French-Nigerian Artists Join Forces at Mavin Records to Shape the Future of Global Afrobeats

In a recording studio in Lagos, something historic is taking shape. Nine French music composers — rappers, pop singers, and urban producers — have spent a week at Mavin Records, Nigeria's most celebrated Afrobeats label, writing and recording alongside some of the continent's biggest stars. Together, they have produced sixty tracks that blend French, English, Nigerian Pidgin, and Creole into a sound that could define the next wave of global pop music.

French-Nigerian Artists Join Forces at Mavin Records to Shape the Future of Global Afrobeats

Lagos, Nigeria — The collaboration camp, organised by the Society of Authors, Composers and Music Publishers (Sacem) in partnership with the French embassy and Mavin Records, brought together artists from two of the world's most dynamic music industries. Over the course of a week, French producers and vocalists worked side by side with Nigerian stars, producers and songwriters, creating tracks that draw from Afrobeats, French rap, pop, and Caribbean influences including Shatta, a blend of dancehall, trap and electronic sounds.

The Creative Engine Behind Mavin Records

Mavin Records stands as Nigeria's premier Afrobeats label, founded by Don Jazzy, and it has built a roster that includes Rema, Ayra Starr, Ladipoe and Magixx. The label's studio facilities in Lagos hosted the French composers and Nigerian artists working side by side on the sixty tracks. Gold and diamond plaques line the walls, marking international successes such as Rema's "Calm Down" and Ayra Starr's "Rush".

Kizito Ahams, senior licensing and publishing manager at Mavin Records, noted the growing international demand for Afrobeats, especially in France where streaming numbers continue to rise. The label's global impact comes through major streaming platforms that have carried tracks by its artists to listeners across Europe and beyond. French and Nigerian producers shared mixing desks in the same rooms where Ladipoe and Magixx have recorded previous hits.

Don Jazzy established Mavin Records years ago as a platform for young Nigerian talent, and the current roster reflects that vision with consistent chart performance. The collaboration camp used these same facilities to produce tracks that mix French rap flows with Afrobeats rhythms. Kizito Ahams highlighted how French audiences have embraced the genre through diamond certifications.

The studio environment allowed immediate feedback between the nine French composers and Mavin's in-house team. Rema and Ayra Starr's recent releases have already proven the label's reach, and the new sixty tracks aim to build on that foundation. Gold plaques for earlier projects serve as daily reminders of the commercial potential when African sounds reach global markets.

Mavin Records continues to expand its publishing operations under Kizito Ahams' guidance, focusing on licensing deals that benefit Nigerian songwriters. The French composers gained direct access to the label's production resources during their week in Lagos. This setup mirrors how other African labels could structure similar international sessions.

Every session at Mavin Records incorporates the label's signature approach to melody and rhythm, which the French visitors adapted to their own styles. The plaques on the walls document not only sales but also the cultural exchange that has defined Afrobeats' rise. Kizito Ahams emphasised that demand from France represents just one part of a broader European interest.

From Paris to Lagos: A Week of Musical Fusion

The nine French composers arrived from rap, pop and urban backgrounds, genres already shaped by African diaspora sounds in cities like Paris. French producer PSK, whose real name is Maxime Pasquier and who is twenty-one years old, had never visited Africa before this trip. He described how Nigerian artists let songs carry them away and explore their ideas much further than typical French studio sessions allow.

PSK has previously worked with top French artists including Ninho, Jok'Air and Genezio, bringing that experience to the Mavin collaboration. French producer Voluptyk, whose real name is Nassim Diane and who is twenty-four years old, pointed to Nigeria's musical vibrancy as rooted in the role of music in daily life. He noted that music plays constantly on buses and in hotels across Lagos.

Dunnie Alexandra Lawal, the French-Nigerian producer, worked directly with PSK on multiple tracks during the week. The sessions blended French rap cadences with Afrobeats percussion in real time. PSK observed that the Nigerian approach to song development encouraged longer creative explorations than he had experienced in Paris studios.

Voluptyk highlighted how everyday sounds in Lagos influenced the sixty tracks, from street rhythms to hotel playlists. Dunnie Alexandra Lawal facilitated translations between French lyrics and Nigerian Pidgin phrases. The nine composers divided their time across different Mavin rooms, each pair focusing on distinct thematic elements.

Maxime Pasquier's first impressions of Lagos shaped his contributions, particularly in how he adjusted his production style to accommodate live vocal improvisations. Nassim Diane connected the constant presence of music in Nigerian public spaces to the energy captured on the new recordings. Dunnie Alexandra Lawal ensured that Creole elements from Caribbean influences found their way into several arrangements.

The French composers left Lagos with a deeper understanding of how Afrobeats artists build tracks collaboratively. PSK and Voluptyk both noted that the week expanded their technical approaches to melody and rhythm. Dunnie Alexandra Lawal continues to bridge the two scenes through ongoing production work.

Afrobeats: The Global Sound With West African Roots

Afrobeats was born in the 1970s through Fela Kuti's revolutionary sound that combined traditional Yoruba rhythms with jazz and funk. The genre evolved through subsequent decades into a globally dominant style that now fills charts in Europe and North America. Nigerian diaspora communities in London, Paris and New York have driven much of the international adoption.

Certification success in France includes Rema's "Calm Down" reaching diamond status along with CKay's "love nwantiti" and Burna Boy's six diamond-certified singles. The genre's unique blend of traditional African rhythms with contemporary pop structures gives it broad appeal. Dunnie Alexandra Lawal stated that Afrobeats might have originated in West Africa, but the future of Afrobeats is international.

Fela Kuti's original vision continues to influence new generations of producers who update the sound for streaming platforms. Burna Boy's multiple diamond singles in France demonstrate how the genre has crossed linguistic barriers. The sixty tracks from the Mavin camp extend this trajectory by incorporating French and Creole lyrics.

Nigerian artists have maintained core rhythmic elements while adapting melodies for global listeners. Dunnie Alexandra Lawal's observation underscores how the genre now belongs to an international community of creators. French certifications reflect sustained listener engagement rather than temporary trends.

The evolution from Fela Kuti's era to current streaming dominance shows consistent innovation within West African musical traditions. Burna Boy's achievements in France highlight the commercial scale now possible for Afrobeats acts. The new collaborations at Mavin Records add another chapter to this ongoing story.

Traditional percussion patterns remain central even as producers layer electronic elements. Dunnie Alexandra Lawal sees the genre's international future as an opportunity for more African songwriters to claim ownership of global hits. The sixty tracks produced in Lagos represent one concrete step in that direction.

Voices From the Studio: Artists on the Collaboration

Elestee, whose real name is Treasure Apiafi Banigo and who serves as a Mavin Records singer and songwriter, spent time fine-tuning the compositions with the French visitors. She described one piano track as putting listeners in a good mood while remaining thoughtful in its arrangement. The collaborative process divided artists into groups organised by thematic focus.

Shannon, a singer-songwriter from Martinique, discussed blending Afrobeats with Shatta, the Caribbean mix of dancehall, trap and electronic sounds. She noted that the two styles blend together beautifully when given space to interact. Akotchaye Okio, Sacem director, stated that if one or two songs hit like Ayra Starr's "Rush" or Rema's "Calm Down", then the camp would have achieved its goals.

Elestee worked closely with the French composers to ensure vocal melodies sat comfortably over the new beats. Shannon contributed Caribbean phrasing that complemented the Nigerian rhythms already present. Akotchaye Okio monitored the sessions to maintain the partnership's focus on high-quality output.

The group sessions allowed each participant to test ideas immediately with live musicians. Elestee emphasised the importance of mood and thoughtfulness in the final arrangements. Shannon's experience with Shatta helped integrate electronic textures without overpowering the Afrobeats foundation.

Akotchaye Okio expressed confidence that the sixty tracks contain several potential international successes. Elestee and Shannon both highlighted the value of cross-cultural listening during the writing process. The thematic groupings kept the creative energy focused throughout the week.

Elestee continues to refine several of the compositions after the French composers returned home. Shannon plans to incorporate elements of the Lagos sessions into her own future projects. Akotchaye Okio views the camp as a model for future Sacem initiatives across the continent.

France-Nigeria: A Growing Musical Corridor

Sacem has held similar camps in the United States, France, South Korea and the Netherlands, building expertise that shaped the Lagos event. Existing Franco-Nigerian collaborations include Tiakola and Asake's "Badman Gangsta" as well as Joe Dwet File and Burna Boy's "4 Kampe II". Ninho featuring Omah Lay on "Bad" achieved diamond certification in France, while Ninho also collaborated with Ayra Starr on "No Love".

Aya Nakamura and Ayra Starr released "Hypé", and Davido featured Dadju and Tay C on "Lover Boy". These tracks demonstrate an established corridor of exchange between the two music industries. The Make Music Lagos festival, organised with the French Embassy and Alliance Française, provides another platform for ongoing connection.

Institut Français Lagos runs programmes supporting women in music, complementing the creative work happening at Mavin Records. Voluptyk observed that in France there is always a track influenced by Afro sounds, especially Afrobeats, at the top of the charts. The nine French composers brought this market awareness directly into the studio sessions.

Sacem's prior camps in other countries informed the structure used in Lagos, ensuring efficient use of the one-week timeframe. Tiakola and Asake's joint release showed how French and Nigerian artists can achieve commercial success together. Joe Dwet File and Burna Boy's "4 Kampe II" further proved the appeal of such pairings.

Ninho's diamond-certified "Bad" with Omah Lay and his work with Ayra Starr on "No Love" illustrate the depth of existing ties. Aya Nakamura's collaboration with Ayra Starr on "Hypé" and Davido's "Lover Boy" with Dadju and Tay C add to the catalogue. These precedents gave the Mavin camp a clear reference point.

The French Embassy's involvement through the Make Music Lagos festival extends beyond the studio to public performances. Institut Français programmes continue to support emerging female artists in Nigeria. Voluptyk's chart observation confirms that Afrobeats maintains a permanent presence in French popular music.

What This Means for Africa's Creative Economy

The France-Nigeria music collaboration carries broader implications for Africa's creative economy through increased streaming revenue across the continent. Co-production models like the Sacem camp create direct pathways for African artists to reach European audiences without traditional gatekeepers. Cultural diplomacy plays a visible role, as seen when French President Macron visited Lagos in 2018 with Femi Kuti.

PSG's "Ici C'est Paris Music Lab" has already invited African artists into similar collaborative environments. The potential exists for more countries including Senegal, Côte d'Ivoire and South Africa to follow Nigeria's template of international studio collaborations. After the camp, Mavin artists will choose the beats they prefer and record over them at their own pace.

Streaming platforms now deliver African music to listeners in Dakar, Abidjan and Johannesburg with the same speed as European markets. The Sacem model demonstrates how African labels can retain ownership while expanding distribution. Macron's 2018 visit with Femi Kuti signalled official French interest in these exchanges.

PSG's music lab initiative shows European football clubs recognising the commercial value of African sounds. Senegal's own music scene, anchored by figures such as Youssou N'Dour and Baaba Maal, could host parallel camps that connect Dakar producers with international partners. The sixty tracks from Lagos provide a practical example of how such partnerships generate content.

After the French composers departed, Mavin's roster began selecting preferred beats for final recordings. This step ensures that Nigerian artists maintain creative control over the finished product. Similar processes in other African cities would multiply opportunities for local songwriters.

The creative economy benefits when African labels like Mavin Records host international sessions that result in exportable material. Senegal's established artists and younger producers in Dakar stand ready to replicate elements of this corridor. The long-term effect will be measured in sustained streaming income and cultural visibility for the continent.

By Amara Diop, Staff Writer