BLNDE Archives - Afromixx https://afromixx.com/tag/blnde/ Conserving the Essence of African Music, Art & Culture Wed, 08 Apr 2026 10:14:37 +0000 en-US hourly 1 https://wordpress.org/?v=7.0 https://afromixx.com/wp-content/uploads/2024/02/cropped-afromixx-favicon-1-32x32.png BLNDE Archives - Afromixx https://afromixx.com/tag/blnde/ 32 32 Homecoming 2026: Ephemeral Moments, Emerging Artists and the Making of Afrobeats’ Future https://afromixx.com/homecoming-2026-ephemeral-moments-emerging-artists-and-the-making-of-afrobeats-future/ https://afromixx.com/homecoming-2026-ephemeral-moments-emerging-artists-and-the-making-of-afrobeats-future/#respond Wed, 08 Apr 2026 10:14:23 +0000 https://afromixx.com/?p=7963 Two Statements That Define Homecoming 2026 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: Before going further into this piece, it would interest you to know that I have…

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]]> Two Statements That Define Homecoming 2026

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.

https://twitter.com/afrofrench9ja/status/2041116961623462099?s=20

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. 

Homecoming class of 2026.

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.

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]]> https://afromixx.com/homecoming-2026-ephemeral-moments-emerging-artists-and-the-making-of-afrobeats-future/feed/ 0 Rema and Central Cee Set the Eko Convention Centre Ablaze at Rhythm Unplugged 2025 https://afromixx.com/rema-and-central-cee-set-the-eko-convention-centre-ablaze-at-rhythm-unplugged-2025/ https://afromixx.com/rema-and-central-cee-set-the-eko-convention-centre-ablaze-at-rhythm-unplugged-2025/#respond Mon, 22 Dec 2025 16:14:16 +0000 https://afromixx.com/?p=7423 Last night, the Eko Convention Centre transformed into the epicenter of the global Afrobeats movement as the 21st edition of Coca-Cola Rhythm Unplugged kicked off Flytime Fest 2025. The 21st Coca-Cola Rhythm Unplugged was a high-stakes demonstration of why Lagos remains the undisputed entertainment capital of Africa. Now in its 21st year, West Africa’s longest-running…

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]]> Last night, the Eko Convention Centre transformed into the epicenter of the global Afrobeats movement as the 21st edition of Coca-Cola Rhythm Unplugged kicked off Flytime Fest 2025. The 21st Coca-Cola Rhythm Unplugged was a high-stakes demonstration of why Lagos remains the undisputed entertainment capital of Africa. Now in its 21st year, West Africa’s longest-running concert series once again transformed the venue into a pulsating crossroads of sound, where Nigerian innovation collided spectacularly with international flair.

Headliner Rema, the Benin-born architect of Afro-rave, delivered a performance that felt like a coronation. Fresh off a year of total chart dominance, Rema’s set was a masterclass in stagecraft. Emerging amidst a haze of pyrotechnics and cinematic visuals, the “Rave Lord” navigated his discography with the precision of a veteran. From the dark, brooding textures of his sophomore album ‘Heis’ to the unavoidable euphoria of “Calm Down”.

He ignited mass sing-alongs with deeper cuts such as “Charm”, “Why”, and “Soundgasm”, reminding attendees of his deep range as an artist. The energy peaked during collaborations: a raucous “Benin Boys” reunion with Shallipopi, celebrating shared Edo roots, and moments of pure crowd euphoria. Rema’s commitment to excellence elevated the night, creating an atmosphere so thick with vibes, you could slice through it like butter.

Yet Rhythm Unplugged’s magic lay in its eclectic supporting headliner, a deliberate fusion that mirrored Afrobeats’ boundary-blurring ethos. The night’s narrative was built on a bridge between the UK and Nigeria. Central Cee, arguably the UK’s most potent cultural export right now, brought his “Wild West” energy to the Lagos stage. Clad in his signature streetwear, the West London rapper proved that his flow translates perfectly to a Nigerian crowd, with the room erupting word-for-word for “Sprinter” and “Doja”.

The undercard pulsed with Naija’s current vanguard: BNXN provided the melodic soul of the evening, offering a smooth counterpoint to the night’s high-octane rap sets; Odumodublvck’s set (highlighted by a generous moment gifting his wristwatch to a fan during “Cast” with Shallipopi) delivered a rugged, high-intensity performance that solidified his position as the bridge between Nigerian rap and the mainstream; and Shallipopi’s Plutomania energy (joined by brothers Zerry DL and Famous Pluto for “Ewo”). Rhythm Unplugged has always been a springboard for the “next up”, and last night showcased the sheer depth of the current scene, including body-moving performances from artists like Moliy, Chella, Fola, Mavo, Shoday, SMADA, and Zerrydl.

However, for those inside, Flytime Promotions delivered on the promise of luxury. The production value—LED architecture, crystal-clear acoustics, and seamless transitions—set a standard that few other festivals on the continent can match.

Twenty-one years in, Coca-Cola Rhythm Unplugged has evolved from a variety show into a sleek, international-grade festival. While the barrier to entry is higher than ever, the cultural payoff is undeniable. Last night at the Eko Convention Centre was a statement of intent for the rest of the 2025 festive season.

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