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.

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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.

Taxi Driver — Joeboy

Joeboy takes center stage on this week’s New Music Friday with the lead single of his forthcoming album, ‘Viva Lavida’. The song, which he teased through short film episodes starring comedian Layi Wasabi and public figure Asher Kine, features the actors sharing heartbreak stories in the backseat of a taxi where Joeboy, playing the role of the “Taxi Driver,” also assumes the part of a therapist.  

On ‘Taxi Driver’, the singer soulfully mourns a lost love, opening with the poignant lyrics “Who send me make I fall in love again? I be dey think say you go be my sweet sugar cane”, delivered over a subtle guitar progression reminiscent of Ghanaian highlife melodies. The track marks Joeboy’s second release of 2025, with both singles serving as part of the rollout for his third studio album, arriving roughly two years after his sophomore effort.  

Lyrically, ‘Taxi Driver’ finds Joeboy seeking solace from the emotional turmoil he endured in the relationship. He has moved past the pain, resolute in his decision to let go, unfazed by any pleas to work things out. With these two releases, Joeboy’s upcoming project is shaping up to be a collection of soulful heartbreak music from an artist whose track record proves he truly knows his craft.  

Must Have Been — Tar1q

One of the most talented new-school pop artists, Tar1q, is known for weaving themes of heartbreak, love, and life’s musings into his music. His latest release, ‘Must Have Been’, arrives remarkably soon after an eventful 2024 and the release of his studio EP, ‘Okada Airlines’.

Tar1q’s innate ability to craft emotive melodies sets him apart from his peers, and on ‘Must Have Been’, he bids a lover an early goodbye, mourning what could have been. The song finds him grappling with the pain of his new reality, lamenting that despite now being strangers, he put in significant effort to make the relationship work.  

A striking element of the track is the bridge, featuring a feminine vocal, not listed as a guest artist but acknowledged as one of the song’s writers. There’s a strong possibility that a new Tar1q project is on the horizon, as he hinted in his social media caption for the release, which included spammy brown heart emojis and the cryptic phrase: “Brown Hearts everyday”

Olivia — Lasmid

Ghanian singer Lasmid has released his debut single for the year 2025 titled ‘Olivia’. Signed to Nigerian record label Dvpper Digital, Lasmid’s new record ‘Olivia’ captures the emotional state of the artist over his muse Olivia who has apparently broken his heart and directly contributed to his excess consumption in alcohol. From the lyrics, the song appears to be a melancholic reflection on heartbreak, and loneliness. Lasmid expresses emotional turmoil, referencing drinking tequila and feeling mentally distressed. The mention of “Olivia” suggests that the song revolves around a lost love or a complicated relationship that has left Lasmid feeling abandoned and sad.

Lines like “On this lonely road, bitches dem be stepping on my toes, making me feel sad o” indicate that the artist faces struggles beyond just romantic pain, perhaps betrayal. The phrase “What I thought was green turned blue” suggests what was shared and once perceived as promising has turned into sadness.

On ‘Olivia’ Lasmid crafts an emotionally raw, introspective tone, with elements of vulnerability into melodies.

Bere Mi (Reimagined) — ID Cabasa ft. Zlatan, T.I BLAZE

Veteran Nigerian producer ID Cabasa breathes new life into a classic with the reimagined Bere Mi (Ask About Me), featuring 9ice, Zlatan, T.I Blaze, and 2Phat. As the third single from his Unfinished Business album, this fresh take on an old favorite seamlessly blends nostalgia with the raw energy of contemporary street-hop.
Originally released in the early 2000s, Bere Mi was a defining record, brought to life by 2Phat’s sharp lyricism and 9ice’s distinct vocals. The song captured the hustle and aspirations of its time, becoming a cultural anthem. Now, with Cabasa’s masterful touch, the track maintains its essence while embracing the dynamic pulse of today’s music scene. Zlatan Ibile injects his signature swagger, while T.I Blaze delivers emotive melodies, adding new dimensions to the record.

Different Pattern — PsychoYP

PsychoYP’s latest freestyle, ‘Different Pattern’, is a high-energy, braggadocious track that reaffirms his dominance in the Nigerian hip-hop and trap scene. Staying true to his signature style, he delivers rapid-fire bars over a hard-hitting beat, laced with themes of wealth, luxury, and street credibility.

Throughout the track, YP flexes his success, referencing his expensive cars and flashy lifestyle while making it clear that he’s leagues ahead of the competition. His lyrics exude confidence, reinforcing his elite status in the game. He also throws in assertive lines about his craft, positioning himself as untouchable in the rap scene.

A key part of ‘Different Pattern’ is its defiant tone—PsychoYP makes it clear that if any “opps” challenge him, they’ll face whatever consequences. ‘Different Pattern’ mirrors the aggressive and fearless attitude that has become a staple in his music, with lines that emphasize his readiness to defend his reputation.

With ‘Different Pattern’, PsychoYP doesn’t stray far from the formula that has solidified his reputation as Nigeria’s trap frontrunner. His signature delivery, characterized by sharp flows and effortless charisma, makes this freestyle another testament to his consistency in the scene.

Survivor — Olivetheboy ft. Qing Madi

Ghanaian rising star Olivetheboy joins forces with Nigerian vocal powerhouse Qing Madi on ‘Survivor‘, a deeply introspective track that captures the essence of perseverance and self-reliance. Produced by Beatz Vampire, the song is a fusion of Afro-fusion and soulful melodies, embodying the quiet strength of those who push forward despite life’s obstacles.

Olivetheboy sets the tone with the line, “I stay on my own lane, I don’t need your concern,” a declaration of independence and unwavering focus. His delivery is both defiant and reflective, mirroring the mindset of someone who has learned to navigate life on their own terms. Qing Madi complements this with her signature ethereal vocals, adding a layer of emotion that speaks to the solitude often felt on the path to success. Her lyrics evoke both strength and vulnerability, making Survivor an anthem for anyone embracing personal growth in the face of adversity.
With a smooth yet poignant production, Survivor isn’t just a song—it’s a testament to resilience, reminding listeners that even in isolation, there is strength to be found. Olivetheboy and Qing Madi’s synergy on this track solidifies their standing as two of the most compelling voices in West Africa’s new wave of artists.

Stream the full New Music Friday Playlist on Spotify below.

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