Category: Music

Davido has officially announced additional dates for his ongoing 5ive Alive World Tour, extending the global run into 2026 with new stops across Africa, Europe, and North America. The expansion follows the success of the tour’s earlier legs and continues the Afrobeats star’s worldwide push in support of his 5IVE album era.

The newly added dates reflect Davido’s growing international demand, with concerts scheduled in major European cities including Vienna, Zurich, Rotterdam, Brussels, Stockholm, Copenhagen, and Barcelona. The tour will also return to Africa with stops in Tanzania and Zambia, while a pair of high-profile festival appearances at Coachella 2026 mark one of the tour’s biggest global highlights.

The announcement positions 5ive Alive as one of Davido’s most ambitious touring cycles yet, combining solo arena performances with festival stages and international fan meetups. Over the past few years, Davido has consistently strengthened his touring presence across Europe and North America, and this latest extension further cements his reputation as one of Afrobeats’ most active global performers.

While some venue details remain limited, the confirmed schedule already signals a packed run of back-to-back shows, highlighting both emerging markets and long-standing fanbases. European audiences will see the singer return to key cities where Afrobeats continues to thrive, while African stops reflect Davido’s ongoing commitment to performing across the continent.

One of the most talked about additions is his appearance at Coachella 2026, where he is scheduled to perform across both festival weekends in April. The festival slot places him among a select group of African artists to reach one of the world’s most visible music stages, reinforcing Afrobeats’ continued crossover into global pop culture.

The expanded 2026 dates for the 5ive Alive World Tour currently include:

• Tanzania — February 7
• Vienna — March 25
• Zurich — March 27
• Rotterdam — March 28
• Brussels — March 31
• Stockholm — April 2
• Copenhagen — April 3
• Barcelona — April 5
• Coachella — April 11 & 18
• Zambia — May 2

With more dates and venue confirmations expected in the coming months, the 5ive Alive World Tour continues to grow into one of the most extensive Afrobeats touring runs in recent years. For Davido, the expansion represents both a celebration of his current album cycle and a broader statement about the genre’s ongoing global momentum.

Nigerian Afropop artist Shoday has officially released his debut studio album, HYBRID, marking a defining moment in his transition from rising internet-era creative to fully established recording artist. The project arrives following months of online buzz and strong streaming traction, particularly driven by the success of the single “Paparazzi.”

With HYBRID, Shoday presents a 14-track body of work built around sonic versatility;  blending Afropop, street pop, melodic Afro-R&B, and contemporary African pop influences into a cohesive debut statement. The album positions him within Nigeria’s fast-evolving new-school movement, where artists are no longer boxed into single-genre identities but instead operate fluidly across sounds.

Before the album’s release, Shoday had steadily built momentum through a combination of viral online presence and strategically released singles that resonated with younger streaming audiences. His breakout wave accelerated when “Paparazzi” began gaining traction across Nigerian digital platforms and social media spaces, eventually becoming one of the most discussed records tied to the upcoming album.

That early success helped establish anticipation for HYBRID not just as a collection of songs, but as a project expected to define his musical identity.

The album’s title reflects its core idea: a deliberate fusion of styles and moods rather than adherence to a singular sonic template. Across the project, Shoday experiments with tempo shifts, melodic structures, and vocal approaches designed to appeal to both mainstream Afropop listeners and the growing alternative-leaning audience within African music.

Rather than positioning himself solely as a street-pop act or melodic crooner, Shoday uses HYBRID to explore multiple sonic lanes. The album alternates between upbeat, dance-leaning production and softer, introspective compositions, reflecting the broader direction Nigerian pop music has taken in recent years.

The project’s sequencing suggests a conscious attempt to balance replay value with artistic exploration combining radio-friendly hooks with emotionally reflective songwriting. This approach aligns with the new generation of Nigerian artists who prioritize versatility as a defining strength rather than a risk.

One of HYBRID’s key strengths lies in its collaborative network, bringing together a mix of established hitmakers and emerging voices from across Nigeria and beyond. The featured lineup includes Kizz Daniel, FOLA, Pozer, Olivetheboy, BhadBoi OML, taves, and Ayo Maff; artists whose individual sounds help expand the album’s musical range.

Full Tracklist — HYBRID

1. Glam and Fame
2. Joy
3. Somebody
4. Paparazzi (feat. FOLA)
5. Shoday Kilode
6. OBT (feat. BhadBoi OML)
7. Postcode
8. Figure 8 (feat. Pozer)
9. A1 (feat. Kizz Daniel)
10. Screaming Beauty (feat. Olivetheboy)
11. Bad and Bouje (feat. taves)
12. Sober
13. Halle
14. Casablanca (feat. Ayo Maff)

Initial reactions to HYBRID have centered around its accessibility and range. Listeners have responded positively to the album’s melodic strength and the balance between club-ready production and emotionally grounded songwriting. Industry observers have also noted the project’s strategic collaborations, which help position Shoday within multiple audience segments simultaneously.

While it is still early to measure long-term commercial impact, early streaming discussions suggest the album has strong replay potential,  particularly among younger Afropop listeners who favor versatile, playlist-driven listening experiences.

Debut albums often serve as a declaration of artistic identity, and HYBRID functions as exactly that for Shoday. Rather than narrowing himself into a single niche, he presents himself as a flexible performer capable of navigating multiple sounds.

With HYBRID, Shoday delivers a debut project designed to introduce his full creative range while establishing a clear presence within Nigeria’s contemporary pop landscape. The album’s genre-blending approach, collaborative depth, and accessible songwriting position it as a strong entry point into his evolving artistic journey and a project that may shape how audiences view his role in the next phase of Afropop’s growth.

American rapper J. Cole has officially released his highly anticipated seventh studio album, The Fall-Off, on February 6, 2026. The project arrives as a double album and marks one of the biggest moments in his career, blending introspection, legacy-driven storytelling, and significant international collaborations. 

The Fall-Off is distributed through Dreamville and Interscope Records, with executive production credits including J. Cole himself, Ibrahim Hamad, and T-Minus. The album spans 24 tracks split across two discs, each reflecting a different chapter in Cole’s life and journey as an artist. 

On The Fall-Off, Cole incorporates a range of guest vocals that broaden his sound and global reach. Confirmed featured artists include:

• Tems: Nigerian singer-songwriter known for her emotive voice and worldwide collaborations.
• Burna Boy: Nigerian Afro-fusion star blending Afrobeat rhythms with global music.
• Future: American rapper featured with vocal contributions.
• Erykah Badu: Legendary American neo-soul artist.

Album Structure: Double Disc Explained

J. Cole designed The Fall-Off as two distinct parts:

• Disc 29 – Reflects Cole’s mindset around age 29, tracing his early rise in hip-hop.
• Disc 39 – Offers insight into his thoughts at age 39, showcasing growth, reflection, and maturity.

This structure frames the album as a musical autobiography, connecting his past with where he stands today. 

Full Tracklist

DISC 29

1. 29 Intro
2. Two Six
3. SAFETY
4. Run a Train
5. Poor Thang
6. Legacy
7. Bunce Road Blues
8. WHO TF IZ U
9. Drum n Bass
10. The Let Out
11. Bombs in the Ville / Hit the Gas
12. Lonely at the Top (Bonus) 

DISC 39

1. 39 Intro
2. The Fall-Off Is Inevitable
3. The Villest
4. Old Dog
5. Life Sentence
6. Only You
7. Man Up Above
8. I Love Her Again
9. What If
10. Quik Stop
11. and the whole world is the Ville
12. Ocean Way (Bonus) 

At the time of release, streaming platforms and social media reacted strongly to The Fall-Off. Fans praised the lyrical depth of the new songs and the blend of voices, especially the contributions from Tems and Burna Boy which many see as a positive step in the crossover between American hip-hop and African music.

When Wizkid and Asake announced REAL, Vol. 1, expectations were immediate and well anticipated. The collaboration brought together two artists operating at different but equally powerful ends of Afrobeats’ global spectrum; one a decade-long international force, the other one of the most dominant Nigerian hitmakers of the 2020s.

REAL, Vol. 1 has debuted at No. 6 on the Billboard World Albums chart, marking a major global chart moment for the joint EP and reinforcing Afrobeats’ sustained presence on international rankings.

The Billboard World Albums chart tracks the strongest-performing international projects in the United States each week. A Top 10 debut is significant particularly for a short collaborative EP because it reflects not only streaming traction, but real market penetration in one of music’s most competitive territories.

For REAL, Vol. 1 to open at No. 6 places it among the most successful African releases on the chart this year, and highlights the continued global appetite for Nigerian music beyond singles and playlist placements.

Rather than chasing crossover aesthetics, the project leans confidently into its Afrobeats foundation; a choice that appears to be resonating with listeners globally.

Released in January 2026, REAL, Vol. 1 is a concise four-track EP that thrives on chemistry and restraint. Wizkid’s melodic calm and Asake’s gritty, percussive delivery create a contrast that feels intentional rather than forced.

While REAL, Vol. 1 stands on its own, its Billboard entry also fits into a broader narrative around Wizkid’s relationship with the World Albums chart.

Since the release of Made in Lagos in 2020, Wizkid has remained a recurring presence on the chart through various projects, re-entries, and collaborative releases. With REAL, Vol. 1 charting in 2026, Wizkid has now recorded appearances on the Billboard World Albums chart across seven consecutive calendar years; a milestone that underscores his longevity and consistency on the global stage.

While Billboard does not always publish consolidated year-by-year streak summaries, the pattern of Wizkid’s chart activity across these years is well-documented through individual chart entries and reappearances.

For Asake, the EP adds another global credential to an already dominant run. 

As African artists continue to chart, tour, and collaborate at global scale, releases like REAL, Vol. 1 feel less like exceptions and more like markers of a maturing ecosystem.

Hip-hop history was rewritten at the 68th Grammy Awards as Kendrick Lamar officially became the most awarded rapper in Grammy history, surpassing the long-standing record previously held by Jay-Z.

With multiple wins on the night, Kendrick Lamar pushed his career Grammy total to 27, moving him ahead of Jay-Z’s 25 and placing him alone at the top of rap’s all-time Grammy leaderboard. It is a landmark moment not just for Lamar, but for the genre itself.

The achievement capped off a dominant Grammy night for the Compton rapper, whose latest body of work GNX and its standout records continued his tradition of critical acclaim and industry recognition. 

His wins on the night included:

• Best Rap Album for GNX
• Record of the Year for “Luther” (with SZA)
• Best Rap Song for TV Off
• Best Melodic Rap Performance for “Luther”
• Best Rap Performance for his feature on Chains & Whips by Clipse

Jay-Z’s record had stood for years as a symbol of longevity, influence, and commercial power in hip-hop. Kendrick Lamar surpassing it represents something slightly different: a career built on concept-driven albums, social commentary, and a willingness to challenge both the audience and the industry. From good kid, m.A.A.d city through To Pimp a Butterfly, DAMN., and now GNX, Lamar has consistently treated rap as literature, protest, and personal reflection. 

His rise to the top of the Grammy record books also signals how the Academy’s relationship with hip-hop has evolved. Once marginalized to a single televised category, rap is now regularly recognized across major fields, including general categories traditionally dominated by pop and rock. His repeated success in these spaces underscores that shift.

At 38, Kendrick Lamar is still very much in his creative prime. That reality makes the record even more significant. Unlike many historical milestones that mark the end of an era, this one feels ongoing. There is every indication that his total could grow further, especially as his work continues to balance cultural relevance with critical respect.

Importantly, Lamar’s achievement does not diminish Jay-Z’s legacy. Instead, it highlights a generational continuum in hip-hop from Jay-Z’s era of mogul rap and mainstream dominance to Kendrick Lamar’s era of introspection, narrative depth, and cultural critique. Both represent different peaks of the same mountain.

For fans, critics, and the industry alike, this moment stands as a reminder of what sustained artistic vision can achieve. In a genre defined by reinvention and competition, Kendrick Lamar has carved out a lane that rewards patience, substance, and intention.

U.S. President Donald Trump has sharply criticized the 68th Annual GRAMMY Awards, branding the broadcast “virtually unwatchable” and threatening legal action against comedian and host Trevor Noah over a joke the President called false and defamatory. The unusual clash between a cultural event and national politics has quickly become one of the most talked‑about stories in entertainment and political news today. 

During the live telecast on February 2, 2026, Trevor Noah; hosting the GRAMMYs for the sixth and final time delivered a mix of music commentary and political humor. After Billie Eilish and Finneas won the Song of the Year award, Noah said:

“There you have it, song of the year! Congratulations, Billie Eilish. Wow. That’s a Grammy that every artist wants… almost as much as Trump wants Greenland, which makes sense because Epstein’s island is gone, he needs a new one to hang out with Bill Clinton.” 

As the audience reacted with gasps and laughter, Noah added:

“I told you, it’s my last year! What are you going to do about it?” 

Shortly after the broadcast ended, Trump took to his social platform Truth Social with a forceful reaction. He began by dismissing the awards show itself as:

“the WORST, virtually unwatchable! CBS is lucky not to have this garbage litter their airwaves any longer.” 

Turning his attention to Noah’s joke, Trump wrote that the comedian “INCORRECTLY” claimed Trump and Clinton had spent time on Epstein’s island:

“I can’t speak for Bill, but I have never been to Epstein Island, nor anywhere close, and until tonight’s false and defamatory statement, have never been accused of being there, not even by the Fake News Media.” 

“It looks like I’ll be sending my lawyers to sue this poor, pathetic, talentless, dope of an M.C., and suing him for plenty$. Get ready Noah, I’m going to have some fun with you!” 

Award shows like the GRAMMYs have long mixed humor with social commentary, but Noah’s line touched on a subject; Jeffrey Epstein and his connections to powerful figures that has been under renewed public scrutiny since large sets of Epstein files were released. 

Trump’s response continues a pattern of reacting strongly to commentary he deems inaccurate or unfair. In his post, he even referenced past legal settlements with major networks, suggesting precedent for how such disputes have played out previously. 

The 2026 GRAMMY Awards were already notable for politically charged moments, including artists wearing pins and referencing social and immigration policies during acceptance speeches. Amid that backdrop, Noah’s joke stood out as a comedic moment that crossed into political territory, prompting an unprecedented presidential reaction tied directly to an awards show broadcast. 

A line meant as playful satire at one of music’s biggest nights spiraled into a political story dominating headlines across news and social media. At the intersection of comedy, culture, and politics, the Grammy moment underscores how quickly entertainment can become part of national discourse especially when public figures respond in forceful fashion.

The 68th Annual GRAMMY Awards (2026) delivered a night that balanced mainstream dominance with a growing global outlook. While pop, rap, and songwriting heavyweights controlled the Academy’s biggest prizes, the Global Music and African categories once again reinforced the Grammys’ slow but steady shift toward cultural inclusivity.

Below is a list of major GRAMMY categories alongside the Global and African-focused awards. 

Major GRAMMY Categories (General Field)

Record of the Year

Winner: “luther” — Kendrick Lamar with SZA

Nominees:

• “DtMF” — Bad Bunny
• “Manchild” — Sabrina Carpenter
• “Anxiety” — Doechii
• “WILDFLOWER” — Billie Eilish
• “Abracadabra” — Lady Gaga
• “The Subway” — Chappell Roan
• “APT.” — ROSÉ & Bruno Mars

Album of the Year

Winner: DeBÍ TiRAR MáS FOToS — Bad Bunny

Nominees:

• SWAG — Justin Bieber
• Man’s Best Friend — Sabrina Carpenter
• Let God Sort Em Out — Clipse
• MAYHEM — Lady Gaga
• GNX — Kendrick Lamar
• MUTT — Leon Thomas
• CHROMAKOPIA — Tyler, The Creator

Song of the Year

Winner: “WILDFLOWER” — Billie Eilish & FINNEAS

Nominees:

• “Abracadabra” — Lady Gaga
• “Anxiety” — Doechii
• “APT.” — ROSÉ & Bruno Mars
• “DtMF” — Bad Bunny
• “Golden” — HUNTR/X
• “luther” — Kendrick Lamar with SZA
• “Manchild” — Sabrina Carpenter

Best New Artist

Winner: Olivia Dean

Nominees:

• KATSEYE
• The Marías
• Addison Rae
• sombr
• Leon Thomas
• Alex Warren
• Lola Young

Songwriting & Production

Producer of the Year (Non-Classical)

Winner: Cirkut

Nominees:

• Dan Auerbach
• Dijon
• Blake Mills
• Sounwave

Songwriter of the Year (Non-Classical)

Winner: Amy Allen

Nominees:

• Edgar Barrera
• Jessie Jo Dillon
• Tobias Jesso Jr.
• Laura Veltz

Global & African Categories

Best African Music Performance

Winner: “Push 2 Start” — Tyla

Nominees:

• “Love” — Burna Boy
• “With You” — Davido ft. Omah Lay
• “Hope & Love” — Eddy Kenzo & Mehran Matin
• “Gimme Dat” — Ayra Starr ft. Wizkid

Best Global Music Performance

Winner: “EoO” — Bad Bunny

Nominees:

• “Cantando en el Camino” — Ciro Hurtado
• “Jerusalema” — Angélique Kidjo
• “Inmigrante Y Qué?” — Yeisy Rojas
• “Shrini’s Dream (Live)” — Shakti
• “Daybreak” — Anoushka Shankar ft. Alam Khan & Sarathy Korwar

Best Global Music Album

Winner: Caetano e Bethânia Ao Vivo — Caetano Veloso & Maria Bethânia

Nominees:

• Sounds of Kumbha — Siddhant Bhatia
• No Sign of Weakness — Burna Boy
• Éclairer le monde – Light the World — Youssou N’Dour
• Mind Explosion (50th Anniversary Tour Live) — Shakti
• Chapter III: We Return to Light — Anoushka Shankar

From latest announcement, Bruno Mars has been confirmed to perform live at the ceremony this Sunday, February 1, 2026. The iconic singer, songwriter, and performer is known for delivering unforgettable shows, and this year’s performance is expected to be no exception.

Bruno Mars’ appearance was officially announced by the Recording Academy, confirming his spot among a star-studded lineup that includes Lady Gaga, Justin Bieber, Sabrina Carpenter, Tyler, the Creator, and Rosé. The ceremony will take place at the Crypto.com Arena in Los Angeles and will air live on CBS from 8:00 p.m. ET / 5:00 p.m. PT, with streaming available on Paramount+.

The singer is also in contention for three GRAMMY awards this year:

• Record of the Year
• Song of the Year
• Best Pop Duo/Group Performance

All three nominations are tied to his latest collaboration with Rosé, the hit track “APT.” 

Bruno Mars has a long history of delivering show-stopping performances at award shows. From his memorable Super Bowl halftime shows to previous GRAMMY appearances, he has consistently shown an ability to blend high-energy choreography, live vocals, and charismatic stage presence.

For music lovers, this performance is a chance to see one of the most versatile entertainers of our time, blending pop, R&B, funk, and soul into a single unforgettable stage experience.

For viewers in the United States, the GRAMMYs will air live on CBS and stream via Paramount+. International fans, including those in Nigeria, can watch through official GRAMMY streaming partners or cable networks broadcasting the ceremony.

With Bruno Mars and other star stud taking the stage, the 2026 GRAMMYs are shaping up to be a must-watch event for music fans around the world. Expect big surprises, high energy, and, of course, a performance that will dominate social media conversations for days.

In a staggering legal move, Spotify, alongside Universal Music Group, Sony Music Entertainment, and Warner Music Group, has filed a $13 trillion lawsuit against Anna’s Archive, the self-described “largest truly open library in human history.”

The lawsuit claims that Anna’s Archive has illegally distributed copyrighted music on a massive scale, including nearly 86 million music files scraped from streaming platforms. According to court filings, the platform not only shared the content but also made it easily accessible, violating U.S. copyright laws and agreements with artists and record labels.

The legal complaint describes Anna’s Archive’s operations as a “brazen theft of millions of files containing nearly all of the world’s commercial sound recordings.”

By applying statutory maximums of up to $150,000 per infringed track, the damages amount to the eye-popping $13 trillion figure, one of the largest ever sought in music industry history. Legal experts, however, caution that courts rarely award the full statutory damages, especially in cases involving international defendants.

The lawsuit was filed in late December 2025 and went public in mid-January 2026. Since then, a U.S. federal judge has issued a temporary restraining order and preliminary injunction, resulting in the suspension of several Anna’s Archive domain names, including .org and .se.

Spotify and the major labels have accused the platform of multiple violations, including:

• Copyright infringement
• Breach of contract
• Violations of the Digital Millennium Copyright Act (DMCA)
• Violations of the Computer Fraud and Abuse Act (CFAA)

Anna’s Archive has previously claimed that its content gathering is intended for preservation purposes, rather than commercial exploitation. However, the plaintiffs argue that making copyrighted works accessible without permission constitutes illegal distribution, regardless of intent.

The operators of Anna’s Archive remain anonymous, and their location outside the U.S. adds complexity to the legal process.

Industry analysts say the case could set a major precedent for online archives and music preservation projects, redefining what constitutes legal access to digital content.

The legal battle is still unfolding, with initial court hearings expected later in 2026. Analysts predict this lawsuit could reshape how digital content and open libraries operate, especially for music, which remains highly protected under copyright law.

For now, Anna’s Archive is under intense legal scrutiny, and the outcome could impact millions of users and the broader debate over free access versus copyright protection.

Asake has added another historic achievement to his already impressive run, becoming the first Nigerian artist to have four separate projects simultaneously ranked inside the Apple Music Nigeria Top 10 albums chart.

The milestone highlights not just the success of his latest release, but the continued popularity of his entire catalogue,  proving his music isn’t just trending; it’s lasting.

According to the latest Apple Music Nigeria rankings, Asake occupies four spots in the Top 10:

• #1 — REAL
• #6 — Work of Art
• #8 — Mr. Money With The Vibe
• #9 — Lungu Boy

Holding the No. 1 album while three previous projects also remain in heavy rotation shows how deeply his music continues to resonate with listeners across Nigeria.

What makes this moment significant is that the albums span different phases of Asake’s career.

Mr. Money With The Vibe introduced him as a disruptive new voice in Afrobeats. Work of Art followed with global hits that confirmed his staying power. Lungu Boy expanded his sound while keeping his street-pop appeal intact.

Now, REAL ft Wizkid sits at the top of the chart, driving renewed interest in his earlier work and pushing multiple projects back into the streaming spotlight.

Few artists manage to dominate charts with both new and older projects at the same time; a sign of catalogue strength rather than just release-week hype.

Asake’s rise since his breakout under YBNL has been defined by consistency. His fusion of Afrobeats, amapiano bounce, Fuji influences, and street-ready hooks has helped him maintain a strong connection with listeners.

The current chart performance suggests fans are not only consuming new music but also revisiting past albums, keeping them competitive against newer releases from other artists.

In just a few years, Asake has gone from breakout act to one of the most commercially dominant artists in Nigerian music. This latest Apple Music record further strengthens his position as one of the defining artists of his generation.

With REAL currently leading the charts and his catalogue still thriving, the bigger question now is how long his multi-album dominance will last and what record he breaks next.

For now, one thing is clear: Asake owns the moment on Nigeria’s streaming charts.