Entertainment
Revisiting Music Of PH City
Rex Lawson and Lady I.B.
The music of Port
Harcourt, the Garden City of Nigeria, a city of Rivers State located to the south of Nigeria, is a thriving state encompassing both native African and foreign influenced genres. Port Harcourt plays host to numerous radio stations prominent recording studios such as the street Rhymes Studios and other music institutions.
As a state capital, Port Harcourt boasts of some of the liveliest Club scenes in the country as well as music venues, bars and restaurants. At present time, hip hop, Highlife and reggae are most popular music styles among young people in the city. However, another genre of music called gyration is also popular among the young and youngest at heart as the artistes struggle to catch up with the existing genre.
Port Harcourt has given birth to many locally and internationally admired musicians including Duncan Mighy, Muma Gee, Timaya, Daniel Wilson, M. Trill, Slim Burna, Lyrikai, Mr 2 Kay, Step-Aga Oba Omega, Peter Stone Cold, Waconzy, Frank D Nero etc. In high life we have the Legendary Cardinal Rex-Lawson of the Mayor’s band, Jackwest Omodu of the Garden City band fame, King Sunny Brown, fondly called ‘Original Pikin’ and Prince David Bull of the professional Seagulls band etc.
The city is also home to Grafton entertainment one of Africa’s biggest record labels founded in 2004. Grafton entertainment has contributed extensively towards the growth of Port Harcourt music scene – from discovering and exposing her best talents to organizing some of the city’s ground breaking concerts.
The first signee to the label was the Bayelsa duo “De indispensables”, whose “press on” Pt2 album in the 2000s put Port Harcourt on the global hip hop map.
Music Festivals
More recently, there has been significant increase in the number of festivals held within the city. CARNIRI V is a major music cultural events in Nigeria, it continues to take place annually since its establishment in 1988. The state government further recognizes this festival as its biggest tourism export.
Aside Nigeria, the CARNIRIV has featured famous artistes from nighbouring countries and abroad, including the likes of Shaggy, Patra, Beenie man, Buster Rhymes, Joe Brick and Lace as well as Wyclef- Jean and Ras Kimono etc.
Venues:
Most of the major concerts, festivals and other musical events are held in the multipurpose stadiums such as Liberation Stadium Elekahia, opened in 2001. It has the capacity to seat 30,000 people. Only the Adokiye Amiesimaka Stadium is known to be bigger than it. There is also the multipurpose hall of the Rivers State Civic Centre, Moscow Road and the Atlantic Hall of Hotel Presidential Port Harcourt among several others.
Port Harcourt Night Club and public houses are also locations for music activities. Other venues like the artrium and the Aztech Arcum have hosted several shows for local and mainstream artistes.
Early Music
JAZZ: Mand Mayer, female Jazz icon was born in Port Harcourt, she was among the few women who rose to stardom in the 1950s. Mayer’s voice and ability to expand the genre were the keys to her success throughout her career, Mayer maintained a position as West Africa’s foremost.
In the late 1980s, Jazz music achieved its commercial peak. A Jazz festival was duely introduced to hold every year. During the first three editions, the event saw a record number of people along with performances from Oliver Jones, Embroy and Dizzy Gillespie.
Hip-Hop
Beginning in the twenty first century, the impact of Hip-hop music on young Port Harcourtians in terms of life style, fashion, attitudes and values has reached heights previously unseen. While this transformation remains an intriguing cultural enigma, those involved in the movement consider it profitable.
An early example of Port Harcourt hip hoppers was the “Tuck Tyght All Stars” formed in 2000, they went ahead to become a significant group paving way for further development of the genre. Protagonist, Henry Diette Spiff found “Tuck Tyght” records to focus on hardcore street oriented hip hop at a time when there was not many supporting or sponsoring it.
The group first release was “Now Official” released in 2003, featured in the album were Frank D’Nero, Andre Blaze, Double K, Mark Gee, Duncan Daniels, Damage Lyrikal, M-Lee, Double V and Billy Dolomite. This album was instrumental in helping the artists gained experience in all facets of the industry ranging from production, mixing, mastering to distribution.
Lyrikal later left “Tuck Tyght” and came out with his own single “Learn Something”, followed by his second album “Can You Relate” which launched him as a solo artiste. Duncan Daniels born in Boston USA, moved to the city as a teenager. He Began producing records eventually signing with “Tuck Tyght” though the record label and the All Stars group working under it later disbanded, their contributions to the hip hop scene cannot be ignored.
Grafton Records
The indispensable (composed of Lenny Band
and Tick Lips) were the most successful duo of the 2000s. Not only did they sell out their headline gigs and perform at special venue around the globe, but they also broadened the appeal of Port Harcourt hip hop to a larger audience.
Their debut album on the grafton imprint ‘press on’ came out in 2015, it was supported by the singles “Sweet Mama” and “Cinderella”. There second album”, press on Pt2″ made a greater impact garnering them a Best West African Act Award at the Channel O’Music Video Awards. Guest appearances came from Jamaica’s Star, Junior Rade, Ruggedman, M-Trill along with UK’s Pyrelli and Phoebe one.
In 2007, Doublek brought out his first Solo album katastrophy’, he was nominated at the 5th Niger Delta Advancement awards in 2008, De indispensables announced their split from Grafton records after spending four years on the Tonye Ibiama helmed record label. In that same year, M-Trill’s debute studio album “number one” came out. He won Best African act the Channel O’ Music Video Awards for ‘Bounce ‘ . during 2009, M-Trill released his mixed tape “Ladie and Gentlemen” where he showcased his production skills and trade mark. Lyrically, new generation singers, Duncan Mighty, Timaya and slim Burna are beginning to fuse elements of hip hop with various forms of Reggae.
Highlife
Virtually all highlife greats from Rivers State have started in Port Harcourt. The 1960s saw the rise to prominence of Cardinal Rex Lawson with his mayor’s Dance Band, being among the first popular bands to achieve wide spread success. His accomplishments helped shape the direction of African musicians and music in the twentieth century, probably the most influential high life musician of that period.
Mayor’s Dance Band and Rex Lawson released numerous hits and in the later years became known as ‘Riversmen’. The band made their mark on the international arena, while more people were drawn to the band after Rex-Lawson death in the 1970s, ‘Rivers men’ re-established itself as the professional Seagulls Dance Band, they were led by Prince David who remained a key figure for the time of existed.
Another important performance is late King Sunny Brown fondly called “original pickin”. He began to sing at a young age in Christ Army School, there he played in the school band with Rex Lawson. During the Nigerian civil war, Sunny Brown and Rex Lawson played in the 3rd Marine Commando. He performed with musicians like Prince David Bull and Thrilled fan 5 at different venues across the city.
Reggae
Like Hip hop and highlife, reggae has long formed an essential part of the music of Port Harcourt. The most well known representatives of this genre are Daniel Wilson, Duncan Mighty and Timaya, Muma Gee originally sang reggae songs before switching over to hip hop. Other prolific acts include push Kayana, Buk wild Da Ikwerre an, slim and former mayor of Port Harcourt Chimbiko Akarolo.
Duncan Mighty’s first major international collaboration “wine it” was released in 2012 to a mixed reception, but would later go on to attract reception but would later go on to attract some commercial success. Also worth noting is the critically acclaimed “I’m on Fire” by slim Burna considered as the most successful mixtape from a Port Harcourt based recording artiste.
The fifteen track project had some infusion of dance hall, mixed with pop, dance hall and revolved mostly around the themes of love, sex and city street life.
In 2004, Sean Paul appeared in a remix of ‘Bum-Bum’ by Timaya from his fifth studio album ‘Epiphany’. The video for the song directed by stutah films earned one nomination at the 33rd International Reggae World Music Awards (IRAWA) . By June 2015, Bum-Bum remix had already become the fourth most viewed music video Nigeria on You Tube amassing over twenty five million views…
PMAN
The Performing Musicians Association of Nigeria (PMAN) Rivers State branch exists as one of the organizations that promote the music profession and oversee the welfare of musicians in Rivers State, it is affiliate of the national PMAN.
Founded in 1995, Geraldo Pino, a musician from Enugu led the Association Until 2004, he was succeeded by Muma Gee, who became the first elected female chairperson of the association, but was later impeached for alleged misappropriation of fund and lack of accountability.
In 2010, Lexym succeeded Muma Gee and assumed leadership of the Association. He served until 2013 and was succeeded by Lady IB, the second woman to hold the position. Those who rued the musicians body since inception include: Giraldo Pino, Muma Gee, Arthor W. Pepple Jnr, Peter Stone Cold Lekara ‘Lexy’ and the incumbent Lady I.B.
The family of veteran Nollywood actor, Pete Edochie, has dismissed viral rumours circulating on social media claiming that the film icon is dead.
Reacting to the reports in a video shared on his Instagram page on Tuesday, the actor’s eldest son, Leo Edochie, described the claim as false and malicious.
“I’ve been receiving text messages and calls over the nonsense post by some people that our father, Chief Pete Edochie, is dead. It is a lie from the pit of hell,” he said.
Leo added that the actor is alive and in good health, condemning those responsible for spreading the rumour.
“Our father is alive, hale and hearty. And if you wish someone dead, two things usually happen. The person will live very long and you will die before him. Shame to all of you,” he said.
The rumour had sparked concern among fans before the family’s clarification.
Nollywood veteran actress Omotola Jalade-Ekeinde is making her directorial debut with a different and sharper focus. Speaking recently with Newsmen,, the screen icon highlighted a glaring void in the industry’s catalogue, which is the authentic reality of mother-daughter relationships.
“We don’t have too many films that explore or showcase the relationship between mothers and daughters,” Omotola said during the interview, describing the subject as something deeply personal to her.
Speaking honestly about raising her first daughter, she admitted she had only one mode at the time, which was discipline. “I didn’t do a good job,” she said plainly, explaining that she understood motherhood strictly through control, not softness or emotional openness.
At the centre of Mother’s Love is Adebisi, a sheltered young woman from a wealthy home whose life is shaped by her father’s rigid control. Her first taste of freedom comes through NYSC, where distance from home allows her to begin discovering who she is outside her family’s expectations. She forms a friendship with a young man from a more modest background, and through him, starts to see the world and herself differently.
But the emotional core of the film isn’t Adebisi’s rebellion. It’s her mother. Long after being presented as quiet and compliant, she slowly reveals a resolve when her daughter’s safety and future are threatened. As secrets surface and buried grief comes into view, Mother’s Love becomes less about youthful independence and more about maternal sacrifice, unspoken trauma, and the emotional costs of survival inside a patriarchal home.
The Tide Entertainment reports that the film doesn’t shy away from weighty themes by including PTSD, unresolved grief, and social inequality at the centre of the story. It is far removed from the soft-focus sentimentality that often defines Mother’s Day-style narratives.
It also marks Omotola’s directorial debut, a significant moment considering how long she has shaped Nollywood from the front of the camera. She stars in the film alongside a mix of familiar faces and newer talent, including Ifeanyi Kalu, Olumide Oworu, and Noray Nehita.
Beyond the film itself, Omotola’s interview touched on a tension that has been simmering in Nollywood for a while now: how movies are marketed in the age of TikTok. Addressing the growing expectation for actors and filmmakers to create viral dance content to promote their work, she didn’t mince words. The pressure, she said, is exhausting and unnatural.
For her, the industry wasn’t meant to function this way. Still, she was careful not to judge anyone else’s approach. Everyone invests differently, carries different risks, and should be allowed to promote their films however they see fit.
“Do whatever you can do. It’s exhausting, it’s not natural. For me, the film industry is not supposed to be like that. We are encouraging nonsense if we are doing that. It doesn’t mean that whoever is doing it is wrong.”
Her comments arrive not long after the public back-and-forth between Kunle Afolayan and Funke Akindele over marketing styles, a debate that quickly turned into a proxy war between prestige storytelling and viral strategy. Omotola’s stance sits somewhere calmer. She understands the shift social media has brought, but she’s also clear about her own boundaries.
Omotola’s critique about the lack of mother-daughter stories isn’t unfounded. In Nollywood, mothers often exist as symbols rather than people. They’re either saintly figures who pray endlessly for their children or villains whose cruelty drives the plot forward. What’s missing is intimacy, the negotiations, and the regrets. The love that exists alongside resentment and misunderstanding.
Films rarely sit with the emotional complexity of women raising daughters in systems that also failed them. There’s little room for mothers who made mistakes but are still trying, or daughters who love their mothers while questioning the damage they inherited. Mother’s Love attempts to occupy that space, offering a more grounded portrayal that reflects lived experience rather than archetypes.
That’s where the film’s potential impact lies, in the decision to centre a relationship that Nollywood has largely flattened. If it works, it could open the door for more stories that treat motherhood as a lived, evolving reality rather than a fixed moral position.
Mother’s Love, directed by and starring Omotola Jalade Ekeinde, had its world premiere at the 50th Toronto International Film Festival on September 6, 2025. The film is set for a nationwide cinema release in Nigeria on March 6, 2026.
Funke Akindele’s Behind The Scenes becomes Nollywood’s highest-grossing film of 2025, earning ?1.77bn in under four weeks.
Multi-award-winning actress and producer Funke Akindele has done it again, and this time, the numbers speak louder than applause.
Her latest film, Behind The Scenes, has officially emerged as the highest-grossing Nollywood film of 2025, pulling in an astonishing ?1.767 billion in less than four weeks.
The Tide Entertainment reports that Funke Akindele Makes Box Office History as Behind The Scenes Crosses ?1.77bn
Earlier in its release cycle, the film’s distributor, FilmOne Entertainment, revealed that Behind The Scenes smashed five opening-weekend records, including the highest single-day gross ever recorded on Boxing Day, with ?129.5 million in one day. That announcement already hinted that something unusual was unfolding.
Reacting to the milestone, FilmOne described the moment as both surreal and communal, crediting audience loyalty for pushing the film to the top spot once again as the number-one movie of the weekend. And that sentiment feels accurate. This wasn’t just ticket sales; it was momentum.
What makes this achievement even more striking is that Behind The Scenes is Funke Akindele’s third film to cross the ?1 billion mark. Before now, there was A Tribe Called Judah, and then Everybody Loves Jenifa, a film that didn’t just open big, but went on to become the highest-grossing Nollywood film of all time. At this point, it’s no longer a fluke. It’s a pattern.
Part of Behind The Scenes’ success lies in strategy. The film enjoyed advanced screenings on December 10 and 11, quietly building curiosity and conversation before its nationwide release on December 12. By the time it officially hit cinemas, audiences already felt like they needed to see it.
Then there’s the cast. The film brings together a lineup that feels deliberately stacked: Scarlet Gomez, Iyabo Ojo, Destiny Etiko, Tobi Bakre, Uche Montana, and several others. Familiar faces, strong fan bases, and performances that kept word-of-mouth alive long after opening weekend.
Still, beyond timing and casting, there’s something else at work here. Funke Akindele understands Nigerian audiences. Their humour, their pacing, their emotional buttons. She doesn’t guess, she calculates, experiments, listens, and refines. That understanding has slowly turned into box-office dominance.
Behind The Scenes crossing ?1.77 billion isn’t just another headline; it’s confirmation. Funke Akindele has moved from being a successful actress to becoming one of the most reliable commercial forces Nollywood has ever produced. Three-billion-naira films don’t happen by luck. They happen when storytelling, business sense, and audience trust align.
And right now, that alignment seems firmly in her hands.
