By Kunle Solaja, Marrakech, enroute Casablanca.

The morning after Nigeria’s emphatic 2–0 dismissal of Algeria still hummed in my ears as the delegation of fellow journalists from across the world who are guests of the Moroccan National Association of Media and Publishers (ANME) was set to depart the famous red brick city.

We were bound for Casablanca, but a detour was suggested as a visit to Marrakech is deemed incomplete without going to the Medina, the local market.

The joy of the victory over Algeria was still visible on my face as everyone continued to congratulate me as if I orchestrated the Nigerian success. Anyway, victory has a way of sharpening the senses, and in Marrakech it felt as if the city itself was leaning in, eager to perform.

Before the road north beckoned, we slipped into the medina—an ancient heart that beats to a rhythm older than football and louder than any stadium.

The approach alone was an overture. Narrow alleys tightened like a funnel, then suddenly loosened into a living square where sound, colour and movement collided. Drums rattled, flutes sang, hawkers called, and somewhere beneath it all the city breathed—dusty, spicy, human. The medina is not visited; it is entered, and once inside, it takes charge.

We had planned to spend just 20 minutes. We did not realise we had spent over two hours before some of us started yelling ‘Yalla Yalla’, the Moroccan way of saying “let’s go!”

At the centre of the spectacle were the snake charmers. Cross-legged on worn rugs, they coaxed cobras from wicker baskets with a musician’s patience.

The snakes rose and swayed, glossy and alert, their movements choreographed to the reedy insistence of a traditional wind instrument made from a dried gourd.

A small ring of spectators formed and dissolved, coins clinked, cameras clicked, and the charmers’ eyes never left their serpents. It was ritual as much as performance, ancient theatre replayed for a modern audience.

Not far away, domesticated monkeys—tiny, nimble and eerily obedient are perched on shoulders or scamper across the stones at a tug of a string or a murmured command. Their owners guided them with practised ease, turning simple gestures into applause-worthy tricks.

Children laughed, adults smiled, and the monkeys bowed, as if they understood their role in the city’s daily drama.

Beyond the performers, the market revealed its careful order. The medina may feel chaotic, but it is meticulously segmented. One turn led into the spice souk, where pyramids of turmeric, paprika, cumin and saffron glowed like powdered sunsets.

The air was warm with pepper and clove, and vendors scooped, weighed and bargained with theatrical flair. Another alley opened into the leather quarter—rows of slippers, bags and belts in every shade imaginable, the scent unmistakable and earthy.

Further on, metalworkers hammered brass into lanterns and trays, sparks flashing as patterns bloomed under their hands. Carpets followed—thick, handwoven stories stacked floor to ceiling—then pottery, woodwork, jewellery, herbs, oils, and traditional garments, each craft claiming its own territory.

This is what the Marrakech medina is mainly known for: its souks—dense, specialised marketplaces where centuries-old crafts are still practised daily; its performers and storytellers who animate public squares; and its ability to compress Morocco’s cultural, commercial and artistic life into a walkable maze.

It is a living museum without walls, commerce without clocks, tradition without apology.

As we finally pulled away, heading for Casablanca, the noise softened behind us but the impressions lingered.

The Super Eagles’ triumph had given the journey a celebratory glow, yet the medina added something deeper, a reminder that travel, like football, is about immersion. You arrive with expectations, but you leave with stories, and Marrakech, generous as ever, had offered us many.

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The usually quiet roads leading to the Ministry of Youth, Sports and Social Development ground at Awe Close, Dopemu, Lagos, came alive early on Saturday as fans streamed in for Goldberg’s Festival of Drums and Light, staged alongside the Super Eagles’ Africa Cup of Nations quarter-final clash against Algeria.

Long before kick-off, traffic thickened and music filled the air, signalling that this was more than a routine match viewing. From the entrance, it was clear the atmosphere was firmly in Goldberg’s hands, with fans arriving in numbers for a match-day experience built around football, music and shared moments.

Inside the PAKO Field, the venue wore a carnival look, bathed in Goldberg’s signature gold colours.

Branded activity zones dotted the grounds, including a photo booth, dressing room experience and the popular Shoot for Gold stand, where fans tested their shooting accuracy and picked up branded items.

The evening opened on a note of national pride as Yinka Davies, backed by the Ayo Bankole Orchestra, delivered a stirring rendition of Nigeria, We Hail Thee. Supporters’ songs and familiar tunes followed, reinforcing the emotional bond between football and culture.

As anticipation grew, the tempo rose sharply. One hundred drummers led by Kaakaki rolled out deep, rhythmic beats, joined by the energetic Dance Na the Main Thing group.

Ball jugglers and freestyle performers kept the crowd engaged, while host Tolu Daniels guided proceedings and whipped up chants of “Up Super Eagles… Go for Gold,” which quickly echoed across the venue.

Fan engagement remained central to the experience. Predict-and-Win games delivered prizes and laughter, DJ Flame sustained the early mood, and a short screening of Nigeria’s famous 3–0 AFCON 1994 victory over Gabon stirred memories of past glory.

When the match kicked off, the Super Eagles responded with intent, backed by steady encouragement from the crowd. With the score still level at half-time, Hypeman Advantage and DJ Flame ensured belief remained high.

That belief paid off after the break. Victor Osimhen broke the deadlock to spark wild celebrations across the PAKO Field, before Akor Adams sealed a 2–0 victory over Algeria, confirming Nigeria’s place in the AFCON semi-finals.

At the final whistle, the Festival of Drums and Light shifted fully into celebration mode. Zlatan Ibile thrilled fans with Overthinking, fire dancers lit up the night, and DJ KhoDeD kept the energy flowing.

Mavo’s grand entrance lifted the tempo further before Segun Johnson closed the live performances. DJs then took over as fans danced late into the night, many with ice-cold Goldberg Lager Beer in hand.

Speaking on the experience, Laolu Babalola, Portfolio Manager, Mainstream Lager Brands at Nigerian Breweries Plc, said the night captured the essence of the brand’s Our Beat, Our Gold campaign.

“This is how Nigerians experience football,” Babalola said. “It’s not just about the match. It’s about the rhythm, the togetherness and the belief. Our Beat, Our Gold is about creating spaces where fans can feel that connection, especially at moments like this.”

Also commenting, Kunle Aroyehun, Senior Brand Manager for Goldberg Lager Beer, described the festival as a celebration of shared identity.

“Football has a special place in Nigeria,” he said. “What we saw here shows how culture and football come together to unite people, and how Goldberg continues to support those moments.”

The Festival of Drums and Light forms part of Goldberg’s wider Our Beat, Our Gold campaign, which has followed the Super Eagles through AFCON 2025 with viewing centres and fan activations across Lagos and beyond.

As one of the longest-standing sponsors of Nigerian football, the brand says it remains committed to placing fans at the heart of the Super Eagles’ journey.

With Nigeria now through to the semi-finals and still chasing a fourth AFCON title, Goldberg has pledged to keep standing with the team and the fans, celebrating every step of the way.

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By Kunle Solaja, Marrakech

Victor Osimhen played down his personal heroics after inspiring the Nigeria national football team to a 2–0 victory over the Algeria national football team in their Africa Cup of Nations 2025 semi-final clash, insisting the Super Eagles’ success was built on collective effort rather than individual brilliance.

Osimhen, who was named Man of the Match after scoring one goal and providing an assist, credited Nigeria’s teamwork and discipline for seeing off a talented Algerian side and securing a place in the final.

“I scored a goal and provided an assist, but we shouldn’t focus on my personal performance; we should focus on the team effort of the national team,” Osimhen said after the match. “We won against a good Algerian team that has talented players.”

The striker explained that his all-round display was shaped by lessons learned from previous AFCON campaigns, stressing that influence and contribution were just as important as goals.

“For me, I was involved in the game, reflecting on my experience in the previous Africa Cup of Nations,” he noted. “It’s not just about scoring decisive goals, but about how we influence the game and contribute to the victory—that’s what matters most in the national team.”

Osimhen also highlighted his ongoing commitment to personal development as Nigeria chase continental glory.

“I always strive to improve myself, both mentally and physically,” he added.

Nigeria’s composed semi-final performance underlined their growing confidence and cohesion at the tournament, with Osimhen’s leadership up front symbolising a side increasingly focused on collective ambition rather than individual acclaim as they prepare for the AFCON final

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