Drake’s 2018 anthem “God’s Plan” has officially crossed 3 billion streams on Spotify, becoming the second song in his catalogue to reach the landmark figure. In an era where viral moments come and go.
When “God’s Plan” dropped in January 2018, it didn’t just debut at No. 1 on the Billboard Hot 100, it stayed there for 11 weeks. The track, initially released as part of the Scary Hours EP and later included on Scorpion, quickly became one of the defining songs of the late 2010s.
Crossing 3 billion streams places “God’s Plan” in an elite category occupied by only a small number of global records. These aren’t just hits, they are songs that have become part of everyday listening culture worldwide.
Drake’s first entry into the 3 billion club was One Dance, his 2016 global smash featuring Wizkid and Kyla. That song remains one of the most-streamed tracks in Spotify history, comfortably sitting above 4 billion streams.
With “God’s Plan” now reaching the same milestone tier, Drake stands among the few artists with multiple songs surpassing 3 billion streams on Spotify.
The music video, where Drake gave away nearly $1 million to individuals and families in Miami amplified its cultural weight. It wasn’t just a promotional rollout; it became a global moment.
Years later, the record continues to generate millions of streams weekly, fueled by playlists, algorithmic discovery, and a new generation of listeners discovering Drake’s catalogue.
Nigerian entertainer Ray Emodi has taken a bold step in his creative journey, releasing his first official music project titled On It just days after announcing his departure from Nollywood.
In a move that has surprised many fans and followers, Emodi known for his memorable roles in various Nigerian films has announced that he has quit acting to focus fully on music. The announcement, made via a video on his Instagram page, confirmed that he would no longer be pursuing roles in films as he turned his attention to building a career in music.
On It ” arrives as a five‑minute project comprising two tracks “Innit” and “On Check” showcasing a new sound from Emodi and signaling the beginning of a fresh chapter in his artistic life. The project also features a collaboration with music artist Cruz of Life, adding a creative blend to the release that leans into catchy, contemporary vibes.
Emodi took to Instagram to share the news with his followers, announcing that On It is now available on all major streaming platforms. “Go listen and show some love,” he wrote, urging fans to support his new music venture.
The decision to leave Nollywood comes after years of work in the film industry. In his announcement, Emodi shared that he has filmed in challenging and even risky environments, including productions where safety concerns were real. He explained that the choice to quit acting was driven by a need to focus on his personal well‑being and creative passions.
With On It now out in the world, Ray Emodi is clearly positioning himself as a new voice in Nigerian music. Whether he will continue to expand his musical output remains to be seen, but for now, this project represents a fresh beginning for an artist ready to explore a different side of his talent.
As Afrobeats continues its transformation from regional sound to global export, YouTube has become one of the clearest markers of long-term fan loyalty. Beyond streaming numbers and chart placements, subscriber counts reveal something deeper: sustained audience commitment.
Based on 2025–2026 data compiled from channel analytics trackers and industry reports, five Nigerian artists currently dominate YouTube’s subscriber rankings and the margins between them tell an important story about momentum, virality, and global positioning.
1. Burna Boy: 5.4–5.7 Million Subscribers
Burna Boy remains the most-subscribed Nigerian musician on YouTube in early 2026.
With reported figures ranging between 5.43 million and 5.7 million subscribers, the Grammy winner continues to convert global acclaim into digital loyalty. His channel houses high-production music videos, tour documentation, festival performances, and official releases including material from I Told Them….
More significantly, his total views reportedly exceed 3 billion, a milestone that reinforces not just popularity but sustained visual consumption across continents.
Burna’s dominance reflects consistency. His audience does not spike only during album cycles; it remains active between releases.
2. Rema: 4.9–5.4 Million Subscribers
If there is a serious challenger to the top spot, it is Rema.
With subscriber counts estimated between 4.97 million and 5.38 million, the gap between him and Burna Boy has narrowed considerably. The global success of “Calm Down”, particularly its international remix run, continues to drive discovery traffic to his channel.
Rema’s strategy leans heavily on youthful branding, global collaborations, and steady visual output. His growth curve suggests that YouTube is becoming a core pillar of his international expansion.
If momentum continues at its current pace, the number one position may soon face real competition.
3. Davido: 4.6–4.9 Million Subscribers
Davido remains firmly in the top three, with subscriber figures hovering between 4.6 million and 4.91 million.
Unlike some peers whose channels focus strictly on polished visuals, Davido blends official videos with personality-driven content. Behind the scenes moments, collaborations, and lifestyle elements contribute to his engagement levels.
His YouTube presence complements his strong performance across DSPs, maintaining his reputation as one of Afrobeats’ most commercially consistent figures.
4. CKay: 4.1–4.3 Million Subscribers
CKay’s ranking reflects the long tail of global virality.
Following the international explosion of “Love Nwantiti,” his channel subscriber base has stabilized between 4.14 million and 4.31 million. What stands out is retention. Many viral artists struggle to convert momentary attention into sustained subscription growth.
His hybrid Afrobeats-R&B sound and steady output have allowed him to maintain a strong global audience well beyond the peak of a single record.
5. Wizkid: 3.3–3.5 Million Subscribers
Wizkid closes the top five with approximately 3.34 million to 3.5 million subscribers on his primary channel.
Wizkid’s digital presence extends beyond one official channel, with features, label uploads, and collaborative visuals dispersed across platforms. While his subscriber count may not lead, his global catalog performance and cultural footprint remain immense.
This ranking reflects channel concentration not influence.
Wizkid at Chanel RTW Spring 2025 as part of Paris Ready to Wear Fashion Week held at Grand Palais on October 1, 2024 in Paris, France. (Photo by Swan Gallet/WWD via Getty Images)
Nigerian music star Tiwa Savage has officially unveiled the Tiwa Savage Music Foundation, a new initiative focused on empowering emerging African creatives through access, mentorship, and world-class music education.
The announcement was made via her official Instagram handle, where she described the move as a full-circle moment after years of building an international career. “After years of building globally… It’s time to build at home,” she wrote.
According to the foundation’s introduction, the initiative is dedicated to supporting emerging and underrepresented creatives across the continent. The goal is to equip young artists with the skills, industry knowledge, confidence, and professional networks needed to thrive in today’s competitive music landscape.
As part of its launch, the foundation is partnering with Berklee College of Music in the United States for a four-day intensive programme. The programme will provide selected participants with hands-on training in songwriting, performance, music production, and the business side of music.
Tiwa Savage teased that further announcements are expected, urging followers to stay tuned for a major update. With anticipation building around the initiative, more details regarding application processes, programme structure, and long-term plans are likely to be revealed soon.
The Rock and Roll Hall of Fame has officially revealed its nominees for the Class of 2026, setting up one of the most stylistically diverse ballots in recent memory.
From classic rock and heavy metal to R&B, hip-hop, and global pop, this year’s list reflects the institution’s ongoing evolution and its widening definition of what “rock and roll” represents.
Inductees will be announced in April 2026, with the official ceremony scheduled for later in the year.
The Full List of 2026 Nominees
The artists nominated for induction are:
The Black Crowes Jeff Buckley Mariah Carey Phil Collins Melissa Etheridge Lauryn Hill Billy Idol INXS Iron Maiden Joy Division / New Order New Edition Oasis P!nk Sade Shakira Luther Vandross Wu-Tang Clan
The Rock Hall has increasingly embraced a broader interpretation of its mission, inducting artists across genres beyond traditional rock. The 2026 ballot continues that trajectory.
Hip-hop’s influence is represented by Wu-Tang Clan and Lauryn Hill. R&B and soul appear through Mariah Carey, Luther Vandross, Sade, and New Edition. Meanwhile, rock traditionalists will point to Iron Maiden, Oasis, The Black Crowes, and Billy Idol.
Jeff Buckley’s nomination underscores the Hall’s recognition of short but culturally significant careers, while Joy Division/New Order represents one of the most influential transitions in alternative music history from post-punk to synth-driven new wave.
The inclusion of Shakira highlights the growing acknowledgment of global pop influence, while Sade’s nomination carries particular resonance across the UK, US, and Africa. For Nigerian audiences, Sade remains one of the most internationally successful artists of Nigerian heritage.
Artists become eligible for nomination 25 years after the release of their first commercial recording. From this ballot, a select number will be voted into the Class of 2026.
The final inductees will be announced in April 2026, followed by a ceremony later in the year.
On February 20, 2026, BLACKPINK officially crossed a milestone no other musical act had achieved before: 100 million subscribers on their official YouTube channel. This historic moment, confirmed by the group on their official X (formerly Twitter) account, reinforces BLACKPINK’s status as a global powerhouse in digital music and fan engagement.
Within hours, fans known as BLINKs flooded the platform with reactions, memes, and tributes to the group’s unprecedented achievement.
BLACKPINK’s feat is even more remarkable considering the scale of their discography: around 33 songs and just 13 music videos. Despite this, their subscriber growth has surpassed that of major Western acts and fellow K-pop groups, making them the most-subscribed music act on YouTube.
This landmark qualifies BLACKPINK for YouTube’s exclusive Red Diamond Play Button, awarded only to channels that reach the 100 million subscriber threshold. They are the first musical act to receive this honor.
BLACKPINK’s journey began with their 2016 debut under YG Entertainment, with early hits like Boombayah, Whistle, and DDU-DU DDU-DU; the latter becoming the first K-pop music video to surpass 2 billion views. Subsequent releases, including How You Like That, Lovesick Girls, and Pink Venom, consistently shattered viewership records, often within hours of release.
Today, BLACKPINK’s channel has accumulated over 41 billion total views, and their videos regularly rank among YouTube’s most-watched. Beyond the numbers, what sets BLACKPINK apart is the coordination and loyalty of BLINKs, who turn streaming, voting, and sharing into global campaigns. This digital fan mobilization has been central to their unprecedented success.
The milestone comes just days before the release of BLACKPINK’s third mini-album, DEADLINE, scheduled for February 27, 2026. Fans speculate that the timing was strategic, building momentum for the comeback while celebrating the 100 million subscriber milestone.
Nigerian global stars Burna Boy and Tems have earned nominations at the 2026 Music Week Awards, in a time where Afrobeats’ growing influence not just on the charts, but within the global business of music is ever increasing.
Both artists were recognized in the Music & Brand Partnerships category, a segment that celebrates standout collaborations between musicians and major brands.
Burna Boy received a nomination for his partnership with Virgin Media O2, tied to a Priority gig at London’s O2 Forum Kentish Town. The collaboration blended live music experiences with brand-driven audience engagement, positioning the Grammy-winning artist at the center of a campaign designed to reward and connect with loyal customers.
Tems, on the other hand, was nominated for her work with Hennessy on the “Made For More” campaign, a creative partnership that spotlighted ambition, cultural identity, and artistic excellence. The campaign aligned with Tems’ global image as one of Africa’s most influential contemporary voices, reinforcing her brand power beyond streaming numbers and touring milestones.
The nominations were announced as part of the 2026 edition of the Music Week Awards, an annual event organized by Music Week to recognize excellence across the UK and international music business. Unlike fan-voted award shows, the Music Week Awards focus on industry achievements, from marketing and live events to label strategy and brand innovation.
For Burna Boy, this marks another milestone in a career that has consistently expanded Afrobeats’ global footprint, particularly in the UK market. For Tems, the nomination underscores her continued crossover appeal and growing influence in the luxury and lifestyle branding space.
The winners of the 2026 Music Week Awards are expected to be announced at the official ceremony scheduled to take place on Thursday, May 7, 2026 in London, United Kingdom. The event will be held at JW Marriott Grosvenor House and will bring together key figures from the global music business to celebrate excellence in industry achievement
For the first time ever, two full Qur’an recitation albums are currently charting on the Nigeria Apple Music Top 40 Albums chart, marking a rare moment where spiritual audio sits alongside mainstream music releases.
According to the latest Nigeria rankings on Apple Music, the following albums are charting:
At #22 — The Holy Quran by Saad El Ghamidi
At #33 — The Holy Quran (Complete) by Abdul Rahman Al-Sudais
Both projects are complete audio recitations of the Qur’an in Arabic and have been available on streaming platforms for years. However, this is the first recorded instance of two Qur’an recitation albums simultaneously appearing within Nigeria’s Top 40 Albums chart; a space typically dominated by Afrobeats, hip-hop, gospel, and international pop releases.
Saad El Ghamidi and Abdul Rahman Al-Sudais are among the most recognized Qur’an reciters globally. Their recordings are widely streamed during religious seasons such as Ramadan and other spiritually significant periods, often seeing noticeable spikes in listenership.
The development highlights how streaming platforms are increasingly reflecting not just entertainment trends, but also faith-based and devotional listening habits among Nigerian users.
While Apple Music’s charts update regularly and positions may shift, the current appearance of both albums in the Top 40 signals strong demand for religious audio content on mainstream music platforms especially in this Ramadan season.
If sustained, this could mark a notable moment in Nigeria’s digital listening culture; where devotion is charting alongside pop.
Veteran Nigerian folk musician Beautiful Nubia (Segun Akinlolu) has publicly accused prominent gospel artists Yinka Ayefele and BBO of lifting the melody of his 2001 classic track “Seven Lifes” without credit.
In a post on X on February 19, 2026, the Roots Renaissance Band founder wrote:
“There was Yinka Ayefele with ‘My Faith in God (Igbagbo Ireti)’ in 2012 and now someone called BBO with ‘Amin’ this year. Both stole their melodies from our original song ‘Seven Lifes’. When will Nigerians (especially the so-called gospel musicians) learn to respect copyright?”
Screenshot
The post quickly went viral, drawing hundreds of likes, reposts, and dozens of comments in a matter of hours.
“Seven Lifes”, released on the album What a Feeling! in the early 2000s, is one of Beautiful Nubia’s most enduring works. The song blends Yoruba lyrics with rich instrumentation and philosophical undertones, celebrating African resilience, survival, and spiritual strength. Its folk-infused style has influenced generations of Nigerian musicians.
The current controversy focuses on two gospel tracks. Yinka Ayefele’s “Igbagbo Ireti” (My Faith in God, 2012) has long drawn attention for melodic similarities to “Seven Lifes,” with many describing it as a gospel reinterpretation of Nubia’s classic. The more recent BBO release, “Amin” (2026), sparked Nubia’s public statement. X users highlighted what they called a “glaring” resemblance, with some joking that they could almost sing Nubia’s lyrics over BBO’s track. Streaming algorithms even queue the two songs together in certain searches, amplifying the perceived connection.
Fans on X have rallied behind Beautiful Nubia, expressing frustration over uncredited borrowing in Nigerian music. Many urged legal action, praising Nubia as a legend whose work should not be disrespected. Others referenced Ayefele’s past controversies, including alleged heavy sampling of late highlife legend Orlando Owoh across an entire album. A minority of commenters argued that the similarities are exaggerated or fall under artistic inspiration, noting that musical ideas are often recycled.
This incident underscores ongoing challenges in Nigeria’s music industry, including weak protection for older compositions, the fine line between homage, interpolation, sampling, and plagiarism; especially in gospel music borrowing folk melodies and social media’s growing role in giving veteran artists a direct platform to call out perceived theft.
Ironically, “Seven Lifes” is now experiencing renewed attention in 2026, thanks to the tracks accused of borrowing from it. Whether this dispute leads to legal action, public apologies, or sparks broader industry reform remains to be seen.
The International Federation of the Phonographic Industry (IFPI) has released its 2025 Global Recording Artist Chart, spotlighting the biggest names in music worldwide based on streaming, physical sales, downloads, and overall consumption. The chart, officially released in early 2026, confirms Taylor Swift as the most dominant global artist for the sixth time in her career, solidifying her status at the top of the music industry.
Taylor Swift’s continued dominance, reportedly her fourth consecutive year at #1, is a testament to her unmatched global reach and loyal fanbase. Her performance across albums, singles, and streaming platforms ensured she outpaced both established and rising artists on the global stage.
K-pop group Stray Kids made a significant leap in 2025, earning the #2 spot on the IFPI chart. This marks a historic achievement for the group, highlighting the growing global influence of K-pop outside South Korea. Stray Kids’ dynamic releases, international streaming numbers, and worldwide fan engagement contributed to their record-breaking year.
Other Highlights from the Top 20
Drake and The Weeknd continue to dominate, taking #3 and #4 respectively.
Bad Bunny holds strong at #5, maintaining his position as one of Latin music’s most influential global artists.
Legendary and re-emerging artists like Lady Gaga (#10), Ed Sheeran (#18), SZA (#19), and Justin Bieber (#20) return to the chart, showing the staying power of established acts.
New entrants include Mrs. Green Apple (#13), a sign of rising international talent making a mark globally.
Top 20 IFPI Global Recording Artists 2025
Taylor Swift
Stray Kids
Drake
The Weeknd
Bad Bunny
Kendrick Lamar
Morgan Wallen
Sabrina Carpenter
Billie Eilish
Lady Gaga
Ariana Grande
Tyler, The Creator
Mrs. Green Apple
SEVENTEEN
Eminem
Linkin Park
Zach Bryan
Ed Sheeran
SZA
Justin Bieber
The IFPI Global Recording Artist Chart measures total global consumption, including streaming, downloads, and physical album sales. It reflects not just commercial success but also the artists’ global cultural influence.
Taylor Swift’s continued reign and Stray Kids’ meteoric rise demonstrate the blending of Western and K-pop markets, while the mix of veterans and new entrants in the top 20 highlights the diversity of global music consumption today.
