy, narrating societal frustrations over vibrant yet introspective production, a recurring theme across his catalogue.

What makes his approach distinct isn’t just genre blending; it’s how he uses sound as context. Trap-leaning beats become vessels for Lagos street humour; minimalist synths channel tension, and rhythmic play invokes both physical movement and emotional complexity. It’s music for hustlers, thinkers, internet natives, and city wanderers — a generation that doesn’t draw boundaries between global influences and local truth.

Breakout Single: “Ikeja (No Go Thief)”

Earlier this year, Danpapa GTA dropped what might be his defining moment so far: “Ikeja (No Go Thief)”, a song that refuses to be just a viral moment and instead stakes a claim as a cultural one. The hook, an earnest, cheeky, and utterly memorable refrain warning, “No go thief for Ikeja”, encapsulates Lagos’ sprawling contradictions: joviality, tension, hustle, and humour — a playful but pointed warning rooted in everyday street reality.

First teased in late December 2025, snippets of the track spiralled across TikTok, catalysed by creator use and early co-signs from figures across Nigeria’s creative spectrum including Odunsi, Lady Donli, and Dandizzy. That snowball effect turned the track into one of 2026’s earliest underground anthems, and its release, distributed by WeTalkSound, has sent ripples far beyond internet virality, including a strong debut on Spotify Nigeria’s viral charts.

Built on dynamic production, where Afrofusion meets spirited experimentation, “Ikeja” captures the everyday pulse of urban life while flipping it into art. 

Danpapa GTA and the Future of Nigerian Underground Music

There’s a larger context to his rise: the Nigerian underground is reshaping the musical conversation. Artists like Danpapa GTA, Zaylevelten, and others are blurring borders between Afrobeats, trap aesthetics, and internet-shaped listening habits. Listener priorities have shifted from strict genre loyalty to energy, authenticity, and feeling.

Danpapa GTA’s vision, one that channels street vernacular, internet culture, and incessant experimentation while carrying the quiet pressure of not wanting to fade after a viral moment places him at the forefront of this evolving wave. The mainstream may still chase Afrobeats formulas, but the underground is quietly building spaces where sonic innovation and cultural commentary cohere. That’s where the next big ideas in Nigerian music might just emerge.

Closing: The Pulse Beneath the Surface

Danpapa GTA represents a new kind of creative urgency: music as reflection, friction, and possibility. He absorbs his environment, Lagos, internet culture, and global rhythms and spits it back as art that feels raw, unfiltered, and undeniably now—often produced entirely by himself, driven by the fear of returning to silence.

Whether Danpapa GTA’s “Ikeja (No Go Thief)” becomes a commercial chart-topper is only part of the story. More compelling is how it signals a broader shift: Nigerian music’s next frontier will be dictated and shaped by voices who are unafraid to disrupt it. That’s where Danpapa GTA lives, right at the threshold of impact — a “Genuine Type of Artist” by name and intent.

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After years outside of mainstream conversation—following a run of celebrated early albums and hits—the Port Harcourt first son re-entered the spotlight through powerful collaborations and unforgettable verses that reminded the music world of his sonic prowess

What made this comeback so refreshing was its substance over strategies. Rather than relying on artificial media stunts or fleeting social media moments, Duncan Mighty returned with voice, lyrical depth, and a commanding presence that cut across generational tastes and industry silos.

A Hiatus, Then a Renaissance

Before 2018, Duncan Mighty enjoyed early acclaim with critically loved albums like ‘Fully Loaded (Koliwater)’ in 2009 and ‘Legacy (Ahamefuna)’ in 2010 — the latter fuelling tracks such as “Obianuju” and “Port Harcourt Son”, staples in Nigerian music history. After that peak, his national visibility waned as newer acts rose and the industry shifted toward faster-paced pon-pon beats. By 2017, many considered him a regional favourite rather than a mainstream force. 

Then came 2018.

Then, in 2018, an unexpected wave of high-profile features catapulted him back into the spotlight, earning him praise as one of Afrobeats’ greatest comeback stories. With the release of “Fake Love” featuring Wizkid, Duncan Mighty exploded back into relevance. Wizkid’s melodic prowess perfectly met Duncan Mighty’s raw, emotive verse, creating a track that dominated airwaves and reaffirmed Mighty’s relevance. That single kickstarted what many media outlets would later call a career renaissance.

In interviews following the track’s success, Duncan Mighty himself credited Wizkid for helping rekindle his broader appeal, by showcasing his enduring talent to a wider audience. Once the momentum began, Duncan Mighty became one of the most sought-after featured artists in Nigeria. His voice, lyrical flair, and distinct blend of Ikwerre-infused melodies made his verses not just welcome but coveted on records across the industry. 

Here are some of the key songs that defined Duncan Mighty’s collaboration surge in 2018:

 Standout Collaborations

“Fake Love” – Wizkid feat. Duncan Mighty

This track ignited everything. Produced by Killertunes, it pairs Wizkid’s smooth R&B vibes with Duncan Mighty’s heartfelt chorus and verse. Duncan’s lines about loyalty and fake relationships resonate deeply, and his melodic ad-libs elevate the song into an anthem. “Fake Love” topped charts, racked up millions of streams, and became the blueprint for the resurgence. Duncan himself credited it as the spark. Without this surprise Wizkid collaboration, the 2018 wave might never have happened. It’s the standout—soulful, replayable, and the perfect reintroduction.

“Aza” – DMW feat. Davido, Peruzzi & Duncan Mighty

Davido assembled his DMW crew, Peruzzi and himself with Duncan Mighty for this boastful money anthem. Produced by Fresh VDM, Duncan Mighty’s melodic bridge ties it together amid the energetic verses. It became a street favourite, proving his versatility beyond romance into braggadocio.

“Flenjo” – Lil Kesh feat. Duncan Mighty

Lil Kesh closed the wave with this laid-back, enjoyment-focused track, produced by Rexxie. “Flenjo” means “enjoy yourself”, and Duncan’s relaxed verse embodies that vibe perfectly. A fan favourite for its beer-parlour appeal, it capped Duncan Mighty’s run on a high note.

“Lova Lova” – Tiwa Savage feat. Duncan Mighty

Tiwa Savage’s sultry vocals meet Duncan Mighty’s charming response in this highlife-tinged duet. Lines like comparing love to “oil spillage” showcase playful chemistry. A massive hit blending Afrobeat and highlife, it dominated radio and clubs. Duncan Mighty holds his own against Nigeria’s leading lady, making it a resurgence highlight.

“Bio Bio” – Reekado Banks feat. Duncan Mighty

Reekado Banks tapped Duncan for this upbeat, dance-ready cut shortly after “Fake Love”. Duncan’s opening hook and playful verse add infectious energy, turning a solid track into a party staple.

The chemistry shines: Reekado’s youthfulness meets Duncan’s maturity. It kept the momentum going, showing his feature wasn’t a fluke.

“Gimme Love” – DJ Xclusive feat. Duncan Mighty

DJ Xclusive delivered a groovy, mid-tempo lover’s plea here. Duncan’s passionate delivery on the chorus—“Gimme love, make I feel alright” makes it irresistible. Self-produced with masterful mixing, it highlights Duncan’s ability to enhance romantic tracks. A solid entry that reinforced his hot streak.

“Uju (Remix)” – B-Red feat. Duncan Mighty

B-Red remixed his earlier single “Uju” by adding Duncan Mighty, transforming it into a bigger hit. Duncan Mighty’s verse and backing vocals bring emotional weight and cultural flair. This under-the-radar gem exemplifies how his presence upgraded good songs to great ones, especially in love-themed Afrobeats.

Overall Impact

What made this resurgence surprising? Duncan Mighty hadn’t released a major solo hit in years, yet starting in mid-2018, top artists sought his signature touch—his emotive hooks, cultural depth from the Niger Delta, and effortless blend of romance and street wisdom. His collaborations injected freshness into a scene growing formulaic, proving his style remained timeless.

Duncan Mighty’s 2018 resurgence was surprising because it felt organic yet explosive—driven by one viral collaboration that snowballed into a movement. In an era when many artists revive careers with contrived narratives or overexposure tactics, Duncan Mighty’s 2018 resurgence is a testament to artistry and respect — and a reminder that a powerful verse still speaks louder than any marketing ploy.  The “Port Harcourt First Son” reminded everyone why he was mighty in the first place. Many of these remain classics, and his comeback stands as a testament to talent enduring beyond trends.

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From South Africa’s chart-dominating dance floors to Kenya’s alternative underground, from Nigeria’s melody-driven storytelling to Congo and Ghana’s genre-bending voices, these are the Afromixx Big 7.

Ciza (South Africa)

Ciza’s rise feels inevitable in hindsight, but his 2025 run was the kind that redraws the map in real time. Born Nkululeko Nciza in Benoni, South Africa, Ciza grew up immersed in music, his mother a member of Mafikizolo, his father a former record executive. That foundation shows in his work: instinctive and polished.

His sound lives at the crossroads of Afrobeats, house, amapiano, and DJ culture, engineered for movement and atmosphere. While earlier releases like “Come Alive” and “Adje” hinted at his potential, it was “Isaka (6am)” that turned promise into dominance. The Jazzworx and Thukuthela-assisted single became one of 2025’s biggest African records, topping Spotify South Africa’s most-streamed songs list, driving viral dance trends, and soundtracking clubs well beyond the country’s borders.

The success of “Isaka (6am)” extended well beyond the digital space. Ciza followed it with high-profile performances, awards recognition, and a remix run that pushed him deeper, even into West African consciousness. By the end of 2025, Ciza was now more than a South African breakout; he was a continental fixture.

As 2026 unfolds, Ciza stands at the edge of something larger: a debut album moment and a shift from hitmaker to defining voice in Africa’s club-forward soundscape.

Zee Nxumalo (South Africa)

Zee Nxumalo’s ascent is rooted in precision, knowing exactly when to lean into vulnerability and when to let rhythm lead. A Swazi–South African singer with a growing reputation for emotional clarity, Zee has spent the last few years threading amapiano, Afropop, and soulful vocal textures into a sound that feels both intimate and expansive.

Her breakthrough arrived decisively in 2025 with “Ngisakuthanda” featuring TBO. The record resonated instantly, topping Apple Music South Africa and Shazam charts, while amassing millions of streams across platforms. More than a hit, it became a cultural moment, finding space on radio, in clubs, and in the emotional vocabulary of its listeners.

Beyond the numbers, 2025 positioned Zee Nxumalo as a serious contender: award nominations, increased brand visibility, and a growing international listener base. What sets her apart is control and her ability to balance mainstream appeal with musical restraint.

In 2026, Zee Nxumalo will be solidifying her place with a sound that travels easily and a growing audience already tuned in, representing South Africa’s next wave of export-ready voices.

Shoday (Nigeria)

Shoday’s journey reflects a modern Nigerian artist’s arc: internet-native, culture-aware, and rooted in storytelling. Born Shodade Solomon Segun in Lagos, he initially gained attention through online content before music became his primary language, a background that still informs his work: conversational, observant, and emotionally direct.

Musically, Shoday operates within Afro-fusion and contemporary Afrobeats, but with a focus on melody and reflection. Early songs like “Dey 4 You” introduced him to a growing audience, while “Caution” and its remix with Skiibii expanded his reach across Nigeria’s mainstream corridors.

In 2025, Shoday sharpened his profile with consistent releases, live performances, and a steady rise in streaming traction. Tracks like “Gaddem” reinforced his ability to sit comfortably between pop accessibility and personal narrative, earning him attention as one of Lagos’ quietly dependable new voices.

As Afrobeats continues to globalize, artists like Shoday – grounded, melodic, and emotionally fluent – are increasingly valuable. 2026 could be the year his consistency translates into a defining continental breakout, a journey he has kickstarted with a fresh release, “Paparazzi”, featuring Fola.

Rebo Tchulo (Democratic Republic of the Congo)

Rebo Tchulo’s presence is a refreshing one that carries musical and cultural weight. Born Deborah Tshimpaka Mulanga, the Congolese singer and performer emerged from gospel roots before finding her voice in a blend of Ndombolo, rumba, R&B, and hip-hop-influenced pop. Her music is expressive, confident, and deeply connected to Congolese rhythm traditions.

Before 2025, Rebo had already built recognition with songs like “Cœur Fragile” and “Pepele”. But last year marked a pivotal shift: her signing to Def Jam Africa signaled a broader continental and global intent. The release of “Antidote” introduced her to new audiences while reinforcing her ability to modernize Congolese sounds without diluting their essence.

Rebo Tchulo’s appeal lies in a balance of tradition and modernity, performance and vulnerability, local identity and global ambition. With label backing and growing visibility, 2026 presents an opportunity for her to redefine how Central African pop music travels beyond its borders.

tg.blk (Kenya)

Emerging from Nairobi’s underground scene, tg.blk operates in the space between alternative hip-hop, R&B, and experimental soul, prioritizing texture, mood, and lyrical depth over formula. She represents a different kind of momentum, one driven less by charts and more by cultural gravity. 

tg.blk spent 2025 building critical buzz through carefully curated releases, playlist features, and word-of-mouth acclaim. Her work resonates with listeners seeking something outside the dominant Afro-pop framework, music that feels personal, introspective, and intentionally unpolished.

Kenya’s alternative scene has been quietly expanding, and tg.blk sits at its core. As global audiences grow more receptive to African artists who don’t fit neat genre boxes, 2026 could be her year to step from cult favourite to continental conversation.

Mavo (Nigeria)

Mavo’s rise in 2025 was one of the most electric and fast-breaking narratives in contemporary Afrobeats. Born Oseremen Marvin Ukanigbe in Ekpoma, Edo State, Nigeria, the 22-year-old artist has balanced dual worlds, pursuing a degree in optometry at Afe Babalola University while igniting the Afrobeats scene with a style he calls “Burbur Music” — a bold fusion of Afrobeats, rap, street slang and melodic instinct that feels both rooted in Nigerian streets and primed for global stages.

What began with viral energy soon became chart dominance. Mavo occupied the top three spots on the Apple Music Nigeria Top Songs chart with “Money Constant” (featuring DJ Maphorisa, DJ Tunez and Wizkid), “BODY (danz)” (with CKay), and the remix of his breakout hit Shakabulizzy featuring Davido.

His signature track ‘Escaladizzy’ defined his year: a fast-tempo anthem that became a cultural phrase online and dominated TikTok, eventually inspiring the star-studded Escaladizzy II remix with Ayra Starr, Shallipopi and Zlatan.

2025 also delivered a major career milestone with Billboard naming Mavo its African Rookie of the Month, a recognition reserved for the continent’s most compelling breakout talents. What sets Mavo apart is not just his effortless charm on hook-driven tracks, but the culture he builds around his music: slang-heavy, playful, and immediate, creating a language and identity embraced by a generation hungry for fresh expression. As 2026 unfolds, Mavo is poised to transform buzz into staying power as a young voice who’s already shaping how Afrobeats sounds, talks, and moves.

Gonaboy (Ghana)

Gonaboy’s music is grounded in identity. Born Abdul-Razak Muniru, the Ghanaian rapper blends hip-hop, trap, and African rhythmic sensibilities, delivering lyrics shaped by resilience, ambition, and lived experience. His breakout street record, “Abele”, introduced him as an artist unafraid to speak plainly and powerfully.

In 2025, Gonaboy expanded that foundation with the MUNIRU EP and singles like “Same Timbs”, refining his sound while broadening his audience. His feature on Apple Music’s Rap Life Radio marked a significant moment, situating him within a global hip-hop ecosystem beyond Ghana’s borders.

What makes Gonaboy compelling is his adaptability, one that is street-rooted but globally minded. As Ghana’s hip-hop scene continues to evolve, he stands out as one of its most promising bridges to wider markets in 2026.

The Afromixx Big 7 are unified by trajectory, each bringing distinct regional flavours and global potential to the table. Their 2025 breakthroughs are not isolated sparks but foundation stones for 2026 growth, spanning chart dominance, strategic signings, media visibility, and genre innovation. Together, they reflect where African music is headed.

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Lekompo is not just a BPM; it is a middle finger to the polished, "soft life" aesthetic of Johannesburg. It is the sound of the Limpopo "trenches," finally demanding its seat at the table of global electronic music.

Lekompo at a Glance 

What is Lekompo Music?

Lekompo is the sonic manifestation of rural rebellion. While often compared to Amapiano, Lekompo is technically distinct, blending the melodic structures of Bolo House with the frantic speed of Shangaan Electro and the heavy percussive "log drums" of modern dance music.

The name itself is a reclamation. Originally, "makompo" was a derogatory term for those living in labor compounds. By naming their genre after this struggle, artists have transformed a badge of poverty into a symbol of street-smart authenticity.

The Genesis of the "Compound" Sound

To understand Lekompo, you must understand the word Makompo. Historically, it was a slur, a term used to belittle the migrant laborers who lived in the single-sex worker compounds of the mining and farming belts. To be called a Lekompo was to be called "unrefined," "backward," or "dirty."

But in a classic act of cultural alchemy, the youth of Limpopo led by artists who grew up in the shadow of these very compounds have reclaimed the word. They’ve turned "unrefined" into "authentic." The music mirrors this history: it is "dry" (lacking the expensive reverb of studio-produced house) and "fast" (mimicking the frantic energy of a weekend spent trying to forget a week of hard labor).

It is the evolution of Bolo House, but where Bolo House was melodic and often romantic, Lekompo is percussive and confrontational. It is the marriage of Shangaan Electro’s 130+ BPM speed and the Amapiano log drum, stripped of its jazz influences and replaced with the raw, piercing synths of European hard-techno.

Lekompo vs. Amapiano: Key Differences

People frequently ask: "Is Lekompo just fast Amapiano?" The answer is no.

1. Speed: Lekompo is significantly faster, averaging 130 BPM, whereas Amapiano sits at 112-115 BPM.
2. Texture: Amapiano uses smooth "Private School" piano chords. Lekompo uses gritty, sharp synthesizers reminiscent of early 2000s disco and Bolo house.
3. Vibe: Amapiano is for the "Chill & Lounge" culture; Lekompo is for the "High-Energy Dancefloor."

The Pioneers: Artists Championing the Sound in 2026

To understand the movement, you must know the figures currently holding the torch. These artists have bypassed traditional record labels, using WhatsApp and TikTok to build massive, cult-like followings.

Makhadzi: The Matriach and The Global Bridge

While new stars dominate the charts, Makhadzi remains the certified star of the movement and its most vital bridge to the global stage. Having started her career performing at taxi ranks for pocket change, she embodies the "Miracle Child" narrative of the Makompo.

In 2025 and early 2026, Makhadzi’s role has shifted from artist to "canonical genre-shifter." Her BET Award win wasn't just a win for her; it was a validation of the entire Limpopo sound. By collaborating with younger titans like Kharishma and Shebeshxt on tracks like "Queens Lekompo" and "Tlala," she has provided the movement with institutional weight. She is the proof that the Venda and Pedi tongues are not regional dialects, but global hit-making languages.

Kharishma: The Queen of Lekompo

While the genre is often associated with hyper-masculinity, its most powerful figure is a woman. Kharishma has become the undisputed "Queen of Lekompo" by doing something radical: she made the genre vulnerable.

In her 2025/2026 run, Kharishma has moved beyond simple club bangers. Her songwriting in Sepedi and Khelobedu functions as a mirror for the rural South African woman. In tracks like "Chokeslem," she doesn't just provide a beat for the tavern; she provides a soundtrack for survival, tackling the epidemic of gender-based violence (GBV) with a grit that mainstream artists often shy away from. Her voice—powerful, staccato, and soaring above Ba Bethe Gashoazen’s distorted production is the primary reason Lekompo has successfully crossed over from regional curiosity to national anthem.

Ba Bethe Gashoazen: The Architect of the Log Drum Evolution

If Kharishma is the voice, Ba Bethe Gashoazen is the brain. As a primary producer for the genre's biggest hits, Gashoazen's signature is the "Tribal Log Drum," a more distorted, rhythmic version of the Amapiano bassline. His 2026 collaborations with artists like Makhadzi have successfully brought the "village sound" into the global electronic music conversation.

The Shebeshxt Phenomenon: Folk Hero or Cultural Chaos?

No editorial on Lekompo is complete without addressing Shebeshxt. If Kharishma is the genre's soul, Shebeshxt is its unbridled, chaotic id. Born in the streets of Lebowakgomo, Shebe (Lehlogonolo Chauke) represents the "anti-hero."

He is the tatted, shirtless face of the Makompo identity. To his fans, he is a folk hero who survived the prison system and the "streets" to become a superstar. To his critics, he is a cautionary tale of the dangers of glorifying "tavern culture." His 2025/2026 legal battles and his polarizing presence on social media haven't dimmed his star; they’ve brightened it. He represents the "unfiltered" truth that Lekompo promises a rejection of the "fake" celebrity lifestyle in favour of a raw, often dangerous, reality.

The Architects: Producers Who Defined the 2026 Era

The shift in 2026 has been toward technical sophistication without losing the "dirt." The producers are the unsung engineers of this movement.

• Ba Bethe Gashoazen: The "Godfather" of the sound. His signature is the stutter-step log drum. He was the first to realize that Lekompo could be polished enough for a Sony Music contract without losing the tavern grit.
• Naqua SA & Buddy Sax: These are the underground purists. Their tracks are often released as 2-minute snippets on WhatsApp, designed to be played at maximum volume on distorted speakers. They prioritize the "kick"—a bass sound so heavy it’s felt in the chest before it’s heard in the ears.
• Tribby Wadi Bozza: Known for incorporating elements of Manyalo (wedding music), Tribby has ensured that Lekompo remains tied to the traditional Pedi and Venda ceremonies, making it a multi-generational phenomenon.

Why Lekompo is the Future of the Global South

As the world becomes more digitized, there is a global hunger for music that feels "human" and "unrefined." We see this in the rise of Gqom years ago, and we see it in the global fascination with Latin American Funk Carioca.

Lekompo is South Africa’s entry into this global "Hard Dance" movement. It is music that doesn't care about radio edits or corporate sponsorships. It is an ecosystem built on TikTok virality, WhatsApp distribution, and Nike-clad loyalty. In 2026, Lekompo has proven that you don't need a studio in Johannesburg to change the world you just need a laptop, a heavy bassline, and the courage to speak for the forgotten.

Why 2026 is the "Year of the Lekompo"

In early 2026, we are seeing a "War of the Beats". As the world becomes accustomed to the slower "Private School Piano", the club scene is craving the high-octane energy that Lekompo provides.

Pro-Tip for Producers: Lekompo's signature is the "rickety rhythm." It sounds like a machine in motion, perfect for the 2026 trend of high-intensity fitness and viral dance challenges.

FAQ: Everything You Need to Know

Q: Where did Lekompo originate? 

A: It originated in the rural compounds of Limpopo, South Africa, evolving from traditional wedding music (Tsa Manyalo) and Bolobedu House.

Q: What are the best Lekompo songs of 2026? 

A: Currently trending tracks include "Rato Laka" (Zee Nxumalo), "Ke Chaba Boloi" (DJ Call Me ft. Shebeshxt), and "Sdudla or Slender" (Shandesh).

Q: Why is Lekompo becoming so popular? 

A: Its rise is fueled by its high-energy nature which is perfect for short-form video platforms like TikTok, and a growing global interest in "authentic, raw" African street sounds over polished studio pop.

Q: Where can I see Lekompo live?

A: Look for the "Lekompo Balcony Mix" in Pretoria or the "Lekompo Music Festival" which holds major crossover events in Limpopo.

Lekompo is more than a trend; it is a testament to the resilience of Limpopo’s creative spirit. It is a reminder that the most powerful art doesn't always come from expensive studios—it comes from the places people work, live, and struggle. As the world turns its ears toward South Africa, Lekompo stands ready to shake the floor.

The post Lekompo: The Revolutionary Sound From South Africa appeared first on Afromixx.

This year in music has delivered a restless mix of moments, especially in the quality of releases. Stakeholders have held wildly polarizing opinions on almost everything: singles, albums, collaborations, even the number of crossover records breaking out of the continent. Some insist it’s a sign of declining quality in West African music, that Afrobeats is losing its essence.

But in the midst of the proclaimed gloom from consumers and critics — and the excessive glut of low-quality drops every New Music Friday across Afrobeats’ sprawling subgenres — a few rays of light have cut through. Here and there, new shrubs of genius have sprung from the now desert-like sonic soil, offering work that feels novel yet deeply resonant. Some of these new acts have, knowingly or not, birthed a new genre in the process of experimenting. One of the most striking of them is Zaylevelten.

Zaylevelten, born Chisom Lucky Okoro, has carved out a niche sound that could only have mutated from sheer instinct, a spark of curiosity, and countless iterations. The result is a level of execution in production, pen, and performance that feels almost clinical. A producer (under the alias “Tenski”) and a rapper rolled into one, his sound is an impossible leap that somehow works. It feels thrilling, borderline unreal, like an idea that should only make sense on paper but somehow exists, fully formed, in the real world.

It’s this novelty, originality, and odd relatability that fuels the mass adoption of his music. For an independent, underground act to funnel so quickly into mainstream visibility is as awe-inspiring as it is improbable.

Zaylevelten’s rise is more than a breath of fresh air; it’s a spotlight on the quiet revolution brewing in the underground. Like him, these artists are alchemists, patiently distilling ideas into experiments that eventually find pockets of devoted communities. When Zaylevelten debuted in 2024 with “No Gree”, a cloud-rap-leaning record clearly influenced by the likes of Playboi Carti and Travis Scott, he bent a subgenre of hip-hop into a fine blend of his own “unique offering of escapism” inviting listeners to live vicariously through semi-relatable tales of reckless vice and hedonistic lenses that many young Nigerians understand intimately. It’s impossible to pinpoint the singular element that converts casual listeners into fans: the quotable lyrics? The high-end, self-steered production? The world-building? The branding? Probably a constellation of all those things.

Across his discography, one thing is clear: Zaylevelten knows the sound he wants to make. He’s never watered it down. His sonic DNA sits confidently at the core of each release, only evolving into what now feels like an eerily predestined tale of mass adoption. His progression from project to project reads prophetic: from the ‘l0cked 1n’ EP in July 2024, to his debut LP ‘bef0re 1t g0t crazy’ that October, to its deluxe a month later. By the time he doubled down with his second studio album, ‘then 1t g0t crazy’ in October 2025 infused with more native textures, bold experimentation, but an even finer execution — it felt like he’d been sitting on a fully matured sound waiting for the world to catch up. The project didn’t just win him overdue attention; it birthed the deluxe 'then 1t g0t crazier'. And if all this seems too perfectly timed to be accidental, that’s because very little about Zaylevelten’s ascent feels unplanned.

From the very first listens, ‘then 1t g0t crazy’ doesn’t hide how much of an experimental work it is; it is messy in a carefully crafted, intentional way. The production is dusty, glitchy, alté-inflected, trap-tinged, and sometimes disorienting: you get synths that wobble, percussion that lurches unexpectedly, bass that hits like a punch, melodies that float and don’t settle. That uneasy, restless energy makes the project feel more like a psychedelic experience than an album.

Zaylevelten’s “then 1t g0t crazy” rawness is its greatest strength. The unpredictability keeps a listener on edge, demanding that they surrender to the lore and lean in. That ambivalent nature specifically in delivery makes listening to the full tape an immersive, slightly disorienting ride.

Moreover, his cadence and flow feel like they’re carved to match the beat—jittery when the beat jitters, smooth when the beat lets go. There’s aggression when needed, melancholic haze when the mood shifts, and that sense of an artist refusing to conform to preexisting standards. What makes ‘then 1t g0t crazy’ stand out is that Tenski, his alter-ego/producer tag doesn’t just perform on pre-built instrumentals — he builds many of them, with tracks like “Pawon”, “Bali”, and “Fly” being self-produced. That level of control, writing, producing, and engineering means the project feels like a singular vision, a sonic world built from the ground up. The result is a sense of intimacy and rawness: you hear choices and textures that coalesce into mood.

Because the project is so textured linguistically, sonically, emotionally — each listen unearths a new detail. What might sound chaotic the first time slowly reveals patterns: a lingering melody here, a subtle ad-lib there, an unexpected language switch, a shift in energy. The tension between familiarity and alienness becomes its charm that a listener never outgrows, because every time they return, they find something else.

In many ways, Zaylevelten is both the artist and the architect of his rise, building the world he performs in, brick by brick, under his producer alter ego, Tenski. That duality is part of the lore: the rapper who also sculpts his own soundscape, the hitmaker who whispers his own calling card into the music. And as his producer tag, that now-famous “Tenski save me”, continues to echo across clubs, cars, and TikTok edits, it increasingly feels less like mere words and more like a prophecy. And, if there’s any saving to be done, it’s Zaylevelten saving the rest of us from the monotony of the current soundscape, one chaotic, brilliant iteration at a time.

The post Zaylevelten: The Underground Alchemist Redefining Nigeria’s Sonic Future appeared first on Afromixx.

Below we've curated a list of 10 signatures songs and dances that defined Nigerian pop culture from Skelewu to Shoki.

Alanta – Raymond King Gbaji (2009)

Before there was social media virality, there was the chaotic ‘Alanta’; a dance so comically expressive it looked like physical satire. “Alanta” is an early example of a home-grown Lagos street step that lives in party archives. The dance move which accompanied Raymond King Gbaji’s 2009 smash hit ‘Alanta’ thrived not only because of the song’s groove but because it was easy to copy, funny to film and perfect for small-screen loop culture, the pre-Instagram viral era. The move was built around limp limbs, sharp arm swings, and a deliberate lack of coordination that somehow synced with almost any upbeat song from that era, persisting as a street staple and influence for later novelty dance tracks.

Till date, the “Alanta” dance routine remains a street invention immortalized by noise, humour, and swagger, a chaotic dance move that walked so other chaotic steps could run.

Skelewu – Davido (2013)

Davido’s “Skelewu” is one of the textbook Afrobeats examples of artist-led choreography becoming a countrywide phenomenon. Following the release of the song in 2013 and the creeping advent of social media, 'Skelewu' became the first Afrobeats dance raised in the algorithm, with a deliberate mission to turn rhythm and groove into dance ritual. As a quick follow up of the song’s success Davido ran a nationwide dance contest and an instructional choreography video, effectively gamifying Nigerian pop before it became a marketing playbook. The Skelewu dance routine involved a casual shoulder pop, chest roll, and wrist wave that spread fast like a pandemic. The official tutorial also came with a cash prize competition that turned Skelewu into a YouTube and street festival staple picked up by footballers and influencers and even remixed by international producers. Two months after the release of the instructional dance video, Davido released the official music video which intensified the momentum of the song and dance move, inducting Skelewu into Afrobeats dance hall of fame.

Kukere – Iyanya (Etigi, 2013)

'Kukere' was released as Iyanya’s breakout lead single, tied to his 2013 ‘Desire’ album cycle first circulated from 2011 into 2012 before blowing up. Iyanya’s Kukere is a sterling example of how regional dances in this case from the South-South, can be packaged for national consumption. Rooted in Efik street-party movement, Kukere champions exaggerated waist/hip rolls and a swaggering stomp — the Etighi variant emphasizes shoulder and arm phrasing over the hips.
 

Kukere saw Iyanya’s reframe a local carnival energy into pop star choreography, from clubs to concerts and wedding parties, he mainstreamed the Etighi dance from Calabar into the national spotlight. The success of the song came with a wide adoption of the dance style, and the dance helped Iyanya cross from an industry insider to mainstream headliner. The song’s breezy tempo and Tekno’s production gave Etighi’s waist-driven motion the sonic freedom it needed to flourish, with Iyanya’s polished delivery wrapping a local movement in pop gloss, and listeners responded with their hips first.

Azonto – Fuse ODG (2013)

No dance carried West Africa’s soft power quite like Azonto. Born in Ghana, Fuse ODG’s 2013 global hit came with a dance style that soon turned the into a pan-African export. It wasn’t one step but a sort of vocabulary — quick, narrational hand gestures and nimble footwork that can mime everyday life. Azonto was super-versatile and endlessly customisable by dancers. While the dance itself is believed to have originated in Ghana earlier, Fuse’s single feat. Itz Tiffany which was globally released and promoted in 2013 brought Azonto to UK/African party circuits.

Azonto stands as a continental case study of how a dance can become a global export. From Accra to London, Azonto was freedom of expression disguised as a dance craze that permeated weddings, university parties, diaspora circuits, and Fuse’s song became its anthem

Alingo – P-Square (2013)

P-Square’s 'Alingo' felt like a choreographer’s fever dream with its fast, complex, and synchronised steps that only the Okoye twins could pull off without dislocating something. Released in 2013, Alingo built on their showmanship and took cues from the Azonto wave, sparking debates on dance originality across Ghana and Nigeria. The Alingo moment showed how a major pop act can package a new step as a brandable dance. The Alingo dance moves were choreographed, televised and then scrutinised for similarity to other dances, particularly “Azonto” which originated from Ghana. However, there was no denying that Alingo rapid, tightly synchronized leg patterns combined with fast upper-body accents was designed for spectacle, and belonged on big stages, in award performances, in every moment that made Nigerian pop feel cinematic.

Shoki – Lil Kesh (2014)

At a pivotal era in Lil Kesh’s music career which saw him dominating the streets’ nooks and crannies  with several hits came a pop dance style Shoki that swept across the country like wildfire, with both young and old embracing and participating in the chaotic dance routine. Shoki an aggressive foot-stomp and lean with a quirky arm flick became shorthand for the new Lagos street energy. It was streetwise and deliberately adolescent; made to be performed individually and in groups spurring dance challenge, submissions and viral video clips. Shoki particularly connected with the youths, exploding in schools, clubs and on the internet. YBNL’s youth marketing utilized remixes, high-energy visuals and celebrity shout-outs) made the dance a generational cue with a whole street grammar form around it. The remix culture featuring bigger artists amplified the move across playlists and live sets. When Lil Kesh dropped Shoki in 2014 under YBNL, he gave Nigerian teens their first viral identity. And everyone from colleagues like Davido and Wizkid had their own Shoki moment, and for a brief time, it seemed every party was a Shoki Olympics. Rightly so, Shoki was youth culture at its most electric.

Bobo (Shakiti) – Olamide (2015)

Olamide has always been a bridge between street rap and pop, and Bobo was his most graceful merger yet. The “Shakiti Bobo” move, a half-jump/half-kick step with sharp hand snaps immediately became not only a Lagos mainstay but more than half the country’s. Released 2015, during the ‘Eyan Mayweather’ era; the phrase “Shakiti Bobo” tagged the dance in press and street conversation, re-anchoring rap-led dance moves into mainstream party culture. “Bobo” was a street anthem that carried dance crews and became shorthand for YBNL’s brand of Lagos energy  equal parts hype, studio craft and visual swagger. The dance move reinforced how rappers (not only pop stars) could engineer viral steps. Shakiti was easy enough to mimic, yet kinetic and designed to read well on camera.

With Olamide’s bars carrying his usual street lingo, the dance gave it life, ultimately making a soundtrack for self-assured cool, one that captured the swaggering optimism of mid-2010s Afropop.

Sekem – Mc Galaxy (2016)

Few songs have been as unserious and effective as Sekem. Released around 2014 but finding full cultural bloom by 2016, Mc Galaxy’s Sekem was goofy, catchy, and magnetic. The dance itself looked like freestyle gymnastics, complete with shoulder rolls and jumpy footwork accompanied with a comic chant turned popular hook. But beneath the humour was precision and a deliberate play on how unseriousness can become a brand and Mc Galaxy built a short-lived but powerful empire off it. Sekem — an acrobatic-lean and leg flick with a catchy arm signature visual shorthand soon became a popular staple, that eventually gave birth to a remix and collaborations.

Gaga Shuffle – Larry Gaga ft. 2Baba (2017)

Gaga Shuffle ,  hybrid of smooth shuffle footwork and coastal Galala / party steps designed to be danced in slow-to-mid tempo settings was popularised in 2017 via 2Baba’s single that credited Larry Gaga’s party routine, amplifying the move in the official music video. Gaga Shuffle shows the older-generation artist folding a newer street step into mainstream pop. By naming and centring the move in a 2Baba single, Larry Gaga’s party choreography reached a wider demographic of club dancers, celebrities, and cross-generation dance floors. Gaga Shuffle is an example of a cultural handoff that involved a laidback half-shuffle, half-sway made for champagne lounges, and mature dancefloors reminded everyone that grown folks still had groove.

Zanku (Legwork) – Zlatan (2018)

Then came Zanku, the dance that turned stamina into art. Short for “Zlatan Abeg No Kill Us,” it was part workout, part warfare, legs kicking, arms swinging, feet stamping like they had something to prove. Zlatan’s 2018 breakout not only gave Afrobeats its most kinetic era since “Shoki” but redefined Lagos street identity. Zanku became a subculture, birthing sound packs, and slang. Zlatan’s brand and the shorthand “Zanku” — “Zlatan Abeg No Kill Us” quickly attached to both the song and the dance. The dance was a movement of sweat, pride, and full-throttle energy that announced the streets were now the main stage.

Zanku, the signature “legwork” shuffle that ends with a quick leg kick and poses; energetic, aggressive and readily personalised by each dancer became one of the most durable Nigerian dance exports of the late 2010s.  With it arrived Zlatan’s larger-than-life ad-libs and a DIY street aesthetic, and the move quickly became an entire wave: producers borrowed the rhythm, club DJs looped the legwork, and Zlatan turned the brand into a record label name and album title. Zanku is the kind of dance that birthed subcultures (local crews, branded challenges) and reinforced the Lagos mainland sound as pop culture fuel.

The post 10 Signature Songs and Dances That Defined Nigerian Pop Culture appeared first on Afromixx.

Zlatan, who has had one of the most successful breakout year in Nigerian music, rose to prominence after collaborating with Chinko Ekun and Lil Kesh on “Able God”, and later releasing the smash single “Zanku” in October 2018, a song that birthed a viral dance and cemented his name in the mainstream. That success culminated in the release of his 17-track debut studio project of the same title, ‘Zanku’. Although, it wasn’t Zlatan’s first foray into the music scene, having previously participated in rap competitions and released a record with Nigerian rap veteran Olamide in 2017 titled “My Body”, ‘Zanku’ marked a significant turning point in his career.

For a rap artist in Nigeria, his newfound success in the years 2018/2019 and its subsequent ripple effect were rare. Only a few rappers have managed to break the mold and attain the kind of mainstream success that allows them to rival popstars. Save for Olamide (Baddo), who redefined the possibilities for rap artists in an industry dominated by Afrobeats, only a select few including Zlatan have managed to replicate such success. Known for his gritty lyrics and energetic delivery, Zlatan has sustained a strong presence in the music scene by leaning into a familiar hip hop template that cleverly infuses pop sensibilities, producing what can be regarded as “melodic rap” in the Afrobeats context.

However, with his success came a change in social standing, one that mirrors a grass-to-grace story that unfolded before the eyes of some of his listeners in real time. Born into a low-income family in Ikorodu, Lagos State, Zlatan defied all odds with nothing but his talent, determination, and a burning desire to succeed, a tale that many would consider the Nigerian dream. It is from this state of reflection that Zlatan delivers his third studio album, ‘Symbol of Hope’. He reaches deep into the well of self-reflection with the vulnerability of a therapy session, musing on his life’s journey and crafting a 15-track album that reads like pages from a personal diary. On ‘Symbol of Hope’, Zlatan acknowledges and chronicles the many milestones in his career — his growth as a son, father, and friend. But beyond the self-awareness and documentation of his transformation, Zlatan is intentional about his message: this third studio album is meant to serve as a nudge to keep going; a beacon of light, a Symbol of Hope.

A Review of the Album: Symbol of Hope

The 42-minute album opens with the tuneful “Pay Day”, where Zlatan reflects on his newfound financial stability. Together with Chechdaproducer, he creates a soulful opener; a beautiful blend of sing-rap delivery, choral backups, and uplifting progressions that elevate both the lyrics and the listener. ‘Symbol of Hope’ soon dives into its recurring themes of introspection and life’s harsh realities, particularly on “Demons” featuring one of this generation’s vocal powerhouses, Qing Madi. The track opens with stirring guitar chords that set a somber mood, while Qing Madi’s piercingly rich vocals create a haunting backdrop for Zlatan’s 32-bar verse.

“Oyoyo” finds Zlatan in celebratory mode, delivered over an upbeat production laced with heavy percussions and log drums by Telz. Here, he reflects on his humble beginnings, the challenges he’s overcome, and his gratitude for how far he’s come. He raps, “From Ikorodu to America,” painting vivid pictures with the scantiest words. The energetic “Jeserawa” carries the delivery flair of vintage Zlatan, crafted for the dancefloor with persistent adlibs evocative of his 2019 sound. It’s also the only track that assembles multiple guest features, with Zlatan and Idowest delivering raw, street-hop energy that balances out Shallipopi’s and Terrythevoice’s lighter contributions. Produced again by Chechdaproducer, “Jeserawa” is buoyed by familiar bounce and a club-ready feel that fits its recklessly sensual tone.

On the fifth track, “Hip Hop Messiah” a heavy Amapiano collaboration with Afrobeats hitmaker Davido, Zlatan makes a statement, though not in the way rap purists might expect. Contrary to the title, the track leans into pop territory, with Zlatan opting for a sing-rap template that has consistently worked for mainstream rappers. Davido anchors the song effortlessly, creating a balance between star power and melodic depth.

The album maintains a steady flow, playing it safe without veering into experimental or overly climactic territory. It transitions smoothly into “Get Better”, featuring Fola, one of the most commericially successful artists of the year. Helmed by Chechdaproducer, “Get Better” continues Zlatan’s grass-to-grace narrative, offering glimpses of his inner monologue during moments of struggle, perseverance, and mental tenacity. Fola’s somber yet motivating chorus complements Zlatan’s reflective tone, creating a resonant piece about resilience.

Seventeen minutes into ‘Symbol of Hope’, the project takes an intriguing turn on “Diamond”, an Afrobeat-inspired track deeply nostalgic and evocative of Lagbaja’s folk soundscape. With its fusion of percussions, saxophone, flute, and rich bass guitar, “Diamond” marks one of the most complete songs on the project, and a testament to Chechdaproducer’s range. The album’s newly found momentum continues with “Paypal”, where Zlatan delivers braggadocious verses in a melodic cadence that almost outshines Mayorkun’s contribution. The Semzi-produced track is sleek and confident, further showcasing Zlatan’s position as an artist who effortlessly straddles rap and pop.

“Odeshi” follows, maintaining the album’s pulsating energy, while “Till Thy Kingdom Come” pivots to a more spiritual tone, a gratitude-filled track layered with trumpets, log drums, and gospel-inspired backup vocals that give it a Pentecostal edge.

Zlatan introduces a new flavour on the 11th track, “Genesis”, incorporating percussion and flute peculiar to Nigeria’s southern region to craft a highlife/Igbo-pop fusion. Here, Flavour thrives within his natural sonic terrain, while Zlatan continues to explore his recurring themes of reminiscence, gratitude, motivation, and resilience. The project then moves into the fourth of its six lead singles, “Happy Day”, a playful, celebratory record built on bouncy percussion and intentional rap verses.

“Bebe”, featuring Victony, opens with a smooth, flirtatious vibe that’s pure Afro-fusion charm, as Zlatan and Victony trade verses over a breezy beat laced with melodic hooks and subtle percussive elements. Building on that momentum, “Gimme Your Love” dials up the energy into a high-octane party anthem that feels both nostalgic and fresh. Reuniting with his mentor Olamide, Zlatan crafts a record brimming with Afro-fusion rhythms, infectious ad-libs, and a chorus begging for replay — “Come gimme your love, fún mi je.” Olamide’s verse, dripping with swagger and wit “The boy’s hot dripping Gucci, not mad”, steals the show.

The reflective closer shifts gears into introspective street gospel, weaving faith, grind, and gratitude into a soul-stirring anthem. Over a blend of Afro-fusion and subtle highlife nods, Zlatan delivers authoritative bars on perseverance and divine favour, looking back at his Ikorodu roots with raw honesty. BhadBoi OML’s emotional vocals and storytelling chorus adds haunting depth with his tone transforming the hook into a mantra of triumph. The production is sparse yet powerful, allowing the lyrics to breathe while building to euphoric drops that evoke old-school Galala vibes with modern polish, and ties the project’s ethos together.

For Zlatan, every taste of success drawn from Afrobeats’ influence has come with a degree of conformity that distances him slightly from the essence of a rap artist. Hence, it remains debatable whether Zlatan is truly rap’s messiah, as he claims to be on the album. However, his journey, from a child born into a low-income household to one of Nigeria’s most successful mainstream rappers, objectively positions him as a 'Symbol of Hope', not only to the rap scene but to anyone who believes in light at the end of the tunnel.Ultimately, ‘Symbol of Hope’ is Zlatan reaffirming his place as a cultural figure whose story continues to inspire. It’s a sonic diary of survival, gratitude, and growth that thrives on sincerity. For listeners, it serves as both mirror and motivation; for Zlatan, it stands as proof that success, when earned against the odds, becomes more than personal victory, it becomes a symbol of hope.

The post Zlatan’s Symbol of Hope Is His Most Human Work Yet appeared first on Afromixx.

For an artist whose journey reads like a masterclass in resilience, ‘No Jonze’ is deeply symbolic, an appropriate prelude to his forthcoming fifth studio album. ‘No Jonze’ soundtracks Patoranking revisiting the foundation while looking ahead to his fifth studio album, a project he describes as music that “makes you feel”. From his quiet reflections on fatherhood to his thoughts on preserving African music legacies, he speaks with the calm conviction of someone who has seen it all, lost some, and still chooses joy.

In this conversation, Patoranking opens up about bringing Galala to a global stage, fatherhood’s quiet lessons, the unspoken responsibility of legacy, and why ‘No Jonze’ heralds this new phase.

Your new single ‘No Jonze’ is a love letter to the Galala sound of Ajegunle and a bold statement for your upcoming fifth album. Why did you choose ‘No Jonze’ as the lead single to herald this new era, and how does it set the tone for what fans can expect from the album?

Patoranking: Considering the theme for this new project, I wanted to make music that I grew up on, music that makes you feel and music that you can relate to no matter where you are from. Galala is my foundation and it aligns perfectly with the theme of the album and best explains the headspace I’m in. It was just right to start with 'No Jonze', which embodies the typical Galala sound.

The track’s title flips Lagos street slang into a universal mantra. What’s a personal moment in your life when you had to tell yourself “No Jonze”—don’t fumble the moment—and how did it shape you?

Patoranking: I think every single day that goes by, I remind myself silently of why I started and why I can’t be caught tripping. There hasn’t been a particular scenario that pushed me to the edge where I had to tell myself "No Jonze" but it’s a daily silent mantra for me to keep my focus, knowing I am a role model to many, a father and an ambassador of the culture.

'No Jonze’ brings back the raw, percussive energy of Galala, a sound you’ve called the “stepchild of dancehall”. Growing up in Ajegunle, what’s a vivid memory of how Galala music shaped your dreams as a young artist, and how does it feel to pay homage to legends like Daddy Showkey and Marvelous Benjy in the video?

Patoranking: My fondest memory of Ajegunle is when I would be at every single street carnival dancing to the biggest Galala songs of that time, later transitioning into an artist with the sound having a big influence on me and the genre of music I identify with reggae dancehall. It was a joy for me to return to the same neighborhood that shaped my musical sound and film there, recreating the same sound from decades ago. Having legends like Marvelous Benjy, Allen B, and others grace the video shoot was just cool man! We also had a mural of Daddy Showkey, Baba Fryo, Danfo Drivers, African China etc. 

The ‘No Jonze’ video feels like a cinematic time machine to ‘90s Lagos. What was it like filming in Ajegunle with those street vibes and real faces? Any behind-the-scenes moments that hit you emotionally?

Patoranking: Filming in Ajegunle was the right choice we made for this song. Because it’s just right to take it back to where it all started, the home of the sound - Galala. That day brought a whole lot of memories; the come up, the struggles and where we are now. Reconnecting with people from my past again was the highlight of it for me. People like Marvelous Benjy, Allen B, Skinny, Storyteller also known as Teller Moni just to mention a few. We launched and we danced on set, it was fire. It’s important to celebrate ourselves whiles we are alive you know.

Yes, it is...You’re a global star, but you’re also a father and a Lagos boy at heart. Can you share a “regular life” moment—like something you do with your daughters or a simple routine in Lagos—that keeps you grounded when you’re not on stage or in the studio?

Patoranking: When I’m not on stage or in the studio, I spend time with my daughters. I try to show them Lagos through my eyes but not the rough part (laughs). I take them to school sometimes or pick them up from school and in those moments I’m just Wilmer and Welda’s dad.

How do you balance the demands of being a global artist with those personal moments, and has fatherhood changed the way you approach your music or your purpose?

Patoranking: I always try to find a balance and not lose myself. Yes! Fatherhood has further refined me because anytime I want to do something now, whether is a lyric or a music video, I have to first remember I’m now a father and have to be extra responsible with things I do or say out there.

Recently, on an Afrobeats podcast, the host, aged 28, said she didn’t know who the veteran artist and your colleague Asa is, assuming she was too young to know her. What’s your take on this generational gap in Afrobeats appreciation, and how do you see your role in bridging the old and new sounds of African music?

Patoranking: We really need to educate ourselves more about both the past and the present of our music. That’s the only way we can tell our stories properly to the world. It’s not just one person’s job, it’s up to all of us including artists, DJs, the media and even the fans to keep the music from all generations alive instead of just focusing on current trends. We have to embrace what came before us because even Afrobeats is influenced by many of the old sounds. Asa is a great musician, I love her! Just look at 'No Jonze', it’s important for me to use my music to educate and show those classic influences while bringing them to a new audience.

With ‘No Jonze’, you’re bringing “Galala” to a global stage alongside sounds like Dembow and Gengetone. How do you respond to naysayers who claim Afrobeats is “dying” or losing its edge?

Patoranking: Galala has its influence from Dancehall and it’s interesting to see how sounds from different parts of the world share a similar background story. Regarding Afrobeats, when  it comes to the people it’s dying or losing its edge, I see that narrative as misguided. Afrobeats is still in its infancy. I understand there may be a decline when it comes to Afrobeats to the world because the sound is starting to sound same.  But there’s still more to our music. In the beginning, it made sense to group everything under a single genre Afrobeats but now we need to showcase all the diverse sounds and cultures we have as a continent of over a billion people. We need to educate the world about our many sounds while celebrating what has brought us to this point. Let’s expand the narrative.

Your last album, ‘World Best’, was a powerful manifesto of self-excellence and social commentary. Without giving too much away, how does this fifth album build on or differ from that narrative, and what new stories from the streets or your life are you weaving into it?

Patoranking: Yes, 'World Best' was all about self actualization and reaffirming my musical prowess. With this fifth studio album, I’m in a space where I want to take the world on a musical journey, drawing inspiration from the music I grew up on in the ’90s and infusing it with a touch of the present. Music that makes you feel. Every single song is crafted around stories we can all relate to in our day to day lives.

Through the Patoranking Foundation, you’ve impacted over 5,000 young people with scholarships and community projects like the football turf in Lagos. What’s one story from your foundation’s work that’s stuck with you, and how does it fuel the themes of hustle and resilience in ‘No Jonze’?

Patoranking: I remember when we were looking at building the football turf in Ebute Metta. We reached out to so many partners and brands to support us. But no one wanted to support us. Our mission is to build 99 more across different underserved communities across Africa. So my manager told me, "Pato, since this is important to you, let’s go ahead and fund this first one ourselves." And so we did and it’s the best thing we ever did. The community also helped with the construction. To me this story is what no Jonze is all about. It’s focus and keep your eyes on the prize no matter what. If you believe something, you have to push through and make it happen. Today seeing the kids in the community play on that pitch, host tournaments makes me happy and it shows why we do this work. It’s not just about building a football turf, it’s about empowering communities and inspiring the next gen to stay focused on their dreams.

As a UNDP Regional Goodwill Ambassador, you’re championing youth innovation across Africa. What’s one bold idea you’d love to see African youth embrace to shape the continent’s future?

Patoranking: For them to embrace their personal stories because that’s their superpower. Just like how I use my own story and experiences through my music or speaking. So no matter the medium, I feel our stories are way more powerful than we think. For the Patoranking foundation, sharing your personal story is one of the requirements for our scholarship applications.

‘No Jonze’ is described as music for “resistance, survival, and freedom.” Looking back, what’s a moment in your career where music became your tool for resistance or survival, and how do you hope this single inspires underdogs listening today?

Patoranking: Music is a way to share my story, it's my medium to pass a message while making people dance you know. Making music that makes sense is important to me. For underdogs, I want them to keep going, no matter what. You can make good, relatable music while making people dance. I lost my sister and brother in law while I was recording this album and I found joy through my pain. The music gave me hope, it kept me going. Music is how I can sing how I feel and own it. I hope No Jonze inspires everyone to embrace their struggles and keep pushing forward.

Tracks like “Babylon” on ‘World Best’ tackled systemic oppression. Are there similar socio-political themes in the new album, and how do you balance those heavy topics with the dancefloor energy you’re known for?

Patoranking: Yes, always! You will always find songs like this on my albums. I make sure it’s not too heavy, so I balance it with either infectious beats or catchy melodies. Sometimes it’s even how the track is arranged and mixed. 'No Jonze' was arranged in a way to make you want to move and even how it was mixed to give you the old Galala feel. 

You’ve performed in over 50 countries and worked with artists like Bob Marley’s estate and Major Lazer. How does it feel to see Afrobeats and Afro-dancehall influencing global music, from Latin America to the Caribbean, and what’s one misconception about African music you want to set straight?

Patoranking: I absolutely love it and there’s so much more to come! African music, specifically Afrobeats is not dying. There’s so much more to us, many genres from the continent. We are over a billion people with diverse cultures and there are so many talented young artists, producers, music execs, and more. More to come

When you look at your legacy, what’s one impact; musical, cultural, or social you hope Patoranking is remembered for in 20 years?

Patoranking: That I was able to use my music to bless my people, that I was able to use my music to celebrate us Africans.

If you were to host a street party in Ajegunle to celebrate ‘No Jonze’, what’s one food, one drink, and one classic “Galala” track (besides your own) that’s a must-have to keep the vibes right? And why these choices?

Patoranking: Food will be Bread and Beans. Drink will be Cold Water and one classic Galala song will be Marvelous Benjy’s 'New Dance'. The Party is set!! Why? Because that’s what we did! 

The post Exclusive Interview: Patoranking’s Return to Ajegunle And His “No Jonze” Era appeared first on Afromixx.

Born and raised in the southern state of Rivers in Nigeria, Kemuel’s music testifies to the greatness of the African nation. His musical journey began at 17 when he joined the church choir, learning to play the piano, bass guitar, and drums. Kemuel's love for the arts also led him to study Fine Art and Design at the University of Port Harcourt.

His debut project, ‘Escape (EP)’, released in October 2022, set the tone for what was to come. Spanning six tracks with a runtime of 16 minutes, the EP showcases Kemuel’s capabilities as a vocalist, songwriter, and creator of that otherworldly soothing after-effect once the play button is hit. Together with his primary producer, Wondah, they craft soulful tracks shaped around varying productions from slow to mid-tempo that collectively tie into the project’s central mood of escape. Yet, Kemuel’s idea of escape on this six-track offering feels like both sides of a romance coin, likely inspired by a number of muses through whom he finds this freedom.

Shortly after the release of his debut project, he got drafted by producer Ozedikus for “Bunda” by Spinall featuring Olamide. He then followed up with the eccentric Afro-pop singles “Alone” and “POLO”. Once again collaborating with his trusted producer Wondah, whose progressions perfectly complement Kemuel’s melodies. Together on “POLO”, the duo craft a foot-stomping, head-moving song whose chorus evokes the harmonies of a Sunday service, a reflection of his early beginnings in the church choir.

Interestingly, with every new release came a sonic evolution for Kemuel. He approached novel productions with daring penmanship and vocal delivery, opening a path to a bolder and more expressive version of himself; one that fully blossoms on his Afrobeats, R&B, and Pop-inspired sophomore EP ‘CLOUDS’.

A REVIEW OF HIS SOPHOMORE EP "CLOUD"

The seven-track project opens with the bubbly and expressive “Alone”, where Kemuel offers listeners a peek into what unrestrained desire might sound like in song form, enlisting Wondah to bring that vision to life. The Alt-pop record immediately pulls listeners in for a sonic ride filled with relatable lyrics, catchy melodies, and sticky beats. “234” follows the Alt-pop blueprint laid down on “Alone”, but with a clear tilt towards Alt-R&B leanings, before transitioning into the log drum-laden “POLO”, a groove curated specially for the dance floor. Whether the title ‘CLOUDS’ is a personalized rhetoric or an open invitation to listeners remains unclear, but by the time “GLNT” plays midway, everyone’s already floating among the clouds.

The other half of the project catches Kemuel squarely in his comfort zone. On “Water”, an emotive Afro-R&B record, his compelling delivery and dreamlike vocals make for a standout moment. Here, Kemuel is smitten, lost in a love that feels both irrational and inevitable as he communicates the logic and fear of such vulnerability over tender guitar plucks: “Love is very wicked I know, you and me we dey like snow.”

“FIND” underscores Kemuel’s range and how precisely he approaches his records. It follows the global template of a North American Pop record, echoing the influence of artists like Justin Bieber. On this track, Kemuel is heartbroken, sober from the highs of affection heard earlier on ‘CLOUDS’—and struggles to let go, expressing heartbreak as articulately as he does love. The 17-minute record closes with “FOCUS”, a mid-tempo, motivational reflection built on minimal percussion, that grounds the project in clarity.

A year and six months after 'CLOUDS', Kemuel’s ingenuity burns even brighter on “Fini” where he and Wondah reunite on an unconventional funk-inspired production. His recent contribution to “You” off Peruzzi’s third studio album also reinforces his sonic distinctiveness: his delicate vocals and effortless verse glide seamlessly over the soulful production crafted by his long-time collaborator.

In earnest, Kemuel’s artistry is like a whisper, that somehow echoes loud. With each release, he sharpens the duality that defines him—soft-spoken yet piercing, calm yet deeply affecting. His music thrives in its balance of vulnerability and precision, of emotion and control. And as he continues to chart his course, one soulful record at a time, it’s clear that Kemuel is past finding his sound. He's now defining what tenderness sounds like in modern Afropop.

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Ayra Starr delivered a electrifying performance, cementing her status as the Voice of African Gen Z. Her set included hits like “Gimme Dat,” “Goodbye (Warm Up),” “Hot Body,” and the Grammy-nominated “Rush,” which had the crowd on its feet. Starr’s stadium-ready anthem “Sability” brought high energy, and she closed her solo segment with a poignant mashup of “All The Love” and Coldplay’s “Strawberry Swing,” dedicating it to the festival’s mission. In a surprise highlight, she brought out fellow Nigerian star Rema for a dynamic performance of “Rush,” followed by Rema’s hits “Calm Down” and “Baby (Is It A Crime)”. Ayra Starr also made a heartfelt gesture, asking the audience to light up their phone torches to highlight the need for energy access in Africa, aligning with the festival’s goals. Her performance was a powerful blend of cultural pride and global advocacy.

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Grammy winner Tyla turned Central Park into an amapiano-fueled dance floor with her 15-minute set. She opened with “Is It” from her recent EP ‘WWP (We Wanna Party)’, followed by “Truth or Dare” and “Dynamite,” her collaboration with Wizkid. Her performance of the Grammy-winning “Water” was a standout, though briefly paused when Tyla compassionately stopped to ensure a fan in distress received help. After restarting the song, she rallied the crowd with, “Now we’re gonna scream,” creating a defining festival moment. Tyla’s viral “Tyla Dance”—featuring rhythmic hip rotations and shoulder rolls—captivated social media, with a choreography and bold stage presence in a fringed, athletic outfit. Her set underscored her rising global influence and commitment to representing African artistry.

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The Global Citizen Festival also saw Shakira headline with a sizzling set, performing hits like “Hips Don’t Lie,” “Whenever, Wherever,” and “Bzrp Music Sessions, Vol. 53,” backed by a vibrant dance crew that electrified the crowd. Cardi B, stepping in as a last-minute headliner after The Weeknd’s cancellation for personal reasons, brought her signature high-energy performance, commanding the stage with her bold presence and hits that kept the audience hyped.

Rosé of BLACKPINK delivered an intimate acoustic set, including her popular track “APT,” earning praise for its raw and breathtaking quality. Mariah the Scientist performed in striking GI Jane-inspired attire, showcasing tracks from her latest album Hearts Sold Separately, adding a soulful vibe to the night. Camilo and Elyanna rounded out the lineup with their unique sounds, contributing to the festival’s global and cultural diversity.

The 2025 Global Citizen Festival was a vibrant celebration of music and purpose, with Ayra Starr and Tyla stealing the show through their electrifying performances and meaningful engagement with the festival’s mission.

WATCH THE FULL PERFORMANCE!!!

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