Blaqbonez, Tyla, King Promise, Muyeez and More on New Music Friday
There’s a certain rhythm to Fridays now that emphasizes positioning. This week’s drops tighten grip on creativity. From Blaqbonez extending his run with a calculated deluxe, to Tyla stepping further into global pop waters, and King Promise leaning into quiet, assured reflection, the music feels aware of where it needs to sit. Even on the street end, names like Muyeez keep things functional—direct, repeatable, built to move. It’s less about who says the most this week, and more about who understands the moment they’re in, and how efficiently they can occupy it.
Blaqbonez – No Excuses (Deluxe)
‘No Excuses (Deluxe)’ is a 20-track extension of his October 2025 album, released today, adding four new songs: “ACL V2.0”, “Work in the Morning,” “Fine Shyt” (feat. TML Vibez), and “Hustle Kpa $$$” (feat. Artsalghul), pushing the runtime to around 59 minutes. The project stays rooted in Nigerian hip-hop fused with Afrobeats, amapiano, and melodic R&B, with Blaqbonez handling most of the rapping and singing.
The core album already showed Blaqbonez leaning into confident, boastful bars about authenticity, hustle, and versatility while mixing street energy with pop-leaning hooks. The deluxe keeps that formula: opener “Everlasting Taker” sets a self-proclaimed “last real nigga” tone with direct, no-frills rap. “Consistency” (feat. AJ Tracey) and “Aura 4 Aura” (feat. Pa Salieu) highlight cross-Atlantic and UK-Naija chemistry over skittering drums and rhythmic flows.
New additions follow the same lane. “Hustle Kpa $” leans into motivational street rap with kinetic energy. “Fine Shyt” shifts melodic with TML Vibez for a smoother, club-ready vibe. “Work in the Morning” keeps the late-night-to-grind transition feel. “ACL V2.0” is the moment people will pull out. Here, Blaqbonez re-records the version of his October 2025 diss track “ACL” with a new beat and added verse. The beef with ODUMODUBLVCK started with subliminals earlier in 2025, escalated through direct shots, and boiled over on Blaqbonez’s No Excuses album. “ACL” (original) was a two-part response to Odumodublvck’s “2:02PM in London” and “If You Like Gym” disses. Blaqbonez used sharp bars, humor, and threats shown in the visualizer (DMs from Odumodublvck) to paint him as a clout-chasing “failed rapper turned internet gangster”.
Odumodublvck reportedly bought the rights to the original instrumental, claimed it was uncleared, and got the song taken down from Spotify after it had racked up millions of streams. In response, Blaqbonez came back with ACL 2.0 on a fresh beat, doubling down with even more direct shots and brotherly “advice” mixed in.
Tracks like “Bizzy Body”, “Despacito”, “Nati” (with Olamide), and “Go Crazy” deliver bright, danceable production—amapiano pulses, tropical touches, and high-energy Afro rhythms—while cuts like “Just Hustlin$”, “Good Time”, and “California Issues” slow into laid-back, soulful territory. Blaqbonez glides between dense lyricism and catchy singing without forcing transitions.
Production stays functional and lyrics centre on self-belief, women, money, and subtle industry jabs. The deluxe doesn’t overhaul the original; it pads it with more of the same, extending playtime for playlists rather than adding a distinct new chapter. Blaqbonez moves between rapping and singing comfortably. That’s still his strongest asset—he can sit on a hook or a verse without it feeling forced.
The original album already positioned him in the conversation; this deluxe mostly maintains the status quo and somehow elevates it.
Tyla feat. Zara Larsson – She Did It Again
“She Did It Again” is a mid-tempo pop track released today as the second single from Tyla’s upcoming second album A-Pop. It runs short and sticky, built on a bouncy but minimal groove: simple percussion, light synths, and a steady pulse that prioritizes smooth movement over layers or dynamics. It’s clean, mid-tempo, and deliberately unthreatening. The log drum is there, but it’s restrained; the drums don’t swing as much as they loop.
Tyla leads with her usual cool, sensual delivery across the bulk of the verses and choruses. She plays the irresistible, addictive presence: “I’m addictive, baby, what you want me to do? / Not a quick fix, one hit might ruin you.” Zara Larsson slots in for the second verse with a brighter, more direct pop cadence and the most obvious moment on the record: “Oops, did it again like Britney.” The chorus is a looped “Uh-oh, uh-oh / She did it again” hook with echoing “I know you do” lines underneath, catching and building quickly. Her voice carries more intention—cleaner enunciation, firmer phrasing, and a clearer pop instinct.
Lyrically it’s straightforward seduction-and-obsession fare. Both women portray themselves as dangerous in love: one-night situations that leave the other person hooked and lying to their actual partner. The Britney reference is a cute Y2K nod. Production (Sammy Soso, Believve and others) keeps everything dancefloor functional. The accompanying music video is sleek—desert architecture cutting to waterfalls and both artists dancing in coordinated, quite inventive choreography that matches the song’s polished, low-stakes energy.
“She Did It Again” highlights a chemistry that sees Tyla’s effortless cool meet Zara Larsson’s solid verse with an ease reminiscent of 2010s R&B vibes with competent, hooky, and unforgettable verses that stick.
King Promise & Mr Eazi – See What We’ve Done
‘See What We’ve Done’ is a concise Afrofusion project blending Ghanaian highlife influences, Afrobeats rhythms, and smooth R&B. Production comes primarily from Gideonite and GuiltyBeatz, keeping things light, melodic, and club-ready without heavy experimentation.
King Promise and Mr Eazi lean into familiarity here both sonically and thematically. The two have collaborated for over a decade, with this being their first full joint project. It leans into themes of success, friendship, good living, and romance. King Promise brings expressive, sometimes risqué and emotionally direct vocals. Mr Eazi stays in his wheelhouse: laid-back, cool delivery with effortless flow between English and pidgin/Twi. Tracks switch languages fluidly, using it as rhythmic texture rather than a gimmick.
Standouts include the title track “See What We’ve Done”, a celebratory flex with GuiltyBeatz production; “That Way”, and “Mariana” (soulful, previously released singles with videos). Other cuts like “Where Have You Been?”, “Taste”, “Criminal”, “Baby I’m Jealous”, “No. 1 Fan”, and “Mad Ting” follow the same mid-tempo, feel-good lane—bouncy percussion, warm synths, and sing-along hooks.
King Promise carries most of the weight. His delivery is smooth, controlled, and predictable in the way his best records often are, prioritizing melody. Mr Eazi fits into the record without shifting it. His laid-back phrasing blends into the production and keeps the dynamic alive.
The title sets the direction: reflection framed as a quiet victory with a writing that circles success, love, growth, and distance from where they started, with a listener getting the idea quickly. Production is polished and consistent, familiar Afrobeats templates that prioritize replayability. Lyrics center on love, jealousy, success reflection, and light flexing. It’s short, front-loaded with the pre-released singles, and designed for streaming rotation across Ghana, Nigeria, and diaspora playlists.
For two artists with a history of shaping this lane, they attempt to make a statement with “See What We’ve Done” — competent, breezy, and functional. It reinforces both as reliable crossover figures in Afrobeats/R&B who play extremely well within their established lanes.
Muyeez ft. Zerrydl, Ayo Maff & Famous Pluto – Bank Alert
Muyeez’s “Bank Alert”, produced by Medley, sits in the energetic street-pop/Afrobeats lane with rhythmic percussion, lively melodic layers, and a steady groove designed for replay.
Muyeez leads with his soulful, melodic vocals. The featured artists — Zerrydl, Ayo Maff, and Famous Pluto — drop verses that add street flavour and chemistry. The hook plays on “bank alert” as a celebration of money incoming or a flashy lifestyle, mixed with party-ready lines like “party vibes”, “popori”, and “gangster energy”. It’s straightforward flex and fun with a lyrics structure that stays surface-level and hook-driven.
Production is a bouncy but not overly complex, contagious melody curated with danceable percussion. It flows smoothly, prioritizing vibe and immediate catchiness without jarring texture changes. The hook is the anchor. “Bank alert” is one of those phrases that doesn’t need context; it already carries meaning.
The song leans on that familiarity, turning it into a chant that sticks on first listen, but you can also hear how easily it was assembled. Verses blur into each other. Each artist approaches it from the same angle—cash flow, soft flexes, light street bravado—without much distinction in writing save for delivery.
“Bank Alert” works the way a lot of current street-pop records do: quick impact. It will move where it needs to move, and with a deserving push hold attention for long.
Fally Ipupa ft. Wizkid – Jam
Jam is a 3:00 track from Fally Ipupa’s album XX, released April 17, 2026 that sits as track 5 on the 20-track project and serves as one of the key cross-regional features. The sound is smooth Afropop/R&B with Congolese rumba undertones: rich guitar melodies, rhythmic percussion, and smooth basslines that create a laid-back, flowing groove. Fally Ipupa handles the main body with his signature melodic, romantic delivery rooted in rumba tradition updated for modern Afro audiences. Wizkid comes in for his verse with the expected effortless glide—light auto-tune touches, pidgin-inflected lines, and a relaxed flow that fits the chilled tempo without pushing hard.
On paper, it’s a strong pairing—two artists known for smooth, melodic control and understated delivery. In practice, “Jam” leans too far into that restraint. The production is soft and polished, sitting somewhere between Afropop and Congolese rumba influences, but it never fully commits to either. It floats in the middle. The groove is steady with light percussion, mellow guitar lines, and a clean mix that keeps everything easy on the ear, with a pull, the kind that passes without demanding consent.
Themes stay firmly in romantic/chilled territory: attraction, bad decisions in the moment, body appreciation, and yearner energy.
Contextually, this is another West-Central Africa link-up, Wizkid’s second recorded collab with Fally Ipupa after earlier work on “Yakuza”. It lands as expected for both artists’ current lanes: Fally Ipupa expanding his global reach while staying true to his rumba-pop core, Wizkid delivering a high-effort, polished feature that slots into streaming rotation.
“Jam” is clean, listenable, and technically sound. But for a collaboration of this scale, it plays it too safe.
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