Showbiz
Remembering Legendary Nigerian Drummer Tony Allen
By Kester Kenn Klomegah
Exactly in August 2009, legendary Nigerian drummer, Tony Allen, who created the Afrobeat along with his old bandmate, Fela Kuti, and I had our first historical meeting in Paris, France.
I had flown in from Shanghai, China, to meet with him for an informal encounter. Despite our heavy working schedules and limited time, the meeting lasted for about two hours.
During the discussions, I asked him several questions about his professional musical career and life. In fact, he was extremely passionate and enthusiastic talking with me, and to remember him here are a few excerpts:
When did you begin your musical career and who are your favourite musicians?
My career started at the age of 20. In fact, I was hired by Sir Victor Olaiya to play claves with his highlife band, “the Cool Cats” and was able to fill the drum-set chair when the former Cool Cats drummer left the band. I also played with Agu Norris and the Heatwaves, the Nigerian Messengers and the Melody Makers.
In 1964, I joined Fela’s ‘Koola Lobitos’ and stayed with Fela for 15 years. When I was learning to play, I’d check out LPs and magazine tutorials by Gene Krupa, Art Blakey and Max Roach, Guy Warren was also an influence. Of course, I was also a fan of Elvin Jones, Tony Williams and Bernard Purdie.
I was asked to name my dream band to play with, and I chose: Oumou Sangare and Salif Keita on vocals, Bootsy Collins on bass, George Benson on guitar, Wayne Shorter on sax, Joe Zawinul on keys, Don Cherry on trumpet, and with a line-up like that, I’d have to be the drummer!
What was the motivation behind your chosen profession?
My parents were…not keen. Back then, musicians were more or less thought of as beggars, or worse. But I just put it in front of them. I was an electrical technician, but I wanted to make a change. My mother was never happy about it, but my father, who was an amateur musician, eventually agreed.
How is this profession influencing or shaping your own social life?
It has had a profound effect. Our albums with Afrika 70 either provoked or described a series of increasingly brutal attacks by the Nigerian army and police. Fela and his immediate family bore the brunt of this long and shameful catalogue of assaults, trumped up charges and jailings, and I myself was jailed on one occasion. With Fela, it was like being at university, and you don’t run away from education. We learnt so much by not being cowards.
When I left Fela’s band, that had a big effect on my life. Lagos was too small for me and Fela. It was a small place, and I wanted room to take off without causing competition, I eventually chose Paris partly because the British immigration people were giving me difficulties, but also because African music was more happening then in Paris than in London, and my record company at the time was in France.
It was the only place I felt I could exercise my knowledge. The only place to make a living. Being a musician, the line between work and social life is, often blurred doing what I do for a living is what I do for enjoyment.
There seems to be some truthfulness in your career. Which songs spiritually appeal most to you personally when on stage?
Absolutely, as a musician and an artist, you have to be true to yourself. Different songs appeal to me more at different times and under different circumstances, it can depend on who you’re playing with, where you’re playing and how the audience respond to what you’re playing. Playing music is very spiritual but I won’t say that one thing I do is more spiritual than another as I try to invest all in everything that I do.
Of what importance are the messages you convey through your songs to our society, in your interpretation?
Afrobeat has always been about the struggle, then and now. Fela was right about everything, especially the messages in all his songs. Everything he sang about is still happening. Nigeria’s not getting any better. It’s all misadministration and corruption, survival of the fittest.
Lagos is a complete mother ****** of a place. These messages we send to the government, they never listen to them. The people wait for an effect, but there’s no effect. These guys do nothing. Afrobeat is rebellious music. We have to keep shouting.
Do you mind talking about your experiences (both positive and negative) in previous European tours?
Laughs! I don’t mind at all but this is a big question that I’m not sure how to answer. The fact is that the good experiences overwhelmingly outweigh the bad, which is why I’m still out on tour at nearly 70 years old. As long as people want to come and see me play, I’ll play.
How do you usually visualize your audience during musical performances?
I am very pleased to have had the chance to play at many festivals abroad. The foreign people know all about social and political upheaval, so even though our cultures and heritage are completely different, they feel the power of Afrobeat and confirm my belief that music is the great healer in the world. It was a long musical trip, there is no way back but well worth it. You just don’t have to return, I have to move forward!
Many people think going into musical world is just to make quick money. What is your reaction to this?
Ha! Most musicians are struggling musicians only a small minority make serious money, musicians all around the world play for the love of it, to express themselves creatively and for the interaction with the audience. A lucky few might make millions but you can’t judge everyone else on that basis, lawyers, accountants, bankers, those guys make the serious money. Also, those motivated by money don’t make as good music, if your inspiration isn’t true, then it shines through in music.
Would you have opted out of stage if you were offered an alternative job?
Not all, as I said earlier, I had job which I left in order to be a musician, that was almost 50 years ago and I am still in it. I think I made the right decision.
If you could have lunch with anyone, real or fictional, alive or dead, who would it be and what is the first thing you would ask him or her?
It’s impossible to pick one single person, there are loved ones that would be great to see one more time, but musically, the most obvious person would be Fela Kuti, and I’d ask him if he’s happy with what’s happened to the music that we created together.
What are your goals for the coming years?
I want to keep on doing what I do, improving and doing new things. I’m very happy with my band and our new album, we can do great things together. I’m very fortunate that I get the opportunities to work with all manner of artists doing different and interesting projects, long may it continue.
Music is my mission. I never get satisfied and I’m still learning from others. The musical world is very spiritual, and I don’t think there’s an end to it. The best legacy is your professional work and leaving an indelible mark on the minds of people.
Additional information
Agence France Press (AFP) wrote that Allen was the drummer and musical director of Fela Kuti’s band Africa ‘70 in the 1960s and 1970s.
During that time, the pair created afrobeat, combining West African musical styles such as highlife and Fuji music with American imports jazz and funk. Afrobeat went on to become one of the totemic genres of 20th century African music.
Over Allen’s thrilling beat, Fela laid out his revolutionary and pan-African message, which led him to become one of the abiding icons of the struggle for freedom across the continent.
Allen and Fela recorded around 40 albums together in Africa ‘70, before parting ways after a mythic 26-year collaboration. Such was the hole that Allen left in his band, Fela needed four drummers to replace him.
Allen taught himself to play drums from the age of 18, drawing inspiration from American jazz greats Dizzy Gillespie and Charlie Parker as well as contemporary African music. He remained hugely influential and beloved by generations of musicians.
British musician and producer Brian Eno has called Allen “perhaps the greatest drummer who ever lived.” Allen was the drummer in the supergroup The Good, the Bad & the Queen, also featuring Blur singer Damon Albarn and The Clash bassist Paul Simonon, which released its second album in 2018.
Tony Allen died suddenly at the age of 79 in the Paris suburb Courbevoie, France.
Showbiz
Davido’s World Cup 2026 Performance Reached 3.92 billion People Across 156 Countries
A newly released Media Intelligence Report by P+ Measurement Services reveals that Nigerian music icon Davido’s participation during the FIFA World Cup 2026 generated extraordinary levels of global media attention, audience engagement and positive sentiment, transforming a cultural performance into a worldwide conversation about unity, hope, justice and African influence.
The report analysed media coverage, public conversations and stakeholder engagement generated between June 10 and June 20, 2026, across print, online, broadcast and social media platforms worldwide. Beyond measuring visibility, the analysis examined the broader reputation implications of the campaign and its impact across traditional media ecosystems, digital communities and emerging AI-powered discovery environments.
According to the report, Davido generated approximately 1.48 million media mentions globally within the ten-day reporting period, reaching an estimated audience of 3.92 billion people and producing 6.78 billion impressions across media channels. Social conversations exceeded 432,700 discussions while total engagements surpassed 54.3 million interactions, highlighting one of the most impactful African entertainment-led communication moments recorded on the global stage in recent years.
The report found that public response to the performance was overwhelmingly favourable. Positive sentiment accounted for 89 per cent of all measured conversations, while neutral conversations represented only 2 per cent. Negative and strongly negative narratives combined accounted for less than 1 per cent of total discussions, indicating widespread approval not only of the performance itself but also of the underlying message embedded within the campaign.
At the centre of the conversation was Davido’s “Bring Them Home” message, which drew international attention to the plight of abducted schoolchildren and teachers from Oyo State. Rather than positioning the performance solely as entertainment, the campaign successfully integrated advocacy into one of the world’s largest cultural and sporting platforms.
The report suggests that this strategic combination of entertainment, social purpose and national storytelling significantly contributed to the scale and quality of media attention generated globally. In an era where audiences increasingly reward authenticity and meaningful narratives, the campaign demonstrated how celebrity influence can be leveraged to drive conversations that extend beyond music and popular culture.
One of the most significant findings of the report is the geographic diversity of the audience reached. While Nigeria remained a major contributor to conversations surrounding the performance, the United States emerged as the largest international market by reach, accounting for approximately 16 per cent of global visibility. Nigeria contributed 15 per cent, followed by the United Kingdom, Canada, Ghana, South Africa, France, Brazil, Germany and India.
The presence of conversations across 156 countries underscores the increasingly global nature of African cultural influence. It also reinforces the growing capacity of African creatives to shape narratives that resonate across continents and cultural boundaries.
For Nigeria, the findings provide further evidence that entertainment continues to function as one of the country’s most powerful soft power assets. While governments often invest heavily in national branding campaigns, the report indicates that cultural exports such as music, film and creative storytelling remain among the most effective vehicles for shaping international perception and projecting national influence.
The analysis further reveals that social media served as the primary engine of visibility throughout the reporting period. Social platforms generated approximately 1.32 million mentions, representing more than 89 per cent of total conversations recorded. X, formerly Twitter, accounted for the largest share of discussions, followed by Instagram, TikTok, Facebook and YouTube.
The dominance of social media highlights a broader shift in the communications landscape. Traditional media continues to play an important role in validating narratives and extending credibility, but public conversations increasingly originate and gain momentum through digital communities. For brands, institutions and public figures, this reinforces the importance of integrating earned media, influencer engagement and community-driven storytelling within communication strategies.
Online media also recorded significant performance, generating approximately 268,000 mentions and reaching an estimated audience of 1.65 billion people. Coverage was amplified by leading international and regional media organisations, including BBC News, CNN, Reuters, Al Jazeera, The Guardian and several influential African news platforms.
Broadcast media contributed an additional 11,500 mentions with a reach exceeding 452 million people, while print media generated more than 35,000 mentions and reached over 512 million audiences globally.
The report notes that the strength of this performance lies not merely in media volume but in media diversity. Visibility was achieved across multiple platforms, audience segments and geographic regions simultaneously, creating a highly resilient communication ecosystem capable of sustaining attention long after the initial event.
Analysis of audience demographics revealed particularly strong engagement among younger and economically active audiences. Individuals between the ages of 18 and 34 accounted for nearly 58 per cent of all measured social media engagement, reflecting the growing influence of youth-driven digital communities in shaping modern reputation outcomes.
From a communications and public relations perspective, the report identifies the campaign as a compelling case study in strategic narrative management. Traditionally, major sporting events have been viewed primarily as sponsorship and visibility opportunities. However, the Davido World Cup performance illustrates how organisations and personalities can use globally relevant moments to introduce social causes, build emotional connection and drive stakeholder engagement simultaneously.
For communications professionals, the findings reinforce the principle that visibility alone does not create influence. Influence emerges when visibility is supported by relevance, purpose and audience resonance. The campaign’s success demonstrates the effectiveness of aligning advocacy messages with cultural moments capable of generating significant public attention.
For the entertainment industry, the report highlights the increasing importance of purpose-driven storytelling. Audiences are becoming more responsive to artists and creators who leverage their platforms to address societal issues while maintaining authenticity. The performance illustrates how entertainment brands can generate both cultural impact and reputation value when social purpose is integrated into communication efforts.
For government institutions and policymakers, the findings offer important lessons regarding nation branding. The report suggests that Africa’s creative industries continue to represent one of the continent’s strongest tools for shaping international perception. As countries compete for tourism, investment and global relevance, cultural ambassadors such as musicians, filmmakers and creators are increasingly becoming key contributors to national reputation.
The report also presents significant implications for the public relations industry itself. As measurement frameworks evolve beyond traditional metrics such as impressions and advertising value equivalency, communications professionals are being challenged to evaluate influence through more sophisticated indicators, including sentiment quality, audience engagement, narrative ownership, stakeholder resonance and AI discoverability.
One of the report’s most forward-looking findings concerns performance within AI-powered information environments. An assessment of leading generative search and AI discovery platforms found exceptionally strong visibility for the campaign across ChatGPT, Perplexity AI, Claude AI and Microsoft Copilot.
Visibility scores ranged from 89 to 92 per cent across the evaluated platforms, indicating strong representation of campaign narratives within AI-generated responses and emerging search environments. Associated themes consistently included global impact, unity, humanitarian advocacy, African culture and Davido’s performance.
This development is particularly significant because reputation management is entering a new era where discoverability within AI systems increasingly influences public understanding. As users rely more on generative AI platforms to access information, organisations must ensure that their narratives are not only visible in traditional media but also accurately represented within AI-powered search and discovery ecosystems.
The report concludes that Davido’s World Cup 2026 performance represents far more than a successful entertainment event. It stands as a powerful example of how African talent can shape global conversations, amplify important social issues and create measurable influence across interconnected media environments.
More importantly, it demonstrates that purpose-driven storytelling, when combined with cultural relevance and strategic communications, can transform a single performance into a global reputation asset.
For PR practitioners, communication strategists, policymakers, marketers and brand leaders, the campaign offers valuable lessons on the future of influence. In a media environment increasingly driven by attention scarcity, algorithmic discovery and AI-generated information, success will belong to those who can create narratives that are not only seen but remembered, shared, trusted and discovered.
As Africa continues to strengthen its voice on the global stage, the findings reinforce a growing reality: the continent is no longer merely participating in global conversations. It is increasingly helping to shape them.
As part of its ongoing commitment to advancing evidence-based communications practice, P+ Measurement Services continues to make industry intelligence, measurement frameworks and media insights available to communications professionals, helping organisations move beyond assumptions and make informed decisions based on data, reputation intelligence and stakeholder understanding. With more than a decade at the forefront of media intelligence and communications measurement in Nigeria, the firm remains committed to strengthening the practice of public relations through research, accountability and meaningful evaluation.
Showbiz
Masterchef Nigeria Top 5 Pressure Sends Derry Home
The heat was high, the flavours were bold, and the pressure was sizzling as the Top 5 home cooks on MasterChef Nigeria were tasked with re-imagining beloved Buka classics in a challenge that demanded they cook with serious “street in their step.”
Joining the judges in the MasterChef kitchen was the well-known and much-loved Chef Bukie Akinmade, who brought her expertise, warmth, and deep love for Nigerian food culture to the judging table.
For this challenge, the contestants had to prepare two dishes inspired by the vibrant energy, flavours, and soul of Nigerian street food and Buka-style cooking. But this was not just about recreating familiar favourites. The home cooks had to turn humble food into fine dining elevating everyday classics while still keeping the heart, spirit, and authenticity of the street alive.
For Derry, the mission was personal. She was determined to let tradition and tribe shine through her food, but unfortunately, her dishes did not land the way she had hoped. The judges felt that her execution did not meet the standard required at this stage of the competition, and after a tough cook, Derry became the next contestant to leave the MasterChef Nigeria kitchen.
Joining Derry in the bottom three were Favy and Fads.
Favy, who still had the immunity pin, was confident in the dish she presented and chose not to use it. However, her undercooked Dubai Pistachio Puff Puff came back to bite, landing her in the danger zone.
Fads also found herself under pressure after serving two starter-style dishes. Time got the better of her in the kitchen, leading to a shocking moment when she accidentally put her hands into hot oil. The incident startled the judges and Fads herself, but she pushed through with determination and made sure her food reached the plate. In the end, the judges were impressed with how well her chicken was cooked, and she was declared safe.
While some contestants struggled to find their rhythm, David and Isabella rose to the occasion and served the strongest dishes of the day.
Although Isabella’s dish was simple, the judges felt that she truly understood the brief and successfully took her food to the streets while giving it the elevation the challenge required. Her flavours, concept, and execution impressed the panel and earned her a place among the top cooks of the challenge.
David, however, brought both flavour and fighting spirit to the plate. The judges were particularly impressed with the look of his dishes, as well as the balance and depth of flavour in his street food classics. His ability to elevate familiar favourites while staying true to the heart of the challenge made him one of the standout performers of the day. David’s fighting spirit paid off as he walked away with Dish of the Day.
MasterChef Nigeria continues next week as the Top 4 battle for a place closer to the ultimate title.
The remaining contestants will be challenged to create two Afro-Italian dishes, with a major prize on the line for the winning dish. As the finale draws closer, every plate matters, every second counts, and only the strongest cooks will survive the heat.
The show airs weekly on Sundays at 7 pm on Africa Magic Showcase and Africa Magic Family with rebroadcast on Wednesdays at 6 pm on Africa Magic Showcase and Thursdays at 12 pm on Africa Magic Family.
Produced by Primedia Group, MasterChef Nigeria is supported by a strong coalition of leading Nigerian brands, including headline sponsor Power Oil, alongside Indomie, Dano Milk, Malta Guinness, Sonia Tomato, Kiara Rice, Golden Penny Flour, Golden Penny Sugar, Golden Penny Garri, Golden Penny Semolina, Golden Penny Chocolate Spread, and Golden Penny Wheat.
Showbiz
Entertainment Non-Stop: Movies and Shows to Watch on GOtv This Week
A renowned professor races across Europe in a desperate bid to stop a deadly virus that could wipe out half of humanity.
In another gripping story, a teenage girl already battling anxiety suddenly finds herself fighting for her life when a ruthless serial killer begins hunting her through the woods.
Elsewhere, two operatives who should be on the same side realise they’ve both been deceived, forcing them into an uneasy alliance in a dangerous world of crime and betrayal.
That’s the kind of tension GOtv is serving up this week.
It’s a lineup that moves from fast-paced thrillers to intense drama and even stories rooted in everyday realities, giving you something different depending on your mood. If you’re looking for what to watch next, here are the movies and shows airing on GOtv this week.
Inferno
Thursday | 22:05pm | Movie Room Africa
Robert Langdon finds himself pulled into a deadly race across Europe after waking up with no memory and a virus-threatening conspiracy unfolding around him. With the help of Dr. Sienna Brooks, he follows a trail of cryptic clues tied to Dante’s Inferno, all while a global catastrophe looms if they fail to act in time. It’s a high-stakes thriller where every second counts and nothing is what it seems.
You Can’t Run Forever
Saturday | 20:00 pm | M-Net Movies 3
A young girl battling anxiety becomes an unexpected target when a ruthless serial killer begins hunting her through the wilderness. What starts as fear quickly turns into a raw fight for survival as she’s forced to rely on instinct, courage, and sheer will to stay alive. With J.K. Simmons leading the tension, it’s a gripping survival thriller that doesn’t let up.
2 Guns
Friday | 23:55 pm | Studio Universal
Two operatives who’ve been unknowingly working against each other suddenly find themselves on the wrong side of a dangerous double-cross. With both the law and criminals closing in, they’re forced into an uneasy partnership to survive the chaos they’ve been dragged into. Packed with action, betrayal, and sharp chemistry between Denzel Washington and Mark Wahlberg, it’s explosive from start to finish.
She Was Never Here
Wednesday | 11:25 am | Africa Magic Showcase
Ralph thinks he’s securing a better future when he gets his fiancée Bianca a chef job at his boss’s home. But behind the opportunity lies a secret deal Bianca makes to earn more money, one that slowly begins to unravel trust, love, and everything they’ve built together. It’s a tense domestic drama where ambition and loyalty collide.
My Period Stories
Saturday | 09:00 am | Africa Magic Family
A podcast-style series that opens up conversations around menstrual health and reproductive rights through interviews, personal testimonies, and real discussions. By blending storytelling with lived experiences, it breaks silence around topics often left unspoken and encourages honest dialogue in a relatable, accessible way.
From Hollywood blockbusters to meaningful conversations that reflect real-life issues, GOtv continues to deliver a diverse mix of entertainment that speaks to every kind of viewer. Whether you’re watching alone or with family, this week’s lineup guarantees something worth your time.
To upgrade, subscribe or reconnect, download the MyGOtv App or dial *288#. For catch-up and on-the-go viewing, download the GOtv Stream App and enjoy your favourite shows anytime, anywhere.
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