At 14 years old, Champz, real name Boluwatife Balogun, has become the youngest artist to reach No. 1 on the Apple Music Nigeria Top Albums chart with his debut EP, Champion’s Arrival. The five-track project, just eleven minutes long, was released on November 11, 2025, and topped the chart within five hours.

Champz – Instagram

While his father, global Afrobeats star Wizkid, is a recognized name, Champz’s achievement is notable for being entirely solo. The EP features no guest artists, highlighting his ability to connect with listeners independently. Its concise format also reflects a clear understanding of today’s streaming-focused audience, where short, focused projects can make a strong impact quickly.

The success positions Champz among the youngest artists in Nigeria to reach a chart-topping release. It also shows that early exposure and guidance from a music family can translate into tangible results, provided the talent is real. Rather than relying on collaborations or hype, Champz’s work demonstrates self-reliance and a grasp of his musical identity at an age when most are still exploring their interests.

Champz – Instagram

Reaching No. 1 on Apple Music Nigeria is significant. The platform measures real-time streams, and a top position often forecasts broader commercial and media opportunities. For Champz, the milestone confirms that he has captured attention not only because of his surname but because of the music itself.

Looking ahead, sustaining this momentum will be crucial. He has the opportunity to expand through visuals, live performances, and selective international exposure. At the same time, maintaining focus on his own sound and growth rather than comparisons to his father or peers will be essential for long-term credibility.

Champz – Instagram

This debut also reflects a broader shift in Nigerian music. Younger artists are entering the industry with digital-first strategies, short releases, and immediate engagement with audiences. Champz’s achievement illustrates that age is no longer a barrier when talent meets the right timing and approach.

By topping Apple Music at 14, Champz has made a measurable mark on the Nigerian music scene. His debut shows that careful preparation, focus, and genuine talent can translate into early success. For the industry, his rise serves as a reminder that young artists can achieve significant milestones if given the right platform and guidance.

In African music’s dynamic scene, few collaborations have generated as much buzz as Sarz’s latest single “Getting Paid,” featuring Asake, Wizkid, and Skillibeng. It’s a noteworthy collaboration of distinct talents. This lineup brings together unique styles and energies.

“Getting Paid” is a smooth blend of genres that fuses afrobeat rhythm and dancehall-inflected energy. Each featured artist played a distinct role in ensuring the song succeeds. Asake, with his distinctive Yoruba street-wise infusion, Wizkid offered a smooth melodic hook that rides the groove. Skillibeng brings a sharp, fiery energy.

Collage of the “Getting Paid” artists’: Instagram

The song is lyrically rich and entertaining. It addresses triumph, wealth, and success. The chorus, “Man we’re getting the pay, pay” is a line that is likely to resonate well with listeners locally and internationally. We all want to get paid. While the song itself is exceptional, the visuals of “Getting Paid” match the song’s ambition. Good music deserves a matching video that interprets the song visually. The video production is clean and polished, with vibrant colours, costumes, diverse locations used and exceptional cinematography that brings the song’s concept to life. The video holds attention through the artists’ performances.

Hypertribeng: Instagram

“Getting Paid” hit #1 on Apple Music Nigeria’s top songs chart as at when it was released in September. For anyone who loves good music, “Getting Paid,” is a must-listen. As the African music scene continues to grow, collaborations like this will undoubtedly play a significant role in shaping its future. Available now stream it to experience the energy.

When Nigerian highlife star Flavour joined forces with Senegalese legend Baaba Maal, it wasn’t just another collaboration. It was a meeting of two generations determined to remind Africa what unity in sound can feel like. Their new single, “Afroculture”, released in late October, does exactly that. It bridges languages, traditions, and rhythms without losing its local heartbeat.

Flavour has built his career on the power of homegrown rhythm: guitars that sparkle, horns that announce joy, and vocals that still sound like Enugu streets. Baaba Maal, on the other hand, has spent decades pushing Senegal’s traditional music onto the global stage. His voice carries a history of storytelling and resilience. Together, they bring two strong cultures into one track that feels bold yet familiar.

Flavour – Instagram

The video, directed by TG Omori, gets the mix right. It moves through colour-rich outdoor scenes, communal dances, and modern sets that combine present-day energy with a sense of history. The dancers aren’t there for decoration; they move with purpose, grounding the music in lived culture. The colour, the wardrobe, and even the lighting choices speak to a shared African identity rather than a borrowed idea of beauty.

Musically, “Afroculture” leans into real instruments. The percussion keeps the groove earthy, the guitars drive the melody, and both artists’ vocals meet naturally. Flavour’s smooth delivery works against Baaba Maal’s textured tone. The mix sounds natural, not tailored for algorithms or foreign approval. You hear pride in their languages and rhythm in their heritage.

What stands out most is intent. Neither artist sounds like he is trying to impress an international market. They sound like they are enjoying the freedom to represent their people. That clarity of purpose gives “Afroculture” its power. You can sense two men who understand their influence and use it to connect regions that often work in isolation.

Baaba Maal – Instagram

The video has already made its rounds online, drawing praise for its authenticity. Fans on social media noted how Omori brought together Nigerian and Senegalese elements without turning the visuals into costume drama. It feels lived-in, not performed. That is a tough balance to get right, and the team nailed it.

If there is one flaw, it is in the edit. Some transitions cut too quickly, especially during the dance sequences. A few moments deserved more space to breathe. Even so, the message still comes through clearly: African artists do not need translation to connect with each other.

Flavour – Instagram

For Flavour, “Afroculture” adds another layer to his already solid catalogue, a reminder that highlife still travels well. For Baaba Maal, it reinforces his legacy as a cultural bridge between generations. Together, they have made something that feels like a conversation between old and new Africa, not a negotiation between styles.

At a time when the global music spotlight often chases trends, “Afroculture” stands its ground. It celebrates where we come from and hints at where we could go next. It is proof that collaboration, when it is real, does more than merge sounds. It strengthens identity.