“You can’t treat an album like a single—you have to be ready ready,” declares Nigerian singer Joeboy about his third full-length album, 2025’s Viva Lavida. Released after two celebrated albums, an EP and chart-topping singles in multiple countries, the project signifies a new focus in his musical evolution.
Inspired by the Spanish phrase “viva la vida”, meaning “long live life”, Joeboy’s chosen approach for making the album was predicated on expressive freedom, breaking away from common conventions in Afropop to achieve a distinctive, individualised output. “I was creating the album from a mindset of just freedom and no fear,” the artist tells Apple Music. “I wasn’t trying to fit into any box or whatnot sound-wise. I just really wanted to do something that felt different to me and my discography. I just wanted to be free.”
This sense of freedom drives Joeboy’s adoption of Middle Eastern, North African and Asian influences from travels to Dubai, Oman, Qatar and India. High-pitched vocals, plinking guitars and oud, qanun and sitar meld with syncopated West African rhythms and South African log drums, showcasing his zest for innovation.
Central to this sonic exploration is the team of producers behind Viva Lavida. Joeboy’s process begins with leisurely activities alongside his production team. “We just play video games before we lock into the studio. That’s the best way to make music—from a place of no pressure,” he explains. Largely sung in lyrical combinations of Yoruba, English and Pidgin, Joeboy’s lyrics, as well as the conceptual ambitions for Viva Lavida, rely on R&B song structures, which point to his foundational interests in music. “Deep inside, artistically, as a creative, personally, I lean towards R&B,” Joeboy confesses.
The result is an impressive mix of new and familiar soundscapes, odes to highlife greats and recognition of younger talents, which contribute to the richness of Viva Lavida. “My expectations for the album—with all confidence and faith and belief and hard work—it’s definitely global domination,” Joeboy asserts. Below, he talks through key tracks from the album.
“Innocent”
“The idea of the song was about my mindset at some particular point in my life, not my present mindset, where love was pure and I was still innocent in my heart. I thought the world was pure and full of roses and butterflies—that’s the way love was supposed to feel. I just had to make a song about that state of mind. I didn’t get to make it then, but I wanted to express it now for everybody that comes with being innocent in love. I know many people can relate to that message or vibe.”
“Abena”
“I’d say it’s very important, especially in mainstream music—pop, Afropop, Afrobeats—to make a point of being relatable. That influences the way I write certain songs, like ‘Abena’. That inspired the vibe of the song. I’d call it a party-starter—it’s that kind of track. I love Ghana so much and always try to represent my people there in one way or another with my projects.”
“Streets Are Lonely”
“‘Streets Are Lonely’, in this context, reflects the idea of social media creating an illusion of many options—‘there’s plenty of fish in the sea’. The slang ‘the streets’ refers to the dating game, where people say, ‘I’m off the streets’ when in a relationship or ‘I’m out’ when single. But really, the streets are lonely. The dating game is long, and people are so guarded these days. Personally, I’m OK with being alone. I can stay home for days, comfortable in silence with my video games, books and dumbbells.”
“Taxi Driver”
“Everyone has been in a taxi at some point—maybe after a bad day, just sitting in the back, deep in thought, looking out the window, and trying to take it easy. I wanted to express that feeling in the song. Taxi drivers often hear people’s stories, and sometimes those conversations with a stranger, someone you’ll probably never see again, can be therapeutic. You just dump your emotions and sometimes they even encourage you.”
“Magdalene”
“‘Magdalene’ is a fusion of so many influences. The hook feels like classic Nigerian highlife, with sounds reminiscent of J. Martins. The beats include Asian and North African influences: there’s no Afrobeats song out there that sounds like ‘Magdalene’ right now. Not many people where I’m from listen to these sounds, but they inspire me to create music that feels free and different.”
“Sunset” (with Elana Dara)
“Elana Dara, a talented Latino singer, was the perfect fit for ‘Sunset’, the final song I completed for the album. I’d already laid down the first verse and chorus and, when Elana came on board, she brought 100 per cent energy and truly elevated the track. ‘Sunset’ is a daydream of pure love—being with the love of my life, no worries, dancing on a beach in the Caribbean, savouring quality time. Big shout-out to Elana for her incredible contribution.”
“Adenuga” (feat. Qing Madi)
“For me, I naturally listen to a lot of young artists. I’ve been a fan of Qing Madi since her first official single, ‘See Finish’. I’ve followed her career from behind the scenes. When working on ‘Adenuga’, I felt the song needed a female artist. I was scrolling TikTok, came across Madi and thought, ‘Her sound is perfect for this.’ We reached out and she delivered an incredible verse. I’m so impressed by her energy and artistry at such a young age. In four or five years, she’ll be unstoppable.”
“Free of Charge” (with Olamide)
“‘Free of Charge’ means so much to me because I finally got to work with someone who’s inspired me for years. Olamide, or Badoo, is a hometown hero in Bariga [Lagos, Nigeria] where I grew up. [The video for] his first official song was shot in our hood, and it made young people like me believe we could make it too. Getting him on this track is a full-circle moment. Badoo blessed the verse and has been so supportive—offering advice, help and encouragement. I’m so excited for people to hear the final version. He truly deserves all the good things life has to offer.”
“Osadebe”
“I see this as a tribute to the late Chief Osadebe, a pioneer of Nigerian highlife, known for songs like ‘Osondi Owendi’ [meaning ‘one man’s food is another man’s poison’]. It’s a reminder to focus on your journey and do what works best for you. The song’s message is about staying true to yourself, not copying others and embracing your unique path. At the end of the day, everyone has their own life and journey to face.”
“Hey Father”
“It was definitely the beat that drew me to ‘Hey Father’. I wasn’t in the mood for a love song or something emotional—I wanted an introspective track you could still dance to. The song is essentially a prayer: ‘Hey Father, shine your light on me. Open my eyes so I can see. Let me make the right decision.’ It’s about asking God for guidance and protection because I can’t do it all by myself.”
“Sinner”
“One thing I love to do when my emotions are heightened is create—you make the best music when your emotions are intense, good or bad. ‘Sinner’ came from a melancholic state. It’s about thanking God for loving me despite my flaws. Even when I sin, I pray, and God still blesses and protects me. The song also reflects how we try to fill voids with material things—cars, watches, fame—but still feel incomplete. True happiness isn’t in those things; it’s in holding onto God and finding fulfilment through Him.”
“I’ll Be Okay” (with Wizard Chan)
“I’ve been a fan of Wizard Chan since 2022. His conscious music speaks to me—he reminds me of Bob Marley. ‘I’ll Be Okay’ is about facing life’s challenges and knowing you’ll come out stronger. I remember being worried in 2018 before my career took off. It was depressing, but I kept pushing. Then ‘Baby’ dropped, followed by ‘Beginning’, ‘Don’t Call Me Back’, ‘Sip’ and others, and things fell into place. The song is a reminder not to let problems defeat us. Life will always have challenges, but if we keep going, we’ll be OK.
