By
Bolaji Akinwande
Hip-hop has always been aspirational, a genre born out of struggle but steeped in the pursuit of success, wealth, and self-determination. When it found its way into Nigeria in the late ’80s and early 2000s, the country was grappling with economic instability and inflation that kept its people bound to financial uncertainty. For Nigerian youth, hip-hop became more than music; it was a mirror of ambition, a lyrical manifesto for freedom and possibility.
Pioneers like Emphasis, The Remedies, and Trybesmen localized the sound, blending American influences with pidgin English, the nation’s lingua franca to make the genre authentically Nigerian. Their music was laced with the spirit of survival, defiance, and the dream of a better tomorrow.
By the 2000s, a new wave emerged. M.I Abaga, Naeto C, and others reshaped Nigerian hip-hop with sharp lyricism and an unmistakable drive. Their artistry wasn’t just about rhymes; it was about living the life they rapped about. And woven into this culture of ambition was a cognac that became more than a drink- Hennessy.
Naeto C’s 2012 hit “Tony Montana (Bad Pass)” Remix with D’Banj immortalized that moment: it features two stars toasting with bottles of Hennessy, not just as a prop, but as a declaration of status, artistry, and belonging. It wasn’t long before Hennessy moved from lyrics to lifestyle. That same year, M.I and Naeto C joined forces on “Bartender” for Hennessy Artistry, a campaign that bridged music and nightlife. Ice Prince, eLDee, and others followed suit, cementing the cognac’s place as a soundtrack to Nigeria’s hip-hop golden era.
But Hennessy’s story didn’t end with hip-hop. As Afrobeats exploded into mainstream consciousness, artists carried the same aspirational energy into their sound. In 2007, Olu Maintain’s “Yahooze” made Hennessy a party staple, a liquid symbol of success and celebration. What seemed like a passing mention became a recurring motif across the genre. From Wande Coal to 2Face Idibia, Olamide to Adekunle Gold, Rema to Lojay, generations of artists have poured Hennessy into their lyrics, their performances, their memories. In Adekunle Gold’s ear-catching banger “High” featuring Davido, the singer croons “Hennessy 250, kò ma lo ní títí”—a nod to the cognac as the ultimate symbol of luxury for those living large. This cultural stamp isn’t limited to him alone. New-generation Afrobeats stars like Rema have also name-dropped the iconic cognac; in his 2020 track “Ginger Me”, he likens the thrill of love to the rush of Hennessy, singing, “Only you wey dey high me like Hennessy.” Unlike forced product placements, its presence felt natural, authentic, a reflection of what Nigerians were actually drinking, living, and celebrating with.
Even more powerful, Hennessy has played a role in shifting gender stereotypes in music. In a male-dominated industry, women like Tiwa Savage and Ayra Starr have claimed their space unapologetically, raising a glass of Hennessy in their lyrics. In the Afrobeat song “Tiwa Vibe” by Tiwa Savage, the songstress sings: “Hennessy for my cup, Hennessy dey for body oh, shayo galore, see oju ti leri oh yeh yeh. While in the song “Bad Vibes” by Ayra Starr, a song about living and enjoying life on one’s terms, Ayra echoes: I know you know I never drink, I’m mixing with that Hennessy. The two references show that ambition, pleasure, and freedom are not reserved for men.
At its core, Nigerian music has always been about aspiration. From hip-hop’s grit to Afrobeats’ infectious joy, each sound has been both a record of present realities and an escape from them. Through it all, Hennessy has flowed seamlessly alongside, not as a mere cognac, but as a cultural symbol, a badge of ambition, and a witness to decades of evolution.
In the clubs, in the studios, and in the lyrics that defined an era, Hennessy has been more than a drink. It has been the spirit of a generation, a taste of success immortalized in rhythm, rhyme, and memory.
