According to fresh Spotify data, “Is It Love” debuted at No. 1 on the Spotify Top Songs Debut Global chart and No. 4 on the Spotify Top Songs Debut USA chart. The song racked up an impressive 848,534 streams in its first full day alone, with partial-day figures already showing strong momentum from the jump. 

The release lands right in the middle of a packed summer schedule that saw Tyla take the stage at Morocco’s prestigious Mawazine Festival on Sunday, June 21. Performing on the iconic OLM Souissi stage in Rabat, the 2x Grammy winner delivered a high-energy set that mixed fan favorites with fresh material. Crowds went wild as she brought “Is It Love” to the stage for one of its earliest live outings, alongside tracks like “Water”, “Push 2 Start”, and recent singles. Backed by sharp choreography and a commanding stage presence, Tyla turned the massive outdoor venue into a celebration of amapiano-infused pop and raw emotional delivery.

“Is It Love” marks the third official single from A*POP, following the Zara Larsson collab “She Did It Again” and “Chanel”. The track leans into a smoother, more introspective R&B-leaning sound with amapiano grooves underneath, exploring themes of desire, uncertainty, and complicated romance. Its accompanying music video, which dropped alongside the single, features Tyla in a visually striking narrative set in a flooding room — a metaphor that fans have been dissecting since the premiere. The video quickly crossed the million-view mark on YouTube, adding to the early buzz.

This debut reinforces Tyla’s growing dominance on streaming platforms. With over 32 million monthly listeners on Spotify, she continues to bridge South African sounds with global pop appeal. The Mawazine performance, coming hot on the heels of her FIFA World Cup-related appearances only weeks ago, shows an artist fully in her stride, balancing festival stages with strategic single rollouts.

As streams continue to climb and the festival dust settles in Rabat, all eyes are on what comes next. Will “Is It Love” follow the trajectory of her previous hits and crack major Billboard charts? Early signs say the groundwork is already there. One thing is certain: Tyla is building a catalog and a global presence that feels built to last. The summer of 2026 is shaping up to be Tyla’s season. From Moroccan stages to U.S. playlists, the Johannesburg-born artist is reminding everyone why she’s one of the most exciting voices in contemporary pop.

The post Tyla’s “Is It Love” Blasts onto Spotify Charts with Explosive Debuts as She Lights Up Mawazine Festival appeared first on Afromixx.

The Room Before the Music

The historic auditorium felt intimate even at full capacity for this kind of show. Red seats, warm lighting, the quiet hum of people who already lived with the album for six weeks. On stage sat a proper live orchestra setup: Asake performing on stage against prominent Spotify branding, emphasizing the high-production, roughly a 20-piece band with strings and horns, plus a dozen background singers/choir voices ready to lift things. The full setup was a 20-piece band (10 strings / 3 horns) and 12 background singers.

Asake Steps Out

When Asake came on, the shift was immediate. He moved straight into the material, letting the live band carry the weight. The album’s signature blend — melodic hooks over Afrobeats rhythms, Yoruba phrasing, that direct emotional delivery — translated differently with real strings and horns underneath it. Early in the set the energy built steadily through album cuts. Then came the moments that cut through the politeness of the theater setting. “Forgiveness” hit different live. The crowd fully locked in — nobody staying seated, bodies moving, voices carrying the hook, with one of the clearest “this is the first time he’s done this live” reactions of the evening. The song’s plea for consistency and grace landed heavier with the full band and the room singing it back at him.

“Gratitude” got the biggest production lift. The choir and band swelled behind it, turning the track into something closer to a communal statement than a single song. The themes the album carries — gratitude, prosperity, spirituality, ambition — felt less like liner notes and more like something happening in real time in that room.

Other album tracks moved through the set with the same live treatment: “Worship”, “Why Love”, “Wa”, “Rora”. The band gave them space to stretch. Asake’s stage presence stayed grounded — less big-tour choreography, more direct connection to the music and the people in front of him. He danced when it fit, but mostly he let the songs do the work.

The New Material

Sprinkled in were four unreleased tracks, slotting them in without breaking the flow. Some carried the same melodic directness as the album; others felt like they could be testing ground for whatever comes next, with talks of a possible ‘M$NEY’ deluxe. The crowd treated them the same way they treated the released songs, staying locked in. The event wasn’t simply about celebrating what ‘M$NEY’ has already achieved. It was also an opportunity to hint at what comes next. Whether those songs eventually appear on a deluxe edition, another project, or remain exclusive to the concert film, their inclusion ensured the night functioned as more than a retrospective.

From Spotify’s perspective, the event continues a trend that has become increasingly visible across music marketing. Streaming platforms are no longer just distribution services. They increasingly want ownership of moments.

Rather than sponsoring a standard concert, Spotify helped create an experience that only a select group of listeners could attend. The audience itself became part of the story. Some of the people in the room weren’t there because of industry connections or media credentials. They were there because they were among Asake’s biggest listeners.

After the Last Note

What happened in the room on the night was the version that can’t be fully recreated — the first time these songs met a live band and a room full of the people who had carried them on repeat since May. Asake heads into his In God We Trust World Tour later this summer with this night as the quiet, high-signal preview. The big stages will come. This one stayed close to the source: the album, the live band, and the listeners who had earned their seats.

Perhaps the most revealing aspect of the evening is that it arrived after ‘M$NEY’ had already done its job commercially. The album topped charts across multiple countries, reached the top ten in the United States, and broke Spotify Nigeria’s opening-week streaming record with 37.5 million streams in six days. 

The performance wasn’t necessary to prove the album’s success. Instead, it felt like an attempt to reshape the conversation around it. Streaming numbers tell one story. A one-night orchestral performance inside one of London’s most historic theatres tells another. Together, they paint a picture of an artist becoming increasingly interested in legacy, presentation, and artistic scale.

The concert film, set for release on Spotify, will likely provide a clearer view of what happened inside the room. But even before the footage arrives, the broader takeaway is already visible.

‘M$NEY’ was introduced to the world as an album about gratitude, ambition, prosperity, and spiritual reflection. Its first live performance mirrored those themes with intention.

View this post on Instagram

A post shared by Afromixx Entertainment (@afromixx)

The post Inside Asake’s One-Night-Only M$NEY Concert With Spotify appeared first on Afromixx.

M.anifest & Kwesi Arthur – “No More Sleep”

“No More Sleep” is a sharp, high-energy motivational anthem that marks the Ghanaian rap duo’s first collaboration in roughly six to eight years since their 2018 track “Feels”. At just 2 minutes and 49 seconds, it’s a concise, replay-friendly banger that delivers exactly what the title promises: an alert, relentless call to keep pushing without hitting pause.

Produced by Joeyturks with mastering by MikeMillzOn’Em, the track rides a driving, punchy beat that blends hip-hop foundations with the artists’ Ghanaian roots. M.anifest opens with a memorable, anthemic hook that sets the tone: motivational, direct, and catchy enough to stick after one listen. Kwesi Arthur then slides in with verses full of pressure-tested energy, street wisdom, and smooth delivery. The chemistry feels natural and elevated, M.anifest’s sharp, introspective, and often socially conscious lyricism complements Kwesi Arthur’s more vibrant, gritty flow. It’s not overly flashy or experimental; instead, it prioritizes tight bars, strong presence, and replay value. The short runtime keeps the momentum high without overstaying its welcome.

The core message is pure hustle and resilience: “Don’t need to fall asleep to chase my dreams”. Key snippets highlight perseverance across environments (“On land or sea / Tank never running on E”), finding inner strength or wisdom even in solitude (“Alone but never lonely, found a wisdom tree”), and forward momentum with purpose.

There are nods to family (“all for the family”), grinding with purpose, and staying fueled/ alert amid challenges. It’s motivational without being corny, rooted in real-world grind culture that resonates with artists, entrepreneurs, and everyday hustlers. The wisdom-tree imagery adds a layer of introspection and growth, elevating it beyond a standard “get money” track.

The official music video directed by Henry Desouza, with DP work by Desouza and Drew Yeeez, was shot across Accra and New York. It mixes gritty urban elements — New York subway vibes and night construction sites — with stylish outfits and dynamic energy. The visuals perfectly capture the song’s “full alertness” ethos: constant movement, stylish determination, and the beauty in the hustle. It’s cinematic enough to stand alone while reinforcing the audio’s drive. 

As a reunion collab under the respected Mass Appeal imprint, it signals continued global ambitions for both artists while staying true to their Ghanaian rap heritage. M.anifest brings depth, while Kwesi Arthur injects youthful fire. “No More Sleep” is a confident, well-executed win — short, impactful, and built for momentum. It executes the motivational hustle anthem formula exceptionally well, with excellent chemistry between two of Ghana’s finest. The visuals elevate it further, making the whole package feel premium and cohesive.

Solana & Killertunes – “Okunkun”

Solana’s “Okunkun” is a bold, genre-blending Yoruba-language cut that’s quickly earning buzz as a standout “Yorupop” experiment on this New Music Friday. It’s a tight, danceable track that feels both nostalgic and futuristic, produced by Killertunes, he delivers a beat that fuses electronic pop, soft rock edges, dance rhythms, and traditional Yoruba (Ibile) elements. Think bouncy percussion meets atmospheric synths and subtle rock-infused grooves, with echoes of 1970s Nigerian highlife legends like the Lijadu Sisters.

Ogunlana Oluwabusolami Habibat, professionally known as Solana, handles the vocals largely in Yoruba. Her delivery is confident, melodic, and rhythmic, gliding over the production with a mix of spiritual introspection and club-ready bounce. The track was recorded back in 2023, rediscovered by Killertunes recently (famously “at the beach”), and finally sees the light of day as a long-lost gem. “Okunkun” translates roughly to “darkness”, and the song navigates themes of facing darkness, resilience, faith, and emerging into light. “Ojo ti fe sokunkun / Emi ni kan pere / Mi o duro / Kia kia mo mura mo mere…”  Simply references to not standing still, preparing quickly, and overcoming evil or challenges in the dark. It’s motivational and spiritually grounded without being preachy. Solana taps into personal vulnerability and cultural pride, turning potential fear into forward motion. The lyrics may feel a bit abstract or less polished in flow compared to the production for some, but the emotional core lands strongly for many.

Solana’s “Okunkun” leans into traditional Yoruba aesthetics mixed with modern, cinematic flair, evoking cultural motifs, dynamic energy, and “sounds from the west”. “Okunkun” is a refreshing, culturally rooted banger that stands out in a crowded New Music Friday. It’s not trying to be the next viral Afrobeats hit, it’s carving its own lane with electronic flair, Yoruba pride, and emotional depth.

Khaid – B4R&W (EP)

Khaid returns with a slick, concise 4-track prelude that delivers a genre-bending soundscape—a raw, pre-fame “Before Rich & Wacko” snapshot of the 21-year-old Nigerian star navigating love, ego, pressure, and playboy contradictions. At less than 20 minutes total runtime, Khaid’s “B4R&W” is built for repeat listens and short enough to digest in one sitting. This is Khaid in lover-boy mode: vulnerable yet cocky, melodic yet street-edged, post-health-scare reflective but still hungry. Khaid blends Afrobeats, Afropop, trap influences, and subtle apala/Yoruba vocal inflections. The production keeps things dynamic across the EP: plaintive piano, staccato drums, and layered background vocals on the emotional centrepiece. Roiling bass, restless grime-tinged drums, and synth loops for high-energy moments. Bright xylophone accents and clattering percussion for upbeat hooks. His voice shines throughout — breathy rap-singing, smooth melodies, and that signature youthful swagger. It feels like a natural evolution from his earlier EPs (Diversity, Emotions, 444) while teasing a more mature, genre-fluid sound for the debut album. On “WACKO PLAY”, the emotional core, Khaid wrestles with power imbalances in a relationship “Shebi because you senior me make say I take all the blame”, missing an ex while embracing “wacko” (crazy/playboy) energy. Superstar life doesn’t fit, but the vibe is irresistible. Lyrics mix English, Pidgin, and Yoruba flair for that authentic Lagos feel. “I GAT YOU” is romantic and aspirational. Lines like “Your beauty got me screaming Jesus” flip into serious commitment vibes, “Y26k” is a pressure cooker track about fame’s pull, girls online, and self-control. “GO GO!” is high-risk, high-reward energy. Sports/betting metaphors, team loyalty, and that urgent, anticipatory hook.

“B4R&W” navigates lover-boy struggles, attachment vs. freedom, rising-star pressures, and emotional honesty. 

Khaid continues staking his claim from street mechanic to one of Nigeria’s most promising young voices—blending street cred with emotional depth.

Original Koffee ft. Skillibeng – “Rapid Fyah”

“Rapid Fyah” marks Koffee’s return after more than a year, pairing the Grammy-winning reggae star with dancehall heavyweight Skillibeng for a high-octane, speaker-shaking banger. The track wastes no time delivering relentless energy. Produced by EJ Fya, “Rapid Fyah” fuses Koffee’s melodic, conscious reggae roots with Skillibeng’s sharp, experimental dancehall edge. Built on bouncy riddim, punchy drums, soaring horns, and that signature Jamaican heat that evokes rootsy foundation with modern trap-infused bounce.

Koffee handles the hook and verses with her trademark warm, distinctive flow—clear, confident, and full of attitude. Skillibeng slides in with rapid-fire bars and his signature “Brrrp” ad-libs, creating excellent back-and-forth chemistry. The production feels premium and radio-ready while staying true to Caribbean sound system culture. The song is all about unstoppable energy, addressing issues head-on, and rising above doubters: “Like dem neva learn dem lesson / Any weh di issue deh me a address it”. Koffee brings conscious fire and personal resilience, while Skillibeng adds street-edged flair and playful aggression. It’s motivational, defiant, and celebratory—“rapid fyah” as both literal heat and metaphorical unstoppable force.

“Rapid Fyah” is a triumphant, high-energy return that delivers exactly what it promises: heat, bars, and Caribbean pride in one tight package. It executes the Koffee x Skillibeng collab with polish, chemistry, and replay value that could carry it through the summer and beyond.

Guchi – “Ganja”

After a long break, Guchi returns with a smooth, addictive Afropop love anthem titled “Ganja”. The track captures Guchi in full lover-girl mode: vulnerable, playful, and irresistibly melodic, sneaking up on listeners with replay value. Guchi rides a mid-tempo Afropop beat with bouncy percussion, warm synths, and subtle highlife influences. Her vocals are the star; breathy, emotive, and layered with harmonies that give the song a dreamy, immersive feel. The production keeps things polished yet organic, letting her signature style that blend of pop sweetness and cultural warmth, shine without overcomplicating.

“Ganja” uses the metaphor of ganja (weed) to describe an intoxicating, addictive kind of love—the kind that calms you down, makes you hungry for more, and leaves you “not okay” when it’s gone. “What have you done to me? … Done on my body, I no dey okay when you no dey with me”/“Your love dey eye me like a tire… Make me hungry, make I chop”/“No fit give you 99, only 100… I no go for your heart”/“There’s something about your love wey dey eye me pass it all”. 

It’s flirty, obsessive in a cute way, and full of Nigerian slang/Pidgin flair. Themes center on irresistible attraction, emotional dependency, and full commitment, turning the “high” of romance into something celebratory and fun rather than heavy. The ganja metaphor adds a playful, rebellious edge without being literal.

“Ganja” is a feel-good, sticky summer single that highlights why Guchi stands out in the crowded Afropop scene: great voice, relatable energy, and songs that just hit different when you’re in the mood for love.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

The post M.anifest, Solana, Guchi, Khaid and More on New Music Friday appeared first on Afromixx.

Njideka Akunyili Crosby, born in 1983 in Enugu, Nigeria, is a Nigerian-American artist based in Los Angeles. She created the first official joint portrait of former President Barack Obama and former First Lady Michelle Obama for the Obama Presidential Center in Chicago. Titled The Obamas: Springing Forth (2026), the large-scale mixed-media work measures approximately 9 by 10 feet and now hangs in the Hope and Change Lobby of the Center’s museum building, an area open to the public.

Akunyili Crosby’s father, Chike Akunyili, was a surgeon. Her mother, Dora Akunyili (1954–2014), served as Director-General of Nigeria’s National Agency for Food and Drug Administration and Control (NAFDAC), where she led high-profile campaigns against counterfeit drugs. Many Nigerians recognize Njideka through this family connection. She moved to the United States for education, earning a certificate from the Pennsylvania Academy of the Fine Arts and later degrees from Swarthmore College and Yale School of Art. She is a MacArthur Foundation “genius” grant recipient.

Artistic Practice

Akunyili Crosby works in a layered, collage-like style that combines painting, drawing, photography, and photo transfers. She draws from personal and cultural archives—family photos, magazine clippings, fabric patterns, and historical images—to explore themes of memory, migration, identity, and the African diaspora in domestic and intimate settings. Her surfaces often feature solvent transfers of found images, creating dense, textured compositions that feel like visual diaries or palimpsests of lived experience.

For the Obama portrait, she spent months researching the couple’s lives. She studied interviews, memoirs, speeches, family photographs (including images by official White House photographer Pete Souza), and personal artifacts. The final work integrates these elements into a cohesive scene that captures both public legacy and private moments.

The Portrait: The Obamas: Springing Forth

The painting shows Barack and Michelle Obama in an informal, warm setting. Obama appears seated on a table in a dark suit, while the composition weaves in symbolic references: Michelle Obama’s childhood home in Chicago’s South Shore neighbourhood, family keepsakes, books, historical objects, and cultural motifs tied to their journeys. The dense layering of transferred images and painted elements creates a rich, tapestry-like background full of personal and historical resonance.

The title Springing Forth evokes growth, renewal, and emergence—ideas central to the Obamas’ story and the Center’s mission. Obama described the piece as reflecting “so many chapters” of their lives. Michelle Obama praised the “life and joy” infused in the work. The portrait was unveiled privately on June 14, 2026, and opened to the public around Juneteenth.

Significance

This commission places Akunyili Crosby in a select group of artists shaping how the Obamas’ legacy is visually remembered. It is one of 28 original artworks commissioned for the Center. Unlike the earlier official White House portraits (Barack Obama by Kehinde Wiley and Michelle Obama by Amy Sherald), this joint work emphasizes narrative depth, family, and cultural continuity through Akunyili-Crosby’s distinctive technique.

Her approach—rooted in Nigerian heritage, American life, and the blending of personal archives with broader history—aligns with the Center’s focus on storytelling and community. Visitors encounter the portrait immediately upon entering the museum lobby, where it serves as both a greeting and an invitation to explore the layered histories it contains. Akunyili-Crosby continues to produce work that bridges continents and generations. The Obama portrait extends her practice on a public, monumental scale while maintaining the intimate, memory-driven quality that defines her art. It stands as a contemporary document of one of America’s most prominent families, filtered through the vision of a Nigerian-born artist whose own story of migration and legacy echoes aspects of theirs.

View this post on Instagram

A post shared by Afromixx Entertainment (@afromixx)

The post The Nigerian Artist Behind the Obamas’ Historic New Portrait appeared first on Afromixx.

The ceremony, scheduled for 11 a.m. CT at the Center’s John Lewis Plaza in Jackson Park, will be livestreamed globally on the Obama Foundation’s website, YouTube, and social media channels. It marks the formal dedication of the long-awaited presidential centre, which opens to the public the following day, June 19—Juneteenth.

Tems, whose full name is Temilade Openiyi, has emerged as one of the most distinctive voices in contemporary global music. Known for her soulful, introspective sound that blends Afrobeats, R&B, and alternative influences, she gained international acclaim with tracks like “Essence” (with Wizkid) and her 2024 album Born in the Wild. Her selection for this high-profile event underscores her rising stature and the growing global recognition of African artists on major international stages.

Obama Foundation CEO Valerie Jarrett described the ceremony as “unlike any other — filled with music, performances, and hope”, aimed at inspiring civic engagement and celebrating values of service and community. The inclusion of Tems highlights the Center’s emphasis on cultural diversity and the bridging of African and American narratives.

This performance adds to a series of notable milestones for Tems in 2026, including strong Spotify editorial placements and continued international touring. For many fans across Africa and the diaspora, seeing a Nigerian artist share the stage with such iconic names at an institution tied to Barack and Michelle Obama’s legacy represents a powerful moment of cultural visibility. The Grand Opening Ceremony is invite-only, but the broader public celebration continues June 19–21 with free programming on the campus. Those unable to attend in person can watch the livestream beginning at 11 a.m. CT on June 18.

View this post on Instagram

A post shared by Afromixx Entertainment (@afromixx)

The post Tems to Perform at Obama Presidential Center Grand Opening Ceremony appeared first on Afromixx.

Organizers of Nigeria’s most prestigious music awards have officially announced that the 18th edition of the ceremony will take place in Toronto, Canada, this October, marking another significant chapter in the awards’ efforts to position African music on a truly global stage. The announcement was made on June 15 during The Headies’ “Big Announcement” event at Eko Hotel & Suites in Lagos, where founder and executive producer Ayo Animashaun unveiled plans for what organizers are calling an “Africa to the World” edition.

For an institution that has spent nearly two decades chronicling the rise of Nigerian and African popular music, the move feels symbolic of the industry’s current moment. Afrobeats is no longer a regional success story seeking international validation. It has become one of the world’s most influential musical movements, generating sold-out arenas, chart success, major festival appearances, and cultural influence across multiple continents.

Toronto, in many ways, represents that reality.

Home to one of North America’s largest African and Nigerian diaspora communities, the Canadian city has increasingly become a major destination for African artists. Over the past few years, artists including Burna Boy, Wizkid, Davido, Tems, Ayra Starr, Asake, Olamide, and a growing list of emerging stars have cultivated sizable audiences across Canada, turning the country into one of Afrobeats’ most important international markets.

Yet the significance of this announcement extends beyond venue selection.

Since its establishment in 2006 by Hip Hop World Magazine, The Headies has served as a cultural scorecard for Nigerian music. From recognizing the dominance of Mo’Hits-era pop to documenting the emergence of Wizkid, Davido, Burna Boy, Tems, Rema, and the new generation of African stars, the awards have evolved alongside the music itself. What began as a primarily Nigerian institution now finds itself reflecting an industry whose audience stretches from Lagos and Accra to London, Toronto, Paris, and New York.

The decision to host the 18th edition in Canada follows a period of experimentation for the awards. After staging international editions in Atlanta, Georgia, The Headies returned to Lagos for its 17th edition under a “Back to Base” theme. The Toronto move demonstrates that the organization’s international ambitions remain firmly intact.

Importantly, Ayo Animashaun was careful to frame the decision as an expansion rather than a departure.

“We’re going to Toronto for the 18th Headies, but we’re not leaving Nigeria behind,” he said during the announcement event, emphasizing that the awards will maintain strong local engagement through pre-event programming, digital experiences, and synchronized watch parties across major Nigerian cities. The message was clear: The Headies may be travelling, but its roots remain at home.

That distinction matters because conversations around international award shows often raise concerns about accessibility and cultural ownership. For many music fans, The Headies remains deeply intertwined with Nigerian entertainment culture. The challenge for organizers will be balancing international visibility with local relevance, ensuring that the awards continue to feel connected to the audience that helped build them.

One of the more intriguing developments announced alongside the Toronto edition is the launch of the Headies Trade & Investment Summit. The initiative aims to bring together creatives, investors, policymakers, entrepreneurs, and business leaders to explore opportunities within Africa’s rapidly expanding creative economy.

The idea reflects a growing shift within African music conversations. Increasingly, success is no longer measured solely by streams, awards, or chart placements. Discussions around infrastructure, intellectual property, investment, touring ecosystems, and long-term economic growth have become central to the industry’s future. The summit appears designed to place those conversations alongside the glamour of the awards ceremony itself.

Toronto also arrives at a particularly strategic moment. Across the city, there has been a visible increase in Canada-Africa trade, investment, and cultural engagement initiatives, with multiple business and investment summits focused on strengthening ties between African markets and North America scheduled throughout 2026. The Headies’ arrival fits naturally into that broader ecosystem of cultural and economic exchange.

For African music, the move is another reminder of how dramatically the landscape has changed.

A decade ago, conversations about exporting African music often revolved around potential. Today, the conversation is about scale. African artists headline international festivals, dominate streaming playlists, secure global partnerships, and influence trends across fashion, film, and popular culture. Institutions built around that music are now following a similar trajectory.

Whether Toronto ultimately becomes one of The Headies’ most successful editions remains to be seen. What is certain, however, is that the decision reflects the confidence of an industry that increasingly sees itself as a global force.

View this post on Instagram

A post shared by Afromixx Entertainment (@afromixx)

The post Headies Goes Global Again: 18th Edition Heads to Toronto, Canada appeared first on Afromixx.

The Nigerian singer-songwriter has secured her fourth career top 10 entry on Billboard’s Mainstream R&B/Hip-Hop Airplay chart as her single “What You Need” climbs from No. 12 to No. 10 this week, marking another significant milestone in her steadily expanding global career.

Taken from her 2025 EP Love Is a Kingdom, “What You Need” has enjoyed a consistent rise since debuting at No. 37 in March 2026. Now in its 12th week on the chart, the record has broken into the top tier of R&B radio, further highlighting Tems’ growing resonance with listeners and programmers across the United States.

Co-written and co-produced by Tems alongside GuiltyBeatz and Ronald Banful, “What You Need” leans into the singer’s signature minimalist approach. Built around themes of emotional boundaries, self-preservation, and the courage to walk away from relationships that no longer serve a purpose, the song finds strength in restraint rather than spectacle.

The achievement adds another chapter to an already impressive radio résumé. Over the years, Tems has become one of the most successful African artists on U.S. R&B radio, earning top 10 placements through records such as “Free Mind” and her breakthrough contribution to Wizkid’s global hit “Essence”. Those records helped introduce a wider audience to the seamless overlap between Afrobeats and contemporary R&B, a space Tems has continued to shape in her own image.

“What You Need” has also benefited from a string of high-profile promotional moments. A widely praised COLORS performance introduced the song to a broader audience, while a television appearance on The Tonight Show Starring Jimmy Fallon further amplified its reach. More recently, an official video directed by Ayinde Anderson expanded the song’s narrative, visually exploring its themes of vulnerability, self-worth, and empowerment.

As “What You Need” enters the Billboard top 10, Tems once again demonstrates the staying power of her artistry. In an era often driven by fast-moving trends, she continues to build momentum through emotionally rich songwriting, understated production, and a distinct voice that remains instantly recognizable.

With airplay continuing to grow and the song maintaining a strong presence in cultural conversations, “What You Need” appears poised for an even bigger run. For Tems, the latest achievement is further proof that Nigerian soul music continues to command attention on one of the world’s most competitive radio landscapes.

View this post on Instagram

A post shared by Afromixx Entertainment (@afromixx)

The post Tems scores her fourth top 10 on the Mainstream R&B/Hip-Hop Airplay chart appeared first on Afromixx.

True to its name, the project builds on the premise of the genre as interpreted by an artist well versed in hip-hop, soul, R&B, and Afrobeats. On the EP, Joey B plays a central role beyond performing, from producing certain tracks like “Monte Carlo” to mixing and mastering a handful of songs, evidently steering the sonic course of the project.

With a runtime of 18 minutes, the project ushers listeners in with a skit that spells out its intent, laying the groundwork for much of the EP. It is primarily anchored by dreamy guitar plucks and Ghanaian Highlife riffs that give it its intermittent trippy mood, a feeling that Track 2, “Monte Carlo”, quickly consolidates.

“Exopa”, featuring Nigerian alté pioneer Odunsi The Engine, yields perhaps the strongest collaboration from every contributing artist involved, including producers Joshua Moszi and Mono, resulting in an alchemy reminiscent of a late-2010s alté classic. Rich in bass and driven by a groove that feels like a missing piece from the preceding track, “Monte Carlo”, the record seamlessly extends the atmosphere already established.

‘Sexy Highlife’ progresses through a sonic portal, “Botanical (Interlude)”, which strengthens the curatorial flavour beginning to seep through the project. It features a medley from Joey B straddling the harmonies of a saxophone, a piano, and the ambience of what feels like a botanical, beachside retreat. The seamless sequencing of tracks shines yet again on “Roses” in a bid to conclude a chapter as prefaced by “Botanical (Interlude)”, showing intentionality in its titling. “Roses” opens with the stimulating melody of the saxophone as Joey B channels his rap image to brag about his muse and pledge an undying allegiance to her, with infatuation and lust serving as catalysts.

‘On Sexy Highlife’, no two tracks are technically rendered in the same flair. Rather, they feel like extensions of one another, evoking a similar sentiment while arriving there through different sonic routes. Joey B gets more lyrical on the other side of the tape, evident on tracks like “Akosua Broni”, “Kyeiwa” featuring Bisa Kdei, and the hardcore boom-bap rap cadence on “News at 8″, where he takes swipes at perceived threats. The EP eventually closes with the Brooklyn drill-layered “Princess”, bringing together several of the project’s sonic ideas in one final statement.

To the trained ear, there is a string of Caribbean influences, particularly Kompa and Zouk, coursing through the project—elements that technically should not be regarded as classic Ghanaian highlife. However, the distillation of these sounds is what likely forms the hybrid Highlife aura of the EP Joey B christens ‘Sexy Highlife’. Ultimately, the similarities that exist within the distinctions of these genres are a testament to how interconnected African and diasporic music traditions are, and it is from this standpoint that Joey B curates ‘Sexy Highlife’.

What makes ‘Sexy Highlife’ compelling is that it attempts to preserve Highlife in its purest form by approaching the genre as a living, breathing idea. Joey B wields Highlife as a foundation upon which new influences, memories, and identities can coexist. Across its brief runtime, the EP feels meticulously sequenced, sonically cohesive, and confident in its experimentation. In doing so, ‘Sexy Highlife’ joins a growing lineage of contemporary African projects that are concerned with recreating tradition by extending its possibilities and finding novel pathways back to home.

The post Joey B’s ‘Sexy Highlife’ Reimagines Highlife Through an Alternative Lens: First Listen appeared first on Afromixx.

For much of his career, Tobe Nwigwe has occupied a unique position in contemporary music. The Grammy-nominated artist of Nigerian descent has built an ecosystem where music, film, faith, family, and cultural storytelling exist as parts of the same conversation. His records explore the realities of responsibility, self-discovery, and the pursuit of something greater than personal success. His newest release, “All or Nothing” continues that tradition.

Built on a soaring refrain delivered by Labrinth, the song immediately establishes its emotional centre. “You just call me when you need me” repeats throughout the record, transforming what could have been a simple hook into something that resembles a promise. The repetition is intentional. Commitment, after all, is rarely expressed through grand gestures alone. More often, it reveals itself through consistency.

Tobe Nwigwe’s verses navigate familiar terrain for listeners who have followed his work. There are references to sacrifice, perseverance, vulnerability, and faith, all delivered through imagery that feels both personal and universal. He approaches love as responsibility, acknowledging fear, uncertainty, and failure while choosing devotion anyway.

What makes the collaboration particularly effective is the contrast between both artists. Tobe Nwigwe grounds the record in lived experience, speaking from a place shaped by Houston, Nigeria, family, and community. Labrinth brings a different energy, one that feels expansive and almost spiritual. Together, they create a song that feels larger than either artist individually.

The production mirrors that ambition: cinematic yet restrained, allowing the vocals and storytelling to remain at the forefront. There are subtle rhythmic textures that hint at the global framework underpinning the project, but the record never feels consumed by its concept.

That sense of scale becomes even more significant when viewed through the lens of ‘The Bridge’. According to Tobe, the project explores the connections between Houston, Lagos, London, and communities across the diaspora. “All or Nothing” focuses on showing up, examining what happens when people choose each other repeatedly despite distance, uncertainty, and the many pressures that threaten connection. As the first offering from ‘The Bridge’, “All or Nothing” succeeds in introducing the project’s larger vision. Tobe Nwigwe has spent years proving that purpose can coexist with popularity. On “All or Nothing”, that purpose finds one of its clearest expressions yet—a reminder that what connects us is often not where we come from but who we choose to show up for.

The post Tobe Nwigwe’s “All or Nothing” with Labrinth Is a Love Song for the People Who Stay appeared first on Afromixx.

As Arsenal reflects on a historic season that delivered its first Premier League title in 22 years, the installation provides a timely opportunity to celebrate the sense of pride and belonging that unites Arsenal’s communities. These values were vividly reflected throughout last week’s Champions Parade, where supporters from Islington and around the world came together in celebration. Music played a central role in expressing that togetherness – with artists Sammy Virji and Femi Koleoso DJ’ing at the heart of the parade’s celebrations – helping to create memorable shared experiences that reflect Arsenal’s cultural significance beyond the game.

Bringing together voices from football, music, fashion and academia, the evening explored Arsenal’s unique place within Black British cultural life and how the club’s influence has extended beyond football into music, fashion, culture and community for generations.

Hosted by Academic-in-Residence Dr Clive Nwonka, author of the acclaimed book ‘Black Arsenal’, and chaired by former Olympian and broadcaster Jeanette Kwakye MBE, the panel featured Arsenal legend Anita Asante; LABRUM London founder Foday Dumbuya, who collaborated with Arsenal and Adidas on the club’s 2024/25 Africa-inspired away kit, and Ghanaian-British Afrobeats producer, DJ and musician, Juls, who composed the music for the kit’s launch film.  

The discussion also explored how generations of Black players, supporters and creatives have helped shape Arsenal’s identity, redefining representation in English football and establishing the club as a cultural force extending into music, fashion and everyday life.

Sharing their thoughts on Arsenal’s enduring bond with the communities at the heart of the club, the panellists reflected on the relationships, moments and experiences that have shaped its legacy:

Arsenal legend Anita Asante said: “When you see yourself and your community reflected in these players, you see yourself represented on the pitch. You also see the freedom they have to express themselves beyond the game.”  

DJ & musician Juls said: “Arsenal is always around me when I’m creating because it represents so much of who I am. I want to support the club, because it makes me feel part of a community, part of a family.”

Labrum Founder, Foday Dumbuya said: “We’re far away from home, but North London is everywhere in Africa. The fact that we shot the collection for Arsenal’s 24/25 away kit in my hometown in Sierra Leone shows just how far this club and its culture stretch around the world.”

Arsenal’s installation forms part of V&A East’s ‘The Music is Black: A British Story’ exhibition celebrating 25 years of Black music-making in Britain, which explores the creativity, resilience and global influence of Black British music and culture through immersive sound experiences, multimedia installations and more than 120 tracks spanning generations.  

The club’s contribution features a mural first showcased at Emirates Stadium that traces Arsenal’s Black history, alongside a selection of player shirts and memorabilia from the club’s history.

Also on display is a curated selection of the club’s recent video content celebrating the influence of Black culture, music and storytelling within football. Taking visitors on an immersive journey, the exhibition moves from musical moments, including the club’s collaborations with Ezra Collective’s Femi Koleoso welcoming Martin Zubimendi and Arsenal Women’s Olivia Smith to the club, through to the award-winning film bringing together Eberechi Eze and Arsenal legend Ian Wright, and in-depth conversations with Noni Madueke, Taylor Hinds and Black Arsenal editor, Dr Clive Nwonka exploring the history, stories and inspirations behind this special relationship.The Black Arsenal installation is now open at V&A East as part of The Music is Black: A British Story, running until January 2027.

The post Arsenal celebrates Black culture, music and community at new V&A East installation appeared first on Afromixx.