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Valentine’s Day in Nigeria: Love, Heartbreak, and Connection

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Spotify Valentine’s Day in Nigeria

Spotify’s latest Valentine data signals that Nigerian listening is becoming more emotionally expansive, not more predictable. Across the Jan 1 to Feb 4 comparison window, Nigeria saw strong growth in mood-led playlist creation from 2024 to 2025, with rizz up +58%, simp up +66%, and yearn up +305%. From 2025 to 2026, we could see rizz up +82% and yearn up +170%. Together, these shifts point to a culture that is naming attraction, vulnerability, and longing in real time.

A New Language for Modern Love

On Valentine’s Day, Nigerian listeners moved between local and global love soundtracks, with Burna Boy, John Legend, and Billie Eilish appearing in the same emotional universe. What stands out is not one dominant mood but the growth of multiple moods at once. Using rizz and simp as love-coded signals, and yearn as a heartbreak-coded signal, Spotify data shows both sides rising sharply. Love-coded playlist, rizz behaviour grew by +58%  to +82% from 2024 to 2026, while heartbreak-coded behaviour yearn grew by +305% and then +170% over those same periods.

This is emotional literacy in action, with listeners using playlists to process what they feel without having to flatten it into one story.

Nigerian Gen Z is driving this change. Data points to a generation building a working vocabulary for modern relationships, one that allows confidence, tenderness, and uncertainty to exist side by side.

The Duality Generation

Among 18 to 24-year-olds on Valentine’s Day, nearly 60% of listeners skewed heartbreak, while almost 40% leaned into love. They are not choosing one emotion over another. They are holding both at once and building listening habits that reflect that complexity.

The pattern is visible across gender, too. Men accounted for over 65% in heartbreak and 61% in love song streaming, while women represented just over a third in both cases, showing that both groups are actively engaging the full emotional spectrum on the day.

Geographically, heartbreak listening is concentrated in urban centres, with Lagos leading, followed by Abuja, Port Harcourt, Ibadan, and Benin. The map is culturally telling. Young Nigerians in major cities are using music as a live emotional archive of romance, ambiguity, and recovery.

Sharing the Feeling

Nigerians are not processing these emotions in isolation. Valentine’s Day 2025 was the “Blendiest” day in the preceding year, signalling peak shared listening behaviour through Spotify Blend. Partners, friends, and crushes used collaborative playlists to merge Afrobeats, street-pop, and R&B into shared mood spaces.

Top Blend tracks on the day included  Fido’s Awolowo, Smur Lee’s, Shallipopi, ODUMODUBLVCK’s JUJU (with Smur Lee & Shallipopi),  BNXN, Rema’s “Fi Kan We Kan,” and Rema’s “OZEBA.” In direct song shares, listeners chose emotionally direct records such as Future’s “WORST DAY,” Drake’s “GIVE ME A HUG, Asake’s “WHY LOVE”,  Rema’s “Baby (Is it a Crime)”, and Drake’s “NOKIA”. The signal is clear: sharing is not just social behaviour, it is emotional communication.

Beyond Romance: Community, Friendships, and Faith

Valentine’s listening also shows Nigerians broadening the meaning of connection. Globally, Galentine playlist creation rose by over +70% year on year, with +20% growth already recorded this year. In Nigeria, this aligns with how friendship and peer support are increasingly central to how young listeners mark the day.

The podcast picture adds another cultural layer. Faith-based voices remained highly visible on 14 February, alongside relationship-centred conversations, reflecting a listening culture where romance, spirituality, and community wisdom coexist rather than compete.

Spotify also recorded a +20% increase in Valentine’s Day playlist creation globally in the latest comparable seasonal window, reinforcing that this period remains one of the strongest emotional moments in the listening calendar.

“Valentine’s Day in Nigeria is no longer a single-note romance moment. We are seeing listeners embrace love and heartbreak as equally valid emotional realities, and use music to move through both with honesty. What stands out is the confidence to name complex feelings and the willingness to share them with others,” says Phiona Okumu, Spotify’s Head of Music for Sub-Saharan Africa.

This year’s Valentine’s data presents a portrait of a generation redefining connection: emotionally fluent, culturally hybrid, community-oriented, and unafraid of contradiction.

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Kunle Remi Clarifies Viral Remarks on AMVCA, Oscars Comparison

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Kunle Remi

Nollywood actor Kunle Remi has clarified that his recent social media comment comparing the Africa Magic Viewers’ Choice Awards to the Academy Awards (Oscars) was made in jest, following widespread reactions online.

The conversation began after the actor shared a video from the 2026 Academy Awards (Oscars), where Michael B. Jordan was seen having his award engraved shortly after his win. In his initial reaction, Remi suggested that winners at the AMVCA do not receive their plaques immediately, a claim that quickly gained traction across multiple media platforms.

However, in a follow-up video posted shortly after, the actor dismissed the comparison as a joke, noting that he is aware of how the AMVCA award process works.

“I was just messing around, and it was all a joke,” he said, adding that people had taken the remark more seriously than intended.

He reaffirmed his respect for the platform, describing the AMVCA as the only African awards show comparable to the Oscars.

“AMVCA is the only African show you can even compare to the Oscars,” he added.

The actor also confirmed his involvement with the awards, noting that he will be present at this year’s edition and is actively working on it.

“I’ll be at this year’s AMVCA, in fact, I’m working with them on this one.”

The exchange has since drawn attention to how awards are handled at the AMVCA. Winners receive their plaques on stage immediately after being announced and are subsequently directed to a designated media room, where engraving stations are set up to personalise each award in real time.

The engraving process is completed on the night of the event, with winners finalising their plaques while also engaging with the press through interviews, photography, and official media documentation.

Industry sources familiar with the production confirm that this system has been consistently implemented across previous editions, with visual documentation from past ceremonies showing the engraving process and post-win media interactions.

The clarification comes amid ongoing conversations about production standards across global award platforms, as African film and television continue to gain wider international visibility.

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MultiChoice Talent Factory Extends Application Deadline for 2026 Intake

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MTF

By Modupe Gbadeyanka

The application deadline for the 2026 intake of the MultiChoice Talent Factory (MTF) has been extended to Monday, April 27.

The deadline for the pan-African film and television training institution was earlier fixed for February 27, but it has now been extended by two months, giving aspiring African filmmakers, directors, producers, scriptwriters and storytellers across the continent additional time to apply for its fully funded, industry-accredited training programme.

The programme is open to young creatives aged 18 to 35 with a passion for the screen industry. Applicants may hold qualifications in film, television, media, drama, or related creative disciplines or possess one to two years of industry experience. A formal film degree is not required.

Participants will be exposed to a structured 12-month programme across key areas, including scriptwriting, production management, directing, cinematography, editing, sound, and various post-production specialities, gaining experience in bringing stories to life. The programme is fully funded, covering tuition, production costs, and monthly stipends, allowing participants to focus entirely on developing their craft.

MTF operates academies across four African cities: Johannesburg (South Africa), Nairobi (Kenya), Lagos (Nigeria), and Lusaka (Zambia), ensuring a diverse pool of talent is trained to contribute to the growth of Africa’s film and television industry.

The initiative was established in 2018 by MultiChoice Group, a CANAL+ company, to discover and nurture the next generation of storytellers by providing access to mentorship, technical training, and real-world production experience in film and television.

Almost 300 filmmakers have been trained by MTF, with participants producing over 42 movies during the programme. These projects are broadcast on DStv and GOtv channels, including Maisha Magic, Zambezi Magic, and Africa Magic. MTF graduates have earned nominations and awards at major platforms such as the Africa Magic Viewers’ Choice Awards (AMVCA), Uganda Film Festival, and Women in Film Awards. Alumni also collaborate in global creative spaces, including the European Film Market and Durban FilmMart.

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UK, Nigeria Partner to Boost Creative Economy

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British Council

By Aduragbemi Omiyale

Nigeria and the United Kingdom have forged new pathways aimed at tapping into the growing global creative economy.

The UK, through the British Council, will help Nigeria build stronger systems, infrastructure and professional capability to unlock opportunities in the sector.

The collaboration will support the development of creative systems and partnerships by focusing on artistic collaboration, creative infrastructure, institutional capacity, skills development and exchange.

This is an offshoot of the two-day state visit to the UK by President Bola Tinubu on Wednesday and Thursday. The President returned to Nigeria on Friday.

The deal with the UK concerning the creative industry aims to deliver practical, long-term value through stronger partnerships and technical cooperation.

The sector is recognised as a key engine for job creation and foreign exchange earnings, with explicit targets to increase the value of creative industries and strengthen infrastructure, digital integration, and international market access.

In the UK, the creative industries are recognised as one of the country’s highest-growth sectors, supported through government funding, investment incentives, and industrial strategy to boost innovation, skills development, export growth, and international partnerships.

Already, the Nigerian government has articulated a comprehensive vision to grow its creative economy through initiatives such as the Nigeria Destination 2030 creative economy framework, skills development priorities, strategic policy reforms, and fostering public–private partnerships aimed at scaling creative business outputs and increasing global competitiveness.

Through one of the partnerships between both nations, the UK/Nigeria Bilateral Season, there would be a focus on strengthening creative systems and production infrastructure, including the adoption of emerging technology; supporting skills development and leadership across arts, culture and education sectors; improving access to UK and international markets through structured mobility pathways and industry engagement, and enabling UK and Nigerian creative institutions to form lasting partnerships that continue beyond the Season.

Activities will take place across both countries in 2028, following two years of partner engagement involving visiting delegations and programme incubation, unlocking resources in both countries to catalyse greater cultural collaboration.

The other arm of the collaboration is the launch of the British Council SCALE UK-NG Creatives Entrepreneurs Award Programme (2027/28)

The British Council and the Department for Business and Trade will partner on the new SCALE (Supporting Creative Acceleration, Leadership & Exports) Programme.

SCALE will enhance international connections and export readiness, supporting both the Nigerian and UK creative economy growth and trade.

The Award and associated fast-track training programme will draw on a decade of learning gained from the delivery of the British Council Young Creative Entrepreneurs Programme and from DBT’s sector expertise and network of investors.

“Culture has an amazing power to bring people together. When we work together, we open our eyes to new creative possibilities and build opportunities to grow our creative sectors.

“With the UK being home to the largest Nigerian diaspora in Europe, we’re perfectly placed to make the most of these opportunities.

“So many of our brightest stars have shared heritage across Nigeria and Britain, and I look forward to these cultural bonds only growing stronger through the joint Season of Culture in 2028, the UK’s Arts Minister, Ian Murray, said.

Also commenting, the Country Director for British Council Nigeria, Donna McGowan, said, “The UK/ NG Season will involve a range of innovative initiatives to be designed by diverse UK and Nigeria creative organisations, with activity taking place in both countries.

“SCALE is a transformative initiative that aims to empower the next generation of Nigerian creatives.

“By fostering innovation and providing vital resources, we are not only investing in individual talents but also strengthening the cultural and economic ties between the UK and Nigeria.”

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