On November 8, 2025, Asake took the grand stage of Kings Theatre in Brooklyn and delivered a performance that may redefine how Afrobeats is presented.
Billed as the first U.S. Red Bull Symphonic led by an African artist, the sold‑out show fused Asake’s fújì‑infused Afrobeats catalogue with a 33‑piece orchestra led by conductor Glenn Alexander II.
Hits like “Lonely at the Top,” “Sungba” and “Terminator” were reimagined with cinematic string swells and brass flourishes, turning club anthems into lavish suites. Critics hailed the concert as both a celebration and a cultural statement, noting that Asake is the first African artist to headline the Brooklyn edition of the programme.
The night was full of surprises. Mid‑set, Asake previewed an unreleased song from his forthcoming Mr. Money project, and the audience responded with gasps and cheers. He then welcomed an international slate of guests Wizkid, Tiakola, Gunna, Central Cee and Fridayy whose rap and R&B verses dovetailed seamlessly into the orchestral textures.
In a moment that electrified the Kings Theatre, Asake stunned fans by bringing out Wizkid for an unannounced cameo during his Red Bull Symphonic set. The orchestra swelled, the spotlight shifted and suddenly, Wizkid emerged, sending the Brooklyn crowd into a collective uproar.
Performing their 2024 collab “MMS” with live strings and brass behind them, the duo transformed the night from genre fusion to generational link-up. Social media instantly lit up with real-time clips of the moment, with Billboard Africa calling it one of the show’s defining highlights.
The most talked‑about moment came when Wizkid slipped onto the stage during their hit “MMS.”
Fans screamed as the Afrobeats icon’s smooth vocals blended with the orchestra; social feeds quickly filled with clips of the duet, and one fan gushed that Asake’s symphonic show was “what I always wanted”.
On social media, the mood was euphoric.
Afrobeats tastemakers and fans posted live footage and reverent commentary. One viral post captured the awe of the night, saying:
ENTERTAINMENT
Asake Turns Up Kings Theatre with a Symphony of Afrobeats
Nov 11, 2025
May 15, 2026
5 min read
Published
Updated:
On November 8, 2025, Asake took the grand stage of Kings Theatre in Brooklyn and delivered a performance that may redefine how Afrobeats is presented.
Billed as the first U.S. Red Bull Symphonic led by an African artist, the sold‑out show fused Asake’s fújì‑infused Afrobeats catalogue with a 33‑piece orchestra led by conductor Glenn Alexander II.
Hits like “Lonely at the Top,” “Sungba” and “Terminator” were reimagined with cinematic string swells and brass flourishes, turning club anthems into lavish suites. Critics hailed the concert as both a celebration and a cultural statement, noting that Asake is the first African artist to headline the Brooklyn edition of the programme.
The night was full of surprises. Mid‑set, Asake previewed an unreleased song from his forthcoming Mr. Money project, and the audience responded with gasps and cheers. He then welcomed an international slate of guests Wizkid, Tiakola, Gunna, Central Cee and Fridayy whose rap and R&B verses dovetailed seamlessly into the orchestral textures.
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In a moment that electrified the Kings Theatre, Asake stunned fans by bringing out Wizkid for an unannounced cameo during his Red Bull Symphonic set. The orchestra swelled, the spotlight shifted and suddenly, Wizkid emerged, sending the Brooklyn crowd into a collective uproar.
Performing their 2024 collab “MMS” with live strings and brass behind them, the duo transformed the night from genre fusion to generational link-up. Social media instantly lit up with real-time clips of the moment, with Billboard Africa calling it one of the show’s defining highlights.
The most talked‑about moment came when Wizkid slipped onto the stage during their hit “MMS.”
Fans screamed as the Afrobeats icon’s smooth vocals blended with the orchestra; social feeds quickly filled with clips of the duet, and one fan gushed that Asake’s symphonic show was “what I always wanted”.
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On social media, the mood was euphoric.
Afrobeats tastemakers and fans posted live footage and reverent commentary. One viral post captured the awe of the night, saying:
“Asake is performing an orchestral concert with #RedBullSymphonic at Kings Theatre in New York City. We’re witnessing greatness”.
Another declared in Pidgin that
“Asake no small again” and praised his mentors Olamide and Wizkid for helping him reach this milestone.
Even Kings Theatre’s official account chimed in, calling the event “history made.” The combination of string sections, Afrobeats grooves and cameo appearances made the show a trending topic, and short clips of the symphonic reworks amassed hundreds of thousands of views across X and Instagram.
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Beyond the excitement, commentators noted the cultural significance of seeing a Nigerian artist command a venerable New York stage with a full orchestra. 3Music TV described it as a milestone that situates Afrobeats within a global high‑arts dialogue, blending Yoruba melodies with classical depth.
Pulse Nigeria observed that the fusion proved African rhythms could hold their own alongside any genre, while Premium Times argued that experiences like this show Afrobeats’ ability to transcend clubs and arenas to reach concert halls.
The success of Red Bull Symphonic in Brooklyn suggests new horizons for Afrobeats from Lagos to London and now to symphony halls and hints that the genre’s next chapter will be written with strings and brass alongside amapiano drums.
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