Coachella 2026 officially kicked off on April 10, but for many African viewers, the show truly started on the 11th.

Davido’s Coachella Debut

On the 11th of April 2026, Davido — one of Afrobeats’ most globally exported stars — walked onto the Gobi stage in a blue suit and gold chain, live band already locked in behind him. He opened his set with “Dami Duro,” stepping straight into the pocket of nostalgia.

The tent was filled wall-to-wall with fans singing the lyrics to songs like “Skelewu,” “Gobe,” “OVER DEM”—bodies already bouncing in place. He carried on with other classical hits, including “Aye,” and “FIA,” then a sudden drop into stillness before “If,” so the crowd could carry the hook alone.

Fire effects flared on the downbeats of “Fall.” Midway, he brought out Adekunle Gold for “HIGH”; the two traded verses center stage while the band stretched the groove, the tent roaring every time the chorus hit.

He closed with “With You” layered over the Thriller bass line, Nigerian flag raised briefly overhead, then walked off as the lights cut. The set ran forty-five minutes, hit after hit, no downtime, no filler. His debut at Coachella has been a long time coming, and as usual, the Afrobeats star did not disappoint.

The “Essence” Moment: Tems and Wizkid

One of Coachella’s most iconic highlights remains the 2024 performance of “Essence.” During Tems’ set, Wizkid joined for their 2020 hit Essence; the first Nigerian song to chart on the Billboard Hot 100 and earn a Grammy nomination.

We had a repeat moment of this as Justin Bieber closed his Saturday headliner on the main stage, joined by Tems and Wizkid.

Tems took the first verse with her voice cutting clean through the night air; Wizkid slid in on the second, his delivery low and precise. Bieber handled the hook, the trio trading lines on the bridge without choreography.

The crowd, already dense from the headline slot, surged forward in waves, phones up with voices louder than the recordings. The song ended with a quick group embrace before the guests exited the stage.

Little Simz – Mojave Stage, April 12

Little Simz opened her 4:10 p.m. Mojave set with “Thief,” voice steady over live drums and bass, pacing the front of the stage in measured steps.

She moved through “Flood,” “Young,” and “I Love You, I Hate You” with the same controlled swagger. Midway, she stepped behind a small mixer and decks, dropping house-electro textures under “Mood Swings” and “Game On.”

She brought out Atlanta rapper JT for the new track “Game On” and a remixed “SOS”; the two traded bars with sharp, synchronised gestures while the crowd jumped in tight clusters near the rail. The set closed with “Gorilla,” Simz centre stage under red lights, band hitting the final stabs as she held the last note.

Year after year, African artists continue to shine at Coachella and it is a beautiful sight to behold.

From early pioneers to current chart-toppers, African artists at Coachella have moved from the margins to the center of global festival culture.

Perhaps one day, the names of African artists will no longer sit in smaller fonts on lineup posters but will take centre stage as headliners.

The post African Artists Who Performed at Coachella 2026 appeared first on Afromixx.

If I were to describe my experience at Our Homecoming 2026 concert, which took place at Harbour Point, Victoria Island, Lagos state, on the 5th of March 2026, in two statements, they would be:

1. Homecoming 2026 owes us nothing
2. Ephemeral

Before going further into this piece, it would interest you to know that I have no clips from the best moments of my night.

I needed to commit the exact moment the beat dropped, and N011 said “roll with me bebebe” for the first time to memory without the blemish of a camera. It might be cheesy, but that’s just me.

Arrival and First Impressions

When I first got into the space, it was just me, a colleague I ran into at the entrance, almost empty drink stands, the DJ, red lights, and white barricades for the VIP sections.

I cannot remember the first artist that took the stage — that is how far gone I was — but judging by the interaction with the crowd, two words kept coming to mind: crowd control.

Something about the genuine love these fans have for the artists stood out to me.

I watched in awe as the energy rose and dropped depending on who was performing and what song was on.

Away from the artists, one thing that stood out to me was the set design. The colors, the different stories displayed on the big screens, the cloudy air, the overhead lights, and the way everything kept switching up caught my attention.

It made me wonder about the strings that had to be pulled and all the people who work in the background to make these events a success.

From the moderators to the sound engineers and gaffers, hats off to the invisible forces behind an unforgettable experience.

The Best And Worst Of Times

Standing there in a flurry of artists — from Mavo, Zaylevelten, and Danpapa GTA to Blnde, Amma, and N011 — amongst others. Media house representatives, content creators, and fans alike, a thought crossed my mind:

This is the easiest time to break out as an Afrobeats artist, and it is also the hardest.

It is easy due to the low barrier to entry and the current fan culture. We are witnessing a generation that is free with their love. It mirrors a “come as you are” energy. In some ways, this is a generation that doesn’t care what the next person thinks about their playlist, but connects with what resonates.

On the flip side, it is harder because that same attention can disappear just as quickly as it came.

Attention is fast and fleeting. People are constantly looking for the next sound, the next name, and the next moment to latch onto. That reality does not always favor the artist.

Back To The Artists

Away from all this, watching these artists sing out their hopes and dreams in front of a crowd that is neither overly kind nor harsh made me develop a newfound respect for them.

Do you know what it takes to compose a song, create visuals, take center stage, and put yourself on display for the masses? I truly commend the bravado.

If anything, nights like these reveal that success in this space is not always about instant dominance, but about consistency, growth, and being understood over time. 

The Future Of Afrobeats

Ultimately, Homecoming 2026 owed us nothing.

Even though people were not immediately excited by the lineup, it was an important event because stages like this are where future favorites are made. Not every name on a stage will draw loud anticipation at first glance, but platforms like Homecoming create the space for those artists to be seen. If we truly care about the culture’s growth, giving emerging voices a stage should be on our agenda.

There is also an unspoken pressure that comes with being seen. The expectation to not only arrive, but remain. Nobody sets out to be a one-hit wonder. The goal is usually recognition and a name that endures beyond a moment.

However, in a space where visibility is volatile, sometimes what we label as fleeting is simply a phase of an artist’s journey rather than a limitation.

Not every artist will enter the scene with permanence, and perhaps they are not meant to. Some will arrive, make an impact, and shift the atmosphere for a time. Others will stay and build over the years. Both realities can coexist.

The post Homecoming 2026: Ephemeral Moments, Emerging Artists and the Making of Afrobeats’ Future appeared first on Afromixx.

The spectacle began long before he touched the mic. In a flourish that married Lagos swagger with London theatre, Olamide rolled onto the stage inside a vintage 1958 Jaguar XK150, headlights cutting through the smoke as the crowd roared. Then came the bassline of “Lagos Boys”, thundering through the speakers like a call to order. Clad in a sleek ash ensemble that radiated quiet authority, he dove headfirst into a sprawling catalogue that felt less like a setlist and more like an autobiography—street-hop roots, Fuji-tinted grit, and pop-polished global hits.

 By the time he hit the euphoric drop of “Infinity” and early runs like “Durosoke”, “Konkobility”, and “Motigbana”, the arena was a sea of waving flags and jumping bodies, with no empty seats in sight. It was a reminder of Baddo’s unparalleled hit factory: tracks like “Science Student” recreated its iconic video choreography with laser precision, while “Who You Epp” sparked a call-and-response frenzy that drowned out the sound system.

When he slipped into “Stupid Love”, “Melo Melo”, and “The Money”, the crowd sang like they’d been rehearsing for years. And as the night thickened, he eased into an unreleased love ballad before sliding into “Rock”, a move that confirmed he still has new chapters to unfold.

But the real alchemy was in the transitions. The Fuji segment—“Eleda Mi”, “Jale”, “Fuji House”—was more than a genre pivot but a tribute to the genre that also fully captured Olamide’s immense contribution to the music industry. He wove in nods to legends like Pasuma, K1, and Obesere, earning roars from older fans tucked into the upper tiers. Then came the body-shaking Afrobeats run: “Pawon”, “Update”, and “Owo Tabua”, each sounding bigger, fuller, and almost ceremonial inside the arena. Confetti cannons snapped, lights strobed, and for minutes at a time, Wembley felt like Oshodi on a festive night.

Yet for all the scale, there were moments of intimacy. Midway through, Olamide stopped the music to check on a fan who looked unwell, pausing the show completely until security arrived. It was a small, human gesture in the middle of a giant machine, and the audience responded with a wave of applause. Later, with a sly smile, he threw a jab at online naysayers claiming he’d “fallen off”, smirking before saying, “Won de ni baba iya won oni fans mo…wo ni shorire”, transforming the moment into a communal victory lap for everyone who’s believed in him since his Bariga beginnings.

What elevated this from great to legendary were the guests—a who’s who of Afrobeats’ past, present, and future, handpicked to honour Baddo’s role as the ultimate unifier. First up: Asake, the YBNL protégé turned global sensation, who surprised everyone with a fiery reunion on “99”, their chemistry crackling like and infecting the crowd. The duo’s back-and-forth had fans screaming, a poignant full-circle moment after Asake’s meteoric rise. Seyi Vibez joined them on stage before delivering the gritty “Shaolin” with raw emotion, his baritone cutting through a crowd that was now in uproar.

Bella Shmurda brought the street edge with “Cash App”, his high-energy bounce syncing perfectly with Olamide’s “Loading” for an impromptu cypher that felt organic, not orchestrated.

The surprises kept rolling: Lojay ignited the room with “Monalisa”, his silky vocals layering over Olamide’s ad-libs in a seamless blend of R&B flirtation and trap menace. Lil Kesh, the OG YBNL loyalist, revived “Shoki” nostalgia, jumping onstage for a throwback medley that had aunties in the crowd two-stepping like it was 2014. Pheelz, ever the hitmaker, joined for “Fada Fada”, his production wizardry live-translated into keyboard flourishes that added soulful depth. Joeboy’s smooth performance injected pop polish, and Poco Lee’s dance extravaganza during “Bobo” turned the stage into an even more entertaining show.

Darkoo repped the UK-Naija fusion with a gritty “Gangsta”, her London accent adding gritty authenticity, and Ashidapo closed the guest parade with highlife-tinged vibes on “Goons Mi”, bridging Olamide’s indigenous roots to the arena’s international pulse. Backstage, the energy spilt over: DJ Spinall and Enimoney manned the decks, Adesope and Toki lurked in the wings, and even content creator Peller popped up (despite a brief security dust-up that Olamide graciously addressed with a DM the next morning).

View this post on Instagram

A post shared by Adesope – shopsydoo (@adesope_shopsydoo)

After the show, Olamide was handed a plaque for selling out the arena. As the lights swirled over the exiting audience, the message was unmistakable. Olamide’s OVO Wembley show was bigger than an artist or an album cycle. It was about him, his legacy.

By the time he closed with the eternal crowd-quake “Wo”, voices were hoarse, feet sore, and hearts full. And as 12,500 people spilt into the cold November night, one truth lingered in the air about how one man’s stubborn commitment to authenticity built an empire that now fills global arenas.

The post Olamide Returns: A Decade Later, Baddo Shuts Down Wembley appeared first on Afromixx.

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.

View this post on Instagram

A post shared by Afromixx Entertainment (@afromixx)

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.

View this post on Instagram

A post shared by Afromixx Entertainment (@afromixx)

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!!!

The post Ayra Starr and Tyla Lead Africa’s Charge at Global Citizen Festival 2025 appeared first on Afromixx.

On Friday, July 11, the Main Stage was headlined by Drake and PARTYNEXTDOOR, with performances from guest artists like Summer Walker, Leon Thomas, KWN, Odeal, and DJ AG. The Old Spice Stage was lit up by Roy Woods, Sailor, Karri, Nippa, Swavy, and Kamilla Rose, while Taylor Rae, Naira, Donch, and Jada Kai brought energy elsewhere on the grounds. The Hennessy Stage featured Marcus Blue and DJs Juls, Mercedes Benson, Ace, and Sugar B.

The following day, Saturday, July 12, Drake remained the Main Stage constant, joined this time by Boy Better Know, BigXthaPlug, Lancey Foux, Nemzzz, Sahbabii, and DJ AG. The Old Spice Stage was newly reloaded with Fimiguerrero, LEN, Chy Cartier, YT, and Kenny Allstar. Meanwhile, DJs Supa D, Rampage, Sir Corey, and Twin B kept the decks alive, with Sugar B making a return. The VIP Village buzzed with Travis Presents, Bempah (Scary Things), EJ, Jay Knox, and Cvss.

Sunday brought the festival to a euphoric close with a more global, genre-spanning roster. The Main Stage was led by Drake once again, this time joined by Burna Boy, Vybz Kartel, Popcaan, Spice, Masicka, and DJ AG. The Old Spice Stage featured an electric run from Darkoo, Odumodublvck, Skitty, and Izzy Bossy. The Hennessy Stage wrapped with high-powered sets from resident DJs Suga B and Marcus Blue, Nicky Slimting, and Heartless Crew.

A new wave of African artists was unveiled at this year’s edition, bringing fresh energy to the festival alongside a few familiar faces. Rema, who co-headlined in 2024, was a surprise guest this time, introduced by Drake. Uncle Waffles returned to the decks but was unable to give the crowd a blast on the Hennessy Sage due to claims of poor time management and handling by the festival planners.

Top 5 Afrocentric Moments That Lit Up the Wireless Festival Stage

Drake Bringing Out Rema on Stage
Before Rema came on, Drake vaguely teased the crowd with, “I’m gonna let him do his thing for this show, that’s all. Let’s go.” But as the DJ cued in Rema’s first single of the year, “Baby (Is It a Crime)”, the audience erupted in excitement, quickly catching on to who was about to step out. Rema slowly strutted on stage in an unbuttoned black fur-collared coat, baggy white jeans, a baseball cap, and shades, fully leaning into his mysterious persona. It was a surprise moment no one saw coming, as Rema wasn’t listed on the official Wireless 2025 lineup.

A New Version of Moliy’s ‘Shake It To The Max (Fly)’ with Stefflon Don
Following the rise of her dancehall-inspired hit “Shake It To The Max (Fly)”, the remix featuring Caribbean stars Shenseea and Skillibeng — reportedly facilitated by Jamaican producer Silent Addy — helped the song dominate the Caribbean and push into global charts. During his set, dancehall legend Vybz Kartel invited Moliy on stage for a performance of the song alongside English rapper and singer Stefflon Don, who debuted a new verse live, hinting at a potential remix on the way.

Burna Boy’s Debut Performance
Shortly after his set, clips surfaced online of Burna Boy appearing shocked at the smaller-than-expected crowd, clearly anticipating a turnout more like his headlining tour shows. Still, the Grammy-winning performer didn’t let it dull the moment. He opened with his crowd-favourite feature on Dave’s “Location”, followed by a powerful medley including “Ye”, “City Boys”, “Gbona”, “Update”, “Talibans II”, “Tested, Approved and Trusted”, and “On the Low”. A surprise moment came when he brought out Lauryn Hill and her son, YG Marley, to perform an unreleased version of “Praise Jah in the Moonlight”, which included a Burna Boy verse.

Odumodublvck’s Shirtless Set on the Old Spice Stage
The 2025 Wireless Festival also marked Odumodublvck’s debut on the Old Spice Stage. Known for his rugged energy, the rapper kicked off in a tracksuit, but by the time he performed his 2024 single “NOT ALL THAT”, the layers were coming off. Mid-set, he was down to a T-shirt and track pants, eventually going fully shirtless as he led the crowd through a live rendition of Davido’s “Funds”. The highlight came with “PITY THIS BOY”, closing out a relentless, high-octane set.

View this post on Instagram

A post shared by Anti World Gangstars (@antiworldgangstars)

Darkoo Joins Rema, Drake, and Popcaan on the Main Stage.

In 2024, Rema brought out Darkoo during his own set to perform their then-unreleased collaboration “Favourite Girl”. This year, the moment was mirrored as the two reunited — now with Drake and Popcaan on stage — for a full-circle performance. After a quick chat with Drake and Popcaan, Darkoo shared a warm embrace with Rema before delivering the crowd-pleaser.

African Artists Held Their Own
Despite time mismanagement affecting artists like Uncle Waffles, African heritage was deeply embedded throughout the 20th Wireless Festival. From the Main Stage to the Old Spice Stage and even into DJ-heavy sets at the Hennessy, the presence of African voices — new and returning — helped shape the cultural pulse of this year’s celebration.

Watch the full performances of the Wireless Festival 2025.

The post Top 5 African Moments at the 20th Wireless Festival 2025 appeared first on Afromixx.

But this year, the titan in the world of music festivals offered something quietly radical beneath the lights and lasers: Africa’s pulses.​

With a lineup that spans two weekends, April 11–13 and 18–20, the festival has stayed true to its kaleidoscopic ethos. Headliners like Lady Gaga, Green Day, Post Malone, and Travis Scott draw the biggest fonts on the bill, but nestled within are the names shaking global tables and continental charts alike. From the rich horns and energy of Seun Kuti, the ancestral fire of Egypt 80 behind him, to the candy-coated chaos of Tyla, to the sultriness of Amaarae, and the evergreen pop audacity of Rema, this year’s Coachella doesn’t lean into them all.

And it’s not tokenism. It’s timing. It’s the reality that Afropop, Alté, and new-school Afro-fusion are no longer fringe or ’emerging’, they are here, disruptive and deliberate. Their sets? We’ll get into that. But know this, their inclusion wasn’t just a win for visibility; it was a show of African music’s viability. These are artists the crowd came to see, not just discover.​

Amaarae

Amaarae made her Coachella debut on Sunday, April 13th, at the Gobi Stage, arriving in a Hummer H2 emblazoned with ‘BLACK STAR’—the title of her forthcoming third studio album. Styled by Aaron Christmon and Marquise Miller, she paid homage to her Ghanaian roots, putting the crowd on the music of La Même Gang, Eazzy, Yaw Tog, Joey B, and the Asakaa Boys. Notably, she made history as the first Ghanaian-born female artist to perform a solo billed set at the festival. A highlight of her performance was when she shaved her wig on stage, symbolising the bold new era of a BLACK STAR.

Tyla

Tyla took to the Outdoor Theatre Stage on Friday, April 11th, delivering a performance that blended beauty, elegance, and vocals. She stunned in a Dolce & Gabbana Spring/Summer 2000 bra and fringe belt, performing her hit “Push 2 Start” and a mashup of “On and On” with Aaliyah’s “Rock the Boat.” Her signature “Tyla Dance” captivated the audience, marking a triumphant debut at the festival.

Seun Kuti & Egypt 80

Seun Kuti & Egypt 80 opened their set on the Outdoor Theatre Stage on Friday, April 11th, with a fiery tribute to Fela Kuti’s “Everything Scatter.” This performance marked Seun Kuti’s third appearance at Coachella, solidifying his status as the Nigerian artist with the most performances at the festival. His set was a powerful blend of Afrobeat rhythms and political messaging, thrilling fans and honoring his father’s legacy.

Rema

Rema’s Coachella debut was, in many ways, a dramatic cocktail of anticipation, disruption, and recovery. Slated for a 45-minute set at the Mojave Tent, the Nigerian superstar didn’t appear on stage until nearly 30 minutes in, leaving the crowd to navigate an extended DJ warmup that wore thin by the minute. When he finally emerged, his opening songs were marred by awkward lip-syncing, his mic often nowhere near his mouth while vocals boomed through the speakers. But just as murmurs turned to groans, the energy shifted: the backing track cut, the live band found its footing, and Rema leaned into his strengths, leading the crowd through spirited performances of “Calm Down”, Darkoo’s “Favourite Girl”, and his 2025 releases.

However, beyond the headliners, Coachella’s strength as a festival lies in its diverse lineup, showcasing emerging talents and established artists from various corners of the world. And just like past festivals, the 2025 Coachella has kicked off with an event that promises an eclectic mix of performances, art installations, and a vibrant atmosphere.

Next weekend, the second leg of the festival resumes. But for now, let’s sit with what we’ve witnessed so far. African artists are taking up space and setting their own stage.

The post African Artists: Seun Kuti, Tyla, Rema & Amaarae at Coachella 2025 appeared first on Afromixx.

The 2024 edition was set in Roseau, Dominica, at Windsor Park Stadium, the event which was held over three nights from October 25-27, 2024, features a blend of musical genres originating from the Creole heritage, such as zouk, reggae, kompa, and calypso. In addition to local talent, A-list artists from the Caribbean, Africa, and beyond were amongst the impressive line-up on the show’s roster.

Among the list of global superstars gracing the occasion was one of music’s biggest export from Nigeria, Wizkid. The Grammy-winning artist was announced as a headliner for the Festival’s 2024 edition, and upon arrival, Wizkid was treated to a traditional Dominican welcoming which was fit for a king.

WCMF featured a packed lineup for the opening Friday night. Local talents like Extasy Band and TK International had the crowd pumped up alongside international acts like Haitian band T-Vice, Trinidadian soca star Nadia Batson, Jamaican dancehall artist Valiant, and Nigerian-American R&B/Afrobeat singer Rotimi.

Saturday night was another night of celebration as more stars thrilled the audience when they took to the stage. Saturday’s roster included bouyon artist Asa Bantan, Caribbean icons Kassav, and headliner, Wizkid, who led alongside Jamaican reggae stars Stephen and Damian Marley.

Closing out the festival on October 27th, the audience enjoyed performances by Dominican favorites like the Signal Band and Midnight Groovers, plus international stars like Kai from Haiti, Skinny Fabulous from St. Vincent, and Fanny J from French Guiana. Legendary reggae artists Luciano and Gramps Morgan also took the stage, adding a reggae vibe to the final night’s mix.

Beyond the music, attendees can explore Dominica’s natural wonders, such as hot springs, waterfalls, and lush rainforests, making it an all-encompassing experience for travelers and festival-goers alike.

The festival weekend offered fans a rich array of music, food, and cultural displays, celebrating both traditional Creole influences and contemporary sounds.cultural fusion.

The post Wizkid Headlines the World Creole Music Festival in the Dominican Republic appeared first on Afromixx.

This will be the second time that Asake is getting the O2 Arena packed, and if you think the first time was a blast, then he made it twice the blast with his second concert at the arena.

The highly anticipated concert finally took place on the 21st of September 2024, and for fans in attendance, it was everything they expected and even more.

Ahead of the concert, it was announced that the opening acts would be Jazz Karis and Ainamore, who were the winners of the “Asake Lungu Boy Tour London Support Acts Competition.” Their performance showed why they were the top choices to open up Asake’s epic concert. Some other acts include rave of the moment, Ayo Maff, LeoStayTrill, DJ Eni Money, DJ BlissMan, Jerry Shaffer, and The Compozers.

It was a proud moment for Asake’s mother as she was present again, watching as thousands flocked in to watch her son perform. It will go down as a memorable night for all in attendance, and even for Asake as he was met backstage by Idris Elba who presented him with a Plaque for selling out the O2 Arena. It was an unbelievable moment for Asake as he received the honour with everyone cheering him on.

But as the evening unfolded, that wasn’t the only moment he was overwhelmed as he stood in awe at the sight of the crowd that had come to see him perform that night. If he wasn’t so sure of how much love his fans had for him, that crowd at the O2 arena definitely cleared out all the doubt in his mind.

Amongst the notable guests was also Chelsea’s football player Jadon Sancho, who quickly left Chelsea’s training ground after a 3-0 win in order to catch Asake’s show.

Sancho got there just in time as he and Asake met up backstage, exchanged pleasantries and had some small talk.

But the surprise wasn’t over as his night got even bigger and unforgettable as Big Wiz himself surprised Asake by joining him on stage.

The crowd went crazier at the sight of Wizkid sharing the stage with Asake, and both artists went on to perform their hit track “MMS” together.

Joining Asake on stage too was a big name in the UK music scene, Stormzy himself. His performance got the crowd going at the top of their voices as they sang along to some of their favorite tracks Stormzy performed.

There’s no doubt that the Lungu Boy Concert is going to go down as one of the biggest events in the U.K this year. Afrobeats deserves to be put on the global stage, and it’s safe to say that Asake is one of those giving Afrobeats the recognition it deserves.

The post Asake Brings The Heat to the O2 Arena… AGAIN!!! appeared first on Afromixx.

With the venue packed wall-to-wall, fans eagerly awaited his performance, many already vibing to his signature blend of Afrobeats and amapiano. As the lights dimmed and the beats dropped, the crowd erupted in a wave of energy that didn’t wane for the entire evening.

The stage, like his previous shows, featured a backdrop of signposts with street names like ‘Kakawa’ on them, most likely from Asake’s native city of Lagos Island. Tires, a drumset on a graffiti-sprayed platform, and an improvised DJ set table made of iron drums came together to create a dramatic portrayal of what could pass for a Lungu Party, Street Bash, or Street Carnival setting.

Opening with the instrumentals of his breakout hit “Peace Be Unto You (PBUY),” which transitioned into “Sunmomi” from his debut album, Asake suddenly appeared on stage with a baseball bat in one hand and the microphone in another, immediately setting the tone for the night. Cologne, a city not often headlined by Afrobeats stars, witnessed something spectacular as Asake took the stage with an infectious confidence that drew everyone into his world. His connection with the audience was almost magnetic, as fans chorused every line of “Dupe”, their voices echoing through the Palladium. Tracks like “Joha” and “Sungba” brought a rush of excitement, with Asake feeding off the energy, pausing occasionally to let the crowd take over entire sections of the song. Shortly after, he got on the DJ set table to perform his deep cut and hit 2020 single “Mr Money.”

With a flame gun, Asake captivated the audience with high-energy performances of songs from his sophomore and third studio album “Lungu Boy”, including hits and fan favorites like “Remember” and “I believe.” Asake singing the lyrics of a stripped “Nzaza” with only a bass guitar did not detract from the song’s spirituality as die-hard attendees sang their hearts out. 

However, it wasn’t just about the beats and rhythms. One of the night’s standout moments came when Asake slowed things down to speak directly to the crowd. He reflected on his journey, expressing gratitude for the support of his fans as he continues his tour across continents. It was in these quiet moments that Asake’s humility shone through, creating a sense of intimacy that resonated with the audience. The energy in the room shifted again as he performed “Omo Ope,” with fans clapping in rhythm, swaying to the melodies that brought the warmth of Lagos streets to the cool Cologne air.

As the show progressed, there were no signs of fatigue, neither from Asake nor the crowd. “Sungba” and “Organise” were particularly explosive, with the Palladium shaking as fans jumped and danced along. Each beat seemed to hit harder, with Asake pouring more energy into each track as the night drew closer to its climax. By the time he performed his hit “Lonely at the Top,” it felt like the entire room was singing along in unison, voices rising above the booming bass. He also gave Cologne a taste of the infamous choreography he does while performing “Fuji Vibe”

As he wrapped up his performance with an encore, the crowd’s lingering excitement was palpable—everyone knew they had witnessed something special. Cologne was just one stop on this world tour, but for those in attendance, it was an unforgettable night, one that will resonate long after Asake moves on to the next city on his journey to Australia.

The post Asake Lights Up Palladium, Cologne appeared first on Afromixx.

PND 

Uncle Waffles

Asake

Rema

Ayra Starr

Ruger

Shenseea

King Promise

Charity

2wobunnies

Donavan Glover

The 2024 Afronation festival provided an opportunity to commemorate resiliency and enduring heritage while also connecting with Detroit’s vibrant music and artistic community.

The post Rema, Asake, Uncle Waffle, Ruger Grace Afro Nation Detroit 2024 appeared first on Afromixx.