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).

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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.

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The four stages offered a unique soundsystem and live-on-stage experience. The 2024 Reggae Geel Festival in Belgium included a live-on-stage lineup of heavyweight legends and promising sensations, hosted by Sheldon Shepherd.

On Friday, the Gold Stage saw performances from Etana, Blvck H3ro and the Kasha Makka Band, Cimarons, Bnxn, Skip Marley, Postmen, Julian Marley and The Uprising, T.O.K., and Alborosie. The Dub Forest stage, as the name implies, was a section surrounded by tall trees.

There were performances by Kingstep Soundsystem feat. Joseph Lalibella and Rueben Gondor, Shikoba Sound feat. Dub Tubbie, Zulu Vibes, Pura Vida Productionz, Freedom Masses, Concrete Lion, and Iration Steppas feat. Mackey Banton.

You’d think that was it, but the two other stages were packed with as much energy. DJ Gajoy, Twinroot, YNG Cptn, Jamie Rodigan, Team Damp, Brooke Bailey, Dunrich World Sound, and Silly Walks Discotheque all set up and performed in the Bounce Dancehall Tent.

The Yaga Yaga section was a fusion of a yoga workshop and good music. The Reggae Rita Yoga Workshop was led by Reeta, a certified yoga instructor cum DJ.

The session blended traditional yoga asanas with the rhythmic beats of reggae music. Sjak Soundsystem, Soulboys vs. Rudeboys, Helea Louison, Leline Park, and Texas Ranger provided additional performance for Yaga Yaga attendees.

For the duration of the festival, which technically began on Thursday with a free official launch party, Reggae Geel festival made provisions for a camping site. Camping tickets cost €25 for a camping spot, access to sanitary facilities, recycling bin bags, and other necessities.

On Saturday, the Gold Stage reopened with new performances that transported attendees to the height of reggae music. The Gold Stage lineup, which was also hosted by Sheldon Shepherd, included Omar Perry and the Asham band, Jah Lil, YG Marley, Stonebwoy, Arrested Development, Luciano and the Messenjah band, D-masta, Marla Brown and the new generation family, Duane Stephenson and the new generation family, Dezarie, Christopher Ellis, and the Messenjah band.

King Original, Roots Explosion, Roots I-Vories, Ras Kush Black Redemption Sound, and Blackamix feat. Robbie Valentine entertained guests in the Dub Forest section. Furthermore, the Dub Forest bar was manned by deaf and hard-of-hearing individuals on Saturday, allowing attendees to order using only sign language. This was done to raise awareness about hearing damage at festivals. DJs such as Shar Perez, MJ, Selecta Killa, D-Masta, Masai and the Roots, Warrior Sound, and Massive B performed sets.

The section was not left out of live-on-stage performances, as Skillibeng took the stage and gave a performance that made the crowd go wild. The Yaga Yaga stage line-up for Saturday was quite similar to Friday’s but had new performances from Kris Van Beethoven, Raphi Scorcher, Sugar Charly, David Katz/Ras Digy, and Gladdy Wax.

Since its inception in 1978, Reggae Geel Festival has blossomed and grown into a culture more than just a festival. Still going strong after 45 years, all for the love of reggae music.

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The lineup of artists included Diamond Platnumz from Tanzania, Libianca from Cameroon, Richard Bona from Cameroon, Ckay from Nigeria, Roseline Layo from Côte d’Ivoire, Victony from Nigeria, Charlotte Dipanda from Cameroon, Innoss’b from Congo, Lydol from Cameroon, Armand Biyag from Cameroon, and the Freak De’LAfrique Berlin based band. The festival was hosted by Adesope Shopsydoo, aka Energy Gawd who brought undiluted energy to the event and made sure attendees brought with them a similar vibe. It was drinks, laughter, and good music in Fulda, Germany. The sun also came out to party on the first day, adding the right lens to the jolly, summery vibes happening on the fairground.

For its first, the Afroland music festival was a decent event that offered guests more than a glimpse into the eclectic culture of Africa through dance and music. Participants on Friday, the 26th, were entertained by the Afrotude Dance Crew and the Mbole Dance Crew. They also enjoyed sets from DJ Boris Montana and DJ Ani. Also, live performances from Armand Biyag, Charlotte Dipanda, Roseline Layo, and Innoss’B enthralled attendees of Afroland Festival.

On the next day, the 27th of July, the event was scheduled to start an hour earlier than it had the previous day with an even more appetising lineup. It appeared that the rain would slightly ruin what started out as a beautiful, summery festival. But it was a fun event beneath light showers with electrifying performances by Libianca, Diamond Platinumz, Ckay, Victony, and Carmen Taffo, along with DJ sets from Ani and Char4Prezzy.

Afroland’s Culture and Beats Inaugural Festival promised an experience that celebrates Afrobeats and captures the diverse culture of Africa, and it offered just that over the course of the weekend through good music, dance, and good vibes. From its sunny start to its showery finish. Hopefully, they make a comeback next summer.

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Live performances during the festival included The Streets, Mahalia, JME, Lancey, K-Trap, Odumodublvck, R2R Moe, Chip, Yg Marley, and a number of North London rappers. The Big Smoke stage also featured the Más Tiempo tent—his tech-house project with Jammer—which provided the audience with a club culture option, making for a more inclusive experience. The expanding crowd was ecstatic as they witnessed amazing sets from a range of DJs, including DJs Ossie, Kittie Amor, and Uncle Waffles, that incorporated house and African-inspired electronic music.

Odumodublvck took the stage to sing a song off his critically acclaimed album “Eziokwu,” titled “Blood on the Dance Floor.” The track featuring Wale and Bloody Samaritan ranked No. 1 on Turntable’s Official Nigeria Top 100 for four weeks. Fortunately, the audience matched his enthusiasm as he performed in the rain.

As soon as Skepta hits the stage, he transports the audience to his 2012 mixtape “Blacklisted” with the song “Same Shit, Different Day.” He sets the Big Smoke stage with a composed manner that is greeted by a fierce crowd. As he performed “Praise the Lord (da shine)” on the now dimly lit stage, the crowd showed no sign of slowing down. However, after the show and while he made his way backstage to his car, Skepta reiterated via Link Up TV that Saturday’s Big Smoke festival was the first of many to help voiceless artists.

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