Longtime friends Mr Eazi and King Promise have released a joint album See What We Have Done”
Following the success of its lead singles – the nostalgic Backstreet Boys interpolating ‘That Way’, the sun-drenched romantic drop ‘Mariana’, and the title track ‘See What We’ve Done’, the album marks a defining new chapter for two of African music’s most influential voices.
The nine-track project includes production credits from an elite roster including GRAMMY-winning hitmakers GuiltyBeatz (Beyoncé, Jorja Smith), JAE5 (J-Hus, Dave), KillBeatz (Ed Sheeran, Wizkid) and AoD (FKA Twigs, Doja Cat).
The Nigerian Grammy winner (Mr Eazi) and the Ghanaian Afro pop sensation (King Promise) describe the See What We’ve Done album as a “celebration of friendship, growth, and gratitude, and that spirit sits at the heart of the project.”
See What We’ve Done by Mr Eazi and King Promise is out now on all streaming platforms.
Bad Bunny and his team have demanded that Mr Eazi’s record label emPawa Africa, cover over $450,000 in legal fees after they defeated a copyright lawsuit filed by emPawa Africa over the Joeboy song “Empty My Pocket”
Bad Bunny is demanding that Mr Eazi and emPawa Africa pay his legal fees.
It all started in February 2023 when Mr Eazi called out the Puerto Rican superstar for allegedly including uncredited parts of the Joeboy song which was released under emPawa Africa in his own song “Enséñame a Bailar”
Mr Eazi called out Bad Bunny over alleged copyright infringement
In a series of posts shared on LinkedIn and X, Mr Eazi wrote in part: “I’m writing this to highlight Rimas Music and Bad Bunny for the copyright infringement towards Afrobeat superstar Joeboy…”
The Joeboy song “Empty My Pocket” was allegedly illegally sampled by Bad Bunny.
Mr Eazi and Empawa Africa had demanded that Bad Bunny and his team credit and restore rights on ”Enséñame a Bailar“ to Joeboy and Dera, the producer of the track.
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According to court documents obtained by Rolling Stone, a judge has now thrown out the lawsuit, citing missed deadlines and failure to continue prosecuting the case by Dera, who filed the lawsuit.
Bad Bunny and his team are now asking the court to order Mr Eazi and emPawa Africa to cover their legal fees.
Davido might be collaborating with a popular K-pop artist in 2025. This is according to music industry experts, Jaese Productions which includes publicists Joella Nuer, Ella Okunmwendia, and AyòÌféolúwa.
Last year, the Grammy-nominated singer also hinted at a potential K-pop song in an interview with the UK’s Kiss Fresh FM
In light of recent interactions and conversations, the trio made nine bold predictions for 2025, mainly on the expanding influence of K-pop in Africa:
Licensing Deals With An African Company
An increasing number of African fans are showing a growing interest in purchasing albums and merchandise, drawing attention to the continent. Group orders have become a popular trend as fans eagerly seek more. This surge in demand leads us to predict that a licensing deal is on the horizon, making official merch and other collectibles more accessible and affordable.
Global Auditions Open to Africans
Over the past decade, K-pop auditions have spread globally, piquing interest in African fans. Along with the rise of numerous K-pop dance competitions across the continent, Jaese foresees a K-pop agency or producer actively seeking talents in Africa.
Collaborations between Korean and African Artists
With K-pop artists increasingly meeting African musicians at major events like Fashion Weeks, Jaese believes the likelihood of a collaboration is high. Notable interactions, such as GOT7 members Jackson Wang and Bambam with Adekunle Gold and Rema with Vernon, set the stage for future partnerships. G-Dragon’s mention of Africa in his single “Power” further underscores his interest in the continent, especially with his recent signing to Empire, a label that represents African stars like Asake and Black Sherif. On the African side, Nigerian singer Davido has hinted at a potential collaboration with a K-pop artist in 2025. Similarly, in November 2024, Nigerian music mogul Mr. Eazi visited Jay Park’s More Vision, having long expressed his desire to collaborate with a K-pop artist since 2019. Jay Park on the other hand, has also expressed interest in touring in Nigeria and other African countries.
K-pop Acts Performing In Africa
Following ATEEZ’s groundbreaking appearance at the Mawazine Festival in Morocco, it’s highly likely that a major K-pop group will follow in their footsteps. Additionally, Jaese predicts that a K-pop artist will include Rabat, Nairobi, and Johannesburg as stops on their 2025 tour. African K-pop fans have united on the fan-driven global touring platform TOORLY to show their enthusiasm for bringing K-pop acts to their cities. Notably, up-and-coming Korean artists tend to explore newer regions before the more established acts. With Must B’s visit to South Africa and Henny’s performance in Angola, we anticipate that a rising K-pop act will hold a tour in Africa. Potential tour stops include South Africa, Nigeria, Ghana, Kenya, Côte d’Ivoire, Morocco, Tunisia, Algeria, and Egypt.
Increase in K-pop Streams from the African Continent
According to the TurnTable Charts in Nigeria, K-pop captured 2% of the Nigerian charts in 2024. Artists like Rosé, aespa, NewJeans, and Jimin achieved significant success in the West African nation. Following the return of G-Dragon, EXO’s KAI, BTS, BLACKPINK, and GOT7—artists who paved the way for K-pop’s rise in Africa—Jaese predicts that streaming numbers are set to increase even further this year.
Increase in “K-Afro Tracks”
In 2024, over 20 K-pop acts released songs incorporating influences from the African continent. Artists from other Asian countries including Thailand, China, and Malaysia equally dabbled into sounds from Africa and enjoyed great success. Jaese predicts a rise in Afro-influenced tracks in 2025, with some artists drawing inspiration from Tyla’s 2024 hits, including “Truth or Dare.” This time, we may see collaboration with African producers and songwriters, further blending the sounds of both continents.”
More K-pop Acts Featuring on African Platforms
In 2024, Jaese facilitated or published interviews with P1Harmony, Kep1er, BM, Fatou, and Blackswan. This year, we can expect even more K-pop artists to engage with their African fans across various media platforms. While most of these interviews were hosted by South African and Ghanaian outlets, Jaese envisions an expansion to other countries, including Nigeria, Kenya, and Morocco.
A Writing Workshop for African K-pop Fans
African fans of Korean music and culture with a passion for journalism will have the opportunity to participate in a workshop led by seasoned K-entertainment writers from around the world. To take part in the workshop, individuals must sign up for the Jaese Writers Club.
Ghanaian Team on Street Woman Fighter
The teaser for the fourth edition of MNET’s Street Woman Fighter was released, featuring a mention and display of the Ghanaian flag. Jaese believes that a Ghanaian dancer or dance team will feature in this year’s edition of the popular dance show.
A GREAT YEAR FOR K-POP IN NIGERIA
In 2024, K-pop acts made a notable impact on Nigeria’s premier chart system, the TurnTable Charts, accounting for 1% on the Official Artist Top 100, 2% on the Official Streaming Songs and Official Radio Songs charts, 3% on the Official Nigeria Top 100, and 16% on the Official Top 100 Albums.
BLACKPINK member ROSÉ emerged as the top charting K-pop artist in Nigeria in 2024. Armageddon The 1st Album by SM Entertainment’s aespa held the title of the most-streamed K-pop album in Nigeria. Women continued to dominate the charts with DAY6, Jimin, and Stray Kids being the only male acts. Other notable highlights were K-bands DAY6 and QWER making an appearance on the Album chart for the first time.
