Lovn
SOUNDBENDER
Album · Afrobeats · 2026 · MG ENTERTAINMENT NIG LTD · Just dropped! Listen now
With his debut project SOUNDBENDER, rising Nigerian singer-songwriter Lovn bends sound around competing needs: intimacy and autonomy, material survival and self-worth. Across its hybrid forms, the album asks how to remain emotionally available without becoming defenceless. On “BABY,” he has ended a damaging relationship, but the bond has yet to disappear. “I carry your matter for head like a human hair…I no do again,” he sings, but a clipped guitar loop keeps circling back, as the attachment does.
South African-inflected production and choral lines shape the hook of “OVER THE NIGHT,” while Lovn and Ayanfe’s Yoruba singing and intermittent talking drums keep West Africa audible within the house pulse. The song remains suspended within its title, never quite reaching morning. “If you want me, we go Zule Zoo/Kerewa like Zule Zoo,” Lovn sings on “AVAILABLE,” recalling the Nigerian duo’s mid-2000s hit about infidelity seen through a child’s eyes. As a plinking three-note guitar figure cuts through the rumbling Afrobeats, he’s less interested in the infidelity than in the act itself.
“OMO TI O COMMON II,” (roughly, “an uncommon person”) features guests Terry Apala and L.A.X extending his boast. “Owó tí mo ní se ki n gbé wa o” (“The money I have could sustain us”), sings L.A.X, as excess and success become audible through accumulating percussion. The distorted guitar riff that opens “DO NOT DISTURB (DND)” returns to close it, as Lovn pursues career ascent while protecting his peace from intrusion. “Do not disturb my peace,” he sings, presenting peace as controlled aggression rather than softness.
On “DON’T LEAVE ME,” pounding piano supports Amaeya’s multitracked chorus, which enlarges Lovn’s solitary plea into a rousing appeal and makes dependence sound dignified rather than weak. Latin-tinged R&B meets the call-and-response of Fela’s Afrobeat on “KONSE.” Lovn saves his energy for what produces dividends. “Happiness is free/But happiness comes with a fee,” he reasons. For Lovn, money becomes both the equation and the solution.
South African-inflected production and choral lines shape the hook of “OVER THE NIGHT,” while Lovn and Ayanfe’s Yoruba singing and intermittent talking drums keep West Africa audible within the house pulse. The song remains suspended within its title, never quite reaching morning. “If you want me, we go Zule Zoo/Kerewa like Zule Zoo,” Lovn sings on “AVAILABLE,” recalling the Nigerian duo’s mid-2000s hit about infidelity seen through a child’s eyes. As a plinking three-note guitar figure cuts through the rumbling Afrobeats, he’s less interested in the infidelity than in the act itself.
“OMO TI O COMMON II,” (roughly, “an uncommon person”) features guests Terry Apala and L.A.X extending his boast. “Owó tí mo ní se ki n gbé wa o” (“The money I have could sustain us”), sings L.A.X, as excess and success become audible through accumulating percussion. The distorted guitar riff that opens “DO NOT DISTURB (DND)” returns to close it, as Lovn pursues career ascent while protecting his peace from intrusion. “Do not disturb my peace,” he sings, presenting peace as controlled aggression rather than softness.
On “DON’T LEAVE ME,” pounding piano supports Amaeya’s multitracked chorus, which enlarges Lovn’s solitary plea into a rousing appeal and makes dependence sound dignified rather than weak. Latin-tinged R&B meets the call-and-response of Fela’s Afrobeat on “KONSE.” Lovn saves his energy for what produces dividends. “Happiness is free/But happiness comes with a fee,” he reasons. For Lovn, money becomes both the equation and the solution.
SOUNDBENDER
Lovn
With his debut project SOUNDBENDER, rising Nigerian singer-songwriter Lovn bends sound around competing needs: intimacy and autonomy, material survival and self-worth. Across its hybrid forms, the album asks how to remain emotionally available without becoming defenceless. On “BABY,” he has ended a damaging relationship, but the bond has yet to disappear. “I carry your matter for head like a human hair…I no do again,” he sings, but a clipped guitar loop keeps circling back, as the attachment does.
South African-inflected production and choral lines shape the hook of “OVER THE NIGHT,” while Lovn and Ayanfe’s Yoruba singing and intermittent talking drums keep West Africa audible within the house pulse. The song remains suspended within its title, never quite reaching morning. “If you want me, we go Zule Zoo/Kerewa like Zule Zoo,” Lovn sings on “AVAILABLE,” recalling the Nigerian duo’s mid-2000s hit about infidelity seen through a child’s eyes. As a plinking three-note guitar figure cuts through the rumbling Afrobeats, he’s less interested in the infidelity than in the act itself.
“OMO TI O COMMON II,” (roughly, “an uncommon person”) features guests Terry Apala and L.A.X extending his boast. “Owó tí mo ní se ki n gbé wa o” (“The money I have could sustain us”), sings L.A.X, as excess and success become audible through accumulating percussion. The distorted guitar riff that opens “DO NOT DISTURB (DND)” returns to close it, as Lovn pursues career ascent while protecting his peace from intrusion. “Do not disturb my peace,” he sings, presenting peace as controlled aggression rather than softness.
On “DON’T LEAVE ME,” pounding piano supports Amaeya’s multitracked chorus, which enlarges Lovn’s solitary plea into a rousing appeal and makes dependence sound dignified rather than weak. Latin-tinged R&B meets the call-and-response of Fela’s Afrobeat on “KONSE.” Lovn saves his energy for what produces dividends. “Happiness is free/But happiness comes with a fee,” he reasons. For Lovn, money becomes both the equation and the solution.
South African-inflected production and choral lines shape the hook of “OVER THE NIGHT,” while Lovn and Ayanfe’s Yoruba singing and intermittent talking drums keep West Africa audible within the house pulse. The song remains suspended within its title, never quite reaching morning. “If you want me, we go Zule Zoo/Kerewa like Zule Zoo,” Lovn sings on “AVAILABLE,” recalling the Nigerian duo’s mid-2000s hit about infidelity seen through a child’s eyes. As a plinking three-note guitar figure cuts through the rumbling Afrobeats, he’s less interested in the infidelity than in the act itself.
“OMO TI O COMMON II,” (roughly, “an uncommon person”) features guests Terry Apala and L.A.X extending his boast. “Owó tí mo ní se ki n gbé wa o” (“The money I have could sustain us”), sings L.A.X, as excess and success become audible through accumulating percussion. The distorted guitar riff that opens “DO NOT DISTURB (DND)” returns to close it, as Lovn pursues career ascent while protecting his peace from intrusion. “Do not disturb my peace,” he sings, presenting peace as controlled aggression rather than softness.
On “DON’T LEAVE ME,” pounding piano supports Amaeya’s multitracked chorus, which enlarges Lovn’s solitary plea into a rousing appeal and makes dependence sound dignified rather than weak. Latin-tinged R&B meets the call-and-response of Fela’s Afrobeat on “KONSE.” Lovn saves his energy for what produces dividends. “Happiness is free/But happiness comes with a fee,” he reasons. For Lovn, money becomes both the equation and the solution.
