Tyla – A*POP (Album)

Tyla’s A*POP arrives as a confident, roots-forward sophomore statement that doubles down on her vision of African pop on a global stage. Released July 24, 2026, the 14-track, roughly 44-minute album follows her self-titled 2024 debut, bolstered by the TYLA+ deluxe and the 2025 WWP EP and arrives after major milestones including Coachella, World Cup performances, and continued chart success with singles.

Tyla has described the project as more intentional than her debut’s whirlwind creation. In interviews, she has spoken about personal growth at 24, feeling more settled and clear on her direction: extending what an African pop star can sound and look like, pushing back against expectations of what is “African enough”. The album’s promotional framing—“African,” “Unapologetic,” “Confident”—aligns with its sonic and thematic core.

The sequence opens with recent singles and moves through a mix of sultry mid-tempos, grooves, and closer moments of reflection:

Key features lean heavily South African (Liquideep’s house-rooted “Fairytale,” MaWhoo, Babalwa M) with Zara Larsson as the main international guest on the dancehall-tinged “She Did It Again.” Production credits include P2J, Sammy Soso, Ian Kirkpatrick, Ari PenSmith, Believve, and others, blending amapiano log drums and grooves with sleek pop, R&B, dancehall, and house elements.

Pre-release singles set the tone: “Chanel” delivered hypnotic, chart-climbing amapiano-pop energy; “She Did It Again” with Zara Larsson brought playful menace and international crossover; “Is It Love” and the earlier “Is It” further established the album’s questioning, sensual vibe.

A*POP builds on the debut’s amapiano-pop-R&B foundation but feels more rooted and self-assured. Tyla’s breathy, playful vocals remain central—sensual yet controlled—over productions that prioritize groove and atmosphere without overstuffing. Collaborations with South African artists reinforce hometown pride, while global polish keeps it playlist-ready for summer.

Lyrically, the album often withholds easy romance. Love demands proof: tears, Chanel bags, presence, or receipts rather than empty compliments. Tracks explore confidence “That Girl,” “Mr. Nonchalant”, desire and hesitation “Kiss,” “Feel Something,” “Right Now”, post-relationship clarity “I Don’t Care”, and self-questioning “Is It”. It’s flirtatious with an edge, Tyla positions herself as someone who sets terms rather than chasing validation.

Early standouts includes the vocally strong openers “Is It Love” and “Is It”; the Rihanna-esque plea of “That Girl”; the hypnotic “Chanel”; the generational house nod “Fairytale”; the confident strut of “Mr. Nonchalant”; and the chemistry-driven “She Did It Again”. Some mid-album cuts “Double Blind,” “Feel Something,” “Right Now” are more transitional or thinner on hooks by certain listeners, creating a slight dip in momentum before stronger closers.

Tyla’s A*Pop carries an effortless cool with a balance of confidence and vulnerability, refined melodies, and natural integration of South African influences with global pop ambitions. It’s a record of intention that strengthens her foundation, with a thematic rigor around proof and agency.

A*POP is not a radical reinvention, it is Tyla stepping more fully into her self-defined lane: an African artist making sleek, sensual, groove-heavy pop that refuses to dilute its origins while chasing broader appeal. The best moments deliver infectious hooks, a confident attitude, and cultural grounding.

Mavo – Business (Album)

Mavo’s ‘Business’ lands as a polished, street-smart Afrobeats mixtape that turns hustle anthems and luxury flexes into a full statement of arrival. The 13-track, roughly 35-minute project dropped on July 24, 2026. It marks a key chapter for the 22-year-old Nigerian artist who has balanced optometry studies at Afe Babalola University with a rapid rise from SoundCloud uploads to mainstream breakthroughs.

Long before the 2025 viral smash “Escaladizzy” with WAVE$TAR thrust him into wider Nigerian and international attention—alongside tracks like “Shakabulizzy,” collaborations with Wizkid, and strong streaming numbers—Mavo was already carving out a distinct lane. He calls his sound “Burbur,” a swaggering hybrid of Afrobeats, street slang, melodic rap, and youthful energy. ‘Business’ feels like the natural escalation: a project centered on the grind, guap, sacrifice, survival, and the spoils that come with it while still making room for romance and reflection.

Collaboration on production comes from names including PsykoWorldwide, Wana SN, Decs, AOD, Mootion, and Sleazy. Features include UK rapper AJ Tracey on “Poison” and frequent collaborator SSSoundgawd on the already-popular “BB Lifestyle.” “Use Me” also ties closely to producer P.Priime. Lead singles and pre-release cuts such as “Use Me,” “Mofe,” “Shy Lover,” and “BB Lifestyle”.

Mavo’s ‘Business’ is a quest for luxury items and liquidity colors Mavo’s worldview. The title track opens with a direct call—“Let’s talk about guap”—setting a tone of ambition that runs through family care and exclusive access on “Jehovah,” romantic vulnerability on the soulful “Letter To My Baby,” and transactional or uncertain desire on “Use Me.” The project balances commercial Afrobeats bounce with street authenticity, mixing uptempo flexes, melodic hooks, and more introspective moments.

Production is sleek and contemporary, leaning into the polished studio sound that has defined his recent singles while retaining the energetic, slang-heavy delivery that made early work resonate. Standouts emerging in early listens include the title track’s motivational drive, the reflective “Jehovah” and “God’s Promise,” the romantic “Letter To My Baby,” the infectious “Ice Cream” and “Superwoman,” the hit-ready “Use Me” and “Mofe,” the smoother “Shy Lover,” and the feature-boosted closers “Poison” and “BB Lifestyle.”

‘Business’ is Mavo doubling down on what works. Hustle narratives, luxury aspirations, melodic hooks, and Burbur swagger dominate a concise, replayable set that feels both of-the-moment and true to his independent roots. The best tracks deliver instant energy and personality; the features add useful variety; and the thematic focus on money, ambition, and relationships gives it cohesion.

Teni – The Wellness Package (EP)

Teni’s The Wellness Package arrives as a concise, feel-good seven-track EP centered on healing, balance, self-expression, and good vibes. Released July 24, 2026, the project marks a colorful new chapter for the Nigerian Afrobeats star. Teni has long stood out for her charismatic delivery, socially conscious or playful lyricism, and genre-blending instincts rooted in Afrobeats but open to pop, R&B, and other flavors. After a period of creative reset and promotional campaigns that included interactive “treasure hunt” challenges tied to the wellness theme, ‘The Wellness Package’ positions itself as “the cure” for normalcy: a personal, reflective, yet celebratory body of work about growth, reflection, and unapologetic living.

The seven-track EP opens introspectively and builds through collaborations before closing on an energetic note. “Zion” with Olamide served as a key pre-release single and cultural centerpiece. Production credits include talents such as Deeyasso and Spotless. The project leans into soulful storytelling, melodic hooks, and Teni’s signature charm, with reported experimentation including reggae-inspired elements on the opener.

Thematically, the EP revolves around wellness in a broad sense; meditation and facing forward, wisdom, emotional or relational dynamics, spiritual or cultural grounding, material success, and forward motion (“HTGT”), balancing reflective moments with feel-good, replayable energy. The features add strong chemistry: Olamide on the previously released “Zion,” Chike’s melodic touch on “Wurumanya,” and The Cavemen’s organic highlife/Afrobeats flavor on “Wise”, all coming together to form a colorful creativity, cohesive listening experience, and Teni’s ability to deliver charm across the short runtime. As a short EP rather than a full album, it prioritizes quality and mood over volume.

‘The Wellness Package’ is Teni delivering exactly what the title promises: a compact, personality-driven set focused on balance, reflection, and uplift. It doesn’t reinvent her sound so much as refine and package it with thoughtful features and thematic cohesion. The best moments—particularly the introspective opener, the Olamide collaboration, and the Cavemen feature—showcase her charisma and willingness to experiment within a feel-good framework.

Taves – Popstar – Side A (EP)

Taves steps firmly into his popstar era with Popstar – Side A, a tight, emotionally sharp eight-track EP that captures the chaos, romance, faith, and ambition of a young man rising in Lagos. Released July 22, 2026 the roughly 19-minute project serves as the first half of a planned two-part body of work. Taves, the Ibadan-raised singer-songwriter, has been steadily building momentum since his earlier work, including the 2024 EP Are You Listening? and the viral “Folake”. He earned recognition as an Apple Music Rising Ambassador, Billboard’s African Rookie of the Month, and a Headies Rookie of the Year nominee. 

Taves “Popstar” opens with the declaration “See my life set to chaos / ’Cause I’m a young man in Lagos” on the title-evoking “Chaos”. The EP explores the dual meaning of “popstar”—fame and pressure on one side, playboy energy and romantic entanglement on the other.

Romance and desire drive several tracks. On “Deliver Me,” a love interest acts as both stimulant and savior who can motivate him back to life. “Isn’t It Beautiful” leans into the moral gray of white lies for peace. “Uche Jumbo” flips the talking-drum motif and energy of Wizkid’s “Don’t Dull” into a celebration of Nigerian beauty standards, complete with the “Awọn eleyi” refrain. “Preaching” turns financial struggle into a grounded prayer for sustenance and a chance rather than excess, with a driving bassline and the line about fighting demons while simply finding a way forward. The project balances upbeat, melodic Afropop and R&B textures with introspective lyricism.

Early standouts frequently mentioned include the opener “Chaos,” the romantic “Deliver Me,” the already-familiar “Uche Jumbo,” and the closer “Take Me Away”.

‘Popstar – Side A’ is a confident, concise statement from one of Nigeria’s sharper rising voices. Taves sharpens his melodic instincts and personal storytelling into a short, immersive set that feels both of-the-moment and rooted in lived Lagos experience. The best tracks deliver instant hooks alongside genuine emotional texture.

Zaylevelten – B4SAVEME (EP)

Zaylevelten’s B4SAVEME is a razor-sharp, eight-minute teaser that doubles as a statement of intent from one of Nigeria’s most interesting underground voices. The four-track EP following its release quickly climbed to No. 2 on Apple Music Nigeria’s Top Albums chart. It functions explicitly as a prelude to his forthcoming full project Save Me or SAVEME.

Zaylevelten is an Ikorodu, Lagos-raised artist with family roots in Ebonyi State. Born in 2002, he self-produces much of his work and has carved a lane blending trap, hip-hop, alté, and Afrobeats into a raw, experimental sound aimed at Gen Z and Gen Alpha listeners. Producers on the project include Thislondon, ELEMEN3, Johnson IP, Oche, and others. “Tease Me” stands out for sampling/interpolating Wizkid’s 2011 classic “Tease Me/Bad Guys,” giving the old hit a modern, darker flip.

B4SAVEME leans into experimental, atmospheric production with hip-hop and trap foundations, Nigerian street energy, and flashes of Afrobeats nostalgia. The dark cover art matches the mood: chaotic, teasing, and slightly unhinged in the best way. It moves through high-energy experimentation, nostalgia, and personal updates without overstaying its welcome.

“Tease Me” opens with the Wizkid sample and immediately generates conversation for how it reworks a Superstar-era classic into something current. “Yeye Talk” benefits from the Thisizlondon feature, while “SuperMega” and “Update” deliver the denser, more signature Tenski production and delivery. The EP feels like a controlled burst rather than a full narrative, exactly what a “before” project should be.

B4SAVEME is short, sharp, and purposeful. Zaylevelten doesn’t waste a second: he samples a classic, locks in a strong feature, and delivers his experimental hip-hop/Afrobeats hybrid with confidence. It works best as a vibe check and appetite-whetter for the full ‘Save Me’ project rather than a standalone epic. The real test will be how ‘Save Me’ expands on this foundation.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

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Davido & NO11 — “Gimme Dat Ting”

With Oriade on the horizon, Gimme Dat Ting offers another glimpse into Davido’s next chapter although it’s not the one many expected. Contrary to the traditional influences hinted at by the album’s title and rollout, the record embraces glossy Afropop, infectious melodies, and a carefree, nightlife-ready energy.

Built around buoyant percussion, playful chants, and an instantly memorable hook, the song never takes itself too seriously. Davido slides comfortably into the pocket, delivering the charismatic melodies that have long made him one of Afrobeats’ most reliable hitmakers, while NO11’s catchy refrain gives the record its strongest earworm.

Lyrically, there’s little ambition beyond having a good time, but that’s precisely the point. Gimme Dat Ting isn’t trying to unpack identity or purpose; it’s designed for movement, celebration, and immediate replay. Whether it ultimately reflects the direction of Oriade remains to be seen, but as a standalone record, it does exactly what it sets out to do: keep the energy high.

Steve Lacy & Erykah Badu — “pure colour”

Steve Lacy has always excelled at making emotional confusion sound beautiful, and pure colour continues that tradition with remarkable restraint. Joined by the incomparable Erykah Badu, he trades polished declarations for vulnerability, allowing uncertainty to sit comfortably at the centre of the record.

Built around sparse instrumentation and dreamy textures, the song unfolds slowly, giving every lyric room to breathe. Steve sings about losing himself in another person, questioning his own identity and wrestling with expectations placed on him, while Erykah Badu’s brief but hypnotic appearance feels almost like an inner voice cutting through the noise. Her spoken, meditative delivery shifts the song from heartbreak into something more introspective, gently steering it towards healing rather than despair.

What makes pure colour so compelling is its honesty. There’s no dramatic climax or oversized hook chasing virality. Instead, Steve Lacy trusts the emotion to carry the record, letting silence, repetition and understated production do much of the storytelling.

It’s the kind of song that grows louder the quieter your surroundings become a beautifully understated reminder that some of the strongest records don’t demand your attention; they patiently earn it.

LADIPOE & Pa Salieu — “No Level”

There’s something refreshing about hearing two rappers from different worlds meet each other without either compromising their identity. On No Level, LADIPOE and Pa Salieu build a collaboration that feels like a conversation.

The production sits comfortably between Afrobeats and contemporary hip-hop, driven by moody basslines, crisp percussion and enough space for both artists to command attention. LADIPOE approaches the beat with the effortless confidence that has become one of his greatest strengths, delivering measured verses that never feel rushed. Pa Salieu brings a welcome contrast. His unmistakable rasp injects urgency into the record, giving it a rougher edge that complements LADIPOE’s smoother delivery.

Rather than fighting for the spotlight, both rappers understand the power of restraint. Their contrasting styles create the song’s momentum, making No Level one of those collaborations that feels inevitable in hindsight. It’s confident, replayable, and another reminder that African hip-hop continues to thrive when artists allow their individuality to coexist instead of compete.

Tobe Nwigwe, Flavour & C.S. Armstrong — “PERFECTION”

Few artists approach collaboration with the intentionality of Tobe Nwigwe, and PERFECTION is another example of why his music feels so distinct. Bringing together Flavour and C.S. Armstrong, the record blends soul, gospel, hip-hop and African influences into something that feels deeply human.

The production is warm and expansive, built around rich instrumentation that allows every voice to shine without overwhelming the song’s message. Tobe delivers his verses with the calm conviction that has become synonymous with his work, while C.S. Armstrong’s soulful vocals provide emotional weight throughout. Then comes Flavour, whose unmistakable voice introduces a warmth that ties everything together beautifully, reminding listeners why he remains one of Africa’s most expressive vocalists.

Rather than chasing a viral moment, PERFECTION embraces patience. It unfolds gradually, rewarding listeners willing to sit with it, making the record feel less like a single and more like an experience. It’s thoughtful, uplifting, and one of this week’s most rewarding listens.

Sam Deep, Aidah, Njelic & Thatohatsi — “Rapela”

Amapiano continues to prove that sometimes the strongest records are the ones that refuse to rush, and Rapela understands that better than most.

Built around rolling log drums, airy synths and understated percussion, the production settles into a hypnotic groove almost immediately. Instead of relying on dramatic beat switches or explosive drops, the song allows its rhythm to evolve naturally, creating the kind of immersive atmosphere that has made Amapiano a global movement.

Aidah’s vocals float effortlessly above the production, adding softness without interrupting the momentum, while Sam Deep, Njelic and Thatohatsi ensure every element feels carefully placed. Nothing sounds excessive. Every progression serves the groove.

Rapela isn’t interested in instant gratification. It’s designed for long drives, late-night sets and dancefloors where the music is allowed to breathe. In a week filled with bigger names and louder releases, it quietly reminds listeners why South Africa continues to shape some of the continent’s most exciting sounds.

Whether you’re in the mood for effortless Afropop, thoughtful lyricism, soulful collaborations or slow-burning Amapiano, this week’s releases have something worth returning to.

If you’re looking for more new music to soundtrack your weekend, We’ve put together the best new releases from across Africa and beyond, so whether you’re discovering a new favourite or catching up on everything that dropped this week, there’s something waiting for you:

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Slick – Victony

Victony keeps the momentum going after Fre$h with Slick, opening the record with a sultry introduction from rising singer Amma before diving into the instantly memorable “slick slick” refrain.

The production is bright and infectious, pairing crisp percussion with breezy Afro-fusion melodies that make the song an easy replay. While the repeated hook strengthens its catchiness, it also leaves less room for stronger verses and a more satisfying progression. Even so, Slick has enough charisma and groove to be an easy addition to party playlists and weekend rotations.

Come Over – Nasty C, Tellaman & Oxlade

Nasty C, Tellaman, and Oxlade lean fully into romance on “Come Over,” crafting an R&B record built for late-night playlists. Warm basslines, soft piano flourishes, and atmospheric production create an intimate backdrop for the trio’s smooth performances, with each artist slipping effortlessly into the song’s laid-back groove.

Lyrically, Come Over is an invitation wrapped in anticipation. From the repeated plea of “Come over” to details like “The champagne’s pink, the bath bomb’s blue,” the song paints the picture of someone eagerly preparing for a long-awaited reunion. Rather than relying on grand declarations, it finds charm in the small moments: the excitement of hearing a car pull up, checking the mirror one last time, and counting down the minutes until the door opens.

Oxlade’s brief outro arrives like the final scene of the night, rounding off the record with the warmth and ease his voice has become known for. The result is a polished, sensual collaboration that feels effortless and replay-worthy.

Heaven on Earth – IkeN

Kenyan-born, UK-based independent artist IkeN makes a stunning debut with Heaven on Earth, introducing a sound that feels both intimate and expansive. There’s a weightlessness to the record; his voice drifts effortlessly across lush instrumentals, mirroring the song’s themes of identity, belonging and self-discovery.

Warm synths, gentle percussion and subtle electronic textures give the production an almost cinematic quality, creating a dreamy atmosphere that never overwhelms the vocals. Every element feels intentional, making Heaven on Earth an impressive introduction to an artist with a clear sense of self. If smooth, introspective alt-R&B is your thing, this deserves a place on your playlist.

Kontrol – Timaya & Duncan Mighty

Afrobeat veterans Timaya and Duncan Mighty reunite on Kontrol, delivering a record that immediately evokes the warmth and bounce of early-2000s Nigerian pop. Driven by lively percussion, bright horns, and infectious rhythms, the song is steeped in nostalgia while still sounding fresh enough for today’s playlists.

Beneath its celebratory production, Kontrol is built on reassurance. The repeated hook, “Girl you dey control my soul,” frames love as complete surrender, while lines like “As you love me, I go love you” and “Take my pin and spend as you like” reinforce themes of reciprocity, trust and generosity. By the final verse, promises such as “You don’t need to worry anymore… you’re my only one” shift the song from flirtation to devotion, giving it emotional depth beneath its dancefloor-ready energy.

Timaya and Duncan Mighty sound effortlessly in sync, reminding listeners why their chemistry has endured for years.

Kolobi – VVS, Siraheem, BInde, Romi & Wavy The Creator

VVS joins forces with Siraheem, BInde, Romi and Wavy The Creator on Kolobi, delivering an easy-going collaboration that thrives on chemistry rather than competition. Since his debut, Siraheem has continued to carve out his own lane, and this record further showcases his ability to blend comfortably within a collective while maintaining his presence.

The production fuses contemporary trap textures with Afro-fusion rhythms, creating a groove that’s light, bouncy, and easy to return to. Nobody tries to overpower the song; instead, each artist slips naturally into the beat, with the chorus emerging as its strongest moment. Kolobi may not chase grand ambitions, but it doesn’t need to.It’s an easy listen built for summer nights, long drives and repeat spins.

Whether you’re chasing nostalgia, looking for your next late-night soundtrack, or simply searching for something new, this week’s releases offer a little bit of everything:

Press play you might just discover the song that follows you into next week.

The post Victony, Timaya, Oxlade And More On New Music Friday appeared first on Afromixx.

FOLA & Ayra Starr — “TREAT U RIGHT“

There is a noticeable confidence in the way FOLA has approached every release over the past year. Rather than chasing loud moments, he has gradually built a reputation around melody, emotional songwriting and records that feel lived in. “TREAT U RIGHT” continues that trajectory, but with an even bigger statement: his chemistry with Ayra Starr feels two artists naturally finding each other’s musical language. The record arrived shortly after Ayra Starr’s own prior collab with FOLA providing background vocals on “Tornado.” 

From the opening seconds, ‘TREAT U RIGHT’ settles into an easy-going Afropop groove built on soft percussion, warm chords and an understated bounce. The instrumental leaves enough breathing room for both vocalists to glide comfortably through the record. FOLA is the emotional anchor, his songwriting leaning toward reassurance rather than flamboyance, and here he makes simple promises sound believable. Singing partly in Yoruba, Pidgin and English, he frames love as consistency, every melody feeling conversational, almost like he’s thinking aloud.

That restraint which distinguishes his discography becomes one of the song’s greatest strengths.

Ayra Starr glides in straddling the atmosphere. Rather than arriving with an explosive vocal run, she slides effortlessly into the record, matching FOLA’s softness while adding her own unmistakable personality. Her verse carries the confidence listeners have come to associate with her, balancing flirtation with emotional self-awareness. Her delivery carries an elegance in that prevents the collaboration from becoming another predictable Afrobeats love duet. 

Perhaps the most impressive aspect of ‘TREAT U RIGHT‘ is how naturally both artists complement one another. Their voices mesh seamlessly herewith Ayra Starr’s ‘Tornado’ being a sneak peek of the possibilities in their chemistry. FOLA’s tender tone allows Ayra’s slightly sharper vocal texture to shine, their voices meeting somewhere in the middle, creating harmonies that feel organic.

Lyrically, the song revolves around reassurance, emotional availability, and treating a partner with care. These aren’t groundbreaking themes within Afrobeats, but FOLA and Ayra Starr make them engaging through conversational writing and believable performances.

‘TREAT U RIGHT’ succeeds because it sounds intentional. The chemistry is believable, the songwriting remains focused, and neither artist sacrifices their individuality to accommodate the other. It is an easy listen on first play with its replay value lies in the melodic restraint, the conversational songwriting, and the comfort both artists have found within the same sonic space.

Jorja Smith ft. Wizkid — “Alive”

British R&B powerhouse Jorja Smith teams up with Afrobeats superstar Wizkid on “Alive”, the lead single from her highly anticipated third studio album ‘What Are The Odds’. Jorja Smith, known for her soul-stirring vocals and introspective songwriting, brings emotional depth and effortless cool. Wizkid, the global Afrobeats ambassador with undeniable melodic charm, adds his signature smooth flair, and together, they create pure magic.

Produced by P2J with mixing by Sam Harper and mastering by Prash “Engine-Earz” Mistry) “Alive” clocks in at a breezy 3:27. It’s built on hypnotic percussion, warm basslines, subtle Afrobeats rhythms, and lush, atmospheric production that feels both intimate and expansive. Jorja Smith’s velvety vocals lead the way, while Wizkid’s verse injects rhythmic bounce and playful energy—a seamless fusion that highlights their complementary styles.

The song has that late-night, lights-low vibe: sensual but never over-the-top, celebrating the honeymoon phase of attraction with the confident lyrics Jorja opens with: “All night, you make me feel so alive/Don’t stop, oh, you’re doing it right/You make me feel so alive/We be up all night, her verses expressing longing and commitment. Wizkid arrives exactly where the song needs him; his melodic cadence is understated, almost conversational, floating over the production with the effortless calm that has become one of his strongest artistic trademarks, reinforcing the mood the song has already established. Their performances feel collaborative in the truest sense, each creating space for the other. Jorja provides emotional texture while Wizkid brings rhythmic fluidity, resulting in a record that feels cohesive from beginning to end. 

Alive focuses on emotional presence, companionship and finding peace in another person. Those themes are expressed with enough sincerity to feel believable, even if they aren’t particularly groundbreaking. The song understands that not every love record needs high emotional stakes; sometimes comfort itself is compelling. Its minimalist approach leaves plenty of room for silence between melodies, allowing the vocals to breathe naturally. Every element feels intentionally placed, from the soft drum patterns to the understated bassline and ambient textures. Nothing fights for attention, making the listening experience feel immersive.

Reekado Banks — “Worthy Challenger” (EP)

Reekado Banks drops his new 5-track EP ‘Worthy Challenger’. Clocking in at just under 13 minutes, the project serves as a concise, confident return to form for the Afrobeats veteran, packed with catchy melodies, dance-ready grooves, and a clear nod to his chart-dominating prime.

Reekado Banks (Richard Isong) burst onto the scene in the 2010s with massive hits like “Ore Mi,” “Beamer,” and Mavin-era anthems that made him a household name. After a period of relative quiet, ‘Worthy Challenger’ feels like a deliberate reassertion inspired by responding to Burna Boy’s 2020 “not a worthy challenger” comment while delivering music that prioritizes vibes, replay value, and club energy over lengthy introspection.

The EP is short and sweet, leaning into polished Afrobeats with melodic hooks, percussive rhythms, and Reekado Banks’ signature smooth, emotive delivery. The EP opens with “Samankwe”: an energetic opener with infectious rhythms and playful lyrics, “She Is Mine” is a smooth and romantic, while “Mathematician”: carries clever wordplay and rhythmic flow, showcasing Reekado Banks’ lyrical side alongside the grooves. “Mercy” is a mid-tempo plea or celebration, blending emotion with danceability. “Nobody” with Libianca is the emotional closer and standout feature. Libianca’s soulful tones pair beautifully with Reekado Banks for a heartfelt, anthemic finish that elevates the project.

Production keeps things tight with vibrant percussion, warm melodies, and layered vocals that echo Reekado’s golden era while feeling fresh for 2026. It’s purposeful hit-making designed to remind everyone why he was once untouchable on the charts. The title is a direct, cheeky response to past jabs with a humorous hint at a follow-up called “Clout Animal” referencing old Wizkid drama. “Worthy Challenger” is Reekado Banks doing what he does best: delivering polished, hook-heavy Afrobeats that moves bodies and hearts. And at just five tracks, it avoids bloat and focuses on strengths.

Frenna, Odeal & Wizkid — “Coca Body”

On paper, Frenna, Odeal, and Wizkid sound like an effortless combination. All three artists thrive in music that prioritizes melody, groove and understated charisma over excess, making “Coca Body” feel less like a surprise collaboration and more like one that was always waiting to happen. The result is a smooth, late-night record that comfortably blurs the lines between Afrobeats, Afro-R&B and contemporary soul.

Coca Body wastes little time establishing its mood. The production settles into a silky rhythm driven by mellow percussion, rich basslines and soft guitar textures that immediately evoke warmth. Rather than chasing the high-energy bounce that often defines Afrobeats, the instrumental leans into sensuality, creating a laid-back atmosphere where every vocal performance has room to breathe.

Frenna sets the tone with confidence. His delivery carries the relaxed swagger that has long defined his music, approaching romance with effortless charm instead of exaggerated bravado. He glides through the production with melodic ease, making the opening feel inviting without trying to dominate the record. His performance establishes the song’s central mood before handing it over naturally to his collaborators.

Odeal feels right at home. Few artists in the current Afro-R&B space navigate intimacy as comfortably as he does, and “Coca Body” gives him another opportunity to showcase that strength. His voice introduces a gentle vulnerability that balances Frenna’s confidence, adding emotional texture without slowing the momentum. His phrasing is smooth, his melodies feel instinctive, and his presence deepens the song.

Then comes Wizkid. He folds seamlessly into the existing chemistry with his signature melodic cadence, subtle vocal inflections, and understated delivery reinforcing the song’s relaxed energy. There are no attempts to overpower and like his collaborators, he understands that Coca Body works best when every performance serves the atmosphere first.

That collective restraint becomes the song’s greatest strength. All three artists move through the production with remarkable cohesion, passing the record between themselves as though they had been performing together for years. Their contrasting vocal textures complement one another, giving the collaboration enough variety while maintaining a consistent emotional tone.

Lyrically, Coca Body embraces familiar themes of attraction, admiration and romance. The writing succeeds through personality and delivery. The title itself celebrates beauty with warmth while the verses maintain a flirtatious, organic confidence.

For Frenna, “Coca Body” highlights his ability to bridge European Afrobeats with the broader global sound. Odeal continues to cement his reputation as one of the most compelling voices operating between Afrobeats and alternative R&B, while Wizkid once again demonstrates why he remains one of the genre’s most reliable collaborators.

“Coca Body” appeal lies in its atmosphere, polished vocal performances and the effortless chemistry between three artists who understand that sometimes the strongest records are the ones that never try too hard.

Joshua Baraka — “What Do I Know?”

New Music Friday brings emotional depth courtesy of Ugandan talent Joshua Baraka and his new single “What Do I Know?”. The track marks an introspective solo return for the rising star following collaborations and his debut album Juvie. Few artists in East Africa have experienced the kind of upward trajectory Joshua Baraka has enjoyed over the past two years. From Nana to Wrong Places and his debut album Juvie, the Ugandan singer has steadily built a reputation for writing emotionally transparent records that blur Afro-pop, R&B and soul. “What Do I Know?”, his latest release, continues that introspective streak, trading grand statements for quiet self-reflection.

From the opening moments, the record establishes an atmosphere of vulnerability. The production is deliberately restrained, built around warm chords, soft percussion and subtle rhythmic textures that leave plenty of room for Joshua Baraka’s voice. Rather than leaning on infectious hooks from the outset, the instrumental unfolds patiently, inviting listeners into the emotional space before the melody fully settles.

Joshua Baraka sounds remarkably comfortable in that space. His greatest strength has never been vocal acrobatics but emotional honesty, and “What Do I Know?” leans heavily into that quality. His delivery feels conversational, almost as though he’s processing his thoughts in real time. Every line carries a quiet uncertainty that makes the songwriting feel believable. That uncertainty becomes the song’s central theme. Instead of presenting himself as someone with all the answers, Joshua Baraka explores the confusion that often accompanies love, growth and self-discovery. The title itself captures that tension. It’s less a rhetorical question than an admission that not every emotion arrives with clarity.

Melodically, the record is understated but memorable. Joshua Baraka avoids overcrowding the song with unnecessary vocal runs, allowing simple melodies to do the emotional heavy lifting. Every element feels intentionally placed. The percussion remains gentle throughout, while ambient textures and carefully layered harmonies create depth without distracting from the vocal performance. The arrangement gives the song an intimacy that many contemporary Afro-pop releases often sacrifice in pursuit of bigger moments.

More importantly, the single reinforces why Joshua Baraka continues to emerge as one of Africa’s most compelling young songwriters. And while “What Do I Know?” may not be designed for instant viral moments, but it possesses the qualities that often give songs a longer shelf life. It is thoughtful, emotionally grounded and quietly captivating—another reminder that Joshua Baraka’s greatest asset is his ability to make uncertainty sound beautiful.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST

The post Fola, Reekado Banks, Jorja Smith, Joshua Baraka and More on New Music Friday appeared first on Afromixx.

The veterans showed up and reminded us why they have remained at the top for so long. Meanwhile, a new generation of artists stepped into the conversation with enough confidence to hold their own alongside some of the biggest names on the continent.

This week’s releases offered a little bit of everything. There were victory laps, love songs, nostalgic callbacks, talking drums, club-ready records, and moments that made you stop and replay a section just to make sure you heard what you thought you heard.

The result is a rich lineup of songs that could become some of the year’s most replayed releases.

Let’s get into it:

Wande Coal, BNXN & Ruger — “Gbesunmo”

When you put Wande Coal, BNXN, and Ruger on the same record, the expectations become reasonable.

Wande alone has one of the most recognizable voices in Afrobeats. BNXN has spent the last few years proving he can float over almost any production. Ruger, meanwhile, brings enough charisma and swagger to make sure nobody gets too comfortable. On paper, “Gbesunmo” should be a problem.

Thankfully, it mostly is.

Wande opens the record exactly how you’d expect him to; smooth, effortless, and melodic. His voice glides over the beat with the confidence of someone who has spent nearly two decades reminding us why he’s one of Nigeria’s greatest vocalists.

Then the song gets interesting.

At exactly 0:51, the energy shifts. Wande’s soft melodies give way to the repeated “Gbesunmo” chants and suddenly the record feels bigger, louder, and far more urgent. It’s one of those moments that makes you instinctively look up from whatever you’re doing because you can feel the song changing shape in real time.

BNXN slips into the pocket comfortably, delivering the kind of melodies that have become second nature to him. Ruger  arrives with his trademark confidence, adding a little grit and attitude to balance out the smoother edges of the song. It’s a combination that works.

Does “Gbesunmo” completely justify the sky-high expectations that came with three heavyweights sharing a record? That depends on who you ask.

It’s catchy, energetic, and packed with enough memorable moments to earn a place on your weekend rotation. 

Davido, JAZZWRLD & GL_Ceejay — “I Know Who I Be”

From telling his senior colleagues in the game that he’s badder than all of them to proudly crowning himself 001, Davido has never been shy about singing his own praises. “I Know Who I Be” continues that tradition.

It’s a feel-good, chest-out celebration of self-belief that sits firmly within the lane Davido has spent years perfecting. If you’ve been riding with him since the early days, the energy feels familiar in the best way. This is Davido reminding everyone exactly who he thinks he is and daring anybody to disagree.

The production leans heavily into Amapiano territory, with log drums, bouncy percussion, and that unmistakable South African bounce filtered through a Lagos lens.

Then comes the pocket between 2:08 and 2:2 that captures a very specific feeling. 

‘You’re deep in the function, the lights are low, the crowd is loud, the DJ throws on a beat nobody seems to recognize, but everyone is dancing and for a few seconds, life is exactly where it should be.

It’s easily the most exciting moment on the record.

The only issue is that it doesn’t blend seamlessly into this song.

Still, this is Davido doing what Davido does best; loud, confident, celebratory, and completely convinced of his own greatness.

Wande Coal & Wizkid — “Oshe”

“Oshe” feels like the musical equivalent of arriving at a party and immediately finding where the fun people are standing.

Wizkid opens the record in familiar territory: money, enjoyment, good vibes, and absolutely no intention of stressing himself. From “Money come mo gbe mi o” to “Nobody fit do am like me o,” he sounds relaxed, confident, and completely at home over the production.

The chorus is where the song really shines.

“Ó ṣe, oh, ó ṣe / Mo dẹ̀ mọ b’ó ṣe ń ṣe.”

It’s simple, repetitive, and ridiculously catchy.

Wande Coal arrives easily reminds everyone why he’s still one of the smoothest vocalists in Afrobeats. His verse feels playful, flirtatious, and effortlessly charismatic. One minute he’s comparing himself to King Solomon, the next he’s singing about a woman whose body is “like a weapon.” It shouldn’t work as well as it does, but Wande has always had a gift for making even the most outrageous lines sound believable.

The real magic of “Oshe” is how comfortable both artists sound and of course, the talking drums.

They give the song extra bounce and make the final stretch feel richer than what came before. It’s a small detail, but it’s one of the reasons the record sticks. It’s arguably one of the strongest releases from this week’s New Music Friday.

Wizzy and Wande sure did a thing here.

Taves — “Uche Jombo”

Sampling a Wizkid record is one thing.

Sampling one of the most recognizable Wizkid records (Don’t dull)  and naming the song after Nollywood actress Uche Jombo is an entirely different level of confidence.

The moment the beat drops, there’s a brief second where the brain expects to hear Wizkid’s “see you sitting in the corner, don’t dull” Instead, Taves appears, and somehow it works.

Rather than feeling like a tribute trapped in nostalgia, “Uche Jombo” manages to carve out its own identity.

Built around flirtation, admiration, and plenty of swagger, Taves spends most of the record singing the praises of a woman he clearly can’t get enough of. Comparing her beauty to Uche Jombo, Agbani Darego, and even the Mona Lisa might be excessive, but that’s part of the charm. 

Vocally, Taves sounds right at home. His smooth delivery glides over the production effortlessly, carrying the playful energy of lines like “You fine pass Uche Jombo” and “Baby girl, you know your ex-boyfriend wanna be like us.”

The repeated “awọn eleyi” chants give the song an infectious quality, while the production balances nostalgia with enough freshness to keep the record from feeling like a remake.

More importantly, Taves avoids the biggest trap that comes with sampling a beloved song.

He doesn’t try to outdo the original.

He simply has fun with it and that’s exactly why “Uche Jombo” works.

La Soülchyld, Soundlykob & MAUIMØON — “Take Control”

Rwandan artist La Soülchyld joins forces with Soundlykob and MAUIMØON on “Take Control,” a smooth, flirtatious record that feels like the musical equivalent of sustained eye contact.

The song opens with a warning, but not the kind anyone should run from. Instead, it unfolds like the beginning of a late-night conversation between two people who already know where things are headed. From the opening lines, La Soülchyld leans into desire, vulnerability, and attraction with an ease that makes the record feel effortless.

What stands out most is the atmosphere. References to Kampala traffic, coconut scents, blue bubbles, and quiet oases give the song texture and personality. Rather than relying on generic love song tropes, the artists build a world that feels lived in and specific.

The hook is undeniably infectious. The repeated “She want me, she want my body, take control of me” paired with the Luganda refrain “Ayagala Nze” lodges itself in the listener’s head almost immediately. It’s simple, effective, and perfectly suited for repeat listens.

Lyrically, the song captures that space between caution and surrender. One moment there’s hesitation, the next there’s complete abandonment. By the time La Soülchyld admits that he “can’t do the tip” and prefers the deep end, the emotional direction of the song is clear. This isn’t casual attraction. This is the kind of chemistry that makes good decisions difficult.

The production deserves credit too. The beat never overwhelms the vocals. Instead, it creates enough room for the artists to glide across it while maintaining a steady groove that feels equally suited for headphones, car rides, and dance floors.

This Friday proved African music is in a sweet spot right now.

The veterans, especially Wande Coal, showed up like they had something to prove, reminding everyone why they’ve remained relevant for so long. The younger artists swung big too, leaning into bold samples, genre experimentation, and cultural confidence without losing themselves in the process.

We got talking drums that elevated records, Amapiano moments that felt like stepping straight into a Lagos function, and risks that actually paid off. More importantly, we got songs with personality.

Not every record needs to change the world. Sometimes great music simply needs to make you dance, make you feel something, or make your journey home a little more enjoyable.

This week’s releases did all three.

So whether you’re stuck in traffic, heading out for the weekend, or looking for your next obsession, there’s something on this playlist waiting for you.

Hit play and enjoy the ride:

The post Davido, Wizkid, Wande Coal, Taves and More on New Music Friday 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.

A tornado touches down, Democracy Day hands us a long weekend, and fresh music arrives right on cue.

Whether you’re spending the holiday on the road, at a rooftop hangout, curled up indoors avoiding the rain, or dancing your way through the weekend, there’s no shortage of new sounds to keep you company.

Leading the charge is Ayra Starr, whose latest single arrives with all the force its title promises but she’s far from alone.

From Sarkodie and Shatta Wale’s triumphant reunion to Bloody Civilian’s genre-bending return and a handful of records built for both reflection and celebration, this New Music Friday releases cover every mood imaginable.

Let’s get into it:

Ayra Starr – “Tornado”

Ayra rolls in hot on her highly anticipated third single of the year, and she delivers. She whines like a tornado, and the song spins you right into the eye of the storm; confident, sensual, and unapologetic.

The chorus hits with that infectious “Whine like tornado, whine like tornado” refrain, turning the dancefloor into a whirlwind. Lyrics like “I’m the price they wanna beat / If you’re starving, come and eat”, celebrate self-worth and allure without apology. She owns her power, invites the right energy, and keeps it playful.

Skillies, Shizzi, and Riotusa and the entire production crew layer shimmering synths, punchy bass, crisp drums, and subtle guitar that give it that polished Afrobeats glow with global appeal. Fola’s background vocals add a silky, harmonious lift in the outro is a pleasant surprise that elevates the whole experience. 

Sarkodie ft. Shatta Wale – “Everlasting”

These two Ghanaian heavyweights reunite and start with a bold statement that screams dominance. The track blends Sarkodie’s sharp rap bars with Shatta’s catchy, dancehall-infused hooks. Lyrics lean into bravado, success, and that “unstoppable” energy. It feels like a victory lap after years of separate paths and eventual reconciliation. The chemistry pops, and they trade energy like old friends who never lost the spark.

MOG Beatz keeps the production bouncy and radio-ready with heavy bass, rhythmic percussion, and upbeat tempos that nod to Ghanaian roots while pushing mainstream appeal.

Shatta handles the melodic chorus that pulls you in, while Sarkodie rides the verses with precision. It’s celebratory, fun, and built for clubs or cruising. 

Bloody Civilian – “Spacefuji” (feat. BOJ & Terry Apala)

After a long hiatus, Bloody Civilian blasts back with pure afro-futurism. “Spacefuji” takes you on a literal journey with voiceovers welcoming you to “the sounds of outer space.” She fuses house, Fuji influences, and Afro-fusion into something textured, innovative, and club-ready.

Produced by Ditwani, the song is expansive and layered, with driving rhythms, unconventional songwriting, and rhythmic energy that moves the body while sparking the mind.

BOJ brings melodic finesse, and Terry Apala adds that unmistakable Fuji flavor. It’s bold, genre-defying, and marks a strong return for one of Nigeria’s most distinctive voices.

Zaylevelten – “Go Again”

Zaylevelten comes back with his signature style and a double entendre that works perfectly.

On one level, it’s about wealth and hustle: “Yesterday we collect, but we go again / Today we go collect, and we go again / The money finna come, and finna go again.” On another, it’s playful and sensual about the girl who comes and goes again.

The chorus repeats that motivational “go again” hook that sticks in your head. Lyrics mix Pidgin, swagger, and street-smart confidence over bouncy, wavy production from RMJthewavdealer. It’s feel-good, motivational party music with depth if you listen close. 

Joey B ft. Bosom P-Yung – “Akosua Broni” (from Sexy Highlife EP)

This track (and the whole Sexy Highlife EP) nails its name.

Joey B reimagines highlife for a new generation, and “Akosua Broni” fits the sexy, vibrant vibe perfectly.

The fusion feels fresh yet rooted; highlife rhythms meet modern flair, with Bosom P-Yung’s delivery adding that charismatic edge. It’s an interesting sound that blends languages and energies in a way that just works.

The production grooves with lively percussion, melodic lines, and that feel-good highlife spirit that makes you sway.

Chances of hearing something this unique? Slim to none.

Hotkeed – “Dear God”

Hotkeed brings introspection with a twist that mirrors Dax’s classic with the same title but Hotkeed’s version stays uniquely his.

He questions God about both profound and ridiculous things, mixing serious reflection with lighter, unserious moments.

The contrast hits hard; his voice over piano and atmospheric production creates a thoughtful, almost vulnerable sound that contrasts the playful lyrics at times.

It feels contemplative and human, like a late-night conversation with the universe. The beats stay restrained to let the lyrics breathe, making it stand out as more introspective amid the upbeat drops this Friday.

From whirlwind dances to reflective moments and pure celebration, this New Music Friday lineup really has something for everyone.

Kick back, hit play, and let these tracks carry you through the weekend. 

Listen to the full playlist here:

And let us know, what’s your favorite track so far?

The post Ayra Starr, Zaylevelten, Bloody Civilian And More On New Music Friday appeared first on Afromixx.

These releases blend energy, dancehall fire, and soul-stirring vocals to deliver movement, motivation, and pure escapism.

Dance by Fave

This track will have you gliding all the way to the Greek islands and then to Santorini. True to its title, Fave crafts a beat built entirely for movement.

It’s a sleek fusion of R&B warmth, Afrobeats bounce, and dancehall flair that pulses with infectious percussion and shimmering synths. But beneath the dance-ready production lies a romantic record about falling unexpectedly and wanting to escape into a world built for two.

Fave sings about a love that feels different from the rest, admitting that while people and situations may come and go, her feelings remain impossible to ignore. The dreamy references to Greece, Santorini, and Paris paint a picture of lovers eager to leave everything behind and get lost in each other’s company.

It’s the perfect song to serenade a lovely dance partner under dim lights, inviting you to lose yourself in its rhythmic sway and sultry grooves.

Many People by Ema Ogah and Ladipoe

Many People – Ema Ogah & Ladipoe

Ema Ogah opens with a mesmerizing, rapid-fire delivery that blurs the lines between rap, prayer, and hypnotic chant, leaving listeners captivated by his unique cadence and the now infectious “Aimoye” refrain.

Beneath the energy lies a message of resilience. Ema reflects on lessons learned, chasing success, and blocking out distractions, repeatedly returning to the idea that there are “many people” talking, doubting, or watching, but “that one no concern me.” It’s a mindset anthem wrapped in clever lyricism and relentless momentum.

Then Ladipoe steps in like grounding energy. His verse slows everything down without killing the momentum. He touches on the pressures of success, navigating industry politics, staying authentic, and the reality that visibility often attracts criticism. His bars carry the confidence of someone who understands that growth requires both thick skin and perspective.

Produced by Ucee, the bouncy beat drives high-energy momentum, layering sharp flows over vibrant percussion for an unstoppable anthem about facing forward, giving your all, and stepping into your “that one no concern me” era. Equal parts motivational and self-assured, “Many People” feels like the soundtrack to keeping your head down, trusting the process, and refusing to let outside noise dictate your journey.

Nervous by Shatta Wale

Shatta Wale continues his unstoppable momentum with “Nervous,” a head-nodding banger perfect for cruising with the windows down.

The production (via So Unique Records) fuses dancehall swagger with infectious grooves and wicked, street-ready beats that keep the energy high.

Sing along, bop your head, and let the Dancehall King ease those nerves while lighting up the drive.

Fantasize by Ric Hassani, Tegha

Ric Hassani links up with Tehga for this soulful ballad that captures love’s dreamy pull.

Their voices intertwine seamlessly over smoothgentle melodies, warm instrumentation, and heartfelt harmonies create an intimate soundscape.

It’s a beautiful ode to fantasy and connection, with Ric back in his element delivering vulnerability and romance, we’re hoping it doesn’t end in another ‘Thunder Fire You’ moment.

Idol by Esoterica

Consider this your official introduction to Esoterica.

She is an alternative artist who delivers her lyrics with raw conviction and commanding presence, drawing you into every word.

The production elevates her storytelling with layered, atmospheric elements that demand attention. Expect her to become a staple in your rotation.

Fre$h by Victony

Victony is an artist who rarely misses, and “Fre$h” is just another feather in his hat. Produced by Ozedikus, the record is a joyful celebration of a woman whose confidence, beauty, and style command attention wherever she goes.

Built on bouncy Afrobeats rhythms, crisp percussion, and infectious melodies, “Fre$h” finds Victony fully in admiration mode.

From repeatedly calling his muse “fresh” to declaring that he has never seen anyone in her category, the singer paints a picture of a woman who effortlessly stands out from the crowd. His playful lyrics and smooth delivery add charm to the record, making it feel less like a love song and more like an appreciation anthem.

It’s the kind of song that makes you want to send a text, post a picture, or even reconsider your single status.

This week’s lineup is designed to move bodies, lift spirits, and spark connection. Whether you’re dancing through the night, cruising around, or daydreaming with a loved one, these tracks deliver fresh fire across genres.

Here’s a link to the full list:

Stream them, share them, and have a lovely weekend.

The post Victony, Fave, Ladipoe, Shatta Wale And More On New Music Friday. appeared first on Afromixx.

This new music Friday leans heavily into romance, self-reflection, empowerment, and high-energy anthems, blending Afrobeats’ signature warmth with global flair. 

Here’s a deeper dive into the standout tracks:

Lady – KFMD, Qing Madi, Tiwa Savage & Flavour

This lead single from Qing Madi’s Barely Legal EP is a polished, dance-ready Afropop gem that perfectly captures the playful push-pull of early romance. 

Qing Madi’s smooth, youthful vocals open with confident declarations of wanting to be “your lady,” while Tiwa Savage brings mature elegance and emotional depth. Flavour infuses rich Igbo cultural essence, highlife rhythms, and his signature melodic flair, creating a seamless cultural fusion.

The production delivers an infectious, upbeat groove. Think lively percussion, warm synths, and a bouncy rhythm that begs for movement. It’s energetic yet sophisticated, playful without being frivolous. 

Ideal for the “talking stage,” this track radiates flirty confidence and cross-generational appeal, positioning Qing Madi as a breakout voice bridging Afrobeats’ new and established generations. Expect it to dominate summer playlists and club rotations.

Elumelu – Young Jonn

Young Jonn taps into aspirational luxury and street success on this easy-listening single, nodding to Nigerian billionaire Tony Elumelu. 

Fans missing the Dada era will find familiar melodic charm here: catchy, head-nodding vibes rooted in Afrobeats with R&B and pop influences. 

However, there’s a slight resemblance to tracks like Kashcoming’s ‘All My Money’, making the approach a bit formulaic or “lazy” in execution compared to his sharper earlier work.

As a seasoned producer-turned-artist (the “Wicked Producer”), Young Jonn’s touch shines in the infectious, replayable beat featuring vibrant percussion, melodic synth lines, and that signature youthful energy he’s known for. 

It’s a feel-good summer anthem celebrating wealth, hustle, and living large, with strong replay value even if it doesn’t fully break new ground.

Niwache – Nikita Kering’

Kenyan star Nikita Kering’ makes a strong return with a relatable situationship anthem that hits emotional nerves. 

Sung partly in Swahili, it may send listeners to Google Translate, but the vulnerability and passion transcend language. It’s the kind of song you belt in private while denying it publicly.

It leans into contemporary Afrobeats/R&B with emotional depth; subtle beats, atmospheric layers, and space for her powerful vocals to shine. It’s cathartic and boundary-setting, marking an evolved, confident era for the artist. 

Game Time – Future, Tyla & FIFA Sound

Tyla links with Future for this official 2026 FIFA World Cup anthem, delivering high-octane energy perfect for gyms, pre-game hype, or global celebrations. 

Tyla switches octaves masterfully: raspier and beast-mode to match Future’s trap-infused delivery, then softer for a polished close. Chants and dynamic production add serious “oomph,” making it a FIFA soundtrack.

The beat fuses Tyla’s amapiano-rooted grooves with Future’s hip-hop edge. Lines like “you don’t wanna see me go beast mode” capture competitive fire. It’s a cross-genre banger that blends South African flair, American trap, and international appeal.

Let Me Go – Young Legend, Joeboy & Abefe

Abefe, a fast-rising Nigerian talent, shines alongside Joeboy (under his Young Legend label) on this soulful plea for peace of mind and emotional exit. It’s a mature Afrobeats ballad about knowing when to walk away.

Abefe’s street-edged style with Joeboy’s signature smooth, lover-boy melodies. Expect warm percussion, emotive piano undertones, and layered harmonies that highlight vocal chemistry. It’s heartfelt, relatable, and a strong showcase for emerging voices on the Young Legend roster.

This Friday’s releases showcase Afrobeats’ versatility—from flirty highs to reflective lows and global anthems—while highlighting rising talents alongside established stars. 

Which one are you playing first this weekend?

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The post Qing Madi, Tyla, Young Jonn, Joeboy, and More on New Music Friday appeared first on Afromixx.

Blaqbonez ft. Asake – Chanel

Blaqbonez, the Chocolate City rap chameleon, links up with Asake on “Chanel”, a track that’s been bubbling on social media platforms and studios since those viral April studio clips surfaced. This is a full-circle moment, as both artists crossed paths back in their Obafemi Awolowo University days, and Blaqbonez has been teasing the chemistry. Produced by Johnson IP (Sleepless IP) and Spykida, the beat is a masterclass in contemporary Nigerian fusion. It rides a laid-back yet infectious groove, a meld of smooth percussion, glossy synth layers, and a subtle bounce that keeps the energy cruising rather than exploding. There’s a luxurious, almost cinematic sheen to it: sparkling hi-hats, warm bass undertones, and melodic flourishes that evoke high-end fashion and fit the title. It’s not the raw, street-trap energy Blaqbonez sometimes leans into, nor is it peak Asake Fuji-Amapiano chaos.

Blaqbonez opens strong with the intro and chorus, setting a confident, playful tone: Fresh Prince of Bel-Air / On my neck, IYOO CARTEL / Bad girl say she want Chanel / F’okan bale, Nike, everything correct / Me, I hear say you dey vex / Hmm, pẹ̀lẹ́ — witty wordplay, luxury name-drops Chanel, Cartier vibes, and Nike as shorthand for perfection and that signature Blaqbonez flow that switches between rap precision and melodic sing-rap. It’s boastful but light-hearted, with Yoruba-infused lines adding cultural flavour and relatability. He handles the bulk of the song, anchoring it with charisma. Asake slides in, literally, with a swagger-filled verse that feels like a highlight reel. He brings his signature rhythmic bounce and ad-libs, elevating the energy. His delivery complements Blaqbonez perfectly — where Blaqbonez already laid the rhythmic foundation of “Chanel”, Asake followed similarly with a loose, hypnotic, and rap-sing delivery. 

Blaqbonez’s clever punchlines and Asake’s magnetic presence turn “Chanel” into a celebration of their lanes colliding. “Chanel” hits that sweet spot with an instantly replayable sound without being throwaway. Blaqbonez manages to perfect the sound, cadence and overall vision with star power and execution. The production gives it legs for playlists and parties, the lyrics deliver memorable hooks and flexes, and the Blaqbonez-Asake pairing feels surprisingly sacred.

“Chanel” is music built around mood, attraction, fashion-coded luxury, and cool-factor performance. But even within those familiar Afropop themes, both artists inject enough identity to stop the song from becoming generic. Asake’s street-rooted melodic confidence contrasts nicely with Blaqbonez’s ironic playboy energy. One sounds spiritually grounded in success; the other sounds amused by it.

KFMD ft. Qing Madi, BNXN & Victony – Come Slide

There’s a softness to “Come Slide” that immediately separates it from the louder end of contemporary Afrobeats collaborations. In an era where songs often arrive bloated with unnecessary switches and overstimulation, KFMD, Qing Madi, BNXN, and Victony choose atmosphere instead. The record leans into intimacy, restraint, and melodic chemistry, allowing every artist to exist naturally inside the same emotional space rather than fighting for dominance.

Built on smooth Afro-R&B textures, “Come Slide” feels like music designed for late-night conversations, slow drives, and quiet obsession. The beat produced in the KFMD ecosystem is a bright, playful Afrobeats groove with strong Afro-pop DNA—punchy percussion, melodic guitar licks that shimmer in the background, and a bouncy rhythm section that creates an effortless pocket. It’s polished without being overproduced—light and infectious rather than heavy or bass-heavy. The groove has that irresistible summer quality: warm, danceable, and designed for repeat listens, car rides, and beach hangs.

Qing Madi remains the emotional centre of the track. Over the last two years, she has gradually carved a lane where vulnerability and melody coexist effortlessly, and “Come Slide” continues that trajectory. Here, she sounds calm, assured, and fully aware of how to control the mood of a song without oversinging. Her voice glides through the production with a kind of understated elegance, setting the tone before BNXN enters with the melodic fluidity he has practically mastered at this point. BNXN understands rhythm in a way many vocalists don’t; he bends syllables around percussion rather than simply singing over it. ‘Come Slide’ is fun, flirtatious, and celebratory — attraction, good vibes, living in the moment, and that classic ‘come through’ invitation, blending English with Pidgin flavour, keeping it relatable and catchy.

Then there’s Victony, whose presence subtly changes the energy of the record, slightly disrupting it. Victony has always excelled at sounding emotionally detached and emotionally invested at the same time, a quality that makes his features memorable even when they’re brief. His verse on “Come Slide” arrives with relaxed confidence, adding texture and emotional contrast to the record’s already dreamy atmosphere.

KFMD’s role on the song is equally important because the production direction holds the collaboration together. There’s a noticeable consistency in the sonic choices tied to recent KFMD-associated releases, particularly records like “Pepper Me” with Qing Madi and Zinoleesky, where mood and groove take priority over explosive structure. “Come Slide” follows that same philosophy. The beat never rushes, with transitions that feel seamless while still retaining momentum.

Chike ft. Syemca – Pity My Soul

Some heartbreak records don’t announce themselves loudly, nor do they rely on dramatic crescendos or excessive vocal acrobatics to communicate pain. Instead, it settles quietly into your chest and lingers there. “Pity My Soul” by Chike and Syemca belongs to that category of music — emotionally heavy, understated, and deeply human.

The song arrives as a reunion between two artists whose chemistry feels rooted beyond music. Chike teams up with his brother Syemca on “Pity My Soul”, following their previous successful collaboration “Love Egbuomo”. Chike and Syemca’s relationship predates the industry itself, with Syemca reportedly playing a major role in encouraging Chike to pursue music professionally. 

From the opening seconds, the production understands restraint. Produced, mixed, and mastered by DeeYasso, the beat is a polished, minimalist Afro-soul/Afropop fusion. It features smooth instrumentation — subtle percussion, warm melodic lines, and atmospheric elements that prioritise mood over high-energy bounce. The production stays understated, creating space for the vocals and lyrics to lead.

On “Pity My Soul”, Chike sounds emotionally exhausted rather than theatrically heartbroken. He has built an entire career around emotional transparency, but what makes him compelling is how conversational his vulnerability feels. There’s a weariness in his delivery that makes lines like “Whenever you are not in my corner, I pity my soul” land with genuine sincerity instead of polished melodrama.

The song thrives on relatability and cultural familiarity. One of the record’s standout moments — “I go trek from here to Okokomaiko” — instantly grounds the emotion in lived Nigerian reality. It’s not just a clever lyric; it’s a geographical metaphor for devotion, using a recognisable Lagos reference point to express the lengths someone is willing to go for love. The song dives into themes of love, dependency, pain, vulnerability, and inner turmoil. “Whenever you are not in my corner / I pity my soul / Call on me I go trek / From here to Okokomaiko / Ah ah ah my medulla is not in control”

It’s a raw expression of how absence or emotional disconnect leaves one feeling lost and heavy-hearted. Chike delivers with his trademark wounded, expressive voice — honest and deeply human, sounding genuinely affected. Syemca adds harmonic texture and complementary layers, strengthening the brotherly chemistry without overpowering the lead. Their vocal blend feels natural and familial. The multilingual songwriting also strengthens the song’s emotional texture. Moving between English, Pidgin, and Igbo, Chike and Syemca avoid sounding overly polished or performative. The language shifts feel natural, like real conversations between lovers trying to salvage emotional closeness. That authenticity gives the song its replay value.

By the final chorus, the song leaves behind a feeling that’s difficult to fake — emotional fatigue wrapped inside tenderness. And sometimes, that quiet honesty is far more powerful than spectacle.

LISA, Anitta & Rema ft. FIFA Sound – Goals

Some songs are built for charts. Some are built for stadiums. “Goals” by LISA, Anitta, and Rema — released in collaboration with FIFA Sound — is clearly aiming for both. The record arrives with the glossy ambition of a global sports anthem, but what makes it interesting is how each artist still manages to preserve traces of their individual identity inside a song engineered for worldwide consumption.

From the first few seconds, “Goals” sounds massive. The production leans into bright percussion, cinematic synths, pulsating drums, and chant-ready melodies designed to thrive in arenas, highlight reels, and tournament montages. There’s an intentional sense of movement throughout the song; everything feels built around momentum. Even the beat structure mirrors the emotional rise-and-fall of a football match — tension, release, celebration.

FIFA Sound collaborations often struggle with sounding overly corporate or emotionally empty, but “Goals” avoids complete sterility because of the artists involved. Each performer brings a distinct rhythmic personality that stops the record from collapsing into generic sports-pop territory.

LISA arrives with the kind of polished charisma that has defined her global crossover presence beyond BLACKPINK. Her delivery is sharp, rhythmic, and performance-driven, fitting naturally into the song’s high-energy framework. She understands spectacle, which is essential on a record like this. Even when the lyrics lean heavily into motivational clichés and victory imagery, her confidence sells the performance.

Anitta brings warmth and bounce to the track. Her presence subtly shifts the energy from pure stadium anthem into something danceable and flirtatious. There’s a Latin-pop fluidity in her delivery that complements the song’s global ambition, preventing the production from feeling too rigid or militaristic.

Then there’s Rema, whose inclusion feels particularly significant given Afrobeats’ continued integration into mainstream international pop infrastructure. Rema approaches “Goals” with controlled coolness rather than explosive theatrics. His melodic instincts naturally soften the song’s more manufactured edges, adding groove and personality to an otherwise highly structured production. Even within a FIFA-sponsored anthem, he still sounds unmistakably like himself.

Lyrically, “Goals” operates within expected territory — ambition, winning, elevation, confidence, overcoming pressure, with sports anthems thriving more on emotional immediacy than lyrical complexity. The key is whether the energy feels convincing enough to soundtrack moments of collective excitement, and “Goals” largely succeeds in that regard.

What’s most interesting is how the song reflects the current globalization of pop music. A Thai superstar, a Brazilian hitmaker, and a Nigerian genre-shifting artist collaborating under FIFA’s banner would’ve sounded almost improbable a decade ago. Now it feels entirely natural. “Goals” exists at the intersection of streaming culture, football spectacle, and international pop hybridity — where geography matters less than reach, algorithmic visibility, and cross-market appeal.

The production also smartly leaves room for rhythmic diversity without losing cohesion. Afro-influenced percussion, Latin bounce, electronic pop textures, and chant-style hooks all coexist without sounding stitched together by committee. That balance keeps the song from becoming sonically overcrowded.

Magixx ft. Fola — Juice & Liquor

“Juice & Liquor” by Magixx and Fola leans into a mood-first, structure-second format — a late-night Afrobeats record built around intoxication as both metaphor and atmosphere. Not just alcohol, but the blur between desire, escape, and emotional surrender.

From the opening, the production sets a slow-burning tone. It’s built on mid-tempo percussion, hazy log drums, faint synth washes, and a bassline that never really rushes itself. Everything feels slightly smudged at the edges, like the record is meant to sound the way a dimly lit room feels after a long night. There’s no aggressive drop or attention-grabbing switch; instead, the beat stretches itself out and allows repetition to do the heavy lifting.

Magixx has always occupied a space in Afrobeats where vulnerability and seduction meet without conflict. On “Juice & Liquor”, he sounds fully aware of that balance. His delivery is light, almost airy, but still emotionally grounded. The lyrics lean into familiar themes of romantic intoxication, emotional dependency, and late-night confession, but what makes it work is the restraint in his tone. 

Fola, on the other hand, brings contrast. Where Magixx floats, Fola anchors. His vocal tone carries a slightly rougher texture, more street-tinged and immediate. That contrast is what gives the record its internal tension. His lines feel more conversational, less polished, like thoughts being spoken rather than performed. It creates a push-and-pull dynamic that keeps the song from collapsing into monotony. Together, both artists meet in the same emotional space. The “juice and liquor” framing isn’t just aesthetic branding; it’s a structure for how the song moves. The lyrics circle the idea of losing control willingly, of letting emotion blur judgement, and of desire that feels easier when slightly numbed. It’s not heartbreak in the traditional sense; it’s the aftermath of it, where feeling too much and feeling nothing start to sound the same.

There’s also a subtle maturity in how both artists approach space. The gaps between vocals, the softness of transitions, the refusal to overcrowd the mix — all of it contributes to a record that feels intentionally intimate rather than commercially maximalist. “Juice & Liquor” ultimately works because it knows its own temperature, sitting somewhere in between, where decisions are slower, feelings are heavier, and everything sounds slightly closer than it should.

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The post Blaqbonez, Chike, KFMD, Magixx and More on New Music Friday appeared first on Afromixx.