Released via EMPIRE, the track arrives as an uplifting celebration of gratitude, resilience, and enjoying the rewards of hard work.

The release has been met with excitement from fans, many of whom had long hoped to hear the two hitmakers on the same record. Anticipation had been building since BNXN shared a teaser of the song’s visualizer on social media, with the preview quickly generating buzz ahead of its official release.

Built on a smooth blend of jazz-inspired saxophone melodies, rich percussion, and infectious Afrobeats rhythms, Eja Meja highlights the chemistry between both artists. BNXN delivers his trademark melodic vocals, while Asake injects his unmistakable energy, creating a record that balances soulful storytelling with an irresistible groove.

The song embraces themes of positivity and living in the moment, encouraging listeners to celebrate life’s victories despite its challenges. According to BNXN, that message sits at the heart of the collaboration.

“For me, ‘Eja Meja’ is a reminder to enjoy life and stay present. We all go through challenges, but this record is about choosing joy, tuning out distractions, and appreciating the journey. It’s music that makes you feel good while carrying a deeper message.”

 

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Adding to the release is a polished cinematic visualizer that perfectly complements the song’s laid-back yet confident atmosphere. Featuring elegant dinner settings, vintage cars, moody lighting, and stylish fashion, the visuals capture BNXN and Asake enjoying moments with close friends while reflecting the celebratory mood of the record.

Beyond introducing fans to the duo’s long-awaited collaboration, Eja Meja also signals the beginning of a new chapter for BNXN as he gears up for his forthcoming project. The single showcases both artists at their strengths, blending smooth melodies with vibrant energy in a way that feels authentic and effortlessly replayable.

With its infectious production, memorable hooks, and uplifting message, Eja Meja is poised to become a favourite among Afrobeats listeners while further raising anticipation for what BNXN has planned next.

Listen to “Eja Meja” HERE

This post appeared first on Mp3bullet.ng... Read Original post on BNXN, Asake Unite on First-Ever Collab ‘Eja Meja’.

Speaking during an appearance on The Honest Bunch Podcast, the rapper recalled how Burna Boy reached out to him before travelling to Ghana, a gesture he said stood out because it showed respect and trust at a time when the Nigerian star was still finding his footing.

According to Shatta Wale, he welcomed Burna Boy personally, picked him up from the airport, and made sure he was comfortable throughout his stay by providing accommodation, transportation, and support while introducing him to life in Ghana.

“Burna Boy is the only artiste who respectfully called me from Nigeria and told me he was coming to Ghana, that I should come and pick him up at the airport. I have never done that for any artiste before in Nigeria. And I felt some way because I was like, I know Burna Boy, but that time he was in his low time, so we picked him up at the airport and brought him down.

I was showing him the ropes of Ghana like this is my town, I gave him a house, cars, and anything he needed. He wasn’t wasting money in Ghana, but I had this team I was working with, and they were messing up. I actually told them I didn’t want to work with them anymore. All like 7 or 5 of these boys that I sacked were calling every rich man and special person in my life to tell them I’m having sex with their wives,” he said.

The Ghanaian musician alleged that after dismissing several members of his entourage, the former associates launched a smear campaign against him, contacting influential people in his circle and spreading damaging allegations.

Shatta Wale claimed Burna Boy was among those targeted, alleging that the former team members falsely accused him of having an affair with a woman Burna Boy had travelled to Ghana with.

According to him, the allegations were never discussed directly, but he noticed a sudden change in their relationship.

“They told Burna Boy that I was f*cking his girl he brought to Ghana, and he just bought it. I had billionaire friends they called. They wanted to break me to everybody. When he left me in Ghana, things still went well. And when I saw Burna moving to places, I was always messaging him, and he didn’t reply. I didn’t know they told him that, and he decided not to talk to me.”

Although Shatta Wale did not indicate whether the two artists have since reconciled, his account offers fresh insight into what he believes led to the end of a friendship that once saw them support each other both personally and professionally.

“I was treating Burna Boy in Ghana like a king… They told Burna Boy I was fvc>ing the girl he brought to Ghana…His mom is like my mother…”

– Shatta Wale pic.twitter.com/KKzRYABi1r

— @𝗼𝗻𝗲𝗷𝗼𝗯𝗹𝗲𝘀𝘀𝗯𝗼𝘆 (@OneJoblessBoy) July 27, 2026

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Speaking during an interview with the BBC, the award-winning singer explained that she explored several stage names early in her career but eventually realized they carried expectations she wasn’t comfortable with.

“One of the names that I had played with in my early days was Electra, but I changed my mind because I felt that the minute you hear Electra, you already expect me to be electrifying, and I didn’t want people to see me coming or overexpect.

I wanted them not to know what’s coming, and then I tried another name, Ginger, but the problem is, in Nigeria, when you say ginger, it means energy, and I’m just telling everybody who I am before they meet me.”

Rather than settling for a stage identity, Alade said she sought divine guidance before ultimately deciding that her given name best reflected her purpose and personal journey.

“I had a moment where I just sat on the idea, and I honestly just reached out to God and just asked, ‘Please lead me,’ and the reckoning that came to me was that I needed to stick to my birth name because it had a huge meaning behind it.

Opeyemi means ‘thanks be to God,’ and Alade means ‘the one who holds the crown.’ I feel like that embodies who I am, so I held on to it.”

The singer also shared how her relationship with fans across Africa inspired her to make her music more accessible by recording songs in multiple languages. According to her, the idea came after witnessing the passion of audiences who sang along to her music despite not understanding English or her native languages.

“The first language I translated my music into was French, and it was born out of curiosity. I felt a very strong connection with many French-speaking African fans when I saw them in the front row of my concerts, singing my songs even though they didn’t speak English or any of my native languages.

So I thought to myself, why don’t I do something very dear to them and show them I truly love them? That’s where my desire to start translating my music came from. I later went on to translate my music into Swahili and Portuguese.”

Reflecting on the evolution of the music industry, Alade acknowledged that women today are receiving greater acceptance than in previous years. However, she stressed that there is still more work to be done to achieve stronger female representation across the industry.

According to the singer, the journey has not necessarily become easier for women, but opportunities have gradually expanded. She encouraged more women to step forward and continue breaking barriers, noting that increased participation is key to creating a more balanced and inclusive music industry.

Yemi Alade has built a reputation as one of Africa’s most internationally recognised performers, with her multilingual approach helping her connect with audiences across the continent and beyond. Her latest reflections offer a glimpse into the intentional decisions that have shaped both her identity and her enduring success in the global music scene.

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The changes follow consultations involving the Premier League, the Professional Game Match Officials Limited (PGMOL), and the International Football Association Board (IFAB), with referees set to take a firmer approach in several key areas throughout the season.

One of the biggest changes focuses on physical battles during set-pieces. Match officials have been instructed to deal more strictly with players who deliberately hold, block, or impede opponents instead of making a genuine attempt to challenge for the ball. As a result, defenders who rely on excessive grabbing inside the penalty area could face more fouls being awarded against them, including penalties.

Another significant adjustment targets the misuse of injury stoppages by goalkeepers. Under the new guideline, if a goalkeeper receives treatment on the pitch for a non-serious injury, one outfield teammate must also leave the field and remain off for at least one minute after play resumes. The rule does not apply in situations involving genuine collisions, head injuries, bleeding, or other serious medical emergencies.

Officials have also been told to adopt a tougher stance on time-wasting. Players who deliberately delay goal kicks, throw-ins, free-kicks, or other restarts are expected to face quicker disciplinary action, while referees will continue to add appropriate stoppage time to compensate for unnecessary delays late in games.

Medical treatment procedures for outfield players have also been reinforced. Any player treated on the pitch must remain off the field for a minimum of one minute before being allowed to return, except in situations covered by the game’s existing medical exemptions.

The updated guidance also introduces clearer sanctions for hair-pulling incidents. Players who deliberately pull an opponent’s hair without using excessive force can now expect a yellow card, while more serious or violent incidents may still warrant a straight red card.

Technology will continue to play a major role in officiating during the new season. Updated VAR protocols have been introduced to improve consistency and speed up decision-making, while semi-automated offside technology will continue to assist officials where available, helping deliver quicker and more accurate offside calls.

With the new guidelines in place, Premier League officials hope to reduce unnecessary interruptions, improve the consistency of refereeing decisions, and create a fairer and more entertaining competition throughout the 2026/27 season.

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The centre-back has put pen to paper on a six-year contract, becoming the latest addition to the Blues’ busy summer recruitment drive.

The transfer pushes Chelsea’s spending beyond £250 million during the current transfer window, underlining the club’s continued investment as they prepare for the upcoming campaign.

Lacroix also represents a notable shift in Chelsea’s recent recruitment strategy, becoming the first player aged 26 or older to join the club for a transfer fee since the summer of 2022. The London side is also expected to complete moves for experienced duo Danny Welbeck and Jordan Henderson.

Speaking after sealing the move, Lacroix expressed his excitement about joining the Premier League giants and revealed that conversations with several Chelsea players helped convince him to make the switch.

“I think it’s the best move for me because it’s the best club in the world.

“I spoke with Malo [Gusto]. I spoke with Trev [Chalobah]. I spoke with Benoit [Badiashile]. It’s easy for people to speak well about this club because it has a lot of big history and I’m really proud to be a part of it now.”

 

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The 26-year-old also disclosed that a discussion with Chelsea’s manager played a key role in his decision, explaining that they quickly discovered they shared the same football philosophy and ambitions for the club.

“I spoke with the manager on the phone. We spoke about tactics, we spoke about how he sees the game. First of all, I was happy just to speak about football with him, and I saw that we have the same direction and desire for this club.”

 

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Lacroix added that recommendations from players he knows within both Chelsea and the French national team further reassured him that Stamford Bridge was the right destination for the next stage of his career.

“When I spoke with the gaffer, when I spoke also with the people I know from the national team who play for Chelsea, like Malo, they told me it was the best club I can go to.

“So already I was saying: “Okay, I don’t need to think too much”. After talking to people I said to myself: “This is the best step forward for me”.”

With his arrival now confirmed, Chelsea have added another experienced option to their defence as the club continues to reshape its squad, blending youthful talent with established players in a bid to compete strongly on all fronts this season.

Delighted to have you, @LacroixMaxence. 💙

— Chelsea FC (@ChelseaFC) July 30, 2026

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The appointment also sees her become the first woman to executive produce a soundtrack of this scale, further expanding her influence beyond recording and performing.

In addition to overseeing the soundtrack’s creative direction, Tems recorded three brand-new original songs for the project, giving fans fresh music while helping shape the sonic identity of one of the year’s most anticipated movie releases.

The soundtrack also boasts an impressive lineup of Nigerian stars, with Ayra Starr, BNXN, and Fireboy DML contributing to the project. Their inclusion, alongside Tems’ leadership, reinforces the growing influence of Afrobeats on the global entertainment stage.

Acclaimed filmmaker Gina Prince-Bythewood revealed why Tems was the natural choice to lead the soundtrack, applauding her creativity and the quality of the final body of work.

“I wanted Tems to curate the soundtrack. I wanted her to executive produce it. She’s actually the first woman to executive produce a soundtrack at this level, which is incredible. She put together an epic soundtrack. There are absolutely no skips… The soundtrack is so amazing, and I’m so proud of Tems, who had never done this before and created something truly extraordinary.”

The director’s praise highlights the confidence placed in Tems to create a soundtrack capable of matching the scale and emotion of the film. Her new role reflects a significant step in her artistic journey, showcasing her ability to lead major creative projects beyond the recording studio.

Adding further star power to the production, Burna Boy has been appointed executive music consultant, working alongside Tems to help shape the overall musical direction of the soundtrack.

 

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Speaking on the collaborative effort behind the project, Prince-Bythewood also shared details of the carefully assembled lineup.

“Then Burna Boy came on board as the executive music consultant. We’ve got three new Tems tracks. We’ve got Fireboy DML, BNXN (Benson), and Ayra Starr.”

Adapted from Tomi Adeyemi’s bestselling fantasy novel, Children of Blood and Bone has already generated enormous anticipation ahead of its release. With some of Nigeria’s biggest music stars contributing to its soundtrack, the film is expected to make an even stronger impact globally, while further cementing Afrobeats’ growing presence in Hollywood and international cinema.

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The 13-track album brings together a blend of solo performances and carefully selected collaborations, highlighting Davido’s continued commitment to bridging African music with global influences. The feature list includes Black Sherif, Mayorkun, FOLA, Llona, Leon Thomas, Aya Nakamura, NO11, Jazzwrld, and GL_CEEJAY.

The official tracklist for “Oriade” includes On the Road; Amazing Grace featuring Black Sherif; Julie; Constantly; I Know Who I Be With featuring Jazzwrld and GL_CEEJAY; Gimme Dat Ting With featuring NO11; B4 B4 With featuring Mayorkun and FOLA; Already Falling; Tell Everybody featuring Leon Thomas; Yaya featuring Aya Nakamura; Zanzibar; Guide; and My Light With featuring Llona.

ORIADÉ 👑

The kingdom expands. Featuring musical royalty from top to bottom.

Full album out this Friday! CD pre-orders available now. Which track are you most excited to hear first? pic.twitter.com/RUfTjSrJI9

— Davido (@davido) July 28, 2026

The reveal gives fans their clearest picture yet of what to expect from the album, with the tracklist showcasing a balance between personal records and collaborations that span different musical styles and regions. Familiar collaborators sit alongside fresh creative partnerships, adding to the anticipation surrounding the release.

Within minutes of the announcement, “Oriade” became a major talking point across social media as fans began sharing their excitement over the featured artists and debating which songs could emerge as early favorites.

Collaborations such as “Amazing Grace” with Black Sherif, “B4 B4” featuring Mayorkun and FOLA, and Yaya with Aya Nakamura have already sparked widespread conversation.

As anticipation continues to build, “Oriade” is shaping up to be another significant chapter in Davido’s career, with expectations high that the project will further reinforce his status as one of Afrobeats’ leading global stars.

 

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The Grammy-winning singer is scheduled to perform in the city on December 22, although the venue is yet to be announced.

The Lagos concert forms part of the singer’s ambitious 34-date A*POP World Tour, which was unveiled on Monday in support of her sophomore album, A*POP, released on July 24. Presented by Live Nation, the tour marks Tyla’s biggest international outing to date and her first headline run spanning Europe, North America, and Africa.

For fans in Nigeria, the announcement represents another major milestone in Tyla’s rapidly growing career. After spending the last few years building a global audience, the singer is now set to headline some of the world’s biggest cities before returning to the African continent to close out the tour.

The journey begins on October 12 in Paris before making its way through several European destinations, including Amsterdam, London, Glasgow, Manchester, Brussels, Berlin, Stockholm, Oslo and Copenhagen.

 

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From there, Tyla heads to North America, kicking off that leg on November 12 in Sacramento with additional performances scheduled in San Francisco, Vancouver, Chicago, Boston, New York, Houston, Los Angeles, and Las Vegas.

Lagos will serve as the opening stop for the African leg of the tour. Following the Nigerian performance, Tyla is expected to perform in Cape Town on January 4, 2027, before concluding the continental run in Johannesburg on January 9, 2027.

The upcoming tour also signals a significant step up from her previous live outings. While her We Wanna Party Tour in 2025 focused exclusively on Asia, and earlier appearances largely supported promotional activities, the A*POP World Tour is her first full-scale headline tour across multiple continents.

Fans hoping to secure a spot at the Lagos show won’t have to wait long. Artist presale tickets become available on Wednesday, July 29, while general ticket sales begin on Friday, July 31, at 10 a.m. local time, with additional ticketing and tour details available through Tyla’s official platforms.

 

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Among the standout tracks is “M2B,” the album’s fourth song, where the artist delivers a message centered on purpose, loyalty, and resilience.

Through thoughtful lyrics and confident delivery, Mavo highlights the importance of staying focused on one’s ambitions, maintaining integrity, and avoiding actions that could compromise personal growth. The track reflects his commitment to protecting his name, staying true to those who matter, and pushing forward despite distractions or challenges along the path to success.

Mavo – M2B Lyrics

Intro
Kilogbede One
Kilogbede One
Kilogbede want something
Kilogbede want something
No more way for poor people, yeah, yeah
No more way for poor people, yeah, yeah
(Ransom got that sauce, innit?)

Pre-Chorus
Ọmọkọ́mọ no fit double-cross us
Say na ọmọtẹna no fit double pompous
Me, I no be wayo supporter
Me, I no go talk anything wey bring ọlọ́pa, ah
And I wake up, and I say, “Ọgbọ́n protect us”
And na me, I don’t like nigga wey go dey preposterous
Me, I no fit bobo my mother
I gats to tell her the way the matter been come out
Ọmọ, you go stop all your mukulumu, comot for the setting wey you start
Baby say na no be she start am
Comot herself for the matter wey been sup before
Comot herself for the matter wey been sup before
Stop all your mukulumu, comot for the setting wey you start
Baby say na no be she start am
Comot herself for the matter wey been sup before
Comot herself for the matter wey been sup before

Chorus
Say, you no fit belittle my main mission on Earth
Can’t you see?
Can’t you see?
This how we meant to be, meant to be
This how we meant to be, meant to be, ah
Say, you no fit belittle my main mission on Earth
Can’t you see?
Can’t you see?
This how we meant to be, meant to be (Meant to be)
This how we meant to be, meant to be (Meant to be)

Verse
Comot body, jọ̀ọ́, mama shape, e no be parallelogram
Say the baby all about the whole bag
When the baby enter, all the mama confirm
K’ọmọ sọ̀de, k’ọmọ sọ̀de, marathon start, ehn?
Me, I no go talk about the somonoyokpon with olóróde, ah
Baby no be common, I no be Modesta
Baby want to see all of my diamond tester
She want start to test am, test am

Pre-Chorus
Ọmọkọ́mọ no fit double-cross us
Say na ọmọtẹna no fit double pompous
Me, I no be wayo supporter
Me, I no go talk anything wey bring ọlọ́pa, ah
And I wake up, and I say, “Ọgbọ́n protect us”
And na me, I don’t like nigga wey go dey preposterous
Me, I no fit bobo my mother
I gats to tell her the way the matter been come out
Ọmọ, you go stop all your mukulumu, comot for the setting wey you start
Baby say na no be she start am
Comot herself for the matter wey been sup before
Comot herself for the matter wey been sup before
Stop all your mukulumu, comot for the setting wey you start
Baby say na no be she start am
Comot herself for the matter wey been sup before
Comot herself for the matter wey been sup before

Chorus
Say, you no fit belittle my main mission on Earth
Can’t you see?
Can’t you see?
This how we meant to be, meant to be
This how we meant to be, meant to be, ah
Say, you no fit belittle my main mission on Earth
Can’t you see?
Can’t you see?
This how we meant to be, meant to be
This how we meant to be, meant to be

Outro
Kilogbede One

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One of the standout tracks, “Jehovah,” dives into themes of wealth, loyalty, and spirituality, as the singer reflects on how money can influence the way people show love and support.

Through honest lyrics and personal storytelling, Mavo explores the challenges of relationships shaped by financial expectations while highlighting the importance of ambition, hard work, faith, and providing for loved ones.

The track serves as a reminder to stay focused on long-term success rather than chasing temporary affection or material pleasures.

Mavo – Jehovah Lyrics

Verse 1
Ukanigbe, gone are the days when I dey call you stea’, stea’, you no dey pick
E no fit be Jessica matter I still dey think
Me, I don been drain all of my feelings for the sink
Kilogbede, ṣé you no know them?
Baby, know me for my feelings before I go do test
If I give her dollar, she go tell her friеnds to fàràbàlẹ̀, she coming
She wan’ come see mе, ò we mê homecoming

Pre-Chorus
Na money full my mind
Me, I no go take another man something
If you no get money, you light up your cannabis
Make happiness no go cease, God forbid, I no materialize
I’m all about the money I’m making, not the bitches I’m fucking
Say, there’s always a burden
So I focus on money, so I fit take care of mommy, Kilolo

Chorus
Hallelujah (Hallelujah)
If I no get money, I go call Jehovah
No be Jessica, she go dip
Even Erica, she go comot the setting (Comot the setting)
Hallelujah (Hallelujah)
If I no get money, I go call Jehovah
No be Jessica, she go dip
Even Erica, she go comot the setting

Verse 2
If the money no been dey, you know they no go call me come
Them no go come meet us
Ṣé you no know them?
They all about the things wey you get, when them got nothing to give
Criminology, say na criminology?
Focused on the money, say I no go do orgy
Me I no wan do again, fuck apology
Just want me a milli Gs, Kilo

Pre-Chorus
Na money full my mind
Me, I no go take another man something
If you no get money, you light up your cannabis
Make happiness no go cease, God forbid, I no materialize
I’m all about the money I’m making, not the bitches I’m fucking
Say, there’s always a burden
So I focus on money, so I fit take care of mommy, Kilolo

Chorus
Hallelujah (Hallelujah), I go call Jehovah (Kilo)
Hallelujah (Hallelujah), I go call Jehovah (Kilolo)
Hallelujah (Hallelujah)
If I no get money, I go call Jehovah
No be Jessica, she go dip
Even Erica, she go comot the setting (Kilo)

Outro
I no get, you love me now
I don’t love you no more (Yeah, yeah, yeah)
Oh, why you lie so effortlessly? (Ooh)
Tell me, is it necessary? (Ooh, yeah)
Kilo

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Sitting at number six on the tracklist, “Superwoman“ captures the story of a man chasing financial stability while hoping to find a loyal, genuine partner in today’s complicated dating scene.

The song blends romance with ambition, highlighting themes of trust, resilience, and personal growth. Throughout the lyrics, Mavo reflects on staying focused despite setbacks, blocking out negativity, and appreciating the woman who remains firmly by his side as he works towards a better future.

Mavo – Superwoman Lyrics

Intro
Ransom got that sauce, innit?

Pre-Chorus
Steady balling every day, now I pray for
Make the money, make e plenty, make e ó pọ̀
If you no wan make the money, focus on yourself
Me, I no wan see you for my section
Say na bad, bad picture she dey paint us
No go tempt us, no go vex us
She dey tell her friends we be fraudsters
Na we e pain pass, give me steadfast

Chorus
Faraway thinking, when I burn sativa
She say she no go pull up, make I come Canada for summer
Shе say she wanna meet my mother
I think she my supеrwoman, she my dán kúlúbá
Faraway thinking, when I burn sativa
She say she no go pull up, make I come Canada for summer
She say she wanna meet my mother
I think she my superwoman

Post-Chorus
Ayys, oohs (Kilo, Kilo)
Yeah, I no wan be aṣhẹwó again
Yeah, ooh, yeah, ooh, yeah-oh-yeah
Yeah, I no wan be aṣhẹwó again
Way, ooh, yeah, yeah-oh-yeah, yeah, ooh, yeah, ooh
I no wan be aṣhẹwó again
Ways, way, yeah, ooh, yeah, ooh, yeah-oh-yeah, yeah, yeah, yeah, yeah (Kilolo)
Yeah, I no wan be aṣhẹwó again

Verse 2
Rebecca want me to herself (Kilo)
But her bestie want me lowkey (Want me lowkey)
Say the matter been too messy
I don’t want you nor your bestie
Let Rebecca woze toritse, na toritse woze Rebecca
Baby, why you so hard on yourself?
Baby, ṣe you see ‘S’ for my chest?
Yeah, yeah, yeah
Me, I no go knack, I no go do banku
Principalities no go come yàpá
Minimalities go go up faster, the frivolities go go hellfire
Me, I no go knack, I no go do banku
Principalities no go come yàpá
Minimalities go go up faster, the frivolities go go hellfire
Yeah, yeah, yeah, yeah, yeah

Pre-Chorus
Steady balling every day, now I pray for
Make the money, make e plenty, make e ó pọ̀
If you no wan make the money, focus on yourself
Me, I no wan see you for my section
Say na bad, bad picture she dey paint us
No go tempt us, no go vex us
She dey tell her friends we be fraudsters
Na we e pain pass, give me steadfast

Chorus
Faraway thinking, when I burn sativa
She say she no go pull up, make I come Canada for summer
She say she wanna meet my mother
I think she my superwoman, she my dán kúlúbá
Faraway thinking, when I burn sativa
She say she no go pull up, make I come Canada for summer
She say she wanna meet my mother
I think she my superwoman

Outro
Ayys, oohs (Kilo, Kilo)
Yeah, I no wan be aṣhẹwó again
Yeah, yeah, I no wan be aṣhẹwó again
Kilo, yeah, yeah, yeah, ooh
I no wan be aṣhẹwó again
Yeah, yeah, yeah, Kilolo, yeah, ooh
I no wan be aṣhẹwó again
Kilo

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Serving as the album’s opening record, “Business“ immediately lays the foundation for what listeners can expect throughout the project.

The song’s lyrics revolve around ambition, financial growth, and an unwavering dedication to success. Through confident storytelling and clever punchlines, Mavo paints the picture of someone determined to build wealth, embrace the finer things in life, and enjoy the rewards of hard work.

Blending themes of money, luxury, and romance, the track makes it clear that staying focused on success is the priority, while anything that stands in the way is pushed aside.

Mavo – Business Lyrics

Intro
Made the money, so I talk
Dollar talk, Dolapo (Bizzy, Kilo)
Let’s talk about guap
K-Way (Ai-Ai-Aibrid in this bitch, Bizzy)

Chorus
Guap talk, money work
So I talk, body work, money talk
Let’s get to business, let’s talk (Business, Bizzy)
Guap talk, money talk, so I talk
Body work, money talk
Let’s get to business, let’s talk (Business, Kilo)
(Oh, oh, oh, Kilogbede, Kilogbede One)

Verse 1
Baby, no dey legbegbe, this your matter no be slim case (Business)
Give me my money, no be mistake
She no dey fall off, she dey reinstate
They cop the swag ’cause I give her more guap
Give you money ’cause me, I don stack (More guap)
Put all your wishlist all up in the cart, Kilo, K-Way (Oh, oh, oh, oh, oh)
Baby, no dey tell me story (Business)
Be like say you dey on kpoli
She dey steadily roll my kpo, SG Baby, pass her Backy
Roll my spliff, then she get naked (Business)
Sippin’ on that Casa’, you fit get wasted
This your body Kilo tell you say he wanted (Business)
Na business, na my biz’ what?, Kilo (Business, Kilo)

Bridge
Made the money, so I talk (Business)
Dollar talk, Dolapo (Bizzy, Kilo)
Let’s talk about guap
Let’s talk about money (Business)
Made the money, so I talk (More guap, Bizzy)
Dollar talk, Dolapo (Business)
Let’s talk about guap (Kilo, Kilo)
Let’s talk about money (Bizzy)

Chorus
Guap talk, money work
So I talk, body work, money talk
Let’s get to business, let’s talk, kilo (Business, oh, oh, oh, oh, oh)
Guap talk, money talk, so I talk
Body work, money talk (Kilo)
Let’s get to business, let’s talk
Na my business, na my business (K-Way)

Verse 2
Swag Oraimo, Swag Oraimo (Business)
She dey call me, “Swag Oraimo”
Make I give her my SpaceBuds, SpaceBizzy, Osanobizzy (Kilo)
If I give her my smoke, I go pack my smoke (I go pack all my smoke)
She don smoke that pack
Anytime she see me, wanna smoke that pack (I dey smoke that pack)
She no fit smoke that pack (Kilo)
Anytime she see me, wanna smoke that pack, Kilolo (Swag Oraimo, business)

Outro
Na my business, na my biz’ what? Kilo
Business, business, Bizzy
In this bitch, na my biz’ what?

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