The singer shared the update on social media, explaining that the injury has affected his ability to continue performing as scheduled. As a result, upcoming shows will be put on hold while he focuses on his recovery.

The tour supports his latest project, Clarity of Mind, and has provided an opportunity for fans to experience the singer’s music live. However, his current condition means he will need time away from the stage to recover before returning to his performance schedule.

Details regarding new concert dates and ticket arrangements are expected to be shared with ticket holders through the appropriate channels.

For now, fans will have to await further updates on the singer’s recovery and the future of the tour.

 

View this post on Instagram

 

A post shared by Mp3bullet.ng (@mp3bullet)

This post appeared first on Mp3bullet.ng... Read Original post on Omah Lay Postpones ‘Clarity of Mind’ Tour Dates Following….

In a recent interview, the Chocolate City rapper spoke about his desire to collaborate with Burna Boy, recalling an encounter with the Afrobeats star at a nightclub last year.

During their conversation, BlaqBonez said he asked about the possibility of working on a joint project, but Burna Boy challenged him to take things more seriously.

“I would love to do a collab with Burna Boy. When I met Burna Boy in the club last year, I asked him, ‘Haffa, when are we doing our joint project?’ and he replied, ‘Na you no serious na.’ The energy I’m on this year is inspired by Burna Boy,” BlaqBonez said.

The revelation offers a glimpse into the mindset behind his latest album, NOMADINHO: 4TH PRIME, as he explores a new phase of his artistry. Released on October 16, 2026, through Chocolate City Music, the 15-track project marks his fifth studio album.

The album follows No Excuses, which arrived in 2025, along with its deluxe edition released in April 2026. As BlaqBonez continues to push his latest body of work, his comments have also raised the possibility of a future collaboration with Burna Boy.

“Burna Boy inspired the energy I’m on this year”. — Blaqbonez in new interview

“I would love to do a collab with Burna Boy. When I met Burna Boy in the club last year, I asked him, ‘Haffa, when are we doing our joint project?’ & he replied, ‘Na you no serious na.’” https://t.co/xZRO6WMToM

— HYPETRIBE (@hypetribeng) October 26, 2026

This post appeared first on Mp3bullet.ng... Read Original post on BlaqBonez Reveals How Burna Boy Inspired His New Musical Era.

The 2026 Ballon d’Or ceremony took place at the London Palladium on Monday, October 26, bringing together football’s biggest stars to celebrate their 2025/26 season performances.

The 70th edition of the prestigious event saw England captain Harry Kane claim the men’s Ballon d’Or, while Spain international Alexia Putellas took home the women’s prize. Other players, coaches, and clubs were also recognized, with Arsenal forward Bukayo Saka receiving the Sócrates Award for his charitable work and social impact.

• Harry Kane Wins Men’s Ballon d’Or

Harry Kane emerged as the night’s standout after an impressive campaign with Bayern Munich and England. The striker scored 61 goals in 51 appearances across all competitions for the German club, playing a major role in their domestic league and cup double.

His performances also extended to the international stage, where he reportedly scored six goals at the 2026 FIFA World Cup as England progressed to the semi-finals. The achievement marks a significant milestone in Kane’s career, with the England captain becoming the first Englishman to win the men’s Ballon d’Or since Michael Owen in 2001.

 

View this post on Instagram

 

A post shared by England football team (@england)

• Alexia Putellas Claims Women’s Ballon d’Or

Alexia Putellas added another major honour to her collection by winning the women’s Ballon d’Or. The Spanish midfielder’s latest triumph reflects her continued influence in women’s football and her contributions at club and international level.

The victory also marks the third time Putellas has claimed the award, further strengthening her legacy among the sport’s most accomplished players.

 

View this post on Instagram

 

A post shared by London City Lionesses (@londoncitylionesses)

• Lamine Yamal and Vicky López Win Young Talent Awards

Barcelona’s Lamine Yamal continued his rapid rise by winning the men’s Young Talent of the Year award. The Spanish forward also finished third in the men’s Ballon d’Or voting, highlighting his growing status among the world’s elite players.

Barcelona teammate Vicky López took home the women’s Young Talent of the Year award, adding another achievement to the club’s successful night.

Full List of 2026 Ballon d’Or Winners

Here are the winners across the major categories at this year’s ceremony:

1. Men’s Ballon d’Or: Harry Kane
2. Women’s Ballon d’Or: Alexia Putellas
3. Men’s Young Talent of the Year: Lamine Yamal
4. Women’s Young Talent of the Year: Vicky López
5. Men’s Goalkeeper of the Year: Unai Simón
6. Women’s Goalkeeper of the Year: Cata Coll
7. Men’s Coach of the Year: Luis de la Fuente
8. Women’s Coach of the Year: Pere Romeu
9. Men’s Striker of the Year: Harry Kane
10. Women’s Striker of the Year: Charlyn Corral
11. Men’s Club of the Year: Paris Saint-Germain
12. Women’s Club of the Year: Barcelona
13. Sócrates Award: Bukayo Saka

With several established stars and emerging talents recognised, the ceremony celebrated individual excellence and the teams and coaches who shaped the 2025/26 football season.

 

View this post on Instagram

 

A post shared by Ballon d’Or (@ballondorofficial)

This post appeared first on Mp3bullet.ng... Read Original post on FULL LIST: 2026 Ballon d’Or winners.

The striker’s reported triumph comes after a season filled with goals, individual milestones, and silverware.

The award recognises Kane’s consistency and influence across the biggest competitions, further strengthening his reputation as one of the leading forwards in world football. His achievement would also place him among the select group of players to have claimed football’s most prestigious individual honour.

Kane’s numbers for the 2025/26 season tell the story of a prolific campaign. Across 65 appearances for Bayern Munich and England in all competitions, the striker recorded 73 goals and eight assists, according to the figures provided.

His contribution at club level was particularly impressive. Kane scored 61 goals and supplied seven assists in 51 appearances for Bayern, helping the German side secure three trophies: the Bundesliga, DFB-Pokal, and Franz Beckenbauer Supercup.

 

View this post on Instagram

 

A post shared by Ballon d’Or (@ballondorofficial)

The England captain also delivered on the international stage, scoring 12 goals and registering one assist for his country. His tally reportedly included six goals at the 2026 FIFA World Cup, adding to an already remarkable season.

Kane’s individual achievements extended beyond his goal contributions, as he also claimed the European Golden Shoe after finishing as Europe’s leading goalscorer. The accomplishment further underlined his remarkable finishing ability and consistency in front of goal.

Should the Ballon d’Or claim be confirmed, it would represent another defining moment in Kane’s career. After years of establishing himself among the game’s most reliable goalscorers, the striker would have another major honour to add to his collection as he looks to maintain his form and pursue further success with Bayern Munich and England.

 

View this post on Instagram

 

A post shared by UEFA Champions League (@championsleague)

This post appeared first on Mp3bullet.ng... Read Original post on Harry Kane wins the 2026 Ballon d’Or award after remarkable season.

For Mo Laudi, music is about much more than rhythm. It is a way of bringing people together, preserving memories and opening conversations about history, identity and belonging.

The South African artist has built a creative practice that moves between DJing, music production, composition and curating. Across these different disciplines, sound remains a common thread, connecting the energy of the dancefloor with the deeper cultural and historical questions explored through his work in contemporary art.

His approach is particularly evident in Congo Square in D# Minor, a composition that brings together musical traditions and histories connected to Congo, South Africa, New Orleans and France. Through brass-band recordings, archival material and reflections on resource extraction, the piece explores how instruments and musical traditions carry the experiences of the communities that give them life.

That relationship between sound and memory also runs through his work in electronic music. His remix of Sea Lion Woman, originally interpreted by Kananayé, brings South African Afro House and 3-step influences into conversation with a song rooted in African-American musical history.

Mo Laudi recently travelled to Lagos for the FESTAC+50 research residency with the African Artists’ Foundation. His sound work is featured in Nsi: After the Harvest, an exhibition exploring land, labour and the legacies of resource extraction, running at the foundation through 22 November 2026.

In this conversation with Mp3Bullet, Mo Laudi discusses the experiences that shaped his musical identity, the importance of preserving cultural context as African electronic music reaches wider audiences, and why he sees the dancefloor and the exhibition space as places where memory, knowledge and community can meet.

• Beyond the Dancefloor: The Many Sides of Mo Laudi

Mo Laudi’s work spans several creative disciplines, but he does not see DJing, producing, composing and curating as separate pursuits. Each offers a different way of directing attention and shaping how people experience sound.

“I see them as different ways of organising attention,” he explains. “A DJ set shapes how bodies meet in real time; production lets me build rhythm and texture closely; composition can hold a longer historical or spatial argument; and curation creates relationships between artists, works and publics.”

For him, the connection between these practices lies in the possibilities they create for people to listen, interact and share experiences. Whether he is building a set for a dancefloor or developing a sound installation for an exhibition, the underlying intention remains connected.

“Across all of them, I am asking how listening can make a space more generous,” he says. “I want people to understand that the dancefloor and the exhibition are not separate worlds in my practice. Both can carry memory, knowledge and community.”

It is an approach that places music within a broader cultural conversation without losing sight of its ability to move people. Sound can be something to dance to, but it can also be a way of understanding the world and the people who inhabit it.

• Congo Square in D# Minor: Where Music Meets History

One of the clearest expressions of this philosophy is Congo Square in D# Minor, a 2021 composition developed following a commission from artist Sammy Baloji, in dialogue with his sculptural project Johari – Brass Band at the Grand Palais in Paris.

The project opened a path for Mo Laudi to explore the connections between Congo, South Africa, New Orleans and France through musical archives and brass-band traditions. It also raised questions about the relationship between the materials used to make instruments and the histories of the places from which those materials are extracted.

“His preparatory research and the hours of music archives opened a route between Congo, South Africa, New Orleans and France,” Mo Laudi recalls.

He brought this research into conversation with his own archive, considering how brass instruments can carry histories of extraction while becoming central to the cultural and spiritual lives of communities.

“I connected that material with my own archive, following how brass instruments, often made from metal extracted from African mines, carry histories of extraction, and how communities made them their own through churches, funerals and celebration.”

The composition draws on several layers of sound, including brass traditions, recordings of the Congo River, funeral processions and spoken reflections on the economics of resource extraction. Rather than treating these elements as background material, Mo Laudi brings them together to create a conversation between history, place and lived experience.

“I wanted those histories to meet through sound rather than illustrate them from the outside,” he says.

That distinction is important to the work. Instead of simply presenting historical information, Congo Square in D# Minor invites listeners to experience the connections between music, labour, memory and the movement of resources across borders.

• The Early Sounds That Shaped His Musical Identity

For Mo Laudi, the relationship between music and collective memory began long before his work entered galleries and international art spaces.

He remembers the brass bands at Ga Molepo Church and the Zion Christian Church (ZCC) as some of his earliest experiences of brass-band music in South Africa. Their energy, rhythm and ability to bring people together left a lasting impression.

“They played with gusto and had such a groove about them,” he says.

Those experiences introduced him to the ways music can create a shared sense of belonging through repetition, movement, breath and call and response. They also helped shape his understanding of rhythm as something rooted in community rather than simply a musical technique.

His musical influences extend to dinaka/kiba, the traditional music of the Sotho people, as well as the ways African spiritual practices and Christian worship can intersect.

“I still hear rhythm as a way of remembering and making relation, not as decoration,” he explains.

These early influences continue to inform his work, providing a foundation for the way he approaches both traditional musical references and contemporary electronic production. They also help explain why cultural context remains important to his understanding of Afro House and the wider sounds emerging from African musical traditions.

Music, Cultural Memory and Nsi: After the Harvest

The questions explored in Congo Square in D# Minor also connect with Nsi: After the Harvest, the exhibition in Lagos featuring Mo Laudi’s sound work.

The exhibition considers land, labour and the lasting consequences of resource extraction. Within this context, sound offers a way to connect material histories with the people and communities whose experiences are often missing from official records.

“Music can hold what an official archive often leaves out: accent, breath, grief, celebration, labour and the knowledge of how people gather,” Mo Laudi says.

For him, the significance of music lies partly in its ability to preserve forms of knowledge that cannot always be captured through written documents. The sound of an instrument, the rhythm of a procession or the voices of a community can carry traces of history that remain deeply personal and collective at the same time.

In Nsi: After the Harvest, this relationship becomes particularly meaningful. The material history of brass instruments can be considered alongside the cultural traditions through which people have made those instruments their own.

“Sound can connect the material history of an instrument to the communities that give it voice,” he explains.

Mo Laudi is careful not to suggest that music can undo the violence associated with extraction or historical injustice. Instead, he sees its value in creating opportunities for reflection and connection.

“It does not resolve violence, but it can slow us down, bring different memories into the same room and make difficult history felt as a relationship rather than a distant fact.”

His contribution to the exhibition reinforces a central idea running through his work: listening can be a way of engaging with history, not simply observing it from a distance.

• Bringing Cultural Heritage Into Contemporary Electronic Music

Although Mo Laudi’s work often draws on historical material, his approach is not about preserving musical traditions in a fixed form. He sees heritage as something that continues to evolve through the people who carry it forward.

“I do not treat heritage as a fixed style that must be preserved behind glass. It is living knowledge,” he says.

That perspective shapes the way he approaches electronic music. Rather than treating traditional sounds as textures to be added to a production, he believes artists have a responsibility to understand their origins and acknowledge the communities and histories that shaped them.

“My responsibility is to know where sounds come from, acknowledge the communities and histories that shaped them, and avoid turning them into anonymous texture.”

For Mo Laudi, experimentation and cultural preservation are not opposing ideas. Electronic production can offer new possibilities for rhythm, atmosphere and movement while remaining connected to the traditions that inform it.

“Experimentation becomes a continuation of that knowledge,” he explains.

On the dancefloor, this can mean bringing archival influences, polyrhythms and electronic pressure together in ways that allow the music to move forward without losing sight of its cultural roots.

It is a perspective that speaks to the ongoing development of Afro House and related genres, where innovation remains central but questions of identity, ownership and cultural recognition are increasingly important.

• Sea Lion Woman — Mo Laudi Touch: A Personal Connection to Nina Simone

That balance between musical history and contemporary dancefloor energy is also evident in Sea Lion Woman — Mo Laudi Touch, his reworking of a song interpreted by Kananayé.

The connection began with Mo Laudi’s discovery of Nina Simone, which came through an unexpected route: Lauryn Hill’s rhyme on the Fugees’ “Ready or Not”.

“My connection to Nina Simone began with Lauryn Hill’s rhyme on the Fugees’ ‘Ready or Not.’ I was known as Capone then, so that line caught my attention and led me deeper into Simone’s music,” he recalls.

When Kananayé invited him to remix Sea Lion Woman, the opportunity carried a personal significance.

“When Kananayé invited me to remix ‘Sea Lion Woman,’ it felt like coming home.”

Kananayé’s interpretation brings the traditional African-American song into conversation with Mossi warba rhythms and musical encounters in Bobo-Dioulasso. Mo Laudi approached his version with an emphasis on retaining the vocal while reshaping the track’s rhythmic foundation.

“I wanted to keep the vocal at the centre while bringing South African Afro House and 3-step into the percussion, bass and movement,” he says.

The result opens the song towards the dancefloor while keeping its musical history in view. Rather than simply updating an older piece for contemporary club audiences, the remix creates a meeting point between different traditions, generations and approaches to rhythm.

It also reflects Mo Laudi’s wider interest in the ways music travels, changes and acquires new meaning through reinterpretation.

• Why Afro House and 3-Step Resonate Around the World

Afro House and 3-step have continued to reach audiences beyond their original scenes, bringing African-rooted rhythmic ideas into clubs and festivals around the world. For Mo Laudi, their appeal comes from the relationship between immediate physical energy and the cultural experiences embedded in the music.

“Afro House and 3-step combine rhythmic depth with openness,” he says. “People can feel the propulsion immediately, but the music also carries local histories, languages, production cultures and ways of gathering.”

That combination allows the music to connect with listeners in different places while retaining the qualities that make it distinctive. The rhythm can invite people onto the dancefloor, while the musical details offer a deeper connection to particular places and communities.

However, he believes international recognition should not come at the expense of cultural identity.

“International reach should not require erasing those origins,” he says.

He points to the importance of properly crediting collaborators, retaining authorship and rights, acknowledging the communities behind the music, and continuing to create from lived experience rather than following a market-driven formula.

As Afro House and 3-step continue to evolve, his perspective offers a reminder that global visibility and cultural integrity do not have to be mutually exclusive. The music can travel, attract new audiences and develop in new directions without losing the histories that helped shape it.

• What Comes Next for Mo Laudi?

Mo Laudi’s creative work continues to expand beyond music production and DJing. He is developing projects across sound, ceramics, installation, research and curating, including work for Sharjah Biennial 17 in 2027.

He is also continuing to explore the ideas behind Globalisto, his wider philosophy of listening, memory, hospitality and the ways communities create space for one another.

His recent visit to Lagos brought several of these interests together. As part of the FESTAC+50 research residency with the African Artists’ Foundation, he travelled to the city for the first time, performed at AAF After Hours on 9 October, and presented Congo Square in D# Minor as part of Nsi: After the Harvest.

“The visit brought research, performance and exhibition-making into close conversation,” he says.

For an artist whose practice moves between different spaces and disciplines, the experience reflects the possibilities that emerge when artistic research, live performance and cultural exchange meet.

Musically, he is also developing new work and collaborations, although he is not yet confirming release dates or performance details.

“I am developing new work and collaborations. I will share release dates and performance details when they are confirmed,” he says.

For listeners who know Mo Laudi through his Afro House productions and DJ sets, these developments offer another perspective on an artist whose relationship with sound extends well beyond the dancefloor.

Across his compositions, remixes and curatorial projects, music remains a way of connecting people, histories and places. Whether working with archival recordings or shaping contemporary electronic rhythms, he continues to explore how sound can preserve memory while creating room for new experiences.

And that, perhaps, is the thread connecting the different sides of his work: a belief that listening can bring people closer to one another, making music not only something to hear or dance to, but also a way to understand the histories and communities that shape it.

Listen/Stream HERE

You can watch his video HERE

Support Mo Laudi:

This post appeared first on Mp3bullet.ng... Read Original post on Mo Laudi on Afro House, African Memory and the Power of Sound.

The project’s second track, UP (Transovania), is an energetic record that revolves around wealth, partying, sensuality, and living without restrictions. Shallipopi brings his trademark Pluto-inspired swagger to the song, blending Nigerian Pidgin, street slang, playful humour, and confident boasts as he reflects on success, attraction, and enjoying life to the fullest.

With the recurring phrase “up, up, and away” serving as a central hook, the track creates a mood of freedom, euphoria, and rising above everyday limitations.

Read the lyrics below.

Shallipopi – UP (Transovania) Lyrics

Intro
Shalli-fucking-popi
Hurr, say what? (What?)
Seh (Catch up, drill up, let’s go)
Mm, woah
Mm, seh

Chorus
Way, Tran-so’, Transovania
Fly boy, Millie, Millie (Confirm)
Smoke up, blow my ganja, baby, oh
Baby, am I real gangster, baby, oh
Loving how you shake that shit, shake it up (Shake it up)
Babe, buss it down, break dance, break it up (Baow)
Baby, no dey form acting, lick it up (Ehn)
Real life, you can’t even make it up
Loving how you shake that shit, shake it up (Shake it up)
Babe, buss it down, break dance, break it up (Up)
Baby, no dey form acting, lick it up (Like)
Real life, you can’t even make it up (Up, up)

Post-Chorus
Up, up, and away (Up)
Up, up, and away, up, up, and a (Up, up)
Up, up, and away (Up)
Up, up, and away, up, up, and a (Wahala)
Let me take you up, up, and away
Take you up, up, and away, up, up, and a
Up, up, and away
Let me take you up, up, and away (See am)
Up, up, and away
Let me take you up, up, and away (Let’s go)
Take you up, up, and away, up, up, and a
Up, up, and away
Let me take you up, up, and away (See am)
Seh, seh, seh, seh, seh, seh (You dey see am?)

Verse
Every day na bank holiday (Banky)
Ex boys dey wait tell’ on pay (Tey, tey)
Laptop, LV yard straight (Smoke up)
No be to do me just go astray (Brrah)
Keep your advice, ‘less na for my PalmPay (PalmPay)
Bad bitch, she be ọgbánje, but I be ọgbá-ski
Plutomania highway, what’s up? (Highway)
We no dey talk too much for this settings, blaze up
Sky-high, no be Miami
Zoom in a rocket ship, smoke up
I can’t feel my feet, up, up, and away

Chorus
Way, Tran-so’, Transovania
Fly boy, Millie, Millie (Confirm)
Smoke up, blow my ganja, baby, oh
Baby, am I real gangster, baby, oh
Loving how you shake that shit, shake it up (Shake it up)
Babe, buss it down, break dance, break it up (Baow)
Baby, no dey form acting, lick it up (Ehn)
Real life, you can’t even make it up
Loving how you shake that shit, shake it up (Shake it up)
Babe, buss it down, break dance, break it up (Up)
Baby, no dey form acting, lick it up (Like)
Real life, you can’t even make it up (Up, up)

Post-Chorus
Up, up, and away (Up)
Up, up, and away, up, up, and a (Up, up)
Up, up, and away (Up)
Up, up, and away, up, up, and a (Wahala)
Let me take you up, up, and away
Take you up, up, and away, up, up, and a
Up, up, and away
Let me take you up, up, and away (See am)
Up, up, and away
Let me take you up, up, and away (Let’s go)
Take you up, up, and away, up, up, and a
Up, up, and away
Let me take you up, up, and away (See am)
Seh, seh, seh, seh, seh, seh (You dey see am?)

Outro
Transovania, baby, oh (Seh, seh, seh, seh, seh, seh)
Plutomania, baby, oh (Seh, seh, seh, seh, seh, seh)
Transovania, baby, oh (Seh, seh, seh, seh, seh, seh)
Plutomania, baby

This post appeared first on Mp3bullet.ng... Read Original post on “UP (Transovania)” Lyrics by Shallipopi.

The project opens with .com, a lively track that revolves around wealth, luxury, partying, and Shallipopi’s unapologetic lifestyle.

Embracing his self-proclaimed title as the President of Pluto, the singer blends Nigerian Pidgin, street slang, humour, and confident boasts to highlight his identity, achievements, and taste for the finer things in life.

Read the lyrics below.

Shallipopi – .com Lyrics

Intro
Shalli-fuckin-popi, the president of Pluto
God-ski, WayWard, seh, seh
Yo X!
Only one Pluto presido, they call me Shallipopi
Seh, seh, seh, seh, seh, seh, seh, seh, seh, seh
Seh, seh, seh, seh, seh, seh, seh (Confirm)
(Gi)

Verse 1
24/7, we dey pack all the money, you dey swegbede
We no dey fake life, girl, the money rẹpẹtẹ
South of France, we be ballin’ like Pelé-lé
Wayward way, girl, the money rẹpẹtẹ (See am)
Rẹpẹtẹ, rẹpẹtẹ (Wahala)
Rẹpẹtẹ (Seh-seh), rẹpẹtẹ (Seh-seh)
Rẹpẹtẹ, rẹpẹtẹ (Voltage)
Rẹpẹtẹ, rẹpẹtẹ (See am)

Pre-Chorus
Getting money is a must (Must, oh)
Catching trips is a must (Must, confirm)
Pop my shit is a must (Pop na)
Hop in the Maybach truck, let’s fuck (Let’s fuck, oh; See am)
Getting money is a must (Must, oh)
Catching trips is a must (Must)
Pop my shit is a must (Voltage)
Zoom in the SVJ with your crush (E just burst, oh)

Chorus
Ehn, way, lifestyle.com
My manchi, Pluto.com (Pluto.com)
Hop in a Bentley.com
Hit her with my machine.com (.com)
She say, “Mr. Shalli, small-small”
Na OS I be, I no be wife.com (Seh, seh; Seh)
Who be all these boys wey dey whine.com?
Trespass, I go show you say na men.com (See am)
I go show you say na men.com
Trespass, I show you say na men.com (See am)
Plutoway.com, trespass, I show you say na men.com (See am)
I go show you say na men.com
Trespass, I show you say na men.com
Plutoway.com, trespass, I show you say na men.com

Verse 2
Wait, italawa, italowo
Bend your waist, bololo
Baby girl, that tequila no be Bobo
Small-small, dey sip, unless you go jogodo
Nine shots, ten shots, be like shima colo
Be like she don high, be like she don choke
‘Cause I walked in like ‘Piano (And she like when I play Amapiano)

Pre-Chorus
Getting money is a must (Must, oh)
Catching trips is a must (Must, confirm)
Pop my shit is a must (Pop na)
Hop in the Maybach truck, let’s fuck (Let’s fuck, oh; See am)
Getting money is a must (Must, oh)
Catching trips is a must (Must)
Pop my shit is a must (Voltage)
Zoom in the SVJ with your crush (E just burst, oh)

Chorus
Ehn, way, lifestyle.com
My manchi, Pluto.com (Pluto.com)
Hop in a Bentley.com
Hit her with my machine.com (.com)
She say, “Mr. Shalli, small-small”
Na OS I be, I no be wife.com (Seh, seh; Seh)
Who be all these boys wey dey whine.com?
Trespass, I go show you say na men.com (See am)
I go show you say na men.com
Trespass, I show you say na men.com (See am)
Plutoway.com, trespass, I show you say na men.com (See am)
I go show you say na men.com
Trespass, I show you say na men.com
Plutoway.com, trespass, I show you say na men.com

Outro
Seh, seh, seh, seh, seh, seh, seh, seh, seh
Seh, seh, seh, seh, seh, seh (You see am?)

This post appeared first on Mp3bullet.ng... Read Original post on “.com” Lyrics by Shallipopi.

The energetic, street-inspired track captures Olamide’s confidence as he celebrates success, enjoys the rewards of his hard work, and embraces a carefree lifestyle. Rooted in Lagos street culture, the song blends Yoruba slang, bold flexes, and references to global party destinations, with a catchy, chant-driven hook built around burukutu.

Throughout the track, Olamide makes it clear that he intends to enjoy life on his own terms, remain loyal to his circle, and pay little attention to critics or anyone trying to disrupt his progress.

Read the lyrics below.

Olamide – Burukutu Lyrics

The Don, the deal is done
Baddoo we wanna partyyyy
Baddoo we wanna partyyyy
Baddoo we wanna partyyyy

If I no dey for Miami
Baddoo we wanna partyyyy
I go dey for Barcelona
Baddoo we wanna partyyyy
If I no dey Barcelona
Baddoo we wanna partyyyy
I go dey for New York City
Baddoo we wanna partyyyy
And if I no dey New York City
Baddoo we wanna partyyyy
I go dey LA California

Wan ni won wa mi ni igboro
Emi omo Eko to ni Choko
Yi bi sombo ta bi rodo
Make nobody come dey give me zobo
Kpokpodikpo kpodikpokpo
Won ni obirin ogbodo fi oju kan oro
Agba awo ni mi no be otondo
From oganbo wan mor de songo
If you no sabi the vibe you no belong o
Aworo sha sha no be kere koro
Aye deep gan o ni koto
When it’s your turn ko ya ko fun wan intoto

Ibo l’owo wa make we dey go
Oya ja mi tan bi ti Opobo
Sare dagboru go show you Logo
Ar’ese ja bata to ni motor
Eko Miami o ye ki e ti mo
To da to da de and so many more
And we no dey foh for anyone
Eni to ba be amotekun e yin wan
Enjoy your weekend

Ashimaju kutukutukutu (hey)
Kilo tu ku
Ejor e fun mi ni brukutu (hey)
kilo tu ku
Ashimaju kutukutukutu (hey)
Kilo tu ku
Ejor e fun mi ni brukutu (hey)
Kilo tu ku

…..

Foh ike zobo nigga ta lo’n ma pe o
Dem no fit tell me ’bout the finals like Mbappe o
Fuck a nigga Shey emi wa Je omo ase o
Do as I do nigga not do as I say o
The psycho e choke like I’m on drugs
Soro lo ma pa yin bi ti eni to ye k’ara bomb
Fuck my past, I’m not going there
Enemies wan ma Jin yin gbe bi saworoide
Tor ba ge yin mo ni ki e lor to
You no dey in-form again like Samuel Eto’o
Bi omoge ri mi wan’a ni mo dun o
We no fit to gel tiwo ko ba mo odu o
And I don’t give a fuck about anyone
Ko ni skingba fun awon daddy wan
Omo eni o gbodo shey idi bebere, ka lo wo ileke si idi stripper

Ashimaju kutukutukutu (hey) Kilo tu ku
Ejor e fun mi ni brukutu (hey) kilo tu ku
Ashimaju kutukutukutu (hey) Kilo tu ku
Ejor e fun mi ni brukutu (hey) kilo tu ku

Euro, shey owo yen ti wole?
Oshamo
Gazamista
Abdul, Surulere, FC
Opooor
Eyan Wizzy 1 on 1, wo’n de be
Rotimi RudeBoi ma sun, ma sun, ma sun
Ezkeys, Ikorodu Oga
Oshamo

We be on dat new school shit innit
Chew your chewing gum
Chop yourrr
Vanilla
Chop life
Lavida Loca
Sepakwain
Quarantine
O lemu palmwine
Anyebo
O crandebo
Haibo
O Grandezior
O Titanium
O Gitanium
O Godzilla
O Titanic

The deal is done

This post appeared first on Mp3bullet.ng... Read Original post on “Burukutu” Lyrics by Olamide.

On Goyard, Mavo explores themes of wealth, romance, luxury, and generosity, bringing a playful energy to his pursuit of financial success.

He expresses affection through lavish gestures while embracing a carefree lifestyle. Blending Nigerian Pidgin, Yoruba expressions, and street slang, the singer delivers confident boasts about love, money, ambition, and his determination to stay away from financial struggles.

Read the lyrics below.

Mavo – Goyard Lyrics

Intro
Aibrid in this bitch
Osanobizzy, Kilo

Verse 1
Baby, my twin, baby, my twin
At your lodge to lodge, wá wá (At your lodge to lodge)
Wá wá wá, wá wá, baby, wá me wá (Wá me wá)
Wá wá wá (Baby, wá me wá), baby, wá me wá (Kilolo)
The way you dey shake, you dey make me to wá, wá, wá
Baby, wá me wá (Kilolo, Kilogbede)
The way you dey shake, you dey make me to wá, wá, wá
Wá wá wá (Kilolo), wá me wá

Pre-Chorus
Ìbàdí lókè o
Make my money no sail, oh
I no fit find my kpa, anowonesekpa
I no wan see SAPA
Anytime she see me, she say, “Amébọ̀, why I dey her business?”
Baby, you’re my business, if I no dey pay, e go pain me

Chorus
Baby, take my Goyard, go home
If to say I no fit come back, just flex (Kilo), baby, just flex
(Baby, take my Goyard) Baby, take my Goyard
(Go home) Go home
If to say I no fit come back, just flex (Baby, just flex; Kilo)

Verse 2
Sherubizzy, Goyardizzy
Ten milli’ in the Goyard bag
When she reach out, she dey fear money, oh
“Ọmọ, Kilo, shey na blood money, oh?”
Kilo no be fraudster, no way, remember the cluster, yes, way
Money go still full my face
Just one, she even tell me sode oh, Kilo
Sherubizzy, Goyardizzy
Ten milli’ in the Goyard bag
She reach out, she dey fear money, oh
“Ọmọ, Kilo, shey na blood money, oh?”
Kilo no be fraudster, no way, remember the cluster, yes, way
Money go still full my face
Just one, she even tell me, “Method dey”

Outro
Ìbàdí like o (K-K-K-K)
Make my money no sail, oh (K-K-K-Way, Kilo)
I no fit find my kpa (K-Way), anowonesekpa
I no wan see SAPA
Anytime she see me, she say, “Amébọ̀, why I dey her business?”
Baby, you’re my business, if I no dey pay, e go pain me to wá, wá, wá

This post appeared first on Mp3bullet.ng... Read Original post on “Goyard” Lyrics by Mavo.

The EP opens with “.com,” where Shallipopi takes an unconventional approach to his songwriting by turning website addresses into street-inspired expressions. References such as “Plutoway.com” and “Bentley.com” become part of his bars about wealth, status, and street credibility.

On “UP (Transovania),” the singer reunites with longtime collaborator Producer X for a space-themed record driven by repetitive chants and rocket-ship references. The song blends imagery of luxury with Shallipopi’s familiar carefree attitude, creating another entry in his distinctive Afro-pluto sound.

Across the project, his laid-back delivery sits comfortably over log-drum-heavy production, while the lyrics revisit familiar themes of money, personal identity, street reputation, and self-expression. Despite its short runtime, WayWard maintains the sound and attitude that have become central to Shallipopi’s musical identity.

The release follows his third studio album, Auracle, which arrived in December 2025 with appearances from Wizkid, Burna Boy, Gunna, Swae Lee, Pa Salieu, Young Jonn, and Rauw Alejandro. It also comes after his 2026 single Allergies.

According to figures supplied alongside the release, Shallipopi accumulated more than 440 million streams over the past year.

The Benin City-born artist has also taken his music to international stages, including a headline performance at London’s Electric Brixton, as he continues to expand his reach beyond Nigeria.

Listen to the “Wayward” EP HERE

This post appeared first on Mp3bullet.ng... Read Original post on Shallipopi Releases Three-Track EP WayWard.

The project brings together Larry Gaaga’s experience in music direction and Peruzzi’s melodic versatility, offering listeners two different sounds in one package.

On Off White, Peruzzi takes a smoother approach, delivering laid-back melodies over polished Afro-fusion production. GAGA, meanwhile, switches things up with lively Afrobeats rhythms and catchy hooks, bringing a more energetic sound suited to the dancefloor.

The two tracks highlight the creative connection between both acts, with each song offering a distinct mood. While Off White leans towards relaxed listening, GAGA brings the energy, giving fans a release that moves comfortably between chill moments and party settings.

Listen to “Off White x GAGA” HERE

This post appeared first on Mp3bullet.ng... Read Original post on Larry Gaaga and Peruzzi Join Forces for Two New Singles, ‘Off White’ and ‘GAGA’.

Named after the French luxury fashion house, the track connects the idea of luxury and wealth with the desire to escape financial struggles. Mavo blends familiar Nigerian street slang with his evolving sound, turning the pursuit of a better lifestyle into the song’s central theme.

The release follows Shenk Me, his recent collaboration with DJ 808, and adds another entry to what has been a busy year for the rising artiste.

Mavo first gained wider attention with Escaladizzy and has since developed a distinctive musical identity through what he calls “Burbur Music.” He has also created his own vocabulary, known as “Bizzylingua,” which forms part of the personality surrounding his music.

 

View this post on Instagram

 

A post shared by Oseremen Marvin (@mavoswago)

In July 2026, he released Business, a 13-track project that further introduced listeners to his sound and artistic direction. His releases this year have also included the two-track pack Hey Mama and Aura Salad, produced by SSSoundGawd.

On Goyard, Mavo explores atmospheric production, incorporating elements of electronic dance music and alternative R&B to create a sound that differs from conventional street-pop. The release continues his run of new music as he balances his growing career with his studies as a medical student.

Listen to “Goyard” HERE

This post appeared first on Mp3bullet.ng... Read Original post on Mavo releases the vibrational tune ‘Goyard’.