Nigerian dancer and entertainer Iweh Pascal Odinaka, popularly known as Poco Lee, has been formally charged in the United Kingdom with five alleged sexual offences, including attempted rape, two counts of rape and two counts of assault by penetration.
The charges were confirmed by Snaresbrook Crown Court in London, following inquiries by Nigerian media outlets. The court’s Admin Team Leader, James Baker, confirmed that the case is officially listed for plea and trial preparation on September 15, 2026.
According to the court’s confirmation, Poco Lee faces: One count of attempted rape, two counts of rape and two counts of assault by penetration.
The court has also imposed a reporting restriction designed to protect the anonymity of the complainant under Section 1 of the Sexual Offences (Amendment) Act 1992.
The September 15 hearing is listed as a plea and trial preparation hearing, rather than the full trial itself. At the hearing, proceedings are expected to move forward with the necessary preparations for the case.
Poco Lee Formally Charged in UK With Five Alleged Sexual Offences, Including Attempted Rape and Two Counts of Rape. pic.twitter.com/2DlMdkOqCG
Reports concerning Poco Lee’s detention in the UK began circulating online in August, initially with limited publicly confirmed information about the nature of the case.
The Snaresbrook Crown Court subsequently confirmed that a case involving the entertainer was before the court and that he was scheduled to appear on September 15. Earlier reports had described the matter only as an alleged assault case.
The latest confirmation from the court provides the specific offences for which he has been charged.
Poco Lee’s management has also urged the public and media to exercise caution over unverified details surrounding the case.
In particular, his team rejected claims that drink-spiking formed part of the charges, stating that such claims were not included among the allegations before the court. The management asked people to refrain from adding details that are not contained in the actual case.
Poco Lee’s next scheduled appearance is September 15, 2026, at Snaresbrook Crown Court, where the case will proceed through plea and trial preparation.
Streamdorm will continue to follow the case and provide verified updates as they become available.
The nominations for the 18th Headies Awards have officially been unveiled, setting the stage for another major celebration of Nigerian and African music.
The 2026 edition brings together some of the biggest names in Afrobeats alongside a new generation of artists making significant waves across the continent. Davido, Wizkid and Burna Boy headline the major categories, while artists including FOLA, Ayra Starr, Mavo, Omah Lay, Tems, Asake, Rema and Tiwa Savage also feature prominently.
The 18th Headies is taking the awards to Toronto, Canada, under the theme “Africa to the World”, reflecting the continued global expansion of African music. The ceremony is scheduled for October 23, 2026, with several Headies Week events planned around the main ceremony.
Three of Afrobeats’ biggest stars remain at the centre of the Headies conversation.
Davido earns nominations across several major categories, including Afrobeats Album of the Year for 5ive, Best Male Artiste, Song of the Year, Afrobeats Single of the Year, Best Recording of the Year, Best Headies Collaboration and Headies Viewers’ Choice.
His collaboration with Omah Lay, “With You,” is particularly dominant, earning nominations for Song of the Year, Afrobeats Single of the Year, Best Recording, Best Headies Collaboration and Viewers’ Choice.
Wizkid is also strongly represented. Morayo competes for Afrobeats Album of the Year, while the singer is nominated for Best Male Artiste, Digital Artiste of the Year and Viewers’ Choice. His collaborations with Asake, “MMS” and “Jogodo,” also feature in major categories.
For Burna Boy, No Sign of Weakness earns an Afrobeats Album of the Year nomination, while “Bundle By Bundle” competes for Afrobeats Single of the Year and its music video is nominated for Music Video of the Year. He is also in contention for Best Male Artiste.
One of the biggest stories from this year’s nominations is the presence of FOLA across multiple major categories.
The singer’s catharsis is nominated for Best R&B Album, while “you” earns nominations for Afrobeats Single of the Year and Best Recording of the Year.
FOLA is also nominated for Digital Artiste of the Year, Best Male Artiste, Best Headies Collaboration for “Lost” with Kizz Daniel, Writer of the Year and Next Rated.
His strong showing makes him one of the most prominent emerging acts at the 18th Headies.
Next Rated Race Features Fido, FOLA, Llona, Mavo and Shoday
The highly anticipated Next Rated category features five of the year’s most talked-about rising acts:
The category is one of the most closely watched every year because it often signals the next major stars of Nigerian music. The winner of the 18th edition’s Next Rated award is also set to receive a brand-new car courtesy of Cream Platform.
Album of the Year Race
The Album of the Year category features a strong mixture of established stars and critically recognised projects:
FOLA — catharsis
Omah Lay — Clarity of Mind
Erigga — G.O.A.T
Wizkid — Morayo
ODUMODUBLVCK — The Machine Is Coming
Tiwa Savage — This One Is Personal
Burna Boy — No Sign of Weakness
It is one of the night’s most competitive categories, bringing together projects that have generated substantial conversation across Afrobeats, rap, R&B and alternative music.
Afrobeats Album of the Year
The genre’s biggest album category features:
Davido — 5ive
BNXN — Captain
Omah Lay — Clarity of Mind
Adekunle Gold — Fuji
Wizkid — Morayo
Burna Boy — No Sign of Weakness
With Davido, Wizkid, Burna Boy and Omah Lay all represented, this category could become one of the night’s biggest talking points.
Song of the Year
The nominees for Song of the Year are:
Kunmie — “Arike”
Poco Lee, Shoday & Rahman Jago — “Hey Jago”
Ayra Starr — “Hot Body”
Fido — “Joy Is Coming”
Asake & Wizkid — “MMS”
Davido & Omah Lay — “With You”
The category captures some of the year’s biggest records, from Ayra Starr’s “Hot Body” to the massive “With You” and the Asake-Wizkid collaboration “MMS.”
Ayra Starr, Tems and Tiwa Savage Lead the Female Category
The Best Female Artiste category features:
Ayra Starr
Qing Madi
Sewa
Tems
Teni
Tiwa Savage
Ayra Starr also earns nominations for Song of the Year, Digital Artiste of the Year, Best Performer (Live) and Viewers’ Choice, among others.
Tems is nominated for Best R&B Album with Love Is a Kingdom, while Tiwa Savage’s This One Is Personal also competes in the same category.
Best Male Artiste
The male category brings together:
Adekunle Gold
Asake
FOLA
Mavo
Rema
Wizkid
Burna Boy
It is another category where established superstars face some of the fastest-rising names in the Nigerian music scene.
Digital Artiste of the Year
The Digital Artiste of the Year category features:
Asake
Ayra Starr
BNXN
Chella
FOLA
Mavo
Seyi Vibez
Wizkid
The award is particularly significant in an era where streaming, social media, viral records and digital fan engagement increasingly shape an artist’s reach. The Headies identifies Digital Artiste, Next Rated and Viewers’ Choice among its public-voting categories.
Producer of the Year
The battle behind the music will see five major producers compete for Producer of the Year:
Magicsticks
P.Priime
Ragee
SARZ
Tempoe
Their nominated works include some of the year’s biggest records, with Magicsticks linked to Asake and Wizkid’s “Jogodo,” P.Priime to “MMS” and Rema’s “Baby (Is It a Crime),” Ragee and SARZ to Ayra Starr’s “Hot Body,” and Tempoe to Davido and Omah Lay’s “With You.”
Best Collaboration
The nominees for Best Headies Collaboration include:
CKay ft Mavo — “Body (Danz)”
Mavo ft WAVE$TAR — “Escaladizzy”
Poco Lee, Shoday & Rahman Jago — “Hey Jago”
FOLA ft Kizz Daniel — “Lost”
ODUMODUBLVCK ft Victony — “Pity This Boy”
Davido ft Omah Lay — “With You”
Mr Eazi & King Promise — “See What We’ve Done”
Chief Priest ft Spyki — “Finally”
Best Vocal Performance
The male nominees are Adekunle Gold, Flavour, Magixx, Odeal, Syemca and Tay Iwar, while the female category features LayeFa, Amaeya, Sewa, Qing Madi, Liya and Tiwa Savage.
THE 18TH HEADIES AWARDS — BEST PERFORMER NOMINEES
Adekunle Gold — Live at the National Theatre Lagos with MUSON Orchestra Asake — Red Bull Symphonic Ayra Starr — Global Citizen Festival NYC 2025 Johnny Drille — Johnny’s Room Live 6 Ruger — Live @ Indigo at the O2, London (2025) pic.twitter.com/U77XSA7AkS
The 18th Headies also continues to spotlight Nigeria’s diverse sounds.
Best Rap Album features Tuff King, AQ, Erigga, Jeriq, Blaqbonez and ODUMODUBLVCK.
Best Street-Hop Artiste includes Famous Pluto, Kashcoming, Poco Lee, Seyi Vibez, Shallipopi, Tuff King and Rybeena.
Meanwhile, Best Alternative Album features SDC’s Afrika Magik, Sewa’s Detox, BOJ’s Duplicity, Wizard Chan’s Healers Chapel, Scottyolorin’s Olorin Pack and Zaylevelten’s Then 1t Got Crazy.
International and African Categories Expand the Field
The 18th Headies continues its international outlook with nominees from across Africa and the diaspora.
International Artiste of the Year features Ciara, Dave, Gunna, Jazmine Sullivan, Shenseea and Tiakola.
The Best West African Artiste category includes Black Sherif, Himra, KiDi, King Promise, Moliy, Wally B. Seck and Stonebwoy.
Other regional categories recognise artists from East Africa, North Africa and Central Africa, while the new African Diaspora-Canadian Artiste category features Debby Friday, Tôme, Bolu Ajibade, Nonso Amadi, Rooky Kamiz and Tobi.
More Major Categories
Other categories announced include:
Best Performer (Live): Adekunle Gold, Asake, Ayra Starr, Johnny Drille and Ruger.
Best Recording of the Year: Kunmie — “Arike”; Amaeya — “How Do You?”; Rema — “Baby (Is It a Crime)”; Omah Lay & Elmah — “Coping Mechanism”; Davido & Omah Lay — “With You”; FOLA — “you.”
Music Video of the Year: Director Pink’s “10 Kilo” by Davido, Dammy Twitch’s “With You,” TG Omori’s “Afroculture,” Jyde Ajala’s “Kai,” DK’s “Bundle By Bundle” and Meji Alabi’s “Who’s Dat Girl.”
Lyricist on the Roll: Blaqbonez, Dremo, Modenine, PDSTRN and YCEE.
Songwriter of the Year: Adekunle Gold, Victony, Wizard Chan, FOLA, Kunmie and Amaeya.
Best Original Song for Visual Media: “All My Love,” “Behind the Scenes,” “Save Me” and “Only in Lagos.”
The 18th Headies will be preceded by a series of events throughout Headies Week, including a talent showcase, Headies Rewind, the DJ Obi Welcome & Nominees’ Party, the Global Trade & Investment Summit, nominees’ interviews and the red carpet. The main awards ceremony is scheduled for October 23 at 9:00 p.m. in Toronto.
With established superstars competing alongside a new generation of Nigerian and African talent, the 18th Headies has produced one of the most diverse nomination slates in recent editions.
The biggest questions now are simple: Who will dominate the night? Can the established stars hold off the new generation? And which emerging artiste will leave Toronto as Nigeria’s next big star?
Three years ago, on August 25, 2023, Burna Boy released “I Told Them…”, a 15-track album that arrived at a pivotal point in the Nigerian superstar’s international rise.
Coming after the Grammy-winning Twice As Tall and the commercially successful Love, Damini, the project was positioned as another statement from an artist increasingly comfortable moving between Afrobeats, hip-hop, R&B and global pop.
Three years later, I Told Them… stands as one of the defining albums of Burna Boy’s career, producing major chart records, Grammy recognition, international hits and a blockbuster touring era.
I Told Them… featured 15 songs, including “I Told Them,” “Normal,” “On Form,” “Sittin’ on Top of the World,” “Tested, Approved & Trusted,” “Cheat on Me,” “Virgil,” “Big 7,” “Dey Play,” “City Boys,” “Giza,” “Jewels,” “If I’m Lying,” “Thanks” and “Talibans II.”
The album also brought together an impressive collection of international and African collaborators, including 21 Savage, Dave, J. Cole, Seyi Vibez and Byron Messia, while hip-hop legends RZA and GZA were also connected to the project’s creative world.
Songs such as “City Boys,” “Sittin’ on Top of the World” and “Cheat on Me” became some of the era’s biggest records, while “Big 7” and “On Form” helped reinforce the confident, larger than life persona that has become synonymous with Burna Boy.
One of the album’s biggest achievements came almost immediately after its release.
I Told Them… debuted at No. 1 on the UK Albums Chart, making Burna Boy the first-ever international Afrobeats artist to achieve a UK No. 1 album.
The achievement was particularly significant because it represented a steady progression in Burna’s UK chart history.
His previous albums had peaked at:
African Giant — No. 16
Twice As Tall — No. 11
Love, Damini — No. 2
I Told Them… — No. 1
Official Charts records I Told Them… with one week at No. 1 and 16 weeks on the UK Albums Chart.
The album also reached No. 1 on the UK Albums Streaming Chart, further demonstrating the strength of its streaming audience in the market.
The project also made an impact in the United States.
I Told Them… debuted at No. 31 on the Billboard 200, giving Burna Boy another Top 40 appearance on the US albums chart.
The album remained on the Billboard 200 in the weeks following its debut, reflecting the growing ability of Afrobeats projects to compete within the wider American music market.
Perhaps the most significant recognition from the I Told Them… era came at the 66th Annual Grammy Awards.
The album and its songs earned Burna Boy four Grammy nominations, making it a career-high at the time.
The nominations were:
Best Global Music Album — I Told Them…
Best Global Music Performance — “Alone”
Best Melodic Rap Performance — “Sittin’ on Top of the World” featuring 21 Savage
Best African Music Performance — “City Boys”
“City Boys” was particularly historic because it was nominated in the inaugural Best African Music Performance category at the Grammys.
The nominations also demonstrated the album’s versatility. Burna was being recognized not only within the global music category but also in a rap category and the newly introduced African music category.
At the ceremony, Burna Boy further brought the I Told Them… era to the Grammy stage, performing “City Boys” and “Sittin’ on Top of the World,” with 21 Savage and Brandy joining him for the latter.
The album’s most prominent crossover moment came through “Sittin’ on Top of the World,” Burna Boy’s collaboration with 21 Savage built around Brandy’s classic “Top of the World.”
The song represented a different side of Burna’s sound, leaning further into hip-hop and R&B while maintaining his own musical identity.
Its Grammy nomination for Best Melodic Rap Performance placed Burna Boy alongside major American rap stars and further illustrated the increasingly blurred boundaries between Afrobeats and mainstream US music.
If “Sittin’ on Top of the World” represented Burna’s crossover ambitions, “City Boys” represented his unapologetic confidence.
The song became one of the defining records of the I Told Them… era and earned a nomination for Best African Music Performance at the 2024 Grammys.
Its inclusion in Burna Boy’s Grammy performance also gave the song another major global platform.
The I Told Them… era extended well beyond streaming and charts.
The accompanying “I Told Them…” Tour eventually became one of the biggest touring runs ever recorded for an African artist.
According to Touring Data figures reported by Billionaires.Africa, the tour generated $30.46 million from 302,801 tickets across 22 reported shows.
One of its biggest moments came at London Stadium on June 29, 2024, where Burna Boy reportedly grossed $6.15 million from 58,973 tickets.
The touring numbers are particularly important because they show that I Told Them… was not simply a successful streaming project. It translated into significant demand for Burna Boy as a live performer across North America and Europe.
The significance of I Told Them… becomes even clearer when viewed alongside Burna Boy’s previous projects.
His UK album progression went from No. 16 with African Giant to No. 11 with Twice As Tall, then No. 2 with Love, Damini before I Told Them… finally reached No 1.
Three years on, I Told Them… feels less like an isolated successful album and more like another chapter in Burna Boy’s transformation into a global superstar.
In an era dominated by blockbuster franchises, massive production budgets and increasingly expensive theatrical releases, Obsession has emerged as one of the most remarkable box office success stories in modern cinema.
The supernatural horror film, directed by first time theatrical filmmaker Curry Barker, has now surpassed $500 million at the worldwide box office, earning approximately $501.6 million globally as of late August 2026. Made on a reported production budget of just $750,000, Obsession has transformed from a low-budget genre film into a global cultural and commercial phenomenon.
The extraordinary run has also placed the film among the five highest-grossing horror movies of all time worldwide.
Obsession follows Bear, played by Michael Johnston, a music-store employee who discovers a mysterious object known as the “One Wish Willow.”
Driven by his feelings for his friend Nikki, played by Inde Navarrette, Bear uses the supernatural power to make her fall obsessively in love with him.
However, as the familiar saying goes, viewers should be careful what they wish for.
The wish gives Bear exactly what he asks for. But, with increasingly disturbing and dangerous consequences.
The film also stars Cooper Tomlinson, Megan Lawless and Andy Richter.
Barker wrote, directed and edited Obsession, marking an impressive leap for the filmmaker, who previously built an audience as a YouTuber. The movie was filmed in Los Angeles in 2024 and premiered at the Toronto International Film Festival in September 2025.
Following its premiere, Focus Features acquired the film for a reported $14 million to $15 million, making it one of the biggest acquisitions for a genre title at the festival. Jason Blum later joined the project as an executive producer through Blumhouse.
Obsession was released theatrically in the United States on May 15, 2026, opening to a respectable but far from record-breaking $17 million.
Rather than experiencing the usual decline in box office numbers after its opening weekend, Obsession continued to gain momentum. The film reportedly posted higher weekend totals than its debut across multiple consecutive weekends, driven by powerful word of mouth and growing interest among younger audiences, particularly Gen Z.
The film’s domestic earnings eventually climbed beyond $263 million, while strong performances across international markets pushed its worldwide total past the $500 million mark.
Its success in major markets, including the United Kingdom and China, helped turn what began as a modestly budgeted horror release into one of 2026’s biggest theatrical success stories.
With approximately $501.6 million in worldwide earnings, Obsession has officially climbed into the top tier of horror box office history.
Top 15 Highest-Grossing Horror Films of All Time Worldwide
Note: Figures are unadjusted for inflation and rankings may change due to ongoing theatrical runs, re-releases and final box office reporting.
It (2017) — $719.8 million
The Sixth Sense (1999) — $672.8 million
I Am Legend (2007) — $585.5 million
World War Z (2013) — $540.0 million
Obsession (2026) — $501.6 million
The Conjuring: Last Rites (2025) — $499.3 million
Jaws (1975) — $495.2 million
It Chapter Two (2019) — $473.1 million
Beetlejuice Beetlejuice (2024) — $452.0 million
The Exorcist (1973) — $430.9 million
Signs (2002) — $408.3 million
Prometheus (2012) — $403.4 million
Backrooms (2026) — $395.1 million
Sinners (2025) — $371.0 million
The Nun (2018) — $366.1 million
In an industry where many movies generate the bulk of their revenue during their opening weekend, Obsession continued to attract audiences long after its debut. That kind of staying power is increasingly rare and demonstrates the impact that strong word-of-mouth can have when audiences genuinely connect with a film.
The movie has also reportedly become the highest-grossing title in Focus Features history and one of the most profitable films ever when measured against its relatively tiny production budget.
Veteran Nollywood actor, filmmaker and Yoruba cinema icon Taiwo Hassan, popularly known as Ogogo, has died at the age of 66 after battling stage-four cancer.
The actor reportedly died on Sunday, August 23, 2026, while receiving treatment for the illness. A colleague confirmed the development to National Insight, expressing shock over the actor’s death.
His death comes just days after his daughters, Lima and Kira Taiwo, publicly revealed that their father was battling stage-four cancer and appealed for urgent medical assistance.
The family had initially believed that the actor was dealing with an ulcer before his condition was eventually diagnosed as stage-four cancer. His daughters said his condition had deteriorated significantly and that the hospital treating him could no longer continue with chemotherapy.
They repeatedly stressed that they were not seeking financial donations, but were looking for medical specialists, hospitals and treatment options that could help save their father.
The revelation prompted an outpouring of support from across the Nigerian entertainment industry. Veteran actors including Jide Kosoko, Yinka Quadri, Antar Laniyan, Bukky Wright, Wale Elesho, Yomi Fash-Lanso, Fausat Balogun and Mr Latin gathered in Lagos for a special prayer session for Ogogo’s recovery.
His daughter Kira also spoke emotionally about the family’s ordeal, revealing that some individuals had allegedly attempted to profit from her father’s illness by demanding large sums of money while claiming to have solutions to his condition.
The actor’s reported death comes only five days after his family dismissed an earlier viral report claiming that he had died. On August 18, Lima Taiwo described that report as fake and urged the public to disregard it.
Born on October 31, 1959, in Ilaro, Ogun State, Taiwo Hassan built a career spanning more than four decades and became one of the most recognisable faces of Yoruba Nollywood.
He began acting professionally in 1981 while still working outside the entertainment industry before eventually leaving his day job in 1994 to pursue acting full-time.
Over the years, Ogogo became particularly known for his commanding portrayals of warriors, chiefs, traditional rulers, fathers and other authoritative characters.
He appeared in numerous Yoruba and English-language productions, including Owo Blow, Omin, Elewon, Omo Ghetto, Aye O, Tenant of the House, Amerah, Bank Alert and Aníkúlápó.
His performance as Alaafin Ademuyiwa in Aníkúlápó earned him an AMVCA Best Supporting Actor nomination in 2023.
Beyond acting, Hassan also worked as a producer, director and screenwriter and was regarded as one of the important figures who helped shape the modern Yoruba film industry.
Nigerian Afrobeats singer and Mavin Records artist Magixx has announced the passing of his mother, Esther, in an emotional tribute shared on X on Sunday, August 23, 2026.
The singer, born Alexander Adelabu, opened up about the depth of his grief, describing the loss as a pain unlike anything he has experienced before.
“I have never felt pain like this, Never been this lost. still processing that this is real, can’t believe this will happen to you Mom.”
Magixx revealed that he had watched his mother battle illness for several years, particularly over the last six years, while continuing to show remarkable strength and positivity.
“I watched you fight so hard for your family, friend and strangers, especially these last 6 years, with a smile on your face, full of life, even in sickness! the strength of your heart!” he wrote.
The singer went on to celebrate his mother’s personality, describing her as a free spirit who was witty, kind and fiercely protective of the people around her.
He recalled telling his friends, “if my mom got an issue with you, you’re the problem,” adding that she somehow proved him right every time.
Addressing her directly, Magixx described Esther as his “reason, my why, my guardian, my twin, my everything.” He said he would choose her “again and again in every life time, every cycle,” while expressing regret that he could not tell her one more time, face to face, how much he loved her.
The tribute ended with a deeply emotional message of hope and remembrance:
“This isn’t goodbye, it is goodnight.. as we will surely meet again in the morning my queen, I love you to infinity and a billion lifetimes, Thank you Esther… 💔🕊️”
Magixx has previously spoken about the impact of his mother’s health struggles on his life and music. In interviews in 2024, he revealed that his song “Okay” was largely inspired by the pain and emotions surrounding her illness.
Following the announcement, fans, fellow musicians and members of the Nigerian music community have flooded social media with messages of condolences and support for the singer and his family.
Entertainment platform Streamdorm also shared messages of sympathy alongside images believed to be connected to funeral or burial proceedings, showing family members dressed in white and carrying a framed portrait bearing the words, “Forever in Our Hearts.”
Magixx announces the heartbreaking loss of his mother. 🕊️💔
However, no official details regarding the precise cause of her death have been publicly disclosed at the time of writing. Magixx’s tribute instead focused on her strength, character and the profound impact she had on his life.
As the singer navigates the loss of the woman he described as his everything, fans and colleagues continue to stand with him and his family during this difficult period.
Streamdorm extends its deepest condolences to Magixx and his family. May Esther’s soul rest in perfect peace.
Asake brought his ‘In God We Trust’ World Tour to Toronto on Saturday, August 22, delivering a high-energy Afrobeats spectacle to a sold-out crowd at Scotiabank Arena.
The Nigerian star commanded the arena with an explosive performance packed with live instrumentation, striking LED visuals, stage smoke, energetic choreography and loud sing-alongs from thousands of fans.
The atmosphere intensified throughout the night as fans lit up the arena with their phone flashlights, creating a sea of lights while Asake moved through some of the biggest records in his catalogue.
Asake kept the energy high with performances of several fan favorites, including “Lonely At The Top,” “Forgiveness,” “Remember,” “Chanel,” “Mr. Money With The Vibe,” “Why Love,” “Asambe,” “Worship,” “EGO” and “OBA.”
“Chanel,” his collaboration with Blaqbonez, also received a huge reaction, with the Toronto audience singing along despite the featured artist not being present.
“Lonely At The Top” and “Skilful” were among the other standout moments, with fans heavily involved in the performances and Asake interacting with the crowd throughout the night.
With a sold-out Scotiabank Arena show following his North American tour dates, the ‘In God We Trust’ World Tour continues to demonstrate the international reach of Afrobeats and Asake’s growing arena level audience.
Uncle Waffles opened the Toronto show before Asake took the stage, with the tour continuing across Canada and the United States.
TikTok and its parent company, ByteDance, have agreed to pay $400 million to resolve a U.S. Justice Department lawsuit alleging that the platform violated federal children’s privacy protections by collecting and retaining personal information from users under 13 without the required parental consent.
The settlement, announced by the U.S. Department of Justice on Friday, August 21, is described by the department as one of the largest recoveries ever obtained in a case involving the Children’s Online Privacy Protection Act (COPPA).
The lawsuit stems from a 2024 complaint filed by the Justice Department on behalf of the Federal Trade Commission (FTC) against TikTok, ByteDance and affiliated companies.
The government alleged that TikTok knowingly allowed millions of children under 13 to use the platform despite its minimum age requirement, and that the company collected and used their personal information without first providing the required notice to parents or obtaining verifiable parental consent.
The allegations went beyond ordinary TikTok accounts. Federal regulators also accused the company of collecting children’s information through TikTok’s Kids Mode, a version of the service designed with younger users in mind.
According to the FTC’s complaint, TikTok collected information about children’s activities on the platform and persistent identifiers that could be used to build profiles. The complaint also alleged that some information from Kids Mode users was shared with third parties, including Facebook and marketing analytics company AppsFlyer, for a practice TikTok called “retargeting less active users.”
The FTC further alleged that TikTok had difficulty identifying and removing underage accounts and that parents often faced unnecessary hurdles when trying to have their children’s accounts and data deleted.
One of the more significant allegations in the 2024 complaint concerned accounts TikTok classified as “age unknown.”
The FTC alleged that children could bypass TikTok’s age gate by using credentials from third-party services such as Google and Instagram, allowing them to create accounts without providing their age or obtaining parental consent. According to the complaint, these “age unknown” accounts eventually numbered in the millions.
The FTC complaint also alleged that between February 2019 and July 2022, TikTok collected more than 300,000 problem reports from Kids Mode users that contained children’s email addresses and retained those addresses longer than reasonably necessary.
The settlement is structured in two parts.
$300 million will be paid immediately.
The remaining $100 million will be paid after a court enters an order vacating a previous consent decree involving TikTok’s predecessor, Musical.ly.
That earlier matter dates back to 2019, when Musical.ly agreed to a settlement with the FTC over allegations that it had collected personal information from children under 13 without obtaining the required parental consent.
The company agreed to pay $5.7 million at the time.
TikTok acquired Musical.ly in 2017 and subsequently integrated the service into TikTok.
The Justice Department said TikTok has undergone significant changes to its ownership, management, compliance operations and privacy practices since the 2024 lawsuit was filed.
The department specifically pointed to measures intended to strengthen safeguards for younger users, improve age-related controls and increase parental oversight.
Recent reporting also indicates that TikTok’s U.S. operation has strengthened its age-assurance systems, requires users to provide their birth dates when creating accounts and has employees trained to identify and remove users believed to be under 13.
The Justice Department said these changes contributed to its decision to resolve the case rather than continue with prolonged litigation.
Despite the size of the settlement, it is important to note that the settlement is not a judicial finding that TikTok or ByteDance violated the law.
The Justice Department explicitly stated that the claims resolved by the settlement are allegations only and that there has been no determination of liability.
The agreement allows the government to secure a substantial financial recovery while bringing the 2024 litigation to an end.
Note: This report is based on filings and statements from the U.S. Department of Justice and Federal Trade Commission, alongside corroborating reporting from Reuters and other major outlets. The allegations described above were not judicially determined as part of the settlement.
London’s Victoria Park became a celebration of contemporary R&B, Afrobeats, soul and UK dance music on Friday, August 21, as All Points East opened its 2026 festival run with a specially curated day headlined by Jorja Smith and Tems.
From the moment the gates opened, the festival offered a broad mix of sounds and styles, moving between soulful R&B, Afrobeats, UK garage, jungle, amapiano, hip-hop and electronic music across its stages.
With Jorga Smith curating the day alongside her label FAMM, the lineup brought together established stars, emerging voices and some of the most exciting artists shaping the current UK and African music landscape. The official bill featured Nia Archives, kwn, Ayra Starr, Odeal, Elmiene & The Sunday Service Choir, Destin Conrad, Uncle Waffles, DJ EZ, Maverick Sabre, Katy B, Wesley Joseph and many more.
By the time Tems walked onto the East Stage, the energy across Victoria Park had already been building for hours.
Performing as the penultimate act of the night, the Nigerian superstar delivered one of the evening’s most commanding performances, combining her trademark vocals with a much more physical and energetic stage presence.
Tems danced, moved across the stage and repeatedly connected with the crowd as she worked through her catalog.
One of the standout moments came during “Crazy Tings,” which quickly became one of the most talked about performances from the night.
But the biggest surprise came when Tems brought out Dave.
The British rapper joined her on stage for their collaboration “Raindance,” instantly turning an already major performance into one of the defining moments of the festival’s opening day.
The appearance was particularly fitting for the London crowd, bringing together two artists whose collaboration has become one of the strongest links between Britain’s contemporary rap scene and Nigeria’s global Afrobeats movement.
Videos of Tems and Dave performing “Raindance” quickly circulated online following the show.
Moment Tems brought out Dave at All Points East as they perform "Raindance" 🔥 🇬🇧 pic.twitter.com/6bEUIdw07t
If Tems owned the East Stage, Ayra Starr made the North Arena feel like her own headline show.
The Nigerian singer arrived with a set designed around movement, energy and familiarity, running through a mixture of major hits and songs from her newer material.
Her set included “Dangerous,” “Who’s Dat Girl,” “Bloody Samaritan,” “Misunderstood,” “Away/LHB,” “Heaven Baby,” “Midnight in NY,” “Gimme Dat,” “Pressure,” “Amazing,” “Ms Paper,” “Dance,” “Hot Body,” “Tornado,” “Rush,” “Commas” and “Sability.”
One of the sweetest moments came when kwn joined Ayra Starr on stage for “Amazing.”
The collaboration brought together two of the day’s most talked about young voices and gave the North Arena another memorable moment before the night moved toward its final headline performance.
After Tems’ explosive set and Ayra Starr’s high-energy performance elsewhere in the park, Jorja Smith had the responsibility of closing the night.
And fittingly, the festival’s curator ended the day with a set built around the music that established her as one of Britain’s most distinctive contemporary R&B voices.
Jorga Smith performed songs from across her catalog, including “Blue Lights,” “Teenage Fantasy,” “Addicted,” “Where Did I Go?,” “falling or flying” and “I Lied, You Lied.”
There was also a surprise appearance from AJ Tracey, adding another London connection to a night that repeatedly blurred the lines between UK and African music.
Away from the main headline stages, Nia Archives provided one of the strongest alternative moments of the night.
Her West Stage performance brought a completely different energy to the festival, leaning into jungle, drum & bass and the sounds that have long shaped British club culture.
Her set also created one of the night’s few genuine clashes, overlapping with Ayra Starr’s North Arena performance.
For fans attempting to catch both artists, it became one of those unavoidable festival dilemmas: stay with Ayra or head across the park for Nia Archives.
Still, the fact that both performances were attracting strong attention at the same time demonstrated just how much depth the day’s lineup possessed.
Odeal delivered a well-received performance on the West Stage, continuing the momentum around one of the UK’s rising R&B voices.
kwn also made an impression during her East Stage slot before returning later for her appearance with Ayra Starr.
Meanwhile, the special performance from Elmiene & The Sunday Service Choir provided one of the day’s more unusual and memorable combinations.
The festival’s programming also ensured that the day never became sonically one dimensional.
Uncle Waffles brought amapiano and DJ energy to the North Arena, while DJ EZ delivered the unmistakable UK garage sound.
Across the other stages, artists including Maverick Sabre, Katy B, Wesley Joseph, Destin Conrad, Bellah, Sekou, Bricknasty, Crazy Cousinz, Keyrah and others kept the park moving throughout the afternoon.
The SHY FX Presents Digital Soundboy takeover provided an entirely different experience, with jungle, drum & bass and club sounds taking over its dedicated stage.
Breakage with MC GQ, Champion, ENNY, Femi Koleoso, Saint Ludo and SHY FX himself helped create the dance-focused side of the festival.
Elsewhere, Westside Gunn brought his distinct hip-hop presence to the wider bill.
Tems is set to headline the East Stage at All Points East today at Victoria Park, London. 🎤🇬🇧
Nigerian sprint sensation Kanyinsola Ajayi has etched his name into the country’s athletics history books after shattering the national men’s 100m record with a stunning 9.84-second performance at the 2026 NCAA Division I East First Round meet in Lexington, Kentucky.
Representing Auburn University, the 21-year-old delivered the record-breaking run during the quarter-final heats, eclipsing the long-standing Nigerian record of 9.85 seconds set by Olusoji Fasuba in May 2006. The mark had stood untouched for two decades before Ajayi’s remarkable breakthrough.
This achievement establishes Ajayi’s status as one of the fastest rising stars in global sprinting. Earlier in the competition, he had clocked 9.90 seconds, but returned with an even more impressive performance to rewrite Nigerian athletics history.
Ajayi’s 9.84 seconds currently stands as the fastest men’s 100m time recorded anywhere in the world in 2026. The time also places him among the greatest collegiate sprinters in NCAA history, ranking as the second-fastest collegiate performer ever and just 0.02 seconds shy of Christian Coleman’s NCAA record of 9.82 seconds set in 2017.
The Nigerian sprinter has been on an upward trajectory in recent years. In 2025, he became the first Nigerian man in 18 years to qualify for the men’s 100m final at the World Athletics Championships. He ran 9.88 seconds in the heats before finishing sixth in the final, signaling his arrival among the world’s elite sprinters.
Meanwhile, another Nigerian athlete, Samuel Ogazi, also delivered a historic performance at the same competition. The Alabama star clocked 43.82 seconds in the men’s 400m, setting a new Nigerian national record and reclaiming the world-leading mark for the event in 2026.
Ogazi’s performance not only broke the national record but also established a new school record for Alabama and became one of the fastest collegiate 400m times ever recorded.
The record-breaking performances by Ajayi and Ogazi mark a significant moment for Nigerian athletics, highlighting the country’s growing influence on the global sprinting stage. With both athletes in world leading form, expectations will be high as they prepare for the NCAA Championships and major international competitions later this year.
