Showbiz
Olamide Maintains Street Decent on Global Stage With UY Scuti

By Stephen Chibuzor
Ever since Olamide emerged in 2010 with the freestyle-inspired hip-hop single Eni Duro, the Lagos native has kept us on our toes: his first three albums, Rapsodi, YBNL and Baddest Guy Ever Liveth were indigenous rap albums that defined hip-hop as a commercial genre in Nigeria.
From his fourth tape, Street OT, he began to incorporate more pop-leaning sounds as he delivered Afropop anthems like Story for the gods (2014), Lagos Boys (2015), Wo (2017), Science Student (2018), Woske (2019) and Infinity (2020).
“I’m a citizen of the world now, so my choice of sound is a combination of all the beautiful music I’ve heard. This is a full-time pop album, and its way, way above everything I’ve ever done.
“My son is a huge fan of astrology, and one day he asked me what the biggest star in the universe was. I found out; it stuck in my head and I titled the project that because it’s the biggest move I’ve made in my career,” Olamide said.
Olamide has retained his reputation as the most charismatic Voice of the Street by consistently delivering streetwise lyrics during his pop transitions. On his latest project, UY Scuti, his Caribbean pop sensibilities are the highlight of the 10-track tape. It’s buttressed by some brilliant beat making—throwback Caribbean harmonies produced by Eskeez (“Julie”), undiscovered guest features—Fave (a newcomer in the Nigerian music scene), and Layydoe (who infused an afro bashment vibe), and Olamide writing from his most self-assured position yet.
It’s as if Olamide spent the last year scouring through streaming service playlists for rhythms that could make his lessons from the streets that raised him feel more thrilling and reflect his expanding worldview. He was able to adapt Caribbean melodies into his sound without damping his sharp-witted pen game and it emphasized his prestige as the biggest star.
Fans’ reaction to the pop direction of UY Scuti has been positive as it pulled over one million streams on Boomplay alone within the first 24 hours after it dropped.
It surpassed other new releases to trend number one in the country on other streaming platforms though, the bonus track, Petty was available exclusively on Boomplay.
The streaming service also showed support for the project’s rollout through strategically located billboards and with their primary focus on African local and urban music for its over 60 million MUA, the favourable numbers confirmed that Olamide’s globe-trotting approach to the album didn’t discourage his local fanbase. It’s a testament to his endearing character that has also allowed him numerous opportunities to be endorsed as an ambassador to some top local and international brands.
UY Scuti positions Olamide as one of Afropop’s ambassadors as the genre continues to grow more internationally renowned following recent Grammy awards and other international recognition.
As reported by Boomplay, UY Scuti has been played over 4 million times on the platform which is impressive within the context of the streaming platform’s 68 million MAU. Olamide continues to release new albums yearly, keeping fans entertained without being afraid to experiment and explore new sounds.
Stephen Princewill Chibuzor popularly called papi wemba is a music enthusiast, Afrobeat music curator, entertainment and lifestyle PR consultant and serial entrepreneur who writes at his leisure. He is currently making magic with Boomplay as their PR Manager (Nigeria)
Showbiz
Lights, Camera, Talent! Nigerian Idol Season 10 Starts with a Bang

The wait is over – Nigerian Idol Season 10 is finally here, and the premiere delivered all the excitement and talent fans of the show hoped for.
Back on the judges’ panel are Omawumi and Ric Hassani. Last season, we saw them strike a balance between fun and honest feedback, and this year, they’re stepping it up.
Ric shared that he’s watching out for contestants with soul, skill, and voices that are just genuinely enjoyable to hear. Omawumi is looking for something more instinctive, a spark of originality, showmanship, and a voice that immediately makes people sit up.
Then there is Iyanya, the newest judge at the table. As a product of a reality music show himself, he knows the pressure these contestants are under. For him, it’s all about raw talent, star quality, and people who are ready to command the stage.
From the first auditions, you could tell the competition this season is going to be tough. There were strong voices, bold performances, and yes, a few funny and unexpected moments that reminded everyone why the audition stage is a fan favourite.
One standout moment was the return of Mikky, the very first contestant to ever receive a Platinum Ticket in the history of Nigerian Idol. He came back this season stronger and more confident and delivered a performance that had the judges impressed again. It earned him another Platinum Ticket, proving that when talent meets growth, it’s a winning combo.
So far, the scorecard reads: 17 yeses, 9 no’s, and 1 Platinum Ticket gone, with two still up for grabs.
Season 10 is shaping up to be one worth watching. If this first episode is anything to go by, we’re in for a season full of standout moments and new stars in the making.
Catch all-new episodes every Sunday at 7 p.m. on Africa Magic Showcase (DStv ch. 151, GOtv ch. 12) and Africa Magic Family (DStv ch. 154, GOtv ch. 2). For non-stop Idol content from auditions to backstage moments, tune in to the 24/7 Idol Extra channel on DStv channel. 198 and GOtv channel. 49.
Showbiz
You Are Too Poor for Pay-Per-View

It is 8:30 pm on a Saturday. You have fought your way through Lagos traffic, spent too much on suya that burns more than it pleases, and finally settled in to watch the Champions League final. But nothing comes easy. Your options are limited, and none of them make sense.
First, there is PHCN. Whether you are Band A or B, you are gambling that the light stays long enough to catch the final whistle. It rarely does. Next, your rusty generator. With fuel costing between N900 and N1,000 per litre, keeping the lights on through the match will cost at least N10,000.
Then there is online streaming. Between expensive data and Nigeria’s unpredictable internet, you might spend N5,000 or more only for the stream to freeze just as Lamine Yamal winds up for a shot. Now add the cost of the actual pay-per-view fee. All these troubles and expense for three hours of content that might be disrupted anyway.
Here is the part many people still do not understand. Pay-per-view is not just another subscription model. It is a separate service where viewers pay an additional one-time fee to watch exclusive live events. These are not your average football matches or soap operas. PPV is for blockbuster fights, high-stakes UFC showdowns, or exclusive concerts. You pay once, you watch once, and that is it. It is not Netflix, it is not YouTube, and it certainly is not DStv Catch-Up.
In fact, Pay-TV like DSTV does not even offer PPV. Let that sink in. If you are watching a Champions League final or a UFC main event, you are not paying extra. You are watching it as part of your existing subscription. No hidden or additional charges. No tricks. Just the monthly bouquet, a stable signal, and whatever power source you can afford that evening.
So, when people scream, “Why can’t we have PPV like abroad?”, they miss the plot. Abroad, PPV can cost $80. Here, that’s half your salary. Meanwhile, DStv bundles the same content into your monthly plan. That’s a steal, not a scam.
Let’s do the math. A N100,000 PPV ticket, which is less than the average of $80 (N130,000), is more than two to three months of DStv subscription or a whole year of GOtv. For a country where the minimum wage is N77,000 and salaries barely cross N200,000, that’s not premium access. That’s financial suicide.
Please forget comparisons to the US or UK. Over there, $80 is lunch money. Over here, it’s food, transport, and school fees. Systems differ. Wallets do too.
The truth? Hardly anyone in Nigeria is paying for PPV, because they don’t have to. TV is already made accessible with our Pay-TV. So, before you attack broadcasters, remember where the real problem lies. The Naira is in free-fall, inflation is wild, and income is stuck. Access isn’t the issue. Affordability is.
So, the next time you are tempted to go online and shout about how Nigeria deserves real PPV, take a step back. Ask yourself if you can genuinely afford it without going hungry for two weeks. If the answer is no, then it is time to renew your regular subscription, plug in your rechargeable fan, and pray for NEPA. Because in Nigeria, PPV is not a right. It is a reckless indulgence.
Showbiz
Celebrating African Cinema: AMVCA’s Growing Influence in Global Entertainment

The Africa Magic Viewers’ Choice Awards (AMVCA), often compared to the Oscars, has evolved beyond a simple awards ceremony into an influential platform boosting African cinema’s global visibility. As the 11th edition approaches, the AMVCA continues to highlight African filmmakers’ work, helping to position Africa’s cinematic output as a significant force in international entertainment.
Initially established to showcase Africa’s diverse storytelling traditions, the AMVCA has grown from a regional event into one of the most anticipated events on the global film calendar. This increased prominence reflects the growing recognition of Africa’s cinematic quality and originality. The AMVCA brings together a wide range of African filmmaking talents, enhancing the event’s global recognition. As African content expands on streaming platforms like Showmax, the awards provide filmmakers with access to broader international audiences.
While the comparison to the Oscars speaks to its prestige, the AMVCA’s true value lies in showcasing authentic African stories and talent. Celebrating both established and emerging creative voices, it creates a space where African filmmakers receive recognition for their contributions to global cinema. This is particularly important as African stories gain traction on the international stage.
Recognition from the AMVCA extends beyond trophies, opening doors to new opportunities and global collaborations. Past winners have seen their careers blossom through international film festival invitations, co-productions, and global distribution deals. The award serves as a validation that elevates African filmmakers’ work to the international stage.
A key strength of the AMVCA is its recognition of the full spectrum of industry talent. The awards highlight not only actors and directors but also the technical experts- cinematographers, editors, sound engineers, costume designers, and music composers- emphasising African cinema’s diverse talent pool. The addition of the best music score category further acknowledges how original compositions enhance storytelling and emotional impact in African films.
As African films increasingly appear on global platforms and receive critical acclaim, the AMVCA has become an industry cornerstone. With its 11th edition approaching, the awards’ role in recognising and celebrating African cinema remains vital. By recognizing excellence across all filmmaking aspects, from visual storytelling to musical composition, the AMVCA provides a comprehensive platform for honouring the complete artistic vision behind each production.
The global entertainment industry is paying attention, and the AMVCA ensures that African cinema is not just part of the conversation but actively shapes it. This evolution from a regional awards show to a globally recognized institution demonstrates the growing influence of African cinema and the diverse talent emerging from the continent. Through categories like Best Music Score, the AMVCA continues to elevate all components that make African storytelling unique and compelling on the world stage.
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