Entertainment
Burna Boy as Nigerian musicians’ gutters-to-Grammy story | By Festus Adedayo
When he voiced his ambition to be a standup comedian, Jewish American, Samuel Levenson’s mother was aghast. For a boy who grew up in a large Jewish immigrant family in New York’s Brooklyn, Madam Levenson’s disdain for standup comedy as a profession was understandable. “My son, you mean, you stand, you talk and people laugh?” the mother demanded incredulously, breaking her son’s queer ambition into cynical smithereens. Levenson said this much in his book of jokes entitled, You don’t have to be in Who is Who to know what is what.
Levenson had been a teacher. He however had a very noticeable talent for cracking ribs, which was becoming appreciated by the family’s Brooklyn neighbourhood. To now seek to make this second-rate comedy – something associated with indolent dregs of society – a lifelong occupation, was absolutely demeaning to Madam Levenson. Born on December 28, 1911, till his death on August 27, 1980, Levenson held the wave and rose to become one of America’s most authoritative humorists, writer, teacher, television host and journalist. That conversation young Levenson had with his mother is similar to the conversations, borne out of conservatism and ethnic pride, traded in many Nigerian homes.
Last week, Nigeria’s name reverberated all over the world again, this time not for opaque-minded leadership, corruption, banditry, Boko Haram or Fulani herdsmen’s violence. In far away Los Angeles, at the 63rd annual Grammy awards, Burna Boy, real name Damini Ogulu, won the Best Global Music Album category with his Twice as Tall traack, while Wizkid won the Best Video for his song with Beyonce. Certifying this as the path to tread by Nigeria, World Trade Organization DG, Ngozi Okonjo-Iweala, commended the awardees for their music, stating that “they were an example of services we can export. We are exporting so much of our creative arts abroad and this seems to be encourag(ing).”
Nigerian streets are littered with people who, if they had followed the path of their passions, endowments and natural gifts/talents, they could have been greater assets to themselves and mankind. Predominant in the immediate period when western education began to open doors according to professions, certain acclaims, privileges and social status were ascribed to some professions ahead of others. It was thus more socially befitting to be a lawyer, judge, medical doctor, than to be a teacher, for instance. Down the ladder, same level of social ostracism abounded and still abounds. In societies which predicated statuses on hard work, some professions, occupations and preoccupations were literally anathema.
In the Yoruba pre-colonial, colonial and immediate post-colonial society, for instance, you were worse than a leper if you chose music or performing arts as a profession. Many of those musicians who later rode to the crest of acclaim, wealth and fame fought titanic battles with society, their parents and families before they gained any modicum of respect and regards. One of such was Haruna Bello Ishola, popularly known as Baba Gani Agba.. Born in 1919, he became very consequential in his musical career. As one of the foremost, if not the foremost singer of the Yoruba music genre of Apala, he was awarded the national award of Member of the Order of the Niger (MON). His renown in western region social circuit was such that he carved a reputation for himself as the foremost in-demand entertainer at parties by the nouveau riche Yoruba elite of the time.
Long before his first album was produced in 1948, which he entitled Late Oba Adeboye, (Orimolusi Of Ijebu Igbo) and which was released under the label of His Masters Voice (HMV), Ishola faced the raw odium of a Yoruba society which perceived musicians as alagbe (beggars) and lazy drones. In one of his songs when fame, wealth and recognition had come in a spurious surge, Ishola rendered the battle he fought with society in one of his songs thus: “When we started long ago, colleague musicians who didn’t know this job would be a money-spinner quit and fell by the wayside…That was when singers, drummers were called lazy, indolent people…Many ran away.” It went thus in Yoruba: Nigba ti a bere lojo ojosi// Awon ti o mo pe ise ola ni ninu wa, nse ni won yeri// Igba yen ni won np’olorin l’ole, won np’onilu lole//To m’elomi sa pata.
That same musician was to later have one of the tracks in what is regarded as his titular album, named Oroki Social Club on Decca Records. The track was an ode to popular and prestigious Osogbo, present Osun State-based club members, who gathered in a nightclub where Ishola performed concerts and entertained sold-out audiences. Oroki Social Club became the most outstanding album of Ishola’s singing career, selling over five million copies, even in his lifetime. He later established his own record label called Phonodisk, after failed label partnership with IK Dairo and later with a colossus music industry investor, Nurudeen Omotayo Alowonle, with whom he established the Express Record Dealers Association in 1964. That venture later became a celebrated court case on intellectual property right. Before Ishola’s death in 1983, he was one of the first set of musicians to tour prominent places in the world, travelling to Benin Republic, United Kingdom, France, West Germany and Italy.
Ask many of those musicians, standup comedians who later rose to fame and acclaim and they will tell you the tortuous road of societal disdain and rejection they journeyed to the top. It was inconceivable to their societies that, in a world where people strove to become doctors, lawyers, engineers and pharmacists, a right-thinking person could embark on awada (comedy), footaballing, athletics, for a living or entertaining crowds and wait for dole-outs before they could get their daily bread. Many of those jokes that made standup comedians reap mega-bucks today were ones that provoked mirthless guffaws over palmwine. Such artists never rose beyond cracking the ribs of their friends at beer parlours. These A-list artists were once perceived as dregs of society. Women fled from them for fear of being recipients of the odium of society and those who associated with them took huge slices of such disregard. Their parents were not proud of them and dithered from publicly identifying with them.
Particularly in southern Nigeria, where a life of dependency on dole-outs was an anathema, anyone associated with entertainment and arts was seldom respected. In fact, they believed such life was a precursor to becoming a thief. In an interview in December last year, centenarian Mrs. Morenike Owomoyela, mother of Kennery music boss, Oladipupo Owomoyela, Orlando Owoh, said she was furious when her son abandoned school for the dancehall. She said: “Initially, I was very furious. I asked him why he would take such a decision because I could not understand why he would abandon school and be singing about. But later, people came to appeal to me to let him pursue his dreams, that he could also make it in life through music. After much thought, I stopped discouraging and I allowed him.”
Yet, music constitutes the fabric of the African’s way of life. As I wrote in my book, Ayinla Omowura: Life and Times of an Apala Legend (page 19): “Music forms a major aspect of the typical life of an African. Indeed, it cannot be divorced from the core constitution of the fabric of the African. From wake-up at dawn to retiring to his bed at dusk, the African interfaces with music in virtually all segments of his existence. The interface is so sweeping that it would be difficult to describe the African life without amply stating the minutest details of how he is shaped by a life of music… music is actually central to the three phases of his existence, which are joy, sadness and relaxation. At those crucial moments, music acts as a consul, a companion, with which he is able to explain or live through those critical moments of his existence.”
Today, however, perceptions are changing and the Nigerian society is moving at a supersonic speed with the rest of the world. All around the globe, entertainers are given kudos for their works as entrepreneurs who performed their civically-minded, problem-solving roles in society, as well as acting as agents for social change. Artists, for instance, play huge roles in community change, development and placemaking. They earn multiple of millions of dollars for their acts and have their fames reverberating all over the world. It is same for artists in Nigeria. Take for example one of the most influential artistes in Africa, 28-year old Nigerian-American singer, songwriter and record producer, David Adedeji Adeleke, who is better known as Davido. Though son of billionaire Deji Adeleke, at such young age, Davido duds the wealth and fame of his father, personally making mega fame, acclaim and wealth from creative arts. He is estimated to have a net worth of $16 million, coasting home as the richest musician in Nigeria. He has garnered wealth from music and endorsement projects, chief among which is the $78,296 (N30 million) MTN endorsement deal, Guinness Nigeria, and Infinix mobile. He was said to have bought a Bentley for his father a couple of years ago.
Now, the province of creative art is being rudely barged into by children brought up with silver spoons. First daughter of billionaire Femi Otedola, Olawunmi Christy, better known as Tolani, born on April 21, 1986, has also joined the league by becoming one of Nigeria’s singers and songwriters. In tow is Folarin, stage name Falz, another popular Nigerian rapper, singer, online comedian and actor and lawyer son of activist, Femi Falana.
This is a wakeup call on those parents who criminalize and demonize the arts, whose children must be doctors, lawyers, engineers or nothing else. They should painstakingly identify their wards’ endowments, talents and prod them up with proper education. On a lighter note, why should it be that, when law, engineering, medicine, pharmacy etc. were the vogue of professions, the elite and nouveau riche children were quick to be found in that theatre and now that creative arts has taken over, same set of people must be the controllers!
The Africa Magic Viewers’ Choice Awards (AMVCA) has unveiled the nominees for its highly anticipated 2025 edition, recognising outstanding achievements in African filmmaking, acting, and content creation.
The shortlist, released on Sunday night, features some of the most celebrated talents in the industry, with Uzor Arukwe and Omoni Oboli among the nominees. Uzor has been nominated for Best Supporting Actor for his role in Suspicion, while Omoni secured a spot in the Best Supporting Actress category for Wives on Strike 3.
This year’s AMVCA will feature 28 categories, including both voting and non-voting awards, covering various aspects of filmmaking, from acting and directing to cinematography and digital content creation.
Top Contenders and Categories
The Best Supporting Actress category boasts a stellar lineup, including Meg Otanwa (Inside Life), Tina Mba (Suspicion), Ireti Doyle (All’s Fair in Love), and Mercy Aigbe (Farmer’s Bride), among others. Meanwhile, Best Supporting Actor nominees include Adedayo Adebowale Macaroni (Lisabi: The Uprising), Richard Mofe-Damijo (Christmas in Lagos), and Gabriel Afolayan (Inside Life).
In the leading categories, Best Lead Actress nominees include Bimbo Ademoye (Anikulapo: Rise of the Spectre), Chioma Akpotha (Seven Doors), and Hilda Dokubo (The Uprising: Wives on Strike 3). Best Lead Actor contenders include Femi Adebayo (Seven Doors), Stan Nze (Suspicion), and Gideon Okeke (Tokunbo).
Celebrating African Creativity
This year’s edition features an exciting mix of Indigenous Language Films, with nominations for Seven Doors (Femi Adebayo), Lisabi: The Uprising (Adedimeji Lateef and Adebimpe Oyebade Adedimeji), and Anikulapo: Rise of the Spectre (Kunle Afolayan). The Best Movie category sees strong competition from Lisabi: The Uprising, Skeleton Coast, Suspicion, and House of Ga’a.
Other notable categories include Best Director, where nominees such as Bolanle Austen-Peters (House of Ga’a), Norman Maake (Inkabi), and Robert O Peters (Skeleton Coast) will battle for the top honour. The Best Cinematography award features Inkabi, The Legend of the Vagabond Queen of Lagos, and Agemo.
Additionally, the AMVCA recognises digital content creators, with nominees including J
In the grand story of Afrobeats’ global rise, some names echo loudly in the mainstream, while others work quietly behind the scenes, shaping the industry’s direction and future. Olamide Adedeji, popularly addressed as ‘Olamide Baddo’, by his numerous fans, is one of the few rare genii that does both. One of the major pioneers of indigenous rap, a trendsetter of street hop, and the kingmaker of Nigeria’s biggest new-generation stars, Olamide has cemented his legacy not just as an artist, but as an empire builder.
For over a decade, his ‘Yahoo Boy No Laptop Nation’, better known as YBNL Nation or simply YBN label has been the launchpad for talents who now dominate the charts, proving that beyond being a hitmaker, Olamide is the silent architect of Afrobeats’ next generation. While others chase global headlines, he works quietly—discovering, nurturing, and elevating stars who redefine the industry.
The Making of a Legend: From ‘Bariga’ to the ‘Big Stage’
Born on March 15, 1989, in Bariga, Lagos, Nigeria, Olamide’s journey into music was driven by raw talent, resilience, and a deep connection to his roots. He struggled hard to burst onto the scene in 2011 with his debut album Rapsodi, introducing a unique blend of Yoruba rap and street lingo. His follow-up project, YBNL, cemented his place as a force to be reckoned with.
Since then, Olamide has consistently released hit albums, amassing an impressive 13 studio projects—a feat unmatched by most of his peers. His discography is a goldmine of anthems, from Durosoke, Shakiti Bobo, and Wo! to Infinity and Jinja among others.
But beyond his success, his biggest achievement lies in the stars he has introduced to the world. Olamide’s YBNL label has proven to be a powerhouse for nurturing and launching some of Nigeria’s biggest music stars.
YBNL’s Role in Afrobeats’ Evolution
While many artists focused solely on their careers, Olamide Baddo took a different path. In 2012, he founded YBNL Nation, a record label that has since become one of Nigeria’s most influential music powerhouses. Through YBNL, he has discovered and mentored some of the biggest names in the industry, including:
Lil Kesh
Olamide’s decision to sign Lil Kesh to YBNL in 2014 was one of the best moves for the young artist’s career. Under Olamide’s mentorship, Lil Kesh released hit singles like Shoki, Efejoku, and Gbese, which became street anthems across Nigeria. His unique ability to blend street hop with catchy hooks made him a fan favourite, and with Baddo’s guidance, he earned a Headies nomination for Next Rated in 2015. Though he later left YBNL to establish his own label, YAGI, Olamide’s influence remains a crucial part of his rise to stardom.
Adekunle Gold
Before joining YBNL, Adekunle Gold was primarily known as a graphic designer, even designing the YBNL logo. However, Olamide saw his musical potential and signed him in 2015, a move that transformed Adekunle Gold’s career. His debut single, Sade, became a massive hit, followed by songs like Orente and Pick Up. Olamide provided the platform and industry connections that allowed Adekunle Gold to transition from a struggling artist to a mainstream sensation. Today, AG Baby is one of the most successful alternative Afrobeat artists, and his foundation in YBNL played a huge role in that success.
Viktoh
Signed alongside Lil Kesh, Viktoh was one of the early members of YBNL, bringing a unique blend of rap and Afrobeat to the label. Although he didn’t achieve the same level of commercial success as some of his labelmates, his tracks like Skibi Dat and Me and My Guys showed promise. Olamide’s backing helped him gain recognition, but he eventually faded from the mainstream spotlight. Nonetheless, his time at YBNL gave him the platform to build a fanbase and industry connections.
Chinko Ekun
Known for his heavy punchlines and street rap skills, Chinko Ekun was another beneficiary of Olamide’s vision when he joined YBNL in 2015. His freestyle abilities set him apart, and under Baddo’s mentorship, he released tracks like Able God, which became a national anthem in 2018. Even after leaving YBNL, Olamide’s influence was evident in his career growth, as he continued to push indigenous rap forward in Nigeria’s music industry.
Davolee
Olamide signed Davolee as part of his mission to promote raw street talent, and the rapper didn’t disappoint. His storytelling ability stood out, especially in Festival Bar, where he detailed his struggles before fame. Although he didn’t stay long in YBNL, the exposure he got under Olamide helped him gain credibility in the industry. After exiting the label, he continued dropping music that resonated with the streets, a testament to the foundational training he received at YBNL.
Temmie Ovwasa
As the only female artist signed to YBNL at the time, Temmie Ovwasa brought a different vibe to the label with her soulful and alternative sound. Her debut track, Jabole, showcased her vocal depth, and with Olamide’s backing, she gained instant recognition. However, creative differences eventually led to her departure from YBNL. Despite this, Olamide’s platform helped her establish a presence in the industry, even as she later pursued a more independent artistic direction.
Fireboy DML
Perhaps the most commercially successful YBNL signee, Fireboy DML joined the label in 2018 and immediately took the industry by storm. His debut album, Laughter, Tears & Goosebumps, was a massive success, featuring hits like Jealous, What If I Say, and King. Olamide’s strategic push for Fireboy, including securing a partnership with Empire Distribution, played a major role in his rise. Fireboy’s sophomore album, Apollo, and the global success of Peru further cemented his place as one of Afrobeats’ biggest stars. Without Olamide’s vision and investment, Fireboy’s meteoric rise might not have happened.
Lyta
Lyta’s story is another example of Olamide’s generosity in nurturing young talent. Signed to YBNL in 2018, he quickly gained attention with Time, featuring Olamide. His melodic style made him a fan favourite, but internal issues led to his departure from the label. Despite leaving YBNL, the exposure he gained under Olamide helped him secure a fanbase, allowing him to continue his career independently, with later hits like Monalisa gaining international attention.
Limerick
A talented rapper discovered by Olamide via Instagram, Limerick’s signing to YBNL in 2018 was a big moment for his career. His debut single, Pesin, featuring Olamide, introduced him to a larger audience, and his sharp lyricism made him stand out. However, like many YBNL signees, he eventually left the label to pursue his career independently, though the platform Olamide provided helped put him on the map.
Picazo Rhap
Picazo Rhap’s journey to YBNL began when a viral freestyle caught Olamide’s attention, leading to his signing in 2018. He quickly gained buzz with his feature on Macaroni alongside Yomi Blaze. However, his time at the label was short-lived, as he left to carve out his own path. Despite this, Olamide’s early support gave him industry credibility, allowing him to maintain relevance in Nigeria’s rap scene.
Yomi Blaze
Signed alongside Picazo Rhap, Yomi Blaze was another street-hop rapper who benefited from Olamide’s influence. His aggressive rap style and energetic delivery earned him a spot in YBNL, but like Picazo, he left the label after a short stint. Despite this, his signing alone gave him significant industry exposure, proving Olamide’s impact in bringing underground rappers to mainstream attention.
Asake
The latest and arguably the most successful YBNL signee since Fireboy, Asake has taken the music industry by storm with his unique blend of Fuji, street-hop, and Amapiano. Signed in 2022, Asake quickly became a dominant force with hits like Sungba, Joha, and Omo Ope, all under Olamide’s guidance. Baddo’s mentorship, including personally featuring on his breakout single, gave Asake the push he needed to become a household name. With an impressive streak of chart-topping songs and a global fanbase, Asake stands as one of Olamide’s most successful protégés.
For every name that YBNL has produced, Olamide’s silent influence has shaped their journey. Unlike many label bosses, he doesn’t seek credit—he lets the success of his protégés speak for itself.
Badoo’s YBNL brand has established itself as a breeding ground for some of Nigeria’s most successful music stars. Beyond the artists he openly mentored and collaborated with, his keen eye for talent has quietly shaped the careers of several industry heavyweights, either through direct influence or behind-the-scenes support. His ability to discover and nurture raw potential remains unparalleled, as he has, both openly and in subtle ways, influenced the rise of numerous musical icons, including those he never officially signed or featured on songs but also freely blessed with verses.
Some of them are :
Zlatan Ibile
Olamide’s impact on Zlatan Ibile’s career was a game-changer, as his feature on My Body in 2017 gave Zlatan the visibility he needed to penetrate the Nigerian mainstream music scene. The song quickly became a street anthem, and the association with Baddo cemented Zlatan’s credibility in the industry. This exposure set the stage for his rise, leading to subsequent hits like Zanku and Bolanle, as well as the creation of the now-popular Zanku dance movement.
Bella Shmurda
Before Bella Shmurda became a household name, his breakthrough moment came when Olamide jumped on the remix of Vision 2020. The collaboration, released in 2019, amplified Bella’s reach and gave his street-conscious music a much-needed boost. The success of the remix opened doors for Bella, eventually leading to chart-topping hits like Cash App and Rush, as well as a spot among the new generation of Afrobeats superstars.
Portable
The emergence of Portable in 2021 was largely due to Olamide’s influence when he featured on the viral hit Zazoo Zehh alongside Poco Lee. The song became an instant sensation, turning Portable from an underground street artist into one of the most talked-about figures in the industry. Olamide’s co-sign not only elevated Portable’s career but also gave him the platform to navigate the industry with multiple endorsements and show appearances.
Naira Marley
Although Naira Marley was already building a fanbase with his controversial and street-savvy music, Olamide’s indirect influence helped shape his rise. Their collaboration on tracks like Issa Goal and Ko Si Werey pushed Naira Marley further into the limelight, particularly during the 2018 FIFA World Cup when Issa Goal became an unofficial anthem. The exposure he gained contributed to the formation of the Marlians movement, one of the most dedicated fan bases in Nigerian music.
CDQ
CDQ’s career took a defining turn when Olamide jumped on Indomie, a track that helped introduce him to a larger audience. The collaboration, released in 2015, became a massive club hit and positioned CDQ as a dominant voice in the indigenous rap scene. With Olamide’s influence, CDQ was able to refine his street-hop style, which later led to further hits like Nowo E Soke and Say Baba, solidifying his place in the industry.
Reminisce
Olamide and Reminisce have had a long-standing relationship as two of Nigeria’s leading indigenous rappers. Their collaboration on Local Rappers in 2015, alongside Phyno, was a cultural statement that reaffirmed the dominance of Yoruba and Igbo rap in mainstream Nigerian music. Olamide’s influence helped Reminisce maintain his street credibility and commercial appeal, ensuring that his music remained relevant to core hip-hop lovers.
T.I Blaze
In early 2022, Olamide gave T.I Blaze his big break by featuring on Sometimes (Remix), a song that captured the struggles of the streets. The remix gained massive airplay, bringing the previously unknown artist to the forefront of Nigeria’s music industry. This single not only boosted T.I Blaze’s career but also opened doors for collaborations with other mainstream artists, proving once again that an Olamide feature is a career-defining moment.
Bad Boy Timz
Olamide’s impact on Bad Boy Timz was evident in their collaboration on Loading, a standout track from Olamide’s Carpe Diem album. The song became a fan favorite, giving Timz a much-needed push in the industry. Following this exposure, he went on to win the Rookie of the Year award at the Headies, showing how a single feature from Baddo can accelerate an artist’s career trajectory.
Jaido P
Jaido P’s career took a major leap forward when Olamide featured on Tesinapot, a song that blended street hop with catchy lyrical flows. The collaboration, released in 2020, introduced Jaido P to a wider audience and positioned him as one of the promising acts in the industry. The Olamide effect was evident as the song gained massive traction across streaming platforms, giving Jaido P the recognition he needed to stay relevant.
Seyi Vibez
Although Olamide hasn’t directly collaborated with Seyi Vibez, his influence on the rising star is undeniable. Seyi Vibez’s sound, which combines street wisdom with soulful melodies, mirrors Olamide’s early career approach. Baddo’s endorsement of his music on social media helped bring more attention to Seyi Vibez, solidifying his status as one of the most promising artists in the Nigerian music industry today.
More Than Music: Oleamide’s Cultural and Business Influence
Olamide’s impact isn’t just limited to music. He has influenced fashion, street culture, and business, positioning himself as an icon for young Nigerians. His raw, unfiltered personality and deep connection to the streets make him a relatable figure, while his strategic business moves keep him ahead in an ever-changing industry.
From landing brand deals with multinational companies to running one of the most successful independent labels, Olamide’s playbook is one that aspiring musicians and entrepreneurs study closely.
What’s Next for Baddo?
Despite his legendary status, Olamide shows no signs of slowing down. Whether he’s dropping hit records, executive-producing new artists, or expanding his business empire, his presence in the entertainment scene remains undeniable. As Afrobeats continues its global takeover, one thing is certain—many of its biggest stars owe their success to the silent architect of the game, Olamide Baddo.
In an industry where many chase the spotlight, Olamide has proven that true power lies in building legacies, not just hits. His work behind the scenes has shaped the sound of Nigerian music today, and his impact will be felt for generations to come.
Long live the kingmaker!
Idowu Ayodele, a journalist and publisher of Mega Icon Magazine, writes from Ibadan, Oyo State. He can be reached via email at megaiconpress@gmail.com or through 08058893736, 07049626913.
Popular Nollywood actress, lyabo Ojo, has opened up about her traumatic experiences with sexual assault, revealing that she was a victim of rape on five separate occasions.
The emotional disclosure came during an interview with fellow actress, Biola Bayo on the talk show Talk to B.
In the heartfelt conversation, lyabo explained her staunch stance against sexual violence and her zero tolerance for rape apologists. She stressed that she would not hesitate to confront anyone guilty of the crime, even if it were her own son.
“I was raped five times in my life,” she said. “I discovered we have a lot of rape apologists. I don’t care who the person is; if that person is my son, I am going to come for him unapologetically.”
The actress also shared details of her challenging upbringing, revealing that she was raised by her grandmother and only met her mother at the age of seven.
“I grew up with my grandmother, who is half Delta and half Igbo. I think I was seven before I knew my mother,” she recounted.
lyabo further revealed the strained relationship she had with her father, who disowned her when she chose to marry her ex-husband against his wishes. Tragically, her father’s struggles with alcohol and drug addiction cut his life short at the age of 49.
“My dad did everything- alcohol and drugs -so it messed him up at a young age. He died at 49,” she said.
The actress also addressed rumours about her relationship with controversial singer, Naira Marley, clarifying that despite public perception, she has never met him in person.
