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MTV VMAs 2023: See the full list of winners

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MTV VMAs 2023: See the full list of winners

MTV VMAs 2023: See the full list of winners

 

 

The 2023 MTV Video Music Awards started and ended with Taylor Swift.

 

 

In between the most-awarded artist of the night receiving the best pop award during NSYNC’s surprise reunion and winning video of the year, the Tuesday broadcast celebrated artists from around the globe, including Shakira, Peso Pluma, Stray Kids, Rema and Anitta.

 

 

MTV VMAs 2023: See the full list of winners

 

Nicki Minaj hosted and performed during the show, which took place at Prudential Center in Newark, New Jersey. Sean “Diddy” Combs was honored with the Global Icon Award after performing hits from throughout his 30-year career with his children on stage with him. The “She Wolf” was back and better than ever as Shakira accepted the Video Vanguard Award and gave a medley performance.

 

Complete list of 2023 MTV VMA winners and nominees

VIDEO OF THE YEAR

  • Doja Cat – “Attention” – Kemosabe Records / RCA Records
  • Miley Cyrus – “Flowers” – Columbia Records
  • Nicki Minaj – “Super Freaky Girl” – Republic Records
  • Olivia Rodrigo – “vampire” – Geffen Records
  • Sam Smith, Kim Petras – “Unholy” – Capitol Records
  • SZA – “Kill Bill” – Top Dawg Entertainment / RCA Records
  • Winner: Taylor Swift – “Anti-Hero” – Republic Records

 

 

ARTIST OF THE YEAR

  • Beyoncé – Parkwood Entertainment / Columbia Records
  • Doja Cat – Kemosabe Records / RCA Records
  • KAROL G – Interscope Records
  • Nicki Minaj – Republic Records
  • Shakira – Sony Music US Latin
  • Winner: Taylor Swift – Republic Records

SONG OF THE YEAR

 

  • Miley Cyrus – “Flowers” – Columbia Records
  • Olivia Rodrigo – “vampire” – Geffen Records
  • Rema & Selena Gomez – “Calm Down” – Mavin Global Holdings Ltd / Jonzing World Entertainment / SMG Music / Interscope Records
  • Sam Smith, Kim Petras – “Unholy” – Capitol Records
  • Steve Lacy – “Bad Habit” – L-M Records / RCA Records
  • SZA – “Kill Bill” – Top Dawg Entertainment / RCA Records Records
  • Winner: Taylor Swift – “Anti-Hero” – Republic Records

 

BEST NEW ARTIST

  • GloRilla – CMG / Interscope Records
  • Winner: Ice Spice – 10K Projects / Capitol Records
  • Kaliii – Atlantic Records
  • Peso Pluma – Double P Records
  • PinkPantheress – 300 Entertainment
  • Reneé Rapp – Interscope Records

PUSH PERFORMANCE OF THE YEAR

  • August 2022: Saucy Santana – “Booty” – Arena Records / RCA Records
  • September 2022: Stephen Sanchez – “Until I Found You” – Mercury Records / Republic Records
  • October 2022: JVKE – “golden hour” – AWAL
  • November 2022: Flo Milli – “Conceited” – ’94 Sounds / RCA Records
  • December 2022: Reneé Rapp – “Colorado” – Interscope Records
  • January 2023: Sam Ryder – “All The Way Over” – Elektra Entertainment
  • February 2023: Armani White – “GOATED” – Def Jam
  • March 2023: FLETCHER – “Becky’s So Hot” – Capitol Records
  • Winner: April 2023: TOMORROW X TOGETHER – “Sugar Rush Ride” – BIGHIT MUSIC / Republic Records
  • May 2023: Ice Spice – “Princess Diana” – Heavy On It / 10K Projects / Capitol Records
  • June 2023: FLO – “Losing You” – Uptown/Republic Records
  • July 2023: Lauren Spencer Smith – “That Part” – Island Records

BEST COLLABORATION

  • David Guetta & Bebe Rexha – “I’m Good (Blue)” – Warner Records
  • Post Malone, Doja Cat – “I Like You (A Happier Song)” – Mercury Records / Republic Records
  • Diddy ft. Bryson Tiller, Ashanti, Yung Miami – “Gotta Move On” – Motown Records
  • Winner: KAROL G, Shakira – “TQG” – Universal Music Latino
  • Metro Boomin with The Weeknd, 21 Savage, and Diddy – “Creepin’ (Remix)” – Boominati / Republic Records
  • Rema & Selena Gomez – “Calm Down” – Mavin Global Holdings Ltd / Jonzing World Entertainment / SMG Music / Interscope Records

BEST POP

  • Demi Lovato – “Swine” – Island Records
  • Dua Lipa – “Dance The Night (From Barbie The Album)” – Atlantic Records
  • Ed Sheeran – “Eyes Closed” – Atlantic Records
  • Miley Cyrus – “Flowers” – Columbia Records
  • Olivia Rodrigo – “vampire” – Geffen Records
  • P!NK – “TRUSTFALL” – RCA Records
  • Winner: Taylor Swift – “Anti-Hero” – Republic Records

 

 

BEST HIP-HOP

  • Diddy ft. Bryson Tiller, Ashanti, Yung Miami – “Gotta Move On” – Motown Records
  • DJ Khaled ft. Drake & Lil Baby – “STAYING ALIVE” – We The Best / Epic Records
  • GloRilla & Cardi B – “Tomorrow 2” – CMG / Interscope Records
  • Lil Uzi Vert – “Just Wanna Rock” – Atlantic Records / Generation Now
  • Lil Wayne ft. Swizz Beatz & DMX – “Kant Nobody” – Young Money Records
  • Metro Boomin ft Future – “Superhero (Heroes and Villains)” – Boominati / Republic Records
  • Winner: Nicki Minaj – “Super Freaky Girl” – Republic Records

Most outrageous VMAs moments ever:From Britney Spears’ snake to Lady Gaga’s meat dress

BEST R&B

  • Alicia Keys ft. Lucky Daye – “Stay” – RCA Records
  • Chlöe ft. Chris Brown – “How Does It Feel” – Parkwood Entertainment / Columbia
  • Metro Boomin with The Weeknd, 21 Savage, and Diddy – “Creepin’ (Remix)” – Boominati / Republic Records
  • Winner: SZA – “Shirt” – Top Dawg Entertainment / RCA Records
  • Toosii – “Favorite Song” – South Coast Music Group / Capitol Records
  • Yung Bleu & Nicki Minaj – “Love In The Way” – Empire Distribution

 

 

BEST ALTERNATIVE

  • blink-182 – “EDGING” – Columbia Records
  • boygenius – “the film” – Interscope Records
  • Fall Out Boy – “Hold Me Like A Grudge” – Fueled By Ramen
  • Winner: Lana Del Rey ft. Jon Batiste – “Candy Necklace” – Interscope Records
  • Paramore – “This Is Why” – Atlantic Records
  • Thirty Seconds To Mars – “Stuck” – Concord Records / Concord

BEST ROCK

  • Foo Fighters – “The Teacher” – RCA Records
  • Linkin Park – “Lost (Original Version)” – Warner Records
  • Red Hot Chili Peppers – “Tippa My Tongue” – Warner Records
  • Winner: Måneskin – “THE LONELIEST” – Arista Records
  • Metallica – “Lux Æterna” – Blackened Recordings
  • Muse – “You Make Me Feel Like It’s Halloween” – Warner Records

BEST LATIN

  • Winner: Anitta – “Funk Rave” – Republic Records
  • Bad Bunny – “WHERE SHE GOES” – Rimas Entertainment
  • Eslabon Armado, Peso Pluma – “Ella Baila Sola” – DEL Records, Inc. / Prajin Parlay, Inc. Grupo Frontera Bad Bunny – “un x100to” – Rimas Entertainment
  • KAROL G, Shakira – “TQG” – Universal Music Latino
  • ROSALÍA – “DESPECHÁ” – Columbia Records
  • Shakira – “Acróstico” – Sony Music US Latin

 

BEST K-POP

  • aespa – “Girls” – SM ENTERTAINMENT Co., Ltd.
  • BLACKPINK – “Pink Venom” – YG Entertainment / Interscope Records
  • FIFTY FIFTY – “Cupid” – ATTRAKT / Warner Records
  • SEVENTEEN – “Super” – HYBE / Geffen Records
  • Winner: Stray Kids – “S-Class” – JYP / Republic
  • TOMORROW X TOGETHER – “Sugar Rush Ride” – BIGHIT MUSIC / Republic Records

BEST AFROBEATS

  • Ayra Starr – “Rush” – Mavin Global Holdings
  • Burna Boy – “It’s Plenty” – Atlantic Records / Spaceship Entertainment Ltd
  • Davido ft. Musa Keys – “UNAVAILABLE” – Sony Music U.K. / RCA Records
  • Fireboy DML & Asake – ”Bandana” – Empire Distribution
  • Libianca – “People” – Sony Music U.K. / RCA Records
  • Winner: Rema & Selena Gomez – “Calm Down” – Mavin Global Holdings Ltd / Jonzing World Entertainment / SMG Music / Interscope Records
  • Wizkid ft Ayra Starr– “2 Sugar” – Starboy / RCA Records

 

 

VIDEO FOR GOOD

  • Alicia Keys – If I Ain’t Got You (Orchestral) – NETFLIX
  • Bad Bunny – “El Apagón – Aquí Vive Gente” – Rimas Entertainment
  • Demi Lovato – “Swine” – Island Records
  • Winner: Dove Cameron – “Breakfast” – Columbia Records
  • Imagine Dragons – “Crushed” – KIDinaKORNER / Interscope Records
  • Maluma – “La Reina” – Sony Music US Latin

 

BEST DIRECTION

  • Doja Cat – “Attention” – Kemosabe Records / RCA Records – Directed by Tanu Muiño
  • Drake – “Falling Back” – OVO/Republic Records – Director X (Julien Christian Lutz)
  • Kendrick Lamar – “Count Me Out” – pgLang / Top Dawg Entertainment / Aftermath / Interscope Records – Directed by Dave Free & Kendrick Lamar
  • Megan Thee Stallion – “Her” – 300 Entertainment – Directed by Colin Tilley
  • Sam Smith, Kim Petras – “Unholy” – Capitol Records – Directed by Floria Sigismondi
  • SZA – “Kill Bill” – Top Dawg Entertainment / RCA Records – Directed by Christian Breslauer
  • Winner: Taylor Swift – “Anti-Hero” – Republic Records – Directed by Taylor Swift

 

 

 

 

BEST CINEMATOGRAPHY

  • Adele – “I Drink Wine” – Columbia Records – Cinematography by Adam Newport-Berra
  • Ed Sheeran – “Eyes Closed” – Atlantic Records – Cinematography by Natasha Baier
  • Janelle Monae – “Lipstick Lover” – Atlantic Records – Cinematography by Allison Anderson
  • Kendrick Lamar – “Count Me Out” – pgLang / Top Dawg Entertainment / Aftermath / Interscope Records 0 Cinematography by Adam Newport-Berra
  • Miley Cyrus – “Flowers” – Columbia Records – Cinematography by Marcell Rev
  • Olivia Rodrigo – “vampire” – Geffen Records – Cinematography by Russ Fraser
  • Winner: Taylor Swift – “Anti-Hero” – Republic Records – Cinematography by Rina Yang

BEST VISUAL EFFECTS

  • Fall Out Boy – “Love From The Other Side” – Fueled By Ramen – Visual Effects by Thomas Bailey and Josh Shaffner
  • Harry Styles – “Music For A Sushi Restaurant” – Columbia Records – Visual Effects by Chelsea Delfino and Black Kite Studios
  • Melanie Martinez – “VOID” – Atlantic Records – Visual Effects by Carbon
  • Nicki Minaj – “Super Freaky Girl” – Republic Records – Visual Effects by Max Colt and Sergio Mashevskyi
  • Sam Smith, Kim Petras – “Unholy” – Capitol Records – Visual Effects by Max Colt / FRENDER
  • Winner: Taylor Swift – “Anti-Hero” – Republic Records – Visual Effects by Parliament

BEST CHOREOGRAPHY

  • Winners: BLACKPINK – “Pink Venom” – YG Entertainment / Interscope Records – Choreography by Kiel Tutin, Sienna Lalau, Lee Jung (YGX), Taryn Cheng (YGX)
  • Dua Lipa – “Dance The Night (From Barbie The Album)” – Atlantic Records – Choreography by Charm LaDonna
  • Jonas Brothers – “Waffle House” – Republic Records – Choreography by Jerry Reece
  • Megan Thee Stallion – “Her” – 300 Entertainment – Choreography by Sean Bankhead
  • Panic! At The Disco – “Middle Of A Breakup” – Fueled By Ramen – Choreography by Monika Felice Smith
  • Sam Smith, Kim Petras – “Unholy” – Capitol Records – Choreography by (LA)HORDE – Marine Brutti, Jonathan Debrouwer, Arthur Harel

BEST ART DIRECTION

  • boygenius – “the film” – Interscope Records – Art Direction by Jen Dunlap
  • BLACKPINK – “Pink Venom” – YG Entertainment / Interscope Records – Art Direction by Seo Hyun Seung (GIGANT)
  • Winner: Doja Cat – “Attention” – Kemosabe Records / RCA Records – Art Direction by Spencer Graves
  • Lana Del Rey ft. Jon Batiste – “Candy Necklace” – Interscope Records – Art Direction by Brandon Mendez
  • Megan Thee Stallion – “Her” – 300 Entertainment – Art Direction by Niko Philipides
  • SZA – “Shirt” – Top Dawg Entertainment / RCA Records – Art Direction by Kate Bunch

 

BEST EDITING

  • BLACKPINK – “Pink Venom” – YG Entertainment / Interscope Records – Editing by Seo Hyun Seung (GIGANT)
  • Kendrick Lamar – “Rich Spirit” – pgLang / Top Dawg Entertainment / Aftermath / Interscope Records – Edited by Grason Caldwell
  • Miley Cyrus – “River” – Columbia Records – Edited by Brandan Walter
  • Winner: Olivia Rodrigo – “vampire” – Geffen Records – Edited by Sofia Kerpan and David Checel
  • SZA – “Kill Bill” – Top Dawg Entertainment / RCA Records – Edited by Luis Caraza Peimbert
  • Taylor Swift – “Anti-Hero” – Republic Records – Edited by Chancler Haynes

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Why Babangida’s Hilltop Home Became Nigeria’s Political “Mecca”

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Why Babangida’s Hilltop Home Became Nigeria’s Political “Mecca”. By George Omagbemi Sylvester | Published by SaharaWeeklyNG.com

Why Babangida’s Hilltop Home Became Nigeria’s Political “Mecca”.

By George Omagbemi Sylvester | Published by SaharaWeeklyNG.com

 

Former President Goodluck Jonathan’s birthday visit to Gen. Ibrahim Badamasi Babangida (IBB) in Minna (where he hailed the octogenarian as a patriotic leader committed to national unity) was more than a courtesy call. It was a reminder of a peculiar constant in Nigerian politics: the steady pilgrimage of power-seekers, bridge-builders and crisis-managers to the Hilltop mansion. Jonathan’s own words captured it bluntly: IBB’s residence “is like a Mecca of sorts” because of the former military president’s enduring relevance and perceived nation-first posture.

Babangida turned 84 on 17 August 2025. That alone invites reflection on a career that has shaped Nigeria’s political architecture for four decades; admired by some for audacious statecraft, condemned by others for controversies that still shadow the republic. Born on 17 August 1941 in Minna, he ruled as military president from 1985 to 1993, presiding over transformative and turbulent chapters: the relocation of the national capital to Abuja in 1991; the creation of political institutions for a long, complex transition; economic liberalisation that cut both ways; and the fateful annulment of the 12 June 1993 election. Each of these choices helps explain why the Hilltop remains a magnet for Nigerians who need counsel, cover or calibration.

 

A house built on influence; why the visits never stop.

 


Let’s start with the obvious: access. Nigeria’s political class prizes proximity to the men and women who can open doors, soften opposition, broker peace and read the hidden currents. In that calculus, IBB’s network is unmatched. He cultivated a reputation for “political engineering,” the reason the press christened him “Maradona” (for deft dribbling through complexity) and “Evil Genius” (for the strategic cunning his critics decried). Whether one embraces or rejects those labels, they reflect a reality: Babangida is still the place where many politicians go to test ideas, seek endorsements or secure introductions. Even the mainstream press has described him as a consultant of sorts to desperate or ambitious politicians, an uncomfortable description that nevertheless underlines his gravitational pull.

Though it isn’t only political tact that draws visitors; it’s statecraft with lasting fingerprints. Moving the seat of government from Lagos to Abuja in December 1991 was not a cosmetic relocation, it re-centred the federation and signaled a symbolic neutrality in a country fractured by regional suspicion. Abuja’s founding logic (GEOGRAPHIC CENTRALITY and ETHNIC NEUTRALITY) continues to stabilise the national imagination. This is part of the reason many leaders, across party lines, still defer to IBB: he didn’t just rule; he rearranged the map of power.

 

Then there’s the regional dimension. Under his watch, Nigeria led the creation and deployment of ECOMOG in 1990 to staunch Liberia’s bloody civil war, a bold move that announced Abuja as a regional security anchor. The intervention was imperfect, contested and costly, but it helped define West Africa’s collective security posture and Nigeria’s leadership brand. When neighboring states now face crises, the memory of that precedent still echoes in diplomatic corridors and Babangida’s counsel retains currency among those who remember how decisions were made.

Jonathan’s praise and the unity argument.
Jonathan’s tribute (stressing Babangida’s non-sectional outlook and commitment to unity) goes to the heart of the Hilltop mystique. For a multi-ethnic federation straining under distrust, figures who can speak across divides are prized. Jonathan’s point wasn’t nostalgia; it was a live assessment of a man many still call when Nigeria’s seams fray. That’s why the parade to Minna continues: the anxious, the ambitious and the statesmanlike alike seek an elder who can convene rivals and cool temperatures.

The unresolved shadow: June 12 and the ethics of influence.


No honest appraisal can skip the hardest chapter: the annulment of the 12 June 1993 election (judged widely as free and fair) was a rupture that delegitimised the transition and scarred Nigeria’s democratic journey. Political scientist Larry Diamond has repeatedly identified June 12 as a prime example of how authoritarian reversals corrode democratic legitimacy and public trust. His larger warning (“few developments are more destructive to the legitimacy of new democracies than blatant and pervasive political corruption”) captures the moral crater that followed the annulment and the years of drift that ensued. Those wounds are part of the Babangida legacy too and they complicate the reverence that a steady stream of visitors displays.

Max Siollun, a leading historian of Nigeria’s military era, has observed (provocatively) that the military’s “greatest contribution” to democracy may have been to rule “long and badly enough” that Nigerians lost appetite for soldiers in power. It’s a stinging line, yet it helps explain the paradox of IBB’s status: the same system he personified taught Nigeria costly lessons that hardened its democratic reflexes. Today’s generation visits the Hilltop not to revive militarism but to harvest hard-won insights about managing a fragile federation.

What sustains the pilgrimage.
1) Institutional memory: Nigeria’s politics often suffers amnesia. Babangida offers a living archive of security crises navigated, regional diplomacy attempted, volatile markets tempered and power-sharing experiments designed. Whether one applauds or condemns specific choices, the muscle memory of governing a complex federation is rare and urgently sought.

2) Convening power: In a season of polarisation, the ability to sit warring factions in the same room is not small capital. Babangida’s imprimatur remains a safe invitation card few refuse it, fewer ignore it. That convening power explains why movements, parties and would-be presidents keep filing up the long driveway. Recent delegations have explicitly cast their courtesy calls in the language of unity, loyalty and patriotism ahead of pivotal elections.

3) Signals to the base: Visiting Minna telegraphs seriousness to party structures and funders. It says: “I have sought counsel where history meets experience.” In Nigeria’s coded political theatre, that signal still matters. Outlets have reported for years that many aspirants treat the Hilltop as an obligatory stop an unflattering reality, perhaps, but a revealing one.

4) The man and the myth: The mansion itself, with its opulence and aura, has become a set piece in Nigeria’s story of power, admired by some, resented by others, but always discussed. The myth feeds the pilgrimage; the pilgrimage feeds the myth.

The balance sheet at 84.
To treat Babangida solely as a sage is to forget the costs of his era; to treat him only as a villain is to ignore the architecture that still holds parts of Nigeria together. Abuja’s relocation stands as a stabilising bet that paid off. ECOMOG, for all its flaws, seeded a habit of regional responsibility. Conversely, June 12 remains a national cautionary tale about elite manipulation, civilian marginalisation and the brittleness of transitions managed from above. These are not contradictory truths; they are the double helix of Babangida’s place in Nigerian memory.

Jonathan’s homage tried to distill the better angel of IBB’s record: MENTORSHIP, BRIDGE-BUILDING and a POSTURE that (at least in his telling) RESISTS SECTIONAL ISM. “That is why today, his house is like a Mecca of sorts,” he said, praying that the GENERAL continues to “mentor the younger ones.” Whether one agrees with the full sentiment, it accurately describes the lived politics of Nigeria today: Minna remains a checkpoint on the road to relevance.

The scholar’s verdict and a citizen’s challenge.
If Diamond warns about legitimacy and Siollun warns about the perils of soldier-politics, what should Nigerians demand from the Hilltop effect? Three things.

First, use influence to open space, not close it. Counsel should tilt toward rules, institutions and credible elections not kingmaking for its own sake. The lesson of 1993 is that subverting a valid vote haunts a nation for decades.

Second, mentor for unity, but insist on accountability. Unity cannot be a euphemism for silence. A truly patriotic elder statesman sets a high bar for conduct and condemns the shortcuts that tempt new actors in old ways. Diamond’s admonition on corruption is not an abstraction; it’s a roadmap for rebuilding trust.

Third, convert nostalgia into institutional memory. If Babangida’s house is a classroom, then Nigeria should capture, publish and debate its lessons in the open: on peace operations (what worked, what failed), on capital relocation (how to plan at scale), and on transitions (how not to repeat 1993). Only then does the pilgrimage serve the republic rather than personalities.

At 84, Ibrahim Babangida remains a paradox that Nigeria cannot ignore: a man whose legacy straddles NATION-BUILDING and NATION-BRUISING, whose doors remain open to those seeking power and those seeking peace. Jonathan’s visit (and his striking “Mecca” metaphor) reveals a simple, stubborn fact: in a country still searching for steady hands, the Hilltop’s shadow is long. The task before Nigeria is to ensure that the shadow points toward a brighter constitutional daybreak, where influence is finally subordinated to institutions and where mentorship hardens into norms that no single mansion can monopolise. That is the only pilgrimage worth making.

 

Why Babangida’s Hilltop Home Became Nigeria’s Political “Mecca”.
By George Omagbemi Sylvester | Published by SaharaWeeklyNG.com

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Ajadi Celebrates Juju Legend Femolancaster’s 50th Birthday in the UK

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Ajadi Celebrates Juju Legend Femolancaster’s 50th Birthday in the UK

Ajadi Celebrates Juju Legend Femolancaster’s 50th Birthday in the UK

Nigerian Juju music legend, Otunba Femi Fadipe, popularly known as FemoLancaster, is being celebrated today in London as he clocks 50 years of age.

Ambassador Olufemi Ajadi Oguntoyinbo, a frontline politician and businessman, led tributes to the Ilesa-born maestro, describing him as a timeless cultural icon whose artistry has enriched both Nigeria and the world.

“FemoLancaster is not just a musician, he is a legend,” Ambassador Ajadi said in his birthday message. “For decades, his classical Juju sound has remained a reminder of the beauty of Yoruba heritage. Today, as he turns 50, I celebrate a cultural ambassador whose music bridges generations and continents.”

While FemoLancaster is highly dominant in Oyo State and across the South-West, his craft has also taken him beyond Nigeria’s borders.

FemoLancaster’s illustrious career has seen him thrill audiences across Nigeria and beyond, with performances in the United Kingdom, Canada, United States of America, and other parts of the world. His dedication to Juju music has projected Yoruba traditional sounds to international stages, keeping alive the legacy of icons like King Sunny Ade and Chief Ebenezer Obey while infusing fresh energy for younger audiences
He further stressed the significance of honoring artistes who have remained faithful to indigenous music while taking it global. “In an era where modern sounds often overshadow tradition, FemoLancaster stands as a beacon of continuity and resilience. He has carried Yoruba Juju music into the global space with dignity, passion, and excellence,” he added.

Ajadi Celebrates Juju Legend Femolancaster’s 50th Birthday in the UK
The golden jubilee celebration in London has drawn fans, friends, and colleagues, who all describe FemoLancaster as a gifted artist whose contributions over decades have earned him a revered place in the pantheon of Nigerian music legends.

“As FemoLancaster marks this milestone,” Ajadi concluded, “I wish him many more years of good health, wisdom, and global recognition. May his music continue to echo across generations and continents.”

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Gospel Songstress Esther Igbekele Marks Birthday with Gratitude and Celebration

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Gospel Songstress Esther Igbekele Marks Birthday with Gratitude and Celebration By Aderounmu Kazeem Lagos

Gospel Songstress Esther Igbekele Marks Birthday with Gratitude and Celebration

By Aderounmu Kazeem Lagos

 

Lagos, Nigeria — The gospel music scene is aglow today as the “Duchess of Gospel Music,” Esther Igbekele, marks another milestone in her life, celebrating her birthday on Saturday, August 16, 2025.

Known for her powerful voice, inspirational lyrics, and unwavering dedication to spreading the gospel through music, Esther Igbekele has become one of Nigeria’s most respected and beloved gospel artistes. Over the years, she has graced countless stages, released hit albums, and inspired audiences across the world with her uplifting songs.

Today’s celebration is expected to be a joyful blend of music, prayers, and heartfelt tributes from family, friends, fans, and fellow artistes. Sources close to the singer revealed that plans are in place for a special praise gathering in Lagos, where she will be joined by notable figures in the gospel industry, church leaders, and admirers from home and abroad.

Speaking ahead of the day, Igbekele expressed deep gratitude to God for His mercy and the opportunity to use her gift to touch lives. “Every birthday is a reminder of God’s faithfulness in my journey. I am thankful for life, for my fans, and for the privilege to keep ministering through music,” she said.

Gospel Songstress Esther Igbekele Marks Birthday with Gratitude and Celebration
By Aderounmu Kazeem Lagos

From her early beginnings in the Yoruba gospel music scene to her rise as a celebrated recording artiste with a unique fusion of contemporary and traditional sounds, Esther Igbekele’s career has been marked by consistency, excellence, and a strong message of hope.

As she adds another year today, her fans have flooded social media with messages of love, appreciation, and prayers — a testament to the profound impact she continues to make in the gospel music ministry.

For many, this birthday is not just a celebration of Esther Igbekele’s life, but also of the divine inspiration she brings to the Nigerian gospel music landscape.

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