Entertainment

Tobi Michael Adeyeye, aka Toby Shang, Leads Rise of Afrobeats ‘Hypemen’ Scene

By Eromo Egbejule

Tobi Michael Adeyeye, 32, known as Toby Shang, emerged from the University of Lagos history program in 2015. His first‑semester presentation on the 16th‑century Chinese dynasty impressed classmates, who began calling him Shang. Shang’s energetic crowd engagement stemmed from high‑school gigs as a ginger‑man in a three‑man band and as a private tutor. By his final year, his viral catchphrases and high‑energy style produced the hit song “Shedibalabala.”

Today, Shang describes himself as an “evangelist and pioneer” of the Afrobeats sub‑genre now dubbed Afrohype or lamba. He has hosted a rave, released two EPs, and run four editions of his School of Hype—a one‑day masterclass with online mentoring that has launched several rising stars. Hypemen typically perform high‑octane ad‑libbed vocals and onomatopoeic sounds over fresh beats or popular instrumentals such as “Dorime,” a Nigerian version of Era’s 1996 “Ameno.” Nightclub patrons often donate or spray money—an African custom of throwing or placing money on performers—to celebrate them.

Hypemen are now common at wedding after‑parties, raves, and corporate events. A teenage Instagram sensation records 30‑second hypes for birthday celebrants at friends’ requests. London‑based doctor and cultural critic Dami Ajayi, who met a hypeman in Tirana last month, noted that hypemen “have the gift of the gab and fine mic control” and use spaces between lyrics for humorous, sometimes risque quips.

Although the sub‑genre is male‑dominated, women such as Yaoundé‑based bikutsi artist Lady Ponce—known as the “100,000‑volt lady” for her energy—have made an impact. Other notable female figures include Deborah “Hype Queen Baddy” Francis, an alumnus of Shang’s school who died in September, and radio presenter Melody “M.I.A” Adigo, both from Lagos.

The art of hyping in West and Central Africa traces back to praise‑singing and call‑and‑response traditions. In West Africa, oral historians known as griots performed similar roles, while in the United States, negro spirituals and sacred folk songs sustained the practice. These traditions evolved into the atalaku style—meaning “look here, look at me” in Kikongo—popularized in 1980s Kinshasa and now central to the hype scene. Influential exponents include American gospel singer Kirk Franklin, Congolese rumba bandleader Koffi Olomide, and singer Awilo Longomba.

The success of Olomide and Longomba sparked a craze in Côte d’Ivoire, where coupé‑décalé music embraced atalaku alongside farotement, the act of showing off by throwing cash at performers or guests. DJ Arafat’s 2003 viral homage to a late friend, “Tout le monde galope, kirikata kirikata,” influenced later Nigerian Afrobeats hits by Flavour N’abania and Skales. Côte d’Ivoire’s national television network, RTI, ran an atalaku talent hunt for several years; Lili Djely, an Ivorian woman of Malian origin, won the 2006 edition with a mix of Ivorian nouchi and French, defeating men for the crown.

In recent years, Ghana’s DJ awards introduced an MC/hypeman of the year category as hype flourished there. With Afrobeats’ growing popularity, Afrohype is now recognized as a full‑time career. After Covid‑19, as artists became more expensive to book, promoters turned to hypemen—previously criticized for simple voiceovers. Some hypemen reportedly earn 5–8 million naira (£2,844–4,550) for a 30‑minute or one‑hour performance. Critics argue hype can raise noise levels, encourage fraudulent lifestyles, and that many performers fail to tailor language and tempo to the event.

Despite these concerns, hypemen remain a permanent fixture in the entertainment scene. For Shang, they help fun‑seekers and club‑goers return to the dancefloor. “People are facing a lot of challenges … they need somebody to tell them money is coming in the new week,” he said. “Also, everybody wants to press their phones or show Birkin bags in clubs. Nobody wants to dance because dancing is seen as for small kids. You need a hypeman to bring out that childlike part in every person. A 60‑year‑old woman can start dancing like a young girl if the hype is good enough.”