2Baba — Balling

2Baba returns with “Balling“, a smooth status update from a legend who no longer needs to prove anything. At this point in his career, every release is measured against decades of influence, and this one lands as a quiet, confident flex: wealth without waste, joy without noise, and a reminder that relevance isn’t always about chasing new trends.

BlaiseBeatz anchors the track with a warm, mid-tempo groove that leans into live-feel percussion, supple basslines, and those honeyed guitar licks that instantly signal 2Baba’s soulful centre. It’s deliberate in its calm: no frantic street-pop tempo, no pressure to keep up. Just a veteran settling into his own breeze.

“Balling” is gratitude wrapped in gentle swagger. “Balling”, for 2Baba, isn’t yacht-life excess; it’s comfort, stability, choosing peace, and enjoying life at your own pace. He salutes his circle, shields his energy, and toes that familiar line between humility and soft bragging that has always been his signature. The message is clear: real success is simple, and no shaking.

It’s not trying to go viral; it doesn’t have to. “Balling” is legacy work, a reminder that 2Baba’s voice still cuts through with the same seasoned warmth, and that even in 2025, he can deliver a track that feels both timeless and necessary.

Fido — Chickendo

Fido slides into Detty December with “Chickendo”, a groovy, uplifting track that cements his growing reputation as Afropop’s newest beacon of hope and melody. Off the massive success of “Awolowo” and the chart-dominating ‘Joy Is Coming‘, he builds on his style, the sweet spot between spiritual gratitude and streetwise flex. The production blends familiar log drums and amapiano-leaning percussion with a warm, melodic softness that lets his voice glide. Fido isn’t interested in chaotic bounce; he prefers groove. The hooks land easily, the rhythm flows, and the whole track feels engineered for both club rotation and personal playlists.

“Chickendo” is classic Fido: cultural nuggets, coded slang, mindset bars, and gratitude stitched into every line. He speaks on elevation, dodging “bad belle”, and securing blessings, all delivered with the emotional sincerity that has made him a fan favourite. It’s end-of-year triumph music: Igbo pride, Lagos confidence, and soft-life ambition rolled into one.

While many still want to see him stretch beyond his influences, “Chickendo” proves he’s mastered his lane. The next challenge is innovation, but for now, this one is a surefire December staple.

Khaid — Sorry I’m Not Sorry

The 22-year-old Nigerian prodigy, fresh off his introspective “Rover” collab with Ayo Maff earlier this year, flips the script here: no more brooding over lost loves; this is a pure, unfiltered declaration of independence. Khaid switches gears and stands firm on “Sorry I’m Not Sorry“, a two-minute burst of self-respect and youthful defiance. Known for his emo-Afropop blend — pain wrapped in melody — he flips the script here with a track that feels like closure, confidence, and catharsis rolled into one.

The production is bright and buoyant, almost deceptively cheerful for the lyrical weight underneath it. Vibrant drums, slick synths, and a restless bounce carry his airy falsetto as he shrugs off toxicity and emotional baggage with a cool, almost playful detachment.

It’s a manifesto: no apologies, no overthinking, no returning to old versions of himself. The hook is a sticky chant waiting to explode on timelines, a Gen-Z rallying cry delivered in a style that balances swagger with sensitivity.

Khaid has carved out a lane that merges dancefloor energy with emotional honesty. “Sorry I’m Not Sorry” feels like a sharpening of that identity — punchy, catchy, and primed for both playlists and Instagram captions.

Tekno — Don’t Stop

Tekno taps back into his pop-savant bag with “Don’t Stop“, a flirtatious, high-energy single that proves he hasn’t lost an ounce of his touch. Even after navigating vocal challenges and sonic shifts in the industry, Tekno’s formula remains bulletproof: keep it simple, keep it catchy, keep it groovy.

Self-produced as expected, the track leans on bubbling percussion, crisp synths, and a bassline built to move waistlines. Tekno understands negative space better than most — he leaves room for the beat to breathe while stacking seductive ad-libs and cheeky melodic runs that turn the track into a dancefloor whisper.

Vocally, he sounds playful and mischievous, gliding through lines soaked in Pidgin romance and sly innuendo. It’s classic Tekno territory: sensual without sweat, catchy without clutter, and flirtatious without forcing it.

“Don’t Stop” reinforces why he remains one of Afropop’s most consistent hitmakers. Not every track needs to chase new trends — sometimes the original formula is still the strongest.

TxC, Davido, Shoday, Scotts Maphuma, Zlatan, AI Xapo — Nakupenda

“Nakupenda” is a pan-African house party disguised as a single — a thunderous five-minute celebration where Johannesburg’s bass-heavy Amapiano heartbeat meets Lagos’ melodic swagger. With TxC leading the charge and Davido, Zlatan, Shoday, Scotts Maphuma, and AI Xapo all showing up in peak form, the track is engineered for the global dancefloor.

TxC lays the foundation: thick log drums, hypnotic synth curls, and a deep, rolling bassline that never lets the tempo dip. Davido opens with smooth, melodic assurance, immediately elevating the track’s mainstream appeal. Zlatan follows with the kind of rowdy, percussive delivery that turns any song into a street anthem. Shoday adds sweetness and next-gen emotion, while Maphuma and Xapo weave in additional texture and rap-coded grit.

Despite the star power, nothing feels overcrowded. Every act gets their moment, and the chemistry is the glue. Swahili, Pidgin, English — the languages fold seamlessly into one another, creating a universal love anthem rooted in rhythm, movement, and collaboration.

“Nakupenda” beyond a new music Friday release, shows Amapiano and Afrobeats are no longer cousins; they’re collaborators. And this track is exactly what December needed: love as groove, unity as bassline.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

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While some artists eventually buried the hatchet, others let their grudges simmer indefinitely, adding layers to their legacies. This piece revisits the most defining industry clashes and highlights the impact these moments had on their individual careers and Nigerian music as a whole.

Eedris Abdulkareem vs. Tony Tetuila: A Fallout of Former Label Mates

In the late 1990s, The Remedies, comprising Eedris Abdulkareem, Tony Tetuila, and Eddy Remedy, emerged as a formidable force in Nigerian hip-hop. Signed to Kennis Music in 1997, they delivered hits like “Sakomo” and “Judile,” which became anthems of that era. Interestingly, Tetuila joined the group a year after its formation, contributing financially and performing during tours, despite not featuring on their breakout tracks.

Tensions arose when disputes over individual contributions and earnings led to Tetuila feeling marginalized. Accusations of lacking talent prompted his departure and the release of the 1999 diss track “Omode Meta N Sere,” featuring Plantashun Boiz and Ruff Rugged and Raw. The Remedies countered with “Jealousy,” featuring Pasuma.

Tetuila’s solo career soared with the success of “My Car,” a track subtly mocking Eedris Abdulkareem. In response, Eedris released “Oko Omoge” and later targeted Plantashun Boiz in “Wackawikee M.Cs.” Despite the rivalry, both artists enjoyed successful solo careers, with Eedris delivering hits like “Mr Lecturer” and “Jaga Jaga,” while Tetuila released fan favorites such as “Fefe Na Efe” and “E Go Better.” Their feud, while intense, ultimately solidified their individual legacies and underscored the dynamic nature of the Nigerian music scene.

9ice vs. Ruggedman: Betrayal, Lyrics, and Industry Drama

The 2009 release of “Once Bitten Twice Shy” by 9ice ignited rumors of infidelity involving his then-wife, Toni Payne, and fellow artist Ruggedman. Despite public backlash against Ruggedman, 9ice remained silent, leading to strained relations and a series of diss tracks from both parties.

The tension escalated in 2011 when a leaked phone conversation revealed Ruggedman pleading with 9ice to clear his name—a request that went unheeded. By 2015, the feud had cooled, with Ruggedman declaring it over. In January 2016, 9ice publicly apologized, clarifying that the accusations were unfounded and expressing regret for the misunderstanding. This reconciliation showcased the challenges of public perception and the importance of communication in resolving disputes within the industry.

Blackface vs. 2Baba: The Longest Running Beef in Nigerian Music

The origins of the feud between Blackface and 2face Idibia now know as 2Baba trace back to their days as members of the Plantashun Boiz, alongside Faze. After the group’s disbandment in 2004, 2Baba’s solo career took off with the release of “African Queen,” a track that Blackface claimed to have co-written.

Over the years, Blackface accused 2Baba of intellectual property theft, leading to lawsuits and diss tracks. In 2016, 2Baba sued Blackface for defamation, to which Blackface responded with the diss track “War,” accusing 2Baba of sabotaging his career.

In 2019, the two reached an out-of-court settlement, agreeing on royalties for Blackface. Their reconciliation was further solidified in 2021 during a tribute to the late Sound Sultan, where they performed together with Faze, marking the end of their long-standing feud.

Olamide vs. Don Jazzy: The 2015 Headies Showdown

The 2015 Headies Awards became the backdrop for a heated confrontation between YBNL boss Olamide and Mavin Records CEO Don Jazzy. The dispute centered on the ‘Next Rated Award,’ a coveted category featuring nominees like Reekado Banks (Mavin Records) and Lil Kesh (YBNL Nation).

When Reekado Banks was announced as the winner, Olamide, feeling that Lil Kesh was more deserving, took to the stage during Adekunle Gold‘s acceptance speech to voice his displeasure. His passionate outburst, which included explicit language and gestures, stunned the audience and quickly went viral.

Don Jazzy responded during his acceptance speech for the ‘Special Recognition Award,’ addressing Olamide’s comments and suggesting that if Olamide wanted the car prize, he could have it. The exchange ignited a social media frenzy, with fans and celebrities weighing in.

However, within 48 hours, both parties issued a joint statement expressing regret for their actions, accompanied by a reconciliatory photo. Since then, Olamide and Don Jazzy have maintained a cordial relationship.

Tiwa Savage vs. Seyi Shay: A Cold War Turned Heated Showdown  

The women of Afrobeats haven’t been left out when it comes to feuds, and one of the most notable tensions in the industry was between Tiwa Savage and Seyi Shay. Their rivalry, which brewed for years behind the scenes, finally erupted in public in 2021.  

The first signs of bad blood appeared in 2018 when Seyi Shay claimed that Tiwa Savage had used a song she co-wrote, ‘Lova Lova’ (featuring Duncan Mighty), without her knowledge or proper clearance. While Tiwa remained silent on the issue, it was clear that relations between the two had soured.

Things escalated in 2019 during the viral #FvckYouChallenge, a social media trend inspired by Kizz Daniel’s song, where artists dropped their own versions of the track. In her take, Seyi Shay included a pointed line about a female artist who had “tried to block her blessings.” While she didn’t name names, fans quickly linked it to Tiwa, and the tension simmered further.

However, it wasn’t until June 8, 2021, that their long-standing cold war turned into a heated face-off. A chance encounter at a salon in Lekki led to a now-infamous verbal altercation. When Seyi greeted Tiwa, the ‘Somebody’s Son’ singer rejected the gesture, questioning why she would want to be cordial in person after years of alleged sabotage. The argument, caught on video, was filled with explosive accusations and personal digs, with Tiwa famously saying, “God should take my child if I have ever done or said anything bad about you.“

Despite the dramatic clash, no official reconciliation has occurred. Their feud remains one of Afrobeats’ most intense, marked by unspoken tension and a lack of collaboration, making it unlikely that fans will see them on the same stage anytime soon.

M.I vs. Vector: A Battle for Rap Supremacy

The feud between M.I Abaga and Vector Da Viper is one of Nigerian hip-hop’s most iconic rap battles. While both artists had long been considered elite lyricists, their rivalry simmered for years before exploding into full-fledged diss tracks.

The tension between the two dates back to the late 2000s, but it became more apparent in the 2010s when comparisons between them intensified. Vector, known for his razor-sharp flows and street-bred lyricism, often alluded to industry gatekeeping, while M.I, the self-proclaimed “Chairman,” was widely regarded as a powerhouse who shaped Nigerian rap’s modern era.

Things escalated in 2018 when M.I dropped The Martell Cypher alongside Blaqbonez, A-Q, and Loose Kaynon, taking shots at unnamed rappers. Vector fired back with ‘The Purge‘ in 2019, directly challenging M.I’s credibility. M.I responded with ‘The Viper‘, a calculated, introspective diss that painted Vector as bitter and envious. In retaliation, Vector released ‘Judas the Rat‘, where he questioned M.I’s integrity, his role in the industry, and his business dealings.

The feud sparked widespread debate, dividing fans between those who admired M.I’s controlled and structured lyricism and those who appreciated Vector’s raw and aggressive style. In the end, both artists cemented their places in rap history. By 2020, they publicly squashed their beef, performing together and hinting at possible collaborations.

The M.I vs. Vector battle remains one of Nigeria’s most significant rap feuds.

Burna Boy vs. Davido: A Clash of Egos and Supremacy

In the global Afrobeats conversation, the “Big 3” debate often centers around Wizkid, Davido, and Burna Boy. But while Wizkid has largely stayed out of direct confrontations, the tension between Davido and Burna Boy has been particularly explosive.  

Their relationship began on a friendly note, with Burna Boy making a cameo in Davido’s ‘Dami Duro’ video back in 2011. They supported each other’s careers for years, with Davido even attending Burna Boy’s 2018 Lagos concert. However, by 2020, things took a sharp turn.  

Burna Boy, who had become increasingly vocal about his dominance in the industry, began making claims that many perceived as shots at Davido. In May 2020, Davido posted a now-famous photo of himself and Wizkid, captioned “The 2 greatest of all time, no cap.” Burna Boy appeared to take offence, later tweeting cryptic messages about “family money” and “buying success,” which fans interpreted as a dig at Davido, whose father is a billionaire businessman.

The tension escalated into music, with Burna Boy allegedly shading Davido on ‘Way Too Big’ and ‘Real Life’ from his Grammy award-winning ‘Twice As Tall’, while Davido fired back with ‘FEM’, an anthemic clapback that rode on the wave of the End SARS protests.

In December 2020, their rivalry turned physical when reports emerged that they had a scuffle at a Ghanaian nightclub. While neither addressed the altercation directly, Davido hinted at the beef in a social media post, writing, “I go leave this music for una.”  

By 2023, their rivalry flared up again when Davido, in an interview with Brut Afrique, referred to Burna Boy as a “new cat.” Burna responded subtly, refusing to engage directly, but his fans took it as further proof that their cold war was still alive.  

Despite their ongoing differences, there’s always a chance for reconciliation. However, with neither side backing down, the rivalry continues to fuel conversations in Afrobeats, keeping fans engaged and debates heated.  

BNXN vs. Ruger: The Streaming and Talent Debate

In mid-2022, a rivalry emerged between rising stars BNXN (formerly Buju) and Ruger. The tension began when Ruger dismissed BNXN’s success, claiming it was reliant on collaborations rather than solo efforts. This sparked a series of heated exchanges on social media, with both artists defending their artistry and achievements.

The feud reached a pivotal moment when BNXN won the ‘Next Rated Award‘ at the Headies, a category in which both were nominated. In his acceptance speech, BNXN addressed Ruger with a cheeky remark, adding fuel to the rivalry. Ruger seemingly responded with his hit track ‘Asiwaju,’ widely interpreted as a diss record.

Surprisingly, in 2024, the two artists collaborated on the single ‘RMD’ and subsequently released a joint EP titled ‘RnB’. This partnership marked a significant turning point, suggesting that their previous disputes may have been either resolved or strategically utilized to generate publicity.

Odumodublvck vs. Prettyboy D-O: The Street-Hop and Alté Worlds Collide  

The feud between Nigerian rappers Odumodublvck and Prettyboy D-O offered a unique clash between two artists from different ends of Nigeria’s evolving hip-hop scene. While Odumodublvck represents the grittier, street-driven side of rap, Prettyboy D-O has been a long-standing figure in Nigeria’s alté movement. Their paths initially seemed to align, with Odumodublvck expressing admiration for D-O in past tweets, but 2024 saw their relationship turn sour.

In January 2024, Odumodublvck fired off a series of tweets accusing an unnamed artist of manipulating streaming numbers. Though he didn’t mention anyone directly, fans quickly speculated that he was referring to Prettyboy D-O, whose Spotify streams didn’t seem to match up with his Apple Music rankings.  

Prettyboy D-O responded with a cryptic post of his own, warning Odumodublvck not to let a “man without talent” (a suspected jab at Native Records co-founder Teezee) stir up unnecessary conflict between them. The feud intensified when Odumodublvck accused D-O of calling him a “clone,” which D-O denied, shifting the blame to Chubbz, another Native co-founder.

Chubbz then stepped into the mix, claiming that Native Records had passed on signing Prettyboy D-O in the past due to weak demos. This added another layer of tension to the dispute, making it a full-blown rap beef that divided fans across social media.

Despite the online back-and-forth, a video later surfaced showing Odumodublvck, Prettyboy D-O, and Teezee hanging out together, signalling that whatever feud existed had been put to rest. But the drama still gave fans one of the most memorable viral moments of the year: Odumodublvck’s fiery rant, which has become a viral meme in and beyond the music world—“Nor be all this cho cho cho! Show working! Show working! We put our blood on this P!”

Wizkid vs. Davido: The Decade-Long Rivalry That Defined Afrobeats  

If there’s one feud that has defined modern Afrobeats, it’s the on-and-off rivalry between Wizkid and Davido. The tension between these two titans has spanned over a decade, blending professional competition, fan wars, and occasional moments of reconciliation.

The origins of their rivalry trace back to 2014, when Wizkid, fresh off a successful U.S. tour, tweeted about performing at “proper venues.” Davido responded with a now-deleted post, suggesting Wizkid was being shady. From there, things escalated, with both artists taking subliminal shots at each other in interviews and music.

In 2017, Wizkid famously called Davido’s voice a “frog voice,” sparking another wave of tension. Yet, in 2018, they shocked fans by performing together at each other’s concerts, momentarily burying the hatchet.

However, their relationship has remained unpredictable. In 2020, Wizkid ignored Davido’s ‘A Better Times’ album release, fueling speculation of lingering beef. But in a show of respect, Wizkid postponed his ‘More Love, Less Ego’ album drop in 2022 following the tragic passing of Davido’s son. 

In 2023, Wizkid announced a joint tour with Davido, signaling reconciliation. But by 2024, the rivalry appeared to be alive again, with fan bases—Wizkid FC and 30BG—keeping the competition intense.

From quotable disses (“Dem nor dey hear your gbedu again”) to viral memes (“Osakpolor”), the Wizkid vs. Davido saga continues to shape Afrobeats history.

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Jailer – Sarkodie, Victony

In recent years, Sarkodie has continuously tapped into the brilliance of Afrobeats artists in Nigeria with terrific hooks for his equally hard-hitting rap bars. Intersecting with Afro-R&B artists, Sarkodie has been able to express himself on the melodies of these artists. From Non-Living Thing with Oxlade to Till We Die with Ruger, Sarkodie has built a musical world that centres on heartbreak and love. Unsurprisingly, Jailer with Victony adds another notch on Sarkodie’s belt.

Bus Stop – TAR1Q, Young Jonn

Within 24 hours of the release of his second EP, TARIQ’s “Okada Airlines” started at No. 12 on the Nigerian Apple Music Albums Chart and rose to No. 9. The young artist signed to Chocolate City Label went 8 for 8 with his latest EP, which featured Young Jonn, Khaid, Killa, and Bola BMH. TARIQ’s ability to create surreal, infectious melodies of high replay value positions him for many milestones in the Nigerian music scene and beyond. Bus Stop with Young Jonn is one of the many confirmations from the EP. Other standout tracks from the EP include Living Thing, Zuko, Jigga, and Oyi Eh.

Goosebumps – Qing Madi

Armed with hit songs like American Love, Ole featuring BNXN, and Vision, just to name a few, Qing Madi continues to impress and make grand musical strides for a rising star. In preparation for her debut album, Qing Madi shares a lead single title, ‘Goosebumps’. Known for her relatable lyrics and clean, clear vocals, her new single Goosebumps reflects these traits and showcases Qing Madi’s prowess to tell love stories in the form of beautiful music. 

KUKU GOOGLE AM – 2Baba

Afrobeats legend 2baba is said to be working on a last record, possibly his last, that will bid farewell to the music industry. With his new single, which will most likely be included on his upcoming album, 2Baba taps into one of his many ranges as an astonishingly creative artist. On his new single “KUKU GOOGLE AM,” 2Baba expresses a variety of controversial narratives fuelled by comparisons in the music, influencing, humorous, and entertainment industry as a whole. Like a Fela Kuti performance, each of 2Baba’s lyrics is met with a callback of “KUKU GOOGLE AM”. 

Saint Tropez, Juls, Victony

Weeks after teasing “Saint Tropez” on his social media pages, the track is finally released on DSPs alongside 17 other songs off Juls fourth studio album, “Peace and Love.” If you’re familiar enough with Juls work as a producer, you can tell from the shakes and Caribbean-like percussions a song he worked on. And on this sonic experience, Victony thrives, conveying a lustful yearning for a romantic subject with innuendos and harmonious hints. 

Rebel Music – Black Sherif 

Clearly, Black Sherif is in album mode for his highly anticipated sophomore album, “Iron Boy.” And to further build anticipation, he has released a new single title, “Rebel Music,” a typically intense music that Black Sherif says he’d be selecting as a soundtrack for judgement day if he was ever made to choose. On Rebel Music, Black Sherif bares his life’s experiences and journey in a visceral and gritty manner that pulls a listener into not just his music but the story. 

Mr. Heartbreaker – Rose May Alaba, Odumodublvck 

Born and raised in Vienna, Austria, to a Nigerian father, Rose Mary Alaba’s R&B record “Mr Heartbreaker” intersects with ODUMODUBLVCK’s gritty and intense delivery of heartbreak from their point of view. While Rose’s verse chronicles a sad heartbreak story, ODUMODUBLVCK’s is more crude and, to an extent, hilarious. 

Lonely – Joshua Baraka

Ugandan new generation artist Joshua Baraka delivers yet another sublime piece of music to listeners. This comes five months after he released the deluxe version of his 2023 studio EP, “Growing Pains.” In yet another tale of heartbreak, Joshua Baraka poured his tender vocals on plucky guitars and consistent kicks.

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