When Seyi Vibez partnered with Damilola Akinwunmi’s Dapper Music imprint, the mission was simple: conquer Nigeria. Between 2022 and 2024, the partnership is expected to yield incredible results, with Seyi Vibez rising to mainstream prominence through his smash hit single Chance as well as the critically and commercially acclaimed album Billion Dollar Baby.
The street hop sensation would go on to establish himself as one of the most dominant superstars of the Afrobeats-to-the-world era, flooding the market with a series of successful releases, including Memory Card, Vibez till they kingdom come, Thy Kingdom come, Nahamciaga and Loseyi Professor, scoring several smash hits along the way, most notably the brilliant Different Pattern, which won him the hearts of many listeners outside his core fanbase.
With every release, his superstardom continued to rise, and his fanbase continued to expand. By the end of 2024, he closed the year as TurnTable’s Most Streamed Artist with 642 million on-demand streams, finishing as the platform’s overall No. 2 artist, second only to Asake. In the first half of 2025, he was the most-streamed artist in Nigeria in the first half of 2025 with 297M streams across all platforms, per Turntable Charts Industry Digest, a reflection of his dominance both on the streets and on the streaming algorithm, solidifying his place as the undisputed king of the streets.
With his mission to conquer Nigeria well and truly accomplished, Seyi Vibez has turned his focus to his next mission: to conquer the world. To achieve this, he severed ties with Dapper Music and pitched his tent with music powerhouse Empire. He released his first project of 2025, Children of Africa, to great success. The EP spurred the hit single Shaolin, which he performed multiple times to the delight of his teeming fans at his history-making sold-out concert at the iconic Tafawa Balewa Square on August 23, 2025.
He then released Pressure, a beautiful R&B single that has since found its way into the hearts and playlists of many listeners, including his core fans, despite an initial lukewarm reception. The reason for the lukewarm reception from fans was the noticeable shift in sound and style. On Pressure, he swapped the electric and razor-sharp hip-hop cadence that has defined his mainstream run so far for a softer, more melodic R&B tone. He also delivered the entire song in English. “How Seyi Vibez go drop song, no Yoruba?” a friend of mine lamented as we debated the quality of the single. The sonic shift in Pressure, as well as his exit from Dapper Music, indicated that Seyi Vibez had his eyes on expanding his reach across the shores of Africa and into the corridors of the international music scene.
His latest album, Fuji Moto, which arrives after months of teasing, is his first full-length long play under Empire. The 14-track album reflects his ambition to expand his reach while he attempts to maintain his grip on the streets he represents and commands.
“I fit sing like Africana / I fit sing like European / I fit sing like Italian / I fit sing like French / I fit sing like I am from London,” he belts out on the intro, Tortoise Mambo, indicating his ability to switch his sound and musical style to fit different cultures and audiences. It’s a declaration of his range and adaptability, necessary traits for any artist trying to break into the global music space.
He attempts to display this adaptability on different records across this album. The prereleased How Are You employs a softer and more melodic tone, a sharp contrast from the grittier and more explosive tone he might have employed two years ago.
On Universe, he delivers, portraying his love interest as the centre of his world, employing children’s backup vocals over smooth piano chords and bouncy log drums. The Amapiano elements that played a key role in his mainstream rise are still retained on How Are You and Universe, while his delivery is measured and controlled. Not to suggest that both records are bad records; it’s just that both records lack the raw intensity that characterises his music.
Ama is a faultless record that truly displays his adaptability and his potential to craft music that can possibly move the international market he aims to capture. It’s a beautiful and emotionally charged R&B-Afropop fusion where Seyi Vibez describes a woman who brings him peace, healing, and balance. He is calm, tender, and reflective on the record as he expresses what it means to find someone who calms the storms of life. It’s the best song on this album.
Even as he sets his sights on breaking into the global music arena, he stays committed to holding his stronghold over the streets where he rules without opposition. He channels this energy into a sequence of Fuji-themed records. Fuji Party is a high-octane Lamba-driven street anthem where he delivers a single that’s all about movement. Much like Shaolin, it’s a record that blends charisma and infectious rhythm that makes it impossible not to rave along. For support, he enlists the expertise of Olamide, who delivers a punchy, breathless rap verse packed with braggadocio and swagger. As Detty December looms, Seyi Vibez needs an anthem to assert his dominance on the dancefloor, and this record has all the potential to be the anthem.
At Fuji House, he celebrates his financial success, street credibility, and elevated social status, asserting that he’s untouchable and one step ahead of his opposition. He retains similar sentiments on Fuji Moto, where he flaunts his success and the rewards of his hustle. “We don’t get money / We dey buy motor / Eri se Oluwa / Kole baje o / Na which kind motor / Luxurious motor / Feruccio Lamborghini,” he sings over the record’s mid-tempo groove.
He displays his celebrity clout by recruiting American stars like Trippie Redd, French Montana and NLE Choppa on Up, Pressure and Macho, respectively. Trippie Redd delivers a suitable verse on the motivational trap record Up, where they urge listeners not to give up. NLE Choppa delivers a breathless verse on the hard-hitting Macho, while French Montana’s addition to Pressure does nothing for the song sonically. He closes the album with tracks from the Children of Africa EP and the original Pressure, a curious decision if you ask this writer.
Overall, Fuji Moto offers an enjoyable listening experience. It’s not his best work, far from it, but it’s music that listeners will enjoy. With a runtime of just over 30 minutes, the album offers an easy listen. Records like Ama and Up are high-quality records, while Fuji Party sounds like an anthem waiting to explode. While some records like How Are You, Fuji House and Fuji Moto leave much to be desired, as they lack the spark and sharp intensity that make him truly compelling. They hold up well and don’t disrupt the cohesion of the album.
On Mario Kart, he sings, “Afrobeats to di pangolo, whatever it’s ki e mi sa lo wo,” which translates to “Whatever may be the popping Afrobeats sound, I just want to make money.” Nigerian artists are never shy about reminding us that streams from within Nigeria don’t always translate into substantial revenue. Seyi Vibez, despite being the country’s most-streamed artist last year, seems to have his sights set on international audiences with greater spending power – or perhaps he’s simply chasing the glory of performing for people from a different demographic.
His ambitions are clear, and to achieve his goals, some core elements of his music might be stripped to accommodate the taste of the audience whose attention he wishes to capture. That said, it’s important to remember that Seyi Vibez’s music thrives on grit and intensity. Removing that rawness reduces what makes him compelling, and without it, achieving the global recognition he seeks could be impossible. For now, he’s a superstar constantly in motion, wobbling between the kingdom he owns and the empire he hopes to claim.
