Let’s talk about Chukwudum Umeevuruo, aka C Flex – a Nigerian kid who found his voice in church choir before taking his talents to the UK’s vibrant Afrofusion scene.

Like many African artists, this Anambra native cut his teeth singing praises before deciding to chase the secular bag.

His 2017 debut “Ekeresimesi” wasn’t just some random Christmas jingle; it was a cultural reset for anyone tired of hearing about snowflakes and reindeer when their Christmas experience was more about new clothes and jollof rice.

Discography:

The man hasn’t exactly flooded the market, but what he’s dropped shows promise:

• “Ekeresimesi” (2017) – His debut that gave Christmas the African narrative it deserves

• “Supernova” and “Hustle” (2020) – Pandemic releases when we were all locked down and desperate for vibes

• “Link Up” ft. ML. Kay (2021) – A collab that showed he plays well with others

• “Mi Amor EP” (2021) – Love songs that might actually make you risk it all

• “Hypocrisy” (2022) – When he decided to get political and call out our collective BS

• “Loner” (2024) – His latest jam where he basically says, “leave me alone, I’m vibing”

Influences:

You can hear the Sunday service in C Flex’s melodies – that church training never really leaves. But he’s not giving us gospel; he’s serving a cocktail of Nigerian rhythms, UK Afroswing swagger, and that pan-African Amapiano bounce we can’t get enough of lately.

The man’s a cultural sponge, absorbing sounds from Lagos to London and wringing them out into something distinctly his own.

Style and Penmanship Analysis:

Is C Flex another “falsetto merchant” riding the wave? Not quite. Unlike the flood of male vocalists currently drowning us in head voice gymnastics, C Flex isn’t trying to make you pregnant through your earbuds.

His pen game moves between cultural storytelling (“Ekeresimesi”), social commentary (“Hypocrisy”), and that introspective vibe on “Loner” that hits different when you’re actually tired of people.

His lyrics won’t have you reaching for a dictionary, but they’ll have you nodding in agreement.

Artistic Identity and Brand Coherence:

In an era where everyone’s trying to be the next Wizkid or Burna, C Flex is refreshingly… himself. He’s not forcing the “African Giant” narrative or the “Starboy” aesthetic. Instead, he’s creating a lane as the thoughtful storyteller who can make you dance and think simultaneously.

His brand isn’t flashy watches and designer labels; it’s authentic stories delivered with conviction. The long gaps between releases aren’t helping his momentum, though. In this TikTok era, you blink and people forget your name.

Engagement and Reception:

C Flex isn’t breaking streaming records like CKay’s “Love Nwantinti” just yet, but he’s building something potentially more valuable – a fanbase that actually listens to his message.

His “Mi Amor EP” showed he can capture hearts, while “Loner” suggests he’s not afraid to get vulnerable when everyone else is flexing. In a market saturated with party anthems, his emotional authenticity stands out.

Comparative Standing in Contemporary Afrobeats:

Let’s keep it a buck – C Flex isn’t in the same conversation as Rema, Asake, or Tems right now. Those cats are already eating at the global table while C Flex is still preparing his meal.

But not everyone needs to blow up overnight. Remember Burna Boy before “African Giant”? Exactly. C Flex’s UK position gives him a unique perspective that could eventually become his superpower in this increasingly global genre.

Conclusion: Potential and Positioning:

Is C Flex worth your attention? If you’re tired of cookie-cutter afrobeats and want something with a bit more soul and substance, absolutely.

He’s not going to dominate your TikTok feed tomorrow, but he’s building the foundation for something potentially more lasting. What he needs now is consistency, visual aesthetics that match his sonic quality, and the right collaborations to amplify his voice.

Keep him on your radar – not every star explodes; some just steadily rise until you can’t ignore their light.

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Award-winning rapper OdumoduBlvck has described himself as the new Olamide Baddo.

He made this assertion in a post on his X page on March 14, 2025, hours after his latest guest appearance on Wizard Chan‘s new song ‘Flako’.

His claim is likely motivated by his rising profile as Nigeria’s most prolific rapper whose guest appearances have propelled songs to hit status akin to the star-making power for iconic rapper Olamide Baddo.

OdumoduBlvck’s status as a successful rapper was recently captured by his 8 nominations for the upcoming 17th Headies awards.

The rapper is having a busy 2025 as he has released a couple of singles ahead of the impending arrival of his new album titled ‘The Machine’.

OdumoduBlvck recently released the single ‘Pity this Boy’ featuring Victony, which has enjoyed success on streaming platforms and social media.

OdumoduBlvck also recently released the joint project ‘Nothing Change’ with his crew Antiworld Gangsters, on which Olamide appeared on the song ‘Jegede’.

Since announcing himself in the mainstream with his hit song ‘Picanto’ featuring Zlatan, OdumoduBlvck has enjoyed a speedy ascension to stardom.

His hit single ‘Declan Rice’ named after the England football star enjoyed international acclaim and was used to unveil the player after he became Arsenal’s record-breaking signing.

His success brought him the attention of global hip-hop stars, including Skepta, Stormzy, and Rick Ross, who have all hailed him for his unique sound.

With his upcoming album, the rapper will be aiming to improve on the record of his 2023 project ‘Eziokwu’ which is one of the most successful rap albums in the streaming era of Nigerian music.

With ‘The Machine’, OdumoduBlvck will be aiming to continue to restate his position as one of Nigeria’s most exciting stars.

Rybeena‘s breakout song, ‘Id.Me,’ is the typical hustler’s anthem delivered with the poignancy of a young man desiring more in a society that gives very little.

In an interview with Apple Music Africa Now Radio, the singer confirmed that the song is the most emotional he ever penned, especially since it captures the inner city reality of youngsters venturing into fraud in the hopes of securing a big payday.

Fraud as undesirable as it may be, as long interjected with Nigerian music. In the modern era of Nigerian pop music, several songs have celebrated the big wins of advance fee frauds and its constantly evolving varieties.

It’s from these lenses of a hustler that Rybeena crafts his album ‘Virtuoso’ where he showcases the making of a versatile artist. Through Fuji and Highlife melodies, Afrobeats flow, and Dancehall fusion, he shows the industry of an artist that can shape-shift across genre lines.

On the Makossa-inspired strings and drill kicks of ‘Ivory Coast,’ Rybeena samples an all-timer Afrobeats classic and the ultimate Yahoo boy anthem in Olu Maintain‘s ‘Yahooze’ as he celebrates the hustler’s fast life through impressive Fuji melodies.

Like a true student of the genre, he hails influential figures, such as Damilola “Dapper” Akinwunmi, to whose label he’s signed to, and hip hop icon Olamide Baddo, who co-signed him.

On the standout track ‘New Taker,’ Rybeena poignantly delivers high-level Afropop melodies molded by the tonal inflections of his Islamic background. A man who has seen both sides of the hustle, he advises new takers to learn to hit the breaks and live in the moment because the hustle never ends.

On ‘Despacito,’ he infuses some Spanish he picked up from Luis Fonsi & Daddy Yankee‘s famous hit single. He delivers suitable melodies on the Highlife record where sweet talks an unyielding damsel over a sampling of Stanley Okorie‘s viral hit ‘Billionaire’.

Yoruba bata and gangan drums take center stage on the poorly titled ‘Amapiapala,’(perhaps to capture the blend of Apala and Amapiano).

Rybeena holds up his status as an “omo ope” (loosely translates into a young successful man mostly used to describe internet fraudsters) through lines that capture his laser focus on the money and the popularity of transactional sex and recreational drugs within the hustlers’ ranks.

He doubles down on the central themes of hustling, savviness, and a good time on the log drum punctuated ‘Agba Singing’ where he shows off his industrous melodies and Islamic back ground which he also showcased on the Reggae fusion ‘1999’.

On ‘World Best,’ he taps Street hop star Tee Dollar, who also knows a thing or two about hustling for a chest-thumping that he shares the husters dream of fast cars, luxury watches, and the individuality (every man for himself philosophy) that shapes their reality.

On ‘Dealer,’ he links up with another Street pop star TI Blaze to narrate the overwhelming nature of the rat race and the need for escapism.

Success, espeically one that shuts up detractors is a major motivation for several stars inlcuding, Rybeena who draws motivation from the dismissive comments of a critic on ‘Go Harder’ where he shares his statement of purpose.