The achievement comes through “WAIT FOR U”, Future’s chart-topping collaboration featuring Drake and Tems, which has now been certified 11× Platinum by the Recording Industry Association of America (RIAA). The certification signifies more than 10 million units sold in the U.S., qualifying the record for the prestigious Diamond status.

Released in 2022, WAIT FOR U sampled Tems’ breakout song Higher and debuted at No. 1 on the Billboard Hot 100, making Tems the first African artist to debut atop the chart. The song would later earn the trio the Best Melodic Rap Performance award at the 65th Grammy Awards, further cementing its place as one of the defining records of the decade.

With the latest certification, Tems becomes the first female African artist to reach the Diamond milestone in the United States—a feat achieved by only a select number of global acts. The accomplishment also places her among the few African artists to have contributed to a Diamond-certified record, reflecting the continued rise of African music on the global stage.

The milestone has been widely celebrated across the music industry, with fans and publications hailing it as another landmark moment in Tems’ remarkable international journey. Since breaking into the mainstream with Essence and later WAIT FOR U, the Nigerian singer-songwriter has steadily built one of the most decorated careers of any African artist in recent years, collecting Grammy Awards, Academy Award and Golden Globe nominations, and chart records that continue to redefine what’s possible for artists from the continent.

While WAIT FOR U is a collaborative record led by Future alongside Drake and Tems, the RIAA’s certification recognizes all credited performers, officially making Tems the first female African artist attached to a U.S. Diamond-certified single.

As African music continues to expand its global footprint, Tems’ latest achievement serves as another reminder that the genre’s biggest milestones are no longer aspirations.

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He achieves the feat with “Dai Dai,” his collaboration with Colombian singer Shakira and the official anthem of the 2026 FIFA World Cup.

A Landmark Moment on the Global Charts

“Dai Dai” climbs to No. 1 on the Billboard Global 200 chart dated July 18, 2026, after recording 41.5 million official streams and 6,000 digital sales worldwide during the tracking period of July 3–9, according to Luminate.

The achievement marks Burna Boy’s first No. 1 on Billboard’s flagship global songs chart, which measures streaming and sales across more than 200 territories. For Shakira, it is her second Global 200 chart-topper following “TQG” with Karol G in 2023.

The record is also enjoying continued success on the Billboard Global Excl. U.S. chart, where it spends a third consecutive week at No. 1.

The World Cup Boost

Released as the official anthem for the 2026 FIFA World Cup, “Dai Dai” blends Afrobeats, Latin influences and pop into a stadium-ready record that has resonated with listeners around the world.

The song received a major boost after Burna Boy and Shakira performed it at the tournament’s opening ceremony on June 11 at Mexico City’s Estadio Azteca, introducing it to more than 80,000 fans in attendance and millions watching globally.

Strong streaming numbers, digital sales and the visibility that comes with the World Cup have helped propel the track to the top of international charts.

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Another Win for Afrobeats

Beyond Burna Boy’s personal achievement, the milestone represents another significant moment for African music on the global stage.

While Afrobeats has continued its rapid international rise over the past decade, no African artist had previously reached No. 1 on the Billboard Global 200. Burna Boy’s latest chart success reflects both his growing international influence and the increasing global appetite for African music.

It also adds another accolade to a career that already includes a Grammy Award, multiple Billboard Hot 100 entries, sold-out stadium performances and several international chart records.

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Instead of a simple social media post, Tyla took a vibrant, artistic approach: she spray-painted the song titles in fluorescent colors across the walls of a blacklight room, with her infectious collaboration “She Did It Again” feat. Zara Larsson serving as the energetic soundtrack. The video captures her unapologetic confidence and playful energy, perfectly aligning with the album’s themes.

The A*Pop Tracklist

Here’s the complete 14-track lineup:

1. “Is It Love”
2. “That Girl”
3. “Kiss”
4. “Is It”
5. “Fairytale”
6. “Double Blind”
7. “Mr. Nonchalant”
8. “Feel Something”
9. “Right Now”
10. “She Did It Again” (feat. Zara Larsson)
11. “Chanel”
12. “Crazy of Me”
13. “I Don’t Care”
14. “Hot Tubs”

Fans will recognize several pre-released singles woven into the project, including the amapiano-infused “Chanel” which topped the Rhythmic Airplay chart, “Is It,” “Is It Love,” and the dancehall-leaning “She Did It Again.” These tracks have already given listeners a taste of A*Pop’s vibrant, genre-blending sound.

A Defining Statement on African Pop

In a recent conversation with Billboard Africa, Tyla explained the album’s title and vision: “A*Pop is just something that came to me. It just makes so much sense. I’ve always wanted to be this pop star… I bring the A to pop. It’s African pop; African music is pop music.” The project promises to be an unfiltered celebration of her roots, blending Afrobeats, amapiano, pop, and dancehall with her signature sultry vocals and confident attitude.

Following the success of her 2024 self-titled debut, which peaked at No. 24 on the Billboard 200 and spawned the global smash “Water,” A*Pop positions Tyla as a global pop force who refuses to be boxed in. The 14-track project builds on that momentum while expanding her sonic palette.

With the release just days away, anticipation is sky-high. A*Pop is shaping up to be one of the most exciting albums of the summer—a bold, colorful declaration from one of Africa’s brightest stars.

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The track, released as the lead single from Dave’s third studio album The Boy Who Played the Harp (2025), first entered the Hot 100 at No. 89 in early February 2026, marking Dave’s debut appearance on the chart. It has shown remarkable staying power, climbing as high as No. 49 while maintaining consistent performance across streaming, sales, and airplay metrics. As of the latest tracking week, it remains a steady presence deep in the chart.

UK Dominance and Global Breakthrough

Back home, “Raindance” has been an even bigger juggernaut. It topped the UK Official Singles Chart in January 2026—Dave’s fourth No. 1 single—making him the UK rapper with the most chart-toppers this decade. Tems scored her first UK No. 1 with the track. The song has spent multiple weeks at the summit and remains a streaming staple.

The collaboration blends Dave’s introspective UK rap style with Tems’ soulful Afrobeats-infused vocals, creating a smooth, infectious summer-ready anthem that resonated across borders. It has charted strongly in multiple territories, reaching top 10s in countries including Australia, Germany, the Netherlands, New Zealand, and Switzerland while dominating Afrobeats and global playlists.

Why This Milestone Matters

UK rap has enjoyed massive domestic success, with acts like Dave, Central Cee, and Stormzy dominating home charts (Dave and Central Cee’s “Sprinter” previously set UK records). However, sustained U.S. Hot 100 presence has been rarer. Dave’s achievement highlights the growing global reach of British hip-hop and the increasing influence of Afrobeats-rap fusions.

The song’s longevity underscores Dave’s evolution from critically acclaimed storyteller (Psychodrama Mercury Prize winner) to a mainstream crossover force. As “Raindance” keeps climbing playlists and radio spins, Dave’s U.S. breakthrough could pave the way for more extended runs from UK artists. For now, the 26-year-old MC stands alone at the top of the leaderboard for British rappers on the Hot 100.

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The shift is instantly apparent on the album’s lead single, “Alive.” Reunited with Afrobeats heavyweight Wizkid and helmed by master producer P2J, the track avoids the over-engineered ambition that often plagues cross-continental star pairings. Instead, it feels entirely instinctual. Built on warm instrumentation and a supple, late-night pulse, “Alive” thrives on an effortless vocal chemistry. Jorja Smith and Wizkid don’t compete for space; they slip into each other’s orbits, capturing the specific, dizzying rush of a new connection.

The accompanying visual, directed by Gabriel Trautmann, treats this mood like a vignette of a sweltering Parisian night—all blurred streetlights, hotel room afterparties, and the quiet clarity of a balcony at dawn. It is an aesthetic blueprint for what What Are The Odds promises to be. Rather than a calculated pivot into club music, the 12-track project is born out of spontaneity. Following the success of her 2023 hit “Little Things,” Jorja Smith and P2J casually floated the idea of a dance record. When she walked into his East London studio in September 2025, she found two years of production sketches waiting for her. The spine of the album was tracked in just three sessions—a testament to an artist operating entirely on gut feeling.

Musically, the record is billed as an expansive map of British club culture, pulling from the syncopated buoyancy of UK Garage, 2-Step, UK Funky, and Grime, alongside the deeper textures of Afro House. But true to Jorja Smith’s songwriting DNA, the hedonism is balanced by a striking emotional gravity. This isn’t mindless club pop; it’s an exploration of the heavy truths that hit you long after the lights come up. Tracks like “For Life” reportedly tackle the painful reality of loving a friend through addiction, while “Pretend” sits with the sting of betrayal.

Most intriguing is “This City,” which features Grime icon Devlin interpolating his legendary 2010 verse from “London City.” It’s a full-circle moment that roots Smith’s new, uptempo era in the very subcultures that raised her, allowing her to interrogate her own decade-long relationship with a changing capital and a life spent in the public eye.

Landing the exact same day she co-headlines London’s All Points East festival alongside Tems, What Are The Odds feels less like a traditional campaign and more like a liberation strategy. A decade into her career, having recently ticked off milestones from scoring Riz Ahmed’s Bait to performing on the debut season of Saturday Night Live UK, Jorja Smith seems entirely finished with satisfying external expectations. If “Alive” is any indication, her next chapter is independent, uncompromised, and beautifully alive.

What Are The Odds Tracklist

1. For Life
2. What Are The Odds
3. What’s Done Is Done
4. This City (feat. Devlin)
5. Pretend
6. The Way It Was
7. I Lied, You Lied
8. Dancing
9. Alive (feat. Wizkid)
10. Young Heart
11. Make It Your Home
12. When It Gets Like That

“Alive” featuring Wizkid is available everywhere now. What Are The Odds will be released on Friday, August 21, 2026. 

Watch the music video “Alive” ft. Wizkid

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According to reports, the deal was unveiled with a striking digital takeover in New York’s Times Square, featuring Roc Nation’s signature branding and a warm welcome to the “Push 2 Start” hitmaker. While official confirmation from Tyla or her team remains pending as of July 1, 2026, the news has ignited widespread excitement across African music circles and global industry watchers.

A Strategic Power Move for Global Dominance

Tyla, whose breakout single Water catapulted her into mainstream U.S. success and earned her historic Grammy wins (including the first-ever Best African Music Performance award), has been strategically building her international profile. Her decision to part ways with Epic opens the door for Roc Nation’s powerhouse resources—known for artist management, label services, touring, branding, and multimedia ventures.

Roc Nation’s roster boasts heavyweights like Rihanna, Alicia Keys, John Legend, Christina Aguilera, and fellow African stars such as Ayra Starr and Tiwa Savage, alongside global talents like J Balvin. This alignment is expected to provide Tyla with elite U.S. market leverage, enhanced radio and chart support, high-budget video productions, arena tours, and cross-genre collaboration opportunities.

Industry observers note that Roc Nation excels at transforming musicians into global brands, often securing lucrative fashion deals, beauty campaigns, and film/TV projects. For Tyla, this could mean sustained momentum beyond her viral hits and deeper penetration into mainstream markets.

Timing with Upcoming ‘A Pop’ Album

The timing is particularly notable. Tyla is putting the finishing touches on her highly anticipated sophomore album, A Pop, scheduled for release on July 24, 2026. The project is poised to build on the Afropop/R&B fusion that has defined her sound, following the success of her self-titled debut.

The new deal is viewed as a pivotal step in evolving Tyla from a breakout African sensation to a fully backed international superstar with long-term staying power. Tyla remains associated with her joint venture via Fax Records and holds partnerships like the one with K-pop giant HYBE, adding layers of complexity to any transition.

For Tyla, the signing is another reminder of just how quickly her trajectory has accelerated. In only a few years, she has progressed from an emerging South African talent into one of the continent’s most commercially valuable exports. A multi-million dollar Roc Nation deal only reinforces that status.

As she prepares to unveil her next album, Tyla enters what may prove to be the most important phase of her career yet—one backed by one of the music business’s most powerful institutions and carrying expectations that now stretch far beyond Africa.

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The announcement arrives just days after the release of lead single “I Know Who I Be,” a record built around conviction and self-assurance. While the single serves as the opening statement of the new era, Davido says ORIADÉ explores the journey that comes before that confidence—the experiences, faith and perseverance that shape a person’s destiny before success arrives.

Derived from the Yoruba words “Ori” (head, destiny) and “Adé” (crown), ORIADÉ is rooted in a philosophy that has long occupied an important place in Yoruba culture: that purpose precedes recognition. Rather than presenting royalty as inheritance alone, the album positions the crown as something earned through fulfilment of one’s calling.

Speaking about the project, Davido described it as a reflection of both his life and career.

“ORIADÉ is about purpose. It’s about understanding that before the world recognises you, before the accolades, before the success, there’s a version of you that already knows who you’re meant to become.

Over the last fifteen years I’ve experienced some of the highest highs and some of the toughest moments of my life, but every step has strengthened my faith in where God is taking me. ORIADÉ means ‘the crown follows destiny.’

This project is about embracing who you are, where you come from and what you’re called to do. It’s the most honest I’ve ever been, and I can’t wait for the world to experience it.”

That sense of reflection feels fitting for an artist celebrating fifteen years at the forefront of African music. Since emerging as one of the architects of modern Afrobeats, Davido has remained one of the genre’s most commercially successful and globally recognised figures, building a catalogue that spans Omo Baba Olowo, A Good Time, A Better Time, Timeless, and most recently 5ive.

The new project also follows one of the busiest stretches of his career. After releasing 5ive in 2025, Davido embarked on the sold-out 5ive Alive Tour, performing across twelve countries and four continents. He made his long-awaited Coachella debut, earned another Grammy nomination through “With You” featuring Omah Lay, and recently joined Major Lazer and Nelly Furtado on “No Place Like Home”, the official soundtrack for the 2026 FIFA World Cup, before performing at the tournament’s countdown concert in Los Angeles.

The rollout itself suggests a carefully considered creative direction. Ahead of the announcement, Davido and members of his team replaced their social media profile photos with imagery centred around a golden crown, quietly hinting at the album’s royal symbolism before officially revealing the title. The trailer continues that visual language, placing the singer in regal Yoruba attire and reinforcing themes of heritage, identity and destiny that appear central to the record.

Beyond introducing another album, ORIADÉ represents an interesting point in Davido’s evolution. Coming after years spent helping transform Afrobeats into one of the world’s fastest-growing genres, the project appears less concerned with proving his place within the movement than with reflecting on how he arrived there. The language surrounding the album places identity ahead of achievement, suggesting a body of work that looks inward as much as it celebrates outward success.

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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.

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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.

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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.

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