From 18 to 25 January, nine French composers and a roster of Nigerian songwriters locked into Mavin Records’ studios in Lagos. The Afrocroiser Mavin Records songwriting camp produced over 60 tracks in seven days. French, English, Nigerian Pidgin and Creole blended across every session. SACEM, the French performing rights society, organised the initiative alongside Mavin Records and the French Embassy in Nigeria. The name itself signals the ambition. Afrocroiser sounds like a vessel built to carry music across borders. That is exactly what it intends to do.
SACEM has hosted similar international songwriting camps in the United States, South Korea, the Netherlands and France. But the Lagos edition carries unique weight. Nigeria’s music scene produces global hits at a rate few countries can match. France’s urban music market ranks among Europe’s largest. The intersection of these two powerhouses could produce records that chart simultaneously in Lagos, Paris, London and beyond.
The Talent in the Room
The French delegation arrived with serious credentials. Dany Synthé, PSK, Voluptyk, Seysey, Ozhora, Julio Masidi, Renaud Rebillaud and Shannon brought production credits spanning Aya Nakamura, Gims, Booba, Vianney, Indochine, Jul, Jason Derulo, Major Lazer, Lil Baby, Beny Jr, K y B and Morad. These are not emerging names. They represent the creative backbone of France’s chart-dominating urban music scene.
AfrobeatsOn the Nigerian side, the camp featured writers behind some of Afrobeats’ most significant global records. Mbryo and Andre Vibez crafted the beats for Rema’s “Calm Down” and “Dumebi.” The writers behind Ayra Starr’s “Rush” and Davido’s “Unavailable” also participated. Magixx, Bayanni, Kold AF, Elestee, Deeno, Milar, Ragee and Ozedikus represented Mavin’s creative core. The combined discography in that room covered billions of streams.
Inside the Studios
PSK, the 21-year-old French producer whose real name is Maxime Pasquier, had never visited Africa before the camp. He works with major French artists like Ninho, Jok’Air and Genezio at home. But Nigeria offered something different. He noticed it immediately. He said Nigerian artists let songs carry them away. They push ideas further than French producers typically allow themselves to go. The result: tracks that feel both mellow and rhythmic simultaneously, combining emotional depth with dance-floor energy.
PSK collaborated directly with Nigerian counterpart Dunnie Alexandra Lawal. Together they produced several tracks across the week. Artists were divided into groups according to themes, allowing focused creative exploration rather than chaotic open sessions. Mavin’s singer and songwriter Elestee, whose real name is Treasure Apiafi Banigo, described a piano-led track from the sessions with genuine excitement. She called it the kind of song that puts you in a good mood while making you thoughtful. The kind you play at six in the morning while driving, with a smile on your face. She predicted the audience will love it.
Voluptyk, the 24-year-old French producer also known as Nassim Diane, attributed the vibrancy of the Nigerian music scene to two things: the extraordinary talent of the artists and the central role music plays in everyday life across the country. For him, the experience confirmed that the future of Afrobeats lies in international collaboration.
Why This Matters for Afrobeats
French-Nigerian collaborations have surged in recent years. Tiakola and Asake released “Badman Gangsta” in 2025. Joe Dwet File and Burna Boy scored a massive hit with “4 Kampe II.” France 24 reported that every major French chart release now carries an Afro-influenced track. The demand is structural, not seasonal. French audiences consume Afrobeats as eagerly as Nigerian audiences consume French urban music. Afrocroiser formalises a cultural exchange that was already happening organically.
Margaux Demeersseman, France’s Regional Music Attaché for Sub-Saharan Africa, framed the ambition clearly. She said the connections between France and Nigeria have never been more obvious. The initiative aims to build lasting relationships between composers and music publishing professionals from both countries. The music is the product. The professional relationships are the infrastructure. Afrocroiser invests in both simultaneously.
The cultural exchange runs deeper than studio sessions. France hosts one of Europe’s largest African diaspora communities. Afrobeats nights pack Parisian venues regularly. French-language Afro-influenced tracks dominate streaming charts. Nigerian artists already tour French cities with growing frequency. The Afrocroiser initiative formalises and accelerates a connection that audiences on both sides have demanded for years. It also opens publishing pathways. When French and Nigerian writers co-create, the resulting works generate royalties across both SACEM and MCSN territories. That dual-market earning potential incentivises future collaboration.
What Happens Next
Mavin’s artists will select their favourite beats from the 60-plus tracks. They will record vocals over them. Some songs will also land with French artists. The dual pipeline maximises the camp’s output across both markets. Kizito Ahams, Mavin’s Senior Publishing and Licensing Manager, called the initiative critical to how global hits take shape today. He described it as a rare opportunity for cross-pollination that can lead to globally competitive works.
SACEM’s director Akotchaye Okio set the bar high. He said if just one or two songs hit like “Rush” or “Calm Down,” the camp would have achieved everything. Given the track record of the writers involved, those odds look more than favourable. Afrocroiser may well produce the next record that defines a season. If it does, remember: it started in a Lagos studio, over seven days, with two countries daring to build something together.
