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?

STREAM THE FULL NEW MUSIC FRIDAY PLAYLIST

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.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

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

BNXN, Sarz — The Game Needs Us

BNXN & Sarz’s “The Game Needs Us” EP is the smooth, cohesive Afro-fusion statement the game actually needed. BNXN links up with production maestro Sarz for The Game Needs Us, a tight five-track EP that clocks in at just over 15 minutes. This is a deliberate, vibe-first joint that builds on their proven chemistry from “Gwagwalada” and “Pidgin & English". Sarz handles all production, crafting soundscapes that feel both familiar and freshly polished. BNXN glides over every beat with that signature buttery delivery—Pidgin, Yoruba, English, and even interpolated Bambara. “The Game Needs Us” reminds listeners why they fell in love with this sound in the first place. It delivers on Sarz’s addictive production and BNXN’s rich, gliding vocals, wrapped in chemistry that feels lived-in. “The Game Needs Us” is the sonic equivalent of a perfectly mixed drink: layered, intoxicating, and gone too soon.

Entirely produced by Sarz, the EP leans into the producer’s long-standing reputation for textured, rhythm-forward soundscapes that feel futuristic without abandoning African musicality. Across the project, percussion sits at the center of everything. Even the softer moments have movement hidden underneath them. The drums breathe, the synths glide in and out carefully, and the transitions between moods feel seamless. It is the kind of production that rewards headphones as much as it does late-night car speakers.

The opener, “Rum & Soda”, immediately establishes the EP’s atmosphere. Sarz builds the song around warm percussion, floating chords, and a subtle bounce that gives BNXN enough room to stretch melodically. Lyrically, the track thrives on escapism and romantic intoxication. BNXN sounds relaxed but intentional, slipping between flirtation and emotional vulnerability with the ease that has made him one of the strongest melody writers in Nigerian pop music. His writing is conversational but never lazy. He understands how to make longing sound smooth. “Back Outside", the lead single, remains one of the project’s defining moments. The interpolation of Amadou & Mariam’s “Ko Neye Mounka Allah La” gives the track a nostalgic undercurrent while Sarz flips it into something sleek and contemporary. BNXN approaches the record with swagger, but there is still emotional tension beneath the surface. The song balances freedom and heartbreak in a way that mirrors modern Afropop’s obsession with emotional detachment disguised as enjoyment. The Bambara chorus translates to pure perseverance (“No matter what happens, we will keep going, don’t worry / Whatever comes our way, we will face it and move forward”). BNXN addresses lay-low periods, distractions (“You were out chasing a rainbow”), and his unbreakable grind (“My gbedu no go finish”). “Already” feels more introspective. Here, BNXN sounds reflective, singing about emotional certainty and romantic commitment without overcomplicating the writing. Sarz strips the production back slightly, allowing airy pads and restrained drums to carry the record. It is one of the moments where the EP feels most intimate. BNXN’s strength has always been his ability to make emotional songs feel effortless instead of overly dramatic, and that quality quietly drives this track. Then comes “Emotional High”, arguably the emotional core of the project. The production is hypnotic — layered synth textures, soft bass pockets, and subtle rhythmic shifts create a floating sensation that mirrors the instability the lyrics describe. BNXN leans fully into emotional vulnerability here, singing about desire, attachment, and the confusion that comes with both. His vocal performance is particularly strong on this record because he over-sings. The closing track “Frank Sinatra” expands the project’s cinematic edge. The title alone suggests luxury and composure, and the song carries that energy throughout. Sarz experiments more boldly here, introducing moody textures and dramatic pauses that make the song feel larger than its runtime. BNXN responds with a performance that is confident, stylish, and emotionally guarded all at once. It is the type of closer that leaves the EP hanging in the air rather than fully resolving it.

What makes ‘The Game Needs Us’ work is restraint. At just five tracks and roughly fifteen minutes long, the EP avoids the excess that often weakens collaborative projects. More importantly, the EP reinforces how valuable Sarz remains to modern African music. His production continues to evolve without losing identity, and BNXN sounds especially comfortable inside that world. Together, they understand how to make emotionally intelligent Afropop that still feels rhythmically alive. It is concise, confident, and deeply aware of what both artists do best.

Johnny Drille — Before The Morning Light

Johnny Drille’s “Before The Morning Light” is a soul-stirring, star-studded ode to love, healing, and dawn after darkness. Five years after ‘Before We Fall Asleep’, the Mavin Records singer-songwriter drops his sophomore album ‘Before The Morning Light’—a 14-track journey of vulnerability, romance, hope, and emotional depth that feels like the musical equivalent of watching the sun rise after the longest night. Clocking in as a rich, introspective body of work, the album blends Johnny’s signature folk-alternative soul with subtle Afropop grooves, live instrumentation, and heartfelt collaborations. Produced largely by Johnny Drille’s hands-on touch, it features heavyweights like Angélique Kidjo, Ayra Starr, Young Jonn, Tiwa Savage, Fireboy DML, Lojay, Nonso Amadi, Jerub, Aqyila, and more.

Across the project, he leans heavily into the emotional storytelling and soft sonic textures that first defined his appeal, but this time with a clearer sense of maturity. There is less urgency to prove himself as an alternative act within Afropop. Instead, the album sounds like an artist finally settled into his identity, making music that prioritizes feeling over spectacle. The title itself evokes patience, faith, and renewal—“before the morning light” as that liminal space of waiting, hurting, loving, and eventually healing. The production is warm and spacious, letting his buttery, emotive vocals breathe while weaving in acoustic guitars, gentle percussion, weeping strings, and soulful keys.

Sonically, Before The Morning Light exists somewhere between folk, soul, R&B, highlife, and acoustic pop. The production is warm and deeply human. Guitars remain central to the album’s emotional architecture, but they are layered with delicate percussion, airy harmonies, restrained piano arrangements, and subtle Afrobeats influences that stop the project from drifting too far into softness. “Colorado” (ft. Ayra Starr & Young Jonn): The pre-release single that set the tone. A smooth, mid-tempo groove with reflective lyrics about love that hits like elevation (“high like Colorado”). Johnny questions sufficiency in the relationship, Ayra Starr adds her signature vulnerability and flair, and Young Jonn brings melodic bounce. Gentle guitars and emotional delivery make it instantly addictive. “Over The Moon” (ft. Tiwa Savage) is buoyant and celebratory. This one captures that euphoric, head-over-heels love high—Johnny Drille and Tiwa Savage trading smooth verses and harmonies over uplifting production. Pure feel-good soul. “Blown Away” is a heartstring-puller with weeping strings. Johnny Drille sings of being utterly captivated beyond the physical—“Something about you, I’m blown away every day.” It’s the kind of vulnerable ballad that defines his appeal. Other highlights include “I’m Available", “Last Forever", "Angelina", "Chokehold", and “Waste Your Time”—each layering intimacy with groove. Tracks with Fireboy, Lojay, and Nonso Amadi likely lean into chemistry and groove, expanding the sonic palette while staying true to Johnny’s emotional core.

Lyrically, Johnny Drille remains one of the strongest emotional writers in Nigerian music because of how ordinary his language feels. He does not rely on overly poetic abstractions to communicate vulnerability. Instead, he writes like someone documenting real conversations, private fears, and moments of affection exactly as they happen. That simplicity gives the album emotional weight.

The title itself — ‘Before The Morning Light’ — becomes a thematic anchor throughout the record. Much of the album lives in emotional darkness: loneliness, longing, uncertainty, emotional exhaustion, and romantic reflection. But there is always a quiet optimism underneath it all, as though Johnny is searching for emotional clarity before sunrise fully arrives. 

“Before The Morning Light” cements Johnny Drille as one of Nigeria’s most complete artists—the “King of Feels” delivering a zero-skip sophomore album that balances introspection with accessibility.

Tml Vibez, Victony — Hello

There is a certain emotional instinct that has quietly defined Tml Vibez since his emergence under the Dapper Music system. Even when his records lean street-pop or melody-driven, there is usually a softness hidden beneath the delivery—a sense that he is trying to communicate affection, uncertainty, or emotional need through rhythm. On "Hello", that instinct becomes the centre of the record, and bringing Victony into the mix only deepens its emotional texture.

Built on smooth percussion, dreamy synth layers, and a slow-burning Afropop bounce, “Hello” feels intentionally weightless. The production creates enough space for both artists to glide through melodies without forcing dramatic vocal performances. The instrumental thrives on atmosphere more than complexity. Soft keys drift around the drums, while the bassline remains understated, allowing the emotional tone of the song to stay light and intimate.

Lyrically, the track revolves around romantic longing and emotional availability, but what makes it work is how conversational both artists sound. There is no attempt to overcomplicate the writing with unnecessary metaphors or excessive bravado. “Hello” feels like two people trying to reconnect emotionally, using music as the language for vulnerability. TML Vibez brings the gritty charm and hunger; Victony adds the melodic sheen, and together they cook a record that feels effortless and premium. 

Tml Vibez approaches the song with a calm sincerity that fits the production well. His melodies carry a gentle ache, especially in the way he stretches certain phrases to emphasize emotional hesitation. He understands how to make simple lines feel emotionally loaded without oversinging them. There is also noticeable improvement in his vocal control here. He sounds more settled inside the instrumental, more aware of how silence and restraint can strengthen a performance.

Victony’s appearance shifts the emotional energy slightly. As always, he arrives with melodic precision and a natural sense of fluidity that instantly sharpens the record’s atmosphere. But beyond the technical smoothness, Victony’s strength on “Hello” lies in how emotionally relaxed he sounds. He slips into its emotional world effortlessly, adding texture rather than distraction.

Their chemistry works because both artists understand emotional Afropop from similar angles. Neither performer relies heavily on aggressive vocal moments or oversized hooks. They trust melody enough to carry the record, and that trust gives “Hello” its replay value. 

For Tml Vibez, the record feels like another step towards artistic refinement. For Victony, it is yet another reminder of how effortlessly he can elevate emotionally driven music without disrupting its balance. Together, they deliver a record that feels warm, fluid, and emotionally present from start to finish.

Didi B — RABA

Didi B, the Ivorian rap rockstar pushing Francophone sounds toward Anglophone markets, teams up with Young Jonn, one of Afrobeats’ most reliable melodic weapons. The chemistry between both artists, who know how to make money talk and bodies move, shines especially on “Raba”. “Raba” translates roughly to money. It's a flex anthem wrapped in celebration, hustle validation, and dancefloor invitation. On paper, “Raba” already sounds like a collision of two very different musical energies. Didi B arrives from the Francophone rap world with sharp delivery, swagger, and a rhythmic aggressiveness rooted in coupé-décalé and trap influences, while Young Jonn thrives in sleek Afropop melodies built for emotional ease. But instead of clashing, both artists find a surprisingly natural balance on this record, creating a song that feels continental in the best way possible.

Produced by Swankii, the beat is bouncy percussion, shimmering synths, and a mid-tempo groove that sits perfectly between street rap energy and radio-ready melodies. It’s not overly cluttered; there’s breathing room for the flows while the log drums and claps keep it moving. Young Jonn’s melodic touch adds that signature smoothness, while Didi B rides the rhythm with rap precision and charisma. The record feels intentionally global while remaining deeply African. The percussion patterns carry strong West African dance influences, but the mix and sonic polish feel built for wider club circulation. The engineering is especially impressive because the song never loses clarity despite its density. Every vocal pocket remains clean, and the instrumental maintains movement without suffocating the performances.

The song’s title and overall mood lean heavily into flirtation, pleasure, confidence, and sensuality. “Raba” is not trying to be emotionally profound, but it succeeds because both artists fully commit to the record’s playful atmosphere. There is charisma in the writing. Even the repetitive phrases feel intentional because they feed directly into the song’s hypnotic bounce.

Didi B controls much of the record’s momentum. His delivery is sharp, stylish, and rhythmically disciplined. He attacks the beat with the confidence of someone fully aware of his star presence, switching flows fluidly while maintaining enough melodic flexibility to keep the song accessible beyond rap audiences. What stands out most is how naturally he moves across the production. Even listeners unfamiliar with Francophone African rap can immediately connect with the energy he brings. Young Jonn enters the record like a release valve. Where Didi B brings intensity, Young Jonn introduces smoothness. His melodic instincts immediately soften the track’s edges without reducing its energy. He slides into the instrumental effortlessly, delivering catchy phrases with the kind of relaxed confidence that has made him one of the most dependable hitmakers in contemporary Afropop.

Didi B and Young Jonn deliver a record built for movement, nightlife, and repeat listens, but underneath the dancefloor appeal is a collaboration that quietly highlights how interconnected African pop music continues to become.

Kunmie’s — Confession

Kunmie’s “Confession” is a raw, soul-baring afro-soul gem that cuts straight to the heart. “Confession”, released today via CiDAR Africa / AltMusic HQ under ONErpm is a deeply personal, emotionally charged single from the Lagos-based Afro-soul singer-songwriter, continuing his streak of vulnerable, love-centred storytelling that made "Arike", "Solace", and “Julie” resonate so strongly.

Kunmie has built a reputation as one of the most intentional new voices in Afrobeats/Afro-R&B—blending smooth melodies, Yoruba-infused phrasing, and raw honesty about love, regret, and healing. “Confession”, late-night introspection wrapped in warm production, is perfect for headphones and reflective playlists.

Co-produced with contributions from Firefly, Shorae, Fade Venom, and Puffy, the beat is classic Kunmie territory—intimate and spacious. Soft acoustic elements, gentle percussion, shimmering keys, and subtle Afro-soul grooves create a lush yet minimalist backdrop that lets his voice take center stage. It builds gradually with cinematic swells, evoking that “dawn after darkness” mood. The arrangement prioritizes atmosphere: echoing ad-libs, delicate harmonies, and breathing room that make every emotional peak land harder.

True to the title, “Confession” is Kunmie laying it all bare—imperfections, past mistakes, lingering feelings, and the weight of unspoken truths in love. His songwriting shines with poetic relatability: raw admissions wrapped in tender delivery, mixing English and Yoruba for cultural depth and intimacy. The song’s strongest moments arrive when Kunmie leans into emotional contradictions. That tension gives the track depth beyond simple heartbreak writing. Rather than presenting himself as emotionally in control, he allows uncertainty to shape the record’s identity.

Compared to some of his earlier material, “Confession” feels more intentional in how the melodies evolve. The hooks are subtle but memorable, designed less for instant viral replay and more for emotional resonance over time. It is the kind of song that becomes stronger with repeated listens because of how naturally the melodies settle into memory. With Kunmie on "Confession", the mood is stripped back to something more exposed, almost uncomfortable in its honesty. The record doesn’t reach for grandeur; it leans instead into stillness, letting emotion sit in its rawest form without distraction. There’s a quiet heaviness in the way it unfolds — like words being said for the first time after sitting too long in the chest — carried by minimal production that gives every lyric space to breathe. Rather than perform vulnerability, Kunmie sits inside it, allowing the song to feel less like a polished statement and more like a moment you’ve accidentally been allowed to overhear.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW:

The post BNXN, Sarz, DIDI B, Johnny Drille, Tml Vibez and More on New Music Friday appeared first on Afromixx.

Ema Onigah — ITEM VII (EP)

Ema Onigah’s ITEM VII is the confident second chapter that many rising Afrobeats voices dream of delivering. Dropped today, via Gamma Africa, the 7-track EP builds directly on his 2026 “comeback” single ‘With You’. It positions the Cross River State singer-songwriter as a thoughtful, versatile voice in the scene, blending romance, gratitude, street wisdom, and vulnerability with polished Afrobeats sensibilities.

Ema Onigah’s ITEM VII is a tight, cohesive project that feels like a proper introduction for anyone still curious. ITEM VII shines through its restraint and attention to texture rather than chasing maximalist trends. Production leans melodic and groove-forward, with live instrumentation adding organic warmth to digital Afrobeats foundations. Tuzi, who handled the lead single “With You", brings a smooth, mid-tempo vibe that recurs across the project. Think rolling percussion, subtle log drums, and atmospheric pads that let the vocals breathe.

Standout production moments include the “stabbing piano keys” on “Greatest Lover”, which inject a sharper, almost melancholic edge amid the otherwise sunny soundscape. Tracks like the opener “Natural Highness” feel celebratory and expansive, while closer “Paradise” shifts dynamically from reflective verses to uplifting resolution. Overall, the sound is polished yet rooted, paying homage to classic Afropop resilience and joie de vivre without sounding dated. It’s music for happy people that still carries emotional weight.

Ema Onigah’s own background as a former drummer likely informs the rhythmic precision, as nothing feels cluttered, and every element serves the song.

This is where ITEM VII separates itself. Ema Onigah writes with humour, specificity, and emotional intelligence, fully fluent in contemporary Nigerian slang, euphemisms, and perspectives while keeping things universally relatable. “Natural Highness” opens with gratitude—shouting out fans and supporters in a way that feels genuine, setting a tone of grounded ambition. “With You”, a pre-release highlight, is pure syrupy romance. Playful lines like “Breketekete suffery suffery oh / With this your fele fele body” mix nonsense poetry with calendar-month wordplay “Na you dey MARCH my vibe / No APRIL fool”. The chorus: “I just wanna be with you”, is simple but addictive, evoking calm, floating intimacy. It’s feel-good Afrobeats escapism at its best. “Do Me” dives deeper into fascination and devotion, promising the world and extras to a lover—confident, charming, and direct. “Greatest Lover” flips the script with bitter truth: love’s treachery acknowledged atop those stark pianos. It adds necessary shadow to the project’s light. “Chance” rebukes blockers and haters, turning frustration into fuel with sharp, motivational bars. “Paradise” and “Contented” round it out—disillusion in the first half gives way to certainty and peace in the second, showing growth and self-assurance.

Throughout, Ema Onigah balances street-edge language with poetic tenderness. He’s romantic without being soft, ambitious without being boastful. The come-up narrative feels lived-in, laced with wit that makes replay value high. Ema Onigah delivers something focused, personal, and replayable.

Olamide — Rock Me Gentle

Olamide’s “Rock Me Gentle” is the kind of surprise drop that reminds you why the Lagos don has been running the Nigerian rap and Afrobeats conversation for over 15 years. Released May 6, 2026, as his first solo single of the year, following recent guest spots on tracks by Teni and Shoday, the track arrived with zero fanfare, recording nearly 100k streams in its first full day on Spotify. 

“Rock Me Gentle” is a deliberate pivot into softer, more melodic territory: a lush, amapiano/3-step-infused mid-tempo groove that trades aggression for atmosphere and swagger for seduction. It’s the sound of an artist who’s earned the right to slow down and enjoy the “soft life” without losing his edge. The beat is pure immersion. Built on a rolling log-drum bassline—the heartbeat of modern amapiano—it layers in atmospheric textures that feel almost weightless and subtle highlife-inspired guitar riffs that flicker like sunlight on water. The tempo sits comfortably in that pocket where you can two-step at a beach party or vibe in the passenger seat with the windows down. There’s no over-the-top percussion assault; instead, the production breathes. It gives Olamide space to glide rather than attack.

Olamide’s vocal delivery is the masterstroke here. He keeps things calm, almost whispering at times. It’s a masterclass in restraint and sees Olamide lean into his natural timbre, letting the melody do the heavy lifting. The result is hypnotic: the track feels expensive, lived-in, and effortlessly cool. What makes the production especially effective is how spacious it is. Every bounce in the instrumental leaves room for Olamide’s voice to glide across the beat casually. He doesn’t rap aggressively or chase vocal acrobatics. He sounds relaxed, conversational, almost teasing. The engineering understands that mood too; the vocals sit lightly on the mix instead of overpowering the instrumentation.

Lyrically, “Rock Me Gentle” is classic Olamide in a more refined form. The writing is playful, coded in slang, Yoruba expressions, street lingo, and humorous exaggerations that make his music feel lived-in rather than manufactured. The opening stretch instantly establishes the flirtatious energy: “Se, say calabar / Eh, se calabar / Oṣe calabar / Rocking your calabash…”

“Calabar” and “calabash” recur like a sensual mantra—evoking curves, rhythm, and that iconic Nigerian slang energy without ever spelling it out. It’s playful, almost tongue-in-cheek body worship. “Calabar, calabar, owo lo je kin calabar… The way you dey shimbaraba, baraba / O gbé mi de Canada…” Here Olamide contrasts the grind (“Wetin dey give you blood pressure? Money… Hustle for dollar, hustle for Bitcoin”) with the escape she provides. She’s not just a body; she’s solar energy, the antidote to the hustle. 

“Rock Me Gentle” feels refreshingly self-assured. It’s not trying to be the next global banger; it’s content being the song you play when the lights are low and the vibes are right. The production is immaculate, the lyrics are witty and re-listenable, and Olamide’s delivery proves that maturity just means knowing exactly when to hold back.

But the genius of “Rock Me Gentle” lies in how effortless it sounds. Olamide isn’t trying to prove he can make a smooth record; he’s simply existing inside one. The melodies drift naturally, the slang lands without feeling forced, and the production never competes with him for attention.

At this stage of his career, Olamide understands texture better than most artists in Nigerian music. “Rock Me Gentle” may not be his loudest record, but it’s one of his most comfortable, and that comfort is exactly what gives the song its replay value.

Adekunle Gold — FUJI XTRA (Album)

Adekunle Gold’s FUJI XTRA is the deluxe victory lap that turns a strong 2025 album into a 2026 cultural statement; an expanded edition brings the original Fuji’s 15 tracks to a beefy 20-song package. The five new additions, including heavyweight features from Olamide, Simi, and TML Vibez, deepen the project’s roots-meets-future vision while retaining its identity. 

AG doubles down on his tribute to Fuji, the genre, while proving he can evolve it for modern ears. The original album blended traditional percussion, highlife echoes, and global R&B; XTRA sharpens that edge with street energy and melodic polish. The heartbeat of FUJI XTRA remains the masterful fusion of Fuji’s signature talking drums (dùndún), Sakara, and Apala influences with sleek Afrobeats production. Producers like TMXO, Chillz, Vtek, Seyifunmi, Niphkeys, and Kazez create breathing room for live instrumentation while layering in log drums, subtle synths, and bouncy percussion that feel expensive and rooted.

“Formation” with Olamide is an energetic, dance-floor-ready electro-Fuji bounce. Fast-paced percussion drives call-and-response energy that screams party starter. “Shake Shake” feat. TML Vibez is a playful, rhythmic shake-down with infectious highlife guitar lines and tight drum programming. “Blue Fire” with Simi is a smoother, almost sultry mid-tempo groove that lets vocal harmonies breathe over warm pads and restrained percussion.

The original cuts like “Big Fish"; talking-drum-heavy opener "Don Corleone” mafioso swagger, and “Bobo” retain their shine, now sequenced seamlessly with the new material. The deluxe flows like a complete journey from street ambition to reflective gratitude. AG’s drummer background shines through—the rhythms are precise, never cluttered, and always in service of the song. AG has always been a storyteller, and FUJI XTRA showcases his range.

FUJI XTRA stands out for its intentionality, expanding on Fuji’s percussive soul while delivering hit-worthy hooks and features that elevate it. Whether you’re new to the Fuji universe or already locked in, Adekunle Gold’s FUJI XTRA gives you more reasons to stay.

Naira Marley — Moti High

Naira Marley’s “Moti High” is pure Marlian gasoline dropped right on New Music Friday. The single marks another unapologetic statement from the street-pop provocateur. Following recent label shifts, signee Zinoleesky’s exit, and a string of buzz tracks, Naira Marley delivers a high-octane, feel-good banger that leans hard into his signature carefree, rebellious energy.

This isn’t introspective or conscious-mode Naira Marley. “Moti High” is escapist, celebratory street music designed for loud speakers and zero worries. Niphkeys handles the beat, and he delivers an infectious, dance-floor-ready Afrobeats record with a street edge. The production sits in a lively mid-tempo pocket of bouncy percussion, rolling drums, and melodic synths that create an addictive groove with complimenting vocals.

It has that signature Naira Marley bounce: steady kicks and snares driving the rhythm, layered with bright, almost carnival-like tones and subtle highlife-inspired elements. The arrangement builds smoothly, leaving space for Naira Marley’s flows while keeping the energy high from intro to outro. Hard-hitting yet accessible, reminiscent of his “Soapy”/“Mmmn” era. 

Naira Marley stays in a witty, slang-heavy, and body-positive. “Moti High”, literally “I’m high", is a celebration of elevation, enjoyment, and living lavishly without stress. Key lines from the hook and verses: “Woju mi mo ti high / Pe mo like e o’wani so walahi / Kosi Igbo ni be mo ba gbe e lor Dubai / Jump in the car Oya let’s take a ride / Baby girl mo ti high…” He mixes Yoruba/Pidgin flexing with flirtation: offering to buy whatever she likes, shifting gears in the car and metaphorically in the bedroom, and commanding dance moves. With lines like “Don’t take it off shift ur pant to the side / Anything you like o girl I go buy” and “Shake that thing ur mama gave u / Shake that take that shake that” 

There’s no deep storytelling here; it’s surface-level fun with street cred. Naira Marley brags lightly about the high life, invites a girl into the ride-or-die vibe, and keeps the energy light and hedonistic in that signature irreverent way. It’s quotable, meme-ready, and true to the Marlians ethos: enjoy the moment, ignore the hate, and stay high on life.

“Moti High” cuts through as the ultimate turn-up record. Naira Marley taps into the state where he once was the trend for a certain demographic. The Niphkeys production is tight and vibrant; the lyrics are unfiltered fun, and while the whole package won’t convert his critics, for Marlians and lovers of raw Nigerian street-pop, this is premium content.

Harmonize’s — Yazoee

Harmonize’s “Yazoee” is classic Konde Boy energy served fresh for New Music Friday — a smooth, heartfelt Bongo Flava anthem that reminds everyone why he remains one of East Africa’s most consistent melodists. "Yazoee" is a beautiful blend of romantic, reflective, and irresistibly danceable elements, produced with that signature Bongo Flava DNA. It is a warm, mid-tempo, and instantly hummable track. Rolling percussion, groovy basslines, melodic synth layers, and subtle Afropop/highlife-tinged guitars create an upbeat yet emotionally grounded pocket.

The arrangement gives Harmonize’s voice centre stage while the rhythm section keeps bodies moving. Think polished studio warmth meets street-ready bounce: log-drum undertones, bright keys, and a chorus that explodes into sing-along territory. It’s the kind of production that sounds expensive on big speakers but still intimate on headphones.

Harmonize stays true to his strengths, blending Swahili storytelling with relatable relationship talk. “Yazoee” sees a playful twist that feels like “Yazoe” or emotional elevation, fleshing out the messy beauty of romance: the highs, the lows, the lessons, and the unapologetic enjoyment of love despite its chaos. “Wanasema mapenzi kitovu cha uzembe / Mkulima usichague jembe ukijikwaa inuka…” 

The writing mixes street wisdom, poetic Swahili wordplay, and light-hearted flexing. Harmonize sings with that signature melodic flow—part crooner, part storyteller—making the track quotable and deeply singable. It’s not just flirtation; there’s growth, accountability, and joy in the imperfection of love. “Yazoee” stands out for its honesty and replay value. The production is infectious without trying too hard; the lyrics are culturally rooted yet universally felt, coupled with an almost effortless delivery from Harmonize.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

The post Ema Onigah, Olamide, Naira Marley, Harmonize and More on New Music Friday appeared first on Afromixx.

From expansive, almost spiritual world-building to soft confessions and dancefloor instincts and anthems, this Friday's new music releases invite us to move, reflect, and feel.

M$NEY (Album) – Asake

Asake’s fourth studio album, M$NEY, opens with a live choral performance that immediately signals this is not going to be a straightforward Afrobeats record. The 13-track project, announced with a stone-engraved rollout and artwork by Iraqi-Dutch sculptor Arthar Jabar, blends spiritual introspection with streetwise swagger and global flair.

Standouts include pre-released singles like the hypnotic “Worship” with French electronic titan DJ Snake, where log drums meet futuristic drops in a prayer-like groove; the sultry “WHY LOVE”; the hard-edged “BADMAN GANGSTA” featuring French-Congolese rapper Tiakola; and the Amapiano-infused “ASAMBE” with South Africa’s Kabza De Small. Tracks like “Gratitude,” “Amen,” “Forgiveness,” and “Rora” pulse with Yoruba-inflected devotion—Asake’s signature blend of Fuji, fuji-fusion, and Afrobeats—while “Oba” reminds us of a familiar rhythm.

“Oba” samples Bobby Caldwell’s 1978 soul classic “What You Won’t Do for Love.” Caldwell’s original whispers soft devotion and fragile hesitation; Asake’s “Oba” surges forward with confidence, dancefloor energy, and Yoruba flair. It’s love re-energized: not whispered in shadows, but lived in motion.

The album’s themes orbit gratitude, worship, and resilience (“MCBH,” “SKILFUL,” “Wa”), painting Asake as both street prophet and global visionary. With signatures from producers like Magicsticks and Blaisebeatz, the emotional current is unmistakable. M$NEY isn’t just an album or wealth in the bank; it’s the richness of spirit, sound, and sway.

Come Kulosa – Shoday, Billionboi & Olamide

In what can only be described as a full-circle moment, rising star Shoday links with Olamide (the YBNL kingpin) and Billionboi for “Come Kulosa,” produced by the masterful Soundz. This smooth, infectious groove is all about letting go and surrendering to the rhythm.

Lyrics paint carefree joy: bumper-to-bumper energy, dance invites, and that irresistible Nigerian party spirit. Olamide’s verse elevates it with signature Baddo flair—playful, commanding, and effortlessly cool—while Shoday and Billionboi bring youthful hunger.

The writing “Come Kulosa” reflects a familiar Nigerian social setting: crowded spaces, music loud enough to dissolve hesitation, and the understanding that rhythm can carry interaction where words might fail.

It’s a summer-ready anthem for the streets, clubs, and anywhere the bass can shake the ground.

Honey, I Love You – Anendlessocean

In a sea of high-energy drops, Anendlessocean offers a gentle tide. This gospel-soul gem feels like a love letter to self, to the divine, or to a cherished one.

The production, led by Alli Hakeem Emmanuel Ayobami—who also handles the songwriting—alongside co-producer St. Oasis, is built on warmth. There are clear nods to Afro-fusion traditions reminiscent of Lagbaja, especially in the way the music prioritizes mood and musicality over urgency. Highlife influences sit subtly within the arrangement, adding familiarity without pulling the song into nostalgia.

Lyrics repeat like a soothing mantra: “Honey, I Love You… Hold me, Love me, Dream about me.” It’s intimate and healing, with listeners calling it “Jesus serenading His bride". Anendlessocean’s voice carries devotion and emotional depth, turning personal reflection into a universal balm. In a week of motion, this is the moment to pause, breathe, and let love wash over.

Odo Pa – Sarkodie ft. Kweku Flick

Ghanaian rap royalty Sarkodie joins forces with the versatile Kweku Flick on “Odo Pa” (Twi for “Good Love”). This emotional highlife-hip-hop blend dives deep into the kind of relationships that see hidden pain behind smiles, wipe tears, and offer real support. Lyrics hint at recognizing unspoken hurt (“Since when I saw you… you de wipe all the tears in your eyes”) while exploring healing, loyalty, and the redemptive power of genuine connection.

Their chemistry (honed from past collabs like “Messiah”) shines through, and “Odo Pa” reminds us that good love isn’t perfect; it’s present.

Stranger – Kuami Eugene ft. Gyakie

Kuami Eugene (the Rockstar of Ghanaian highlife) links with Gyakie on this flirty, feel-good cut from his Sweet Boy project. Eugene, who wrote and produced most of the EP himself, delivers smooth Afro-highlife fusion—catchy melodies, infectious energy, and that signature Ghanaian warmth.

Lyrics sparkle with playful attraction: “Hey stranger… your body pretty banging… your smile is contagious… If you’re in trouble, let me save you.” It’s light, confident, and irresistibly charming. A perfect palate cleanser: fun, flirty, and full of that contagious smile.

Nasty — FIMI

“Nasty” by Fimi is a direct, self-assured record dedicated to those who have gone from being the bottom of the joke to glowing up so insanely that everyone keeps staring up.

It thrives on attitude. Whispers of phrases like 'walk that talk ' feel conversational at points, almost like she’s speaking above the music and directly to the listener.

It's an anthem of confidence, attraction, and self-possession, exactly the kind of song you want to play whilst getting ready on a Friday night.

Together, these releases paint a portrait of African music in full bloom: Asake’s M$NEY as the spiritual and global anchor, the singles as intimate brushstrokes of joy, healing, reflection, and desire. Stream deeply, dance freely, and let these sounds carry you into the weekend and beyond. What a glorious time to listen.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

The post Asake, Shoday, Sarkodie & More on New Music Friday appeared first on Afromixx.

HOPE!! — Angélique Kidjo

‘HOPE!!’ is Angélique Kidjo’s triumphant 16-track return — her first full-length solo album since the Grammy-winning Mother Nature in 2021 — and it lands exactly when the world needs it most. There’s a certain weight that comes with a title like ‘HOPE!!’, especially from an artist like Angélique Kidjo, whose catalogue has always balanced political consciousness with musical exuberance. This album leans fully into that duality: a record built as both emotional refuge and rhythmic insistence. This is a deliberate, five-years-in-the-making manifesto of joy as resistance. Kidjo dedicates the entire project to her late mother, Yvonne, who taught her that “hope for a better future is what makes us human”. The album channels that inherited optimism into a groove-heavy, genre-transcending antidote to despair, proving that in 2026’s turbulent climate, the most radical act can still be unapologetic celebration.

The production (primarily helmed by Pharrell Williams on three tracks recorded in his Paris studio, plus Shizzi, Louddaaa, Philippe Saisse, and others) creates elastic, percussion-rich soundscapes that feel both intimate and stadium-sized. The album was cut across Paris and Los Angeles over three years, with additional sessions in Lagos, Johannesburg, and beyond. It layers West African highlife and Afrobeat rhythms with funk guitars, R&B soul, Brazilian grooves, jazz horns, and even full philharmonic strings.

The production on ‘HOPE!!’ is expansive but never directionless. It operates like a curated convergence of sounds rather than a cluttered one. At its core, the album still breathes through African rhythmic traditions—polyrhythmic percussion, call-and-response structures, and choral layering—but it’s framed through modern polish. Producers like Pharrell Williams and Shizzi inject a contemporary sheen: tighter drum programming, funk-influenced basslines, and subtle electronic textures that make the album sit comfortably in today’s global pop ecosystem.

Angeliue Kidjo’s lyrics, often multilingual, weaving English, French, Yoruba, and Portuguese are direct, anthemic, and deeply personal. The album repeatedly returns to themes of resilience, human connection, kindness as armor, honest communication in conflict, collective action, and the defiant refusal to slow down.

HOPE!! is Angelique Kidjo at her absolute peak, a 16-track double-LP that feels both deeply personal and universally urgent. The production is world-class and borderless without ever feeling scattered. The lyrics are activist-hearted yet they invite you to dance, reflect, and believe in humanity again. Angelique Kidjo’s voice remains a force of nature: tender when needed, commanding when required, and always joyful. In a music landscape often dominated by cynicism or fleeting trends, this record insists on hope with capital letters and two exclamation points.

YIVULE — CIZA

YIVULE by CIZA released as the opening salvo for ‘CIZA’s Palace’ EP marks a confident step forward for the South African star. CIZA associated with his Gen-Z Afro-house/3-step wave continues building on the momentum from his 2025 breakout hit “Isaka (6AM),” delivering a sleek, dancefloor-ready track that blends global appeal with rooted South African energy.

It is a targeted double-single launch, “Yivule” and “Mngani Wam”, teasing the forthcoming EP ‘CIZA’s Palace’, as track 1 and track 8 respectively. “Yivule” serves as the atmospheric, seductive entry point, a statement of arrival heralding a complete project. It positions CIZA as a bridge between local house scenes and international club circuits.

Produced primarily by CIZA himself alongside JAZZWRLD and Bongani Sax with engineering and mastering contributions from Tony Duardo and Robin Kohl, “Yivule” is built on a hypnotic 3-step rhythm. It is bouncy with rolling bass and percussive drive that defines modern South African dance music.

The track layers deep, pulsing synths and warm pads with crisp hi-hats, shakers, and subtle log drum elements. It feels nocturnal and inviting: not overly aggressive like some amapiano derivatives, but smoother, more melodic and hypnotic, like a meld of Afro-house and  contemporary R&B-infused house. The arrangement breathes nicely, giving space for the vocals to sit front and center while the groove builds gradually with layered claps and atmospheric effects. It’s club-ready but also works for late-night drives.

The lyrics primarily in English with Zulu/Sotho-inflected phrases are straightforward, repetitive, and vibe-first, perfect for a dance track. The hook revolves around the title phrase “Yivule”, evoking openness or invitation, possibly playing on “vula” meaning “open” in Zulu contexts paired with celebratory lines about his rising success: “Girl, I know you seen my come up / All over the world, ekse.” It’s a flirtatious, confident anthem,  inviting connection while flexing global traction. Repetitive “Oh, oh, oh” ad-libs and “Aya yaya yaya yeah” create an infectious, chant-like quality that encourages crowd participation. Themes blend personal triumph, romantic invitation, and that universal party spirit. It ultimately radiates positivity, accessibility and feel-good escapism with cultural flavor.

YIVULE is a strong, focused single that does exactly what it needs to: open the doors to ‘CIZA’s Palace’ with undeniable groove and charisma. Production is tight and professional, lyrics are hook-driven and uplifting, and the overall package feels polished for both South African charts and global streaming playlists.

Izinja Zam: Vol. 1 — Zee Nxumalo

IZINJA ZAM: VOL. 1 (EP) is the highly anticipated debut EP from the Swazi-South African amapiano/3-step sensation,  Zee Nxumalo. At just 23, Zee Nxumalo born Zandile Nxumalo cements her status as one of South Africa’s brightest young stars following a massive 2025 where she became the most-streamed female artist in the country.

This 4-track project, crafted primarily in Durban with 3-step heavyweight Dlala Thukzin, serves as a vibrant statement of arrival — blending dancefloor energy, spiritual introspection, and unapologetic celebration. The title “Izinja Zam”, roughly translated to “My Dogs” or “My Pack” evokes loyalty, crew energy, and the wild, pack-like movement of her fanbase and collaborators. It’s short, focused, and designed for maximum impact. A 25 minutes project of hypnotic grooves that invite both club chaos and personal reflection.

The sound is rooted in modern 3-step — rolling percussive, bass-driven subgenre that sits between amapiano and deeper house. Dlala Thukzin handles the bulk of production, bringing his signature bouncy log drums, tight hi-hats, atmospheric pads, and elastic basslines. Additional contributions come from Funky QLA, MK Productions, Shakes & Les, and others, creating a cohesive yet dynamic palette.

Live percussion elements mix with crisp programming; vocal chops, layered harmonies, and subtle piano stabs add emotional depth. It feels premium and club-ready without sacrificing warmth or cultural texture. 

Zee Nxumalo’s lyrics are direct, repetitive for hooks, and emotionally layered. The EP balances celebration, spiritual grounding, and self-assertion. Themes include gratitude, resilience, prayer as strength, romantic/sexual confidence, and loyalty to one’s “pack.” It’s feel-good escapism with substance. Not preachy, but rooted in her journey from Alexandra roots to national stardom. Her voice is versatile: smooth and melodic on verses, powerful and chant-like on hooks, with strong ad-libs that enhance the communal vibe. 

‘IZINJA ZAM: VOL. 1’ is a purposeful debut EP that showcases Zee Nxumalo’s growth as an artist who can command both the clubs and the heart. Production is polished and authentic to the Durban/Johannesburg soundscape, lyrics strike an excellent balance of fun and meaning, and her vocal presence ties everything together with charisma and maturity beyond her years. It doubles down on what she does best: delivering accessible yet culturally rich dance music that moves bodies and spirits. In the crowded amapiano scene, Zee stands out for her star power, strategic collaborations, and genuine connection with listeners.

Fire In Your Eyes — Didi B, Mavo

Francophone rap has been stretching itself into more melodic, globally aware spaces, and ‘Fire In Your Eyes’ sits right in that pocket is a sleek, bilingual Afrobeats/R&B-tinged collaboration that bridges Ivorian and Nigerian urban energy. At 3:35, it’s a concise, club-friendly banger arriving hot on the heels of Didi B’s recent momentum, including his historic stadium show in Abidjan and Nigerian gold certifications.

This is a sharp single drop that capitalizes on cross-border chemistry between two rising-to-established voices in West African music. Produced by Dave Nunes, PD, and Puffy, the track sits in a smooth mid-tempo pocket that blends contemporary Afrobeats percussion with R&B warmth and subtle trap influences. Expect crisp log drums, rolling shakers, warm synth pads, and a prominent saxophone solo in the bridge/outro that adds a melodic, almost sensual lift. The instrumental feels polished, not overly busy, giving plenty of breathing room for the vocals. Dave Nunes’ touch brings that international sheen, while the arrangement builds gradually.

The song is a multilingual seduction anthem with code-switching between English, Nigerian Pidgin, French, and Yoruba-flavored phrases. The central hook, delivered primarily by Mavo, revolves around intense attraction “I see the fire in your eyes, burning / Keep it burning with my love, kilo” mixed with playful relationship dynamics and street philosophy. Key lines like “The devil you know / Is better than the angel you don’t” add a layer of pragmatic wisdom amid the romance. Mavo’s verse flexes hustle “I too dey make money, steady Osama”, fame navigation, and raw desire “I go chop you tomorrow again”, while Didi B brings Francophone flair with confident bars about jungle life, superhero status, and breaking vices. It’s flirtatious, boastful, and relatable — celebrating passion while nodding to real-life complexities like jealousy and loyalty. Themes blend romance, ambition, resilience, and unapologetic sensuality.

The chemistry clicks: Mavo’s melodic accessibility pairs with Didi B’s lyrical sharpness for a balanced, pan-African appeal. “Fire In Your Eyes” is a well-crafted, feel-good single that does what great collabs should: highlight each artist’s strengths while creating something bigger than the sum of its parts. Production is clean and addictive, lyrics mix heat with substance, and the bilingual execution makes it accessible across West Africa and the diaspora.

Fine Ting (Fine $hit) — FOLA

“Fine Ting (Fine $hit)” is Fola’s first official single of 2026, following the buzz-building “When the Party’s Over” earlier in the year. With “Fine Ting Fine $hit’, FOLA leans into a familiar Afropop theme—admiration, desire, and the soft chaos of attraction. At roughly 3 minutes, this is pure, feel-good Afrobeats/Afropop,  a confident, upbeat flex that keeps FOLA’s momentum rolling post his 2025 debut album ‘Catharsis’. Fola has steadily built a reputation as one of Nigeria’s smoother, more emotionally attuned Afrobeats-R&B voices. After breakout collabs and charting singles, plus the well-received ‘Catharsis’, this drop shows him leaning into lighter, celebratory territory while staying true to his melodic strengths.

Produced by Magicsticks, Dave Nunes, and Puffys, “Fine Ting (Fine $hit)” rides a vibrant, mid-to-up-tempo Afrobeats groove with strong Afropop flair. The backbone is a bouncy drum pattern, supported by soft synth chords and light melodic loops that keep the track moving without overcrowding it. It car infectious percussion — shakers, log drums, tight claps — layered over warm synths, bouncing bass, and melodic guitar/piano accents that give it that sunny, danceable lift.

The arrangement is tight: a catchy intro hook pulls a listener in immediately, verses build with layered vocals, and the chorus explodes into anthemic, sing-along energy. The production sparkles with polish and replay value. Dave Nunes’ involvement adds that cross-Atlantic sheen similar to his work on other West African hits, while Magicsticks keeps it rooted in Lagos bounce. The result feels like peak summer playlist material: energetic without being chaotic, melodic without getting too sentimental.

The lyrics are straightforward flirtatious, repetitive, and hook-driven. Classic party/romance Afrobeats fare: it’s flirtatious, boastful, and unapologetically fun, while flexing success, good vibes, and living in the moment. FOLA’s voice is smooth, supple, and versatile. It is passionate yet controlled, with strong harmonies and effortless runs that sit perfectly in the pocket. He glides over the beat with charisma, blending singing and light rap-sung flows.

Back Outside — BNXN, Sarz

“Back Outside” is the smooth, confident return of one of Nigeria’s most consistent melodic voices. For BNXN fka Buju, this marks his first official solo single of 2026 following the well-received 2025 album ‘CAPTAIN’. Sarz, the legendary producer known for his polished, rhythm-forward Afrobeats magic, handles production and co-features, uniting the pair for a laid-back yet assertive Afro-fusion banger.

At around 3 minutes, the track is designed for both introspection and movement — a classic “comeback” statement that says “I was working, now I’m back outside.” Sarz delivers one of his cleanest, most effortless productions in recent memory. The beat sits in a mid-tempo Afrobeats pocket with subtle Afro-fusion elements of crisp percussion, rolling shakers, warm bass, and fluid melodic lines that breathe. Guitar work from Ginton adds a light, sun-kissed touch without overpowering the groove.

The arrangement is minimalist yet rich: layered vocal chops and harmonies create depth, while the instrumental builds just enough in the chorus to feel anthemic. It’s not overly busy or trend-chasing, but stays true to Sarz’s strength of making sophisticated rhythms feel instantly accessible and replayable. The mix, handled by Leandro “Dro” Hidalgo) is pristine, giving BNXN’s voice plenty of space to shine while keeping the low-end punchy. 

BNXN’s pen is introspective yet celebratory. The track balances themes of resilience and return “I was at work, so I laid low / It wasn’t my fault omo, omo” with light-hearted romantic flexing and lifestyle celebration. The repetitive, chant-like chorus in what sounds like a mix of indigenous language adds a hypnotic, communal feel: “Onema dan ka tu meh na ke ta ge, wugoro / Ja du ye mo le ko a la fri a la yi, ye mu doh.”

BNXN sounds refreshed, smooth, melodic singing with effortless rap-sung transitions and rich harmonies. His delivery feels intimate in the verses and expansive in the choruses, perfectly matched to Sarz’s production. The choir-like backing on the hook elevates it from solo flex to collective celebration. 

Bnxn’s “Back Outside” is a strong, no-frills return that reminds everyone why BNXN remains a standout in the Afrobeats scene. Sarz’s production is impeccable, the lyrics strike an excellent balance of personal reflection and fun flexing, and BNXN’s vocals tie it all together with signature melody and charisma. 

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

The post Angélique Kidjo, Didi B, Ciza, Fola and More on New Music Friday appeared first on Afromixx.

Blaqbonez – No Excuses (Deluxe)

‘No Excuses (Deluxe)’ is a 20-track extension of his October 2025 album, released today, adding four new songs: “ACL V2.0”, “Work in the Morning,” “Fine Shyt” (feat. TML Vibez), and “Hustle Kpa $$$” (feat. Artsalghul), pushing the runtime to around 59 minutes. The project stays rooted in Nigerian hip-hop fused with Afrobeats, amapiano, and melodic R&B, with Blaqbonez handling most of the rapping and singing.

The core album already showed Blaqbonez leaning into confident, boastful bars about authenticity, hustle, and versatility while mixing street energy with pop-leaning hooks. The deluxe keeps that formula: opener “Everlasting Taker” sets a self-proclaimed “last real nigga” tone with direct, no-frills rap. “Consistency” (feat. AJ Tracey) and “Aura 4 Aura” (feat. Pa Salieu) highlight cross-Atlantic and UK-Naija chemistry over skittering drums and rhythmic flows.

New additions follow the same lane. “Hustle Kpa $” leans into motivational street rap with kinetic energy. “Fine Shyt” shifts melodic with TML Vibez for a smoother, club-ready vibe. “Work in the Morning” keeps the late-night-to-grind transition feel. “ACL V2.0” is the moment people will pull out. Here, Blaqbonez re-records the version of his October 2025 diss track "ACL" with a new beat and added verse. The beef with ODUMODUBLVCK started with subliminals earlier in 2025, escalated through direct shots, and boiled over on Blaqbonez’s No Excuses album. “ACL” (original) was a two-part response to Odumodublvck’s “2:02PM in London” and “If You Like Gym” disses. Blaqbonez used sharp bars, humor, and threats shown in the visualizer (DMs from Odumodublvck) to paint him as a clout-chasing “failed rapper turned internet gangster".

Odumodublvck reportedly bought the rights to the original instrumental, claimed it was uncleared, and got the song taken down from Spotify after it had racked up millions of streams. In response, Blaqbonez came back with ACL 2.0 on a fresh beat, doubling down with even more direct shots and brotherly “advice” mixed in.

Tracks like “Bizzy Body", "Despacito", “Nati” (with Olamide), and “Go Crazy” deliver bright, danceable production—amapiano pulses, tropical touches, and high-energy Afro rhythms—while cuts like “Just Hustlin$", “Good Time", and “California Issues” slow into laid-back, soulful territory. Blaqbonez glides between dense lyricism and catchy singing without forcing transitions.

Production stays functional and lyrics centre on self-belief, women, money, and subtle industry jabs. The deluxe doesn’t overhaul the original; it pads it with more of the same, extending playtime for playlists rather than adding a distinct new chapter. Blaqbonez moves between rapping and singing comfortably. That’s still his strongest asset—he can sit on a hook or a verse without it feeling forced.

The original album already positioned him in the conversation; this deluxe mostly maintains the status quo and somehow elevates it.

Tyla feat. Zara Larsson – She Did It Again

"She Did It Again" is a mid-tempo pop track released today as the second single from Tyla's upcoming second album A-Pop. It runs short and sticky, built on a bouncy but minimal groove: simple percussion, light synths, and a steady pulse that prioritizes smooth movement over layers or dynamics. It’s clean, mid-tempo, and deliberately unthreatening. The log drum is there, but it’s restrained; the drums don’t swing as much as they loop. 

Tyla leads with her usual cool, sensual delivery across the bulk of the verses and choruses. She plays the irresistible, addictive presence: "I'm addictive, baby, what you want me to do? / Not a quick fix, one hit might ruin you." Zara Larsson slots in for the second verse with a brighter, more direct pop cadence and the most obvious moment on the record: "Oops, did it again like Britney." The chorus is a looped "Uh-oh, uh-oh / She did it again" hook with echoing "I know you do" lines underneath, catching and building quickly. Her voice carries more intention—cleaner enunciation, firmer phrasing, and a clearer pop instinct.

Lyrically it's straightforward seduction-and-obsession fare. Both women portray themselves as dangerous in love: one-night situations that leave the other person hooked and lying to their actual partner. The Britney reference is a cute Y2K nod. Production (Sammy Soso, Believve and others) keeps everything dancefloor functional. The accompanying music video is sleek—desert architecture cutting to waterfalls and both artists dancing in coordinated, quite inventive choreography that matches the song's polished, low-stakes energy.

"She Did It Again" highlights a chemistry that sees Tyla's effortless cool meet Zara Larsson's solid verse with an ease reminiscent of 2010s R&B vibes with competent, hooky, and unforgettable verses that stick.

King Promise & Mr Eazi – See What We’ve Done

‘See What We’ve Done’ is a concise Afrofusion project blending Ghanaian highlife influences, Afrobeats rhythms, and smooth R&B. Production comes primarily from Gideonite and GuiltyBeatz, keeping things light, melodic, and club-ready without heavy experimentation.

King Promise and Mr Eazi lean into familiarity here both sonically and thematically. The two have collaborated for over a decade, with this being their first full joint project. It leans into themes of success, friendship, good living, and romance. King Promise brings expressive, sometimes risqué and emotionally direct vocals. Mr Eazi stays in his wheelhouse: laid-back, cool delivery with effortless flow between English and pidgin/Twi. Tracks switch languages fluidly, using it as rhythmic texture rather than a gimmick.

Standouts include the title track “See What We’ve Done", a celebratory flex with GuiltyBeatz production; “That Way", and “Mariana” (soulful, previously released singles with videos). Other cuts like “Where Have You Been?", "Taste", "Criminal", “Baby I’m Jealous", “No. 1 Fan", and “Mad Ting” follow the same mid-tempo, feel-good lane—bouncy percussion, warm synths, and sing-along hooks.

King Promise carries most of the weight. His delivery is smooth, controlled, and predictable in the way his best records often are, prioritizing melody. Mr Eazi fits into the record without shifting it. His laid-back phrasing blends into the production and keeps the dynamic alive. 

The title sets the direction: reflection framed as a quiet victory with a writing that circles success, love, growth, and distance from where they started, with a listener getting the idea quickly. Production is polished and consistent, familiar Afrobeats templates that prioritize replayability. Lyrics center on love, jealousy, success reflection, and light flexing. It’s short, front-loaded with the pre-released singles, and designed for streaming rotation across Ghana, Nigeria, and diaspora playlists.

For two artists with a history of shaping this lane, they attempt to make a statement with “See What We’ve Done” — competent, breezy, and functional. It reinforces both as reliable crossover figures in Afrobeats/R&B who play extremely well within their established lanes.

Muyeez ft. Zerrydl, Ayo Maff & Famous Pluto – Bank Alert 

Muyeez's "Bank Alert", produced by Medley, sits in the energetic street-pop/Afrobeats lane with rhythmic percussion, lively melodic layers, and a steady groove designed for replay.

Muyeez leads with his soulful, melodic vocals. The featured artists — Zerrydl, Ayo Maff, and Famous Pluto — drop verses that add street flavour and chemistry. The hook plays on "bank alert" as a celebration of money incoming or a flashy lifestyle, mixed with party-ready lines like "party vibes", "popori", and "gangster energy". It's straightforward flex and fun with a lyrics structure that stays surface-level and hook-driven.

Production is a bouncy but not overly complex, contagious melody curated with danceable percussion. It flows smoothly, prioritizing vibe and immediate catchiness without jarring texture changes. The hook is the anchor. “Bank alert” is one of those phrases that doesn’t need context; it already carries meaning. 

The song leans on that familiarity, turning it into a chant that sticks on first listen, but you can also hear how easily it was assembled. Verses blur into each other. Each artist approaches it from the same angle—cash flow, soft flexes, light street bravado—without much distinction in writing save for delivery. 

“Bank Alert” works the way a lot of current street-pop records do: quick impact. It will move where it needs to move, and with a deserving push hold attention for long.

Fally Ipupa ft. Wizkid – Jam

Jam is a 3:00 track from Fally Ipupa’s album XX, released April 17, 2026 that sits as track 5 on the 20-track project and serves as one of the key cross-regional features. The sound is smooth Afropop/R&B with Congolese rumba undertones: rich guitar melodies, rhythmic percussion, and smooth basslines that create a laid-back, flowing groove. Fally Ipupa handles the main body with his signature melodic, romantic delivery rooted in rumba tradition updated for modern Afro audiences. Wizkid comes in for his verse with the expected effortless glide—light auto-tune touches, pidgin-inflected lines, and a relaxed flow that fits the chilled tempo without pushing hard.

On paper, it’s a strong pairing—two artists known for smooth, melodic control and understated delivery. In practice, “Jam” leans too far into that restraint. The production is soft and polished, sitting somewhere between Afropop and Congolese rumba influences, but it never fully commits to either. It floats in the middle. The groove is steady with light percussion, mellow guitar lines, and a clean mix that keeps everything easy on the ear, with a pull, the kind that passes without demanding consent.

Themes stay firmly in romantic/chilled territory: attraction, bad decisions in the moment, body appreciation, and yearner energy. 

Contextually, this is another West-Central Africa link-up, Wizkid’s second recorded collab with Fally Ipupa after earlier work on “Yakuza”. It lands as expected for both artists’ current lanes: Fally Ipupa expanding his global reach while staying true to his rumba-pop core, Wizkid delivering a high-effort, polished feature that slots into streaming rotation. 

“Jam” is clean, listenable, and technically sound. But for a collaboration of this scale, it plays it too safe.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

The post Blaqbonez, Tyla, King Promise, Muyeez and More on New Music Friday appeared first on Afromixx.

"Doucement" - Fally Ipupa ft Joé Dwèt Filé

"Doucement" is the new single from Fally Ipupa featuring Joé Dwèt Filé, dropped today as a lead-in to Fally's upcoming album XX. It's track 7 on the project and marks a clear cross-cultural pairing: Congolese rumba king meets one of Haiti's biggest current kompa/gouyad voices.

Built on a softened, mid-tempo groove, “Doucement” leans into the kind of restrained sensuality that has long defined Fally’s work. The track opens with a mid-tempo groove that's unmistakably rooted in classic Congolese rumba—those rolling, melodic guitar lines (seben-style undertones) and Fally Ipupa's signature smooth, slightly nasal Lingala/French delivery. He comes in confident and romantic right away: calling the woman "Queen du Congo," saying he's waited his whole life for someone like her, promising protection in a "matata" world, and suggesting they take it slow ("faisons doucement"). The hook repeats the idea of exclusive, after-midnight connection with simple, repetitive phrasing that sticks: "Eza kaka yo moko... bolingo oyo ekozala ya solo."

Joé Dwèt Filé jumps in on the second verse and brings the Haitian flavor. His part shifts the imagery to beaches in Haiti, "diri djondjon and mikatés" (nodding to Haitian food/culture), ocean eyes, and a blend of the two worlds. His voice has that lighter, more R&B-inflected kompa croon, which is less gritty than pure traditional compas but very accessible and melodic. The chemistry works because both guys are singing in a similar romantic lane.

The production is clean and unintrusive: light percussion, a steady bounce, and enough melodic space for the vocals and guitars to breathe without competing for attention.

The "juste une fois" bridge and repeated "donne-moi un peu, un peu" pleas lean into teasing sensuality without going explicit. It's polished, modern rumba with a kompa/R&B seasoning rather than a forced fusion banger.

"More To Life" - 17

"More To Life" EP by 17 aka Alex Iwobi, arrived yesterday as his debut 9-track project. It's short at about 23-24 minutes, featureing a handful of mostly rising Nigerian/UK Afrobeats and street-pop voices Fido, 24AM/Amadou Onana, Giddi, Teniola Time, SPKS, P17, and carries the theme of growth, freedom, and stepping outside the footballer box. Alex Iwobi records under "17", his longtime jersey number, and this feels like a personal side project and a creative pivot.

Production stays firmly in the current Afrobeats/street-pop lane: mid-tempo beats, log drums, soft synths, light guitar or piano touches, and clean mixes that prioritize vibe over aggression.

Delivery is clear, relaxed, and conversational. With storytelling that balances fame/football pressure with personal freedom, enjoying success, relationships, and self-reflection. Track 0: Opens with a freestyle energy. Alex Iwobi sounds most confident here — loose, rhythmic, setting the "this is me outside the pitch" tone. Short and direct. Mine (ft. 24AM): smooth collab with his former teammate sees decent chemistry and a melodic hook. Feels like a relaxed flex track. Bussdown E (ft. Teniola Time, 4AM & Giddi): More crowded, tries to add energy with multiple voices. Joanna E (ft. Fido): One of the stronger cuts. Fido brings his melodic touch with a hook that is catchy. Proper (Freestyle) (ft. P17 & SPKS) and the following cluster (Double Double, By My Side, Joga Bonito): These blend into each other. More rap-leaning moments with the features handling verses. "Joga Bonito" nods to his football roots with a light, playful feel. Closer Letter: Feels like the intended emotional endpoint; it is reflective, slower, and more personal. It's quiet and ends the project on a thoughtful note.

‘More To Life’ is a respectable, low-risk debut from a footballer dipping seriously into music. It is a genuine passion project that delivers exactly the smooth, reflective, success-and-freedom theme the title promises.

It's a decent 23-minute escape that says "there's life beyond the pitch". The first thing that stands out about ‘More To Life’ is the context. 17 is still primarily known as a footballer, and that reality hangs over the entire listen. This is a transition attempt, and on first listen, you can hear the curiosity that comes with that. The 9-track project moves between Afrobeats and Afrowave textures, leaning on familiar, mid-tempo production.

There’s a noticeable reliance on collaborators—Fido, 24AM, Giddi, SPKS—who help carry different moments across the tape. On songs like “Joanna” or “Bussdown,” that support is useful; it fills in gaps where 17’s delivery still feels tentative. 

Lyrically, the EP circles around growth, freedom, and life beyond expectations—themes that clearly mirror his real-life position balancing football and music. The intention is clear. There are moments where the writing feels honest and direct but occasionally slips into generic phrasing that doesn’t leave much behind after the track ends. What works in the EP’s favour is its listenability. It’s easy to play through with a sequencing that is smooth and doesn’t drag. Each track sits comfortably next to the other, which makes it feel cohesive.

This EP feels like groundwork. You can hear the interest, the access, and the willingness to explore coupled with a reasonable urgency that makes a debut stick.

 "Dance 4 Jesus"- Fido, Zlatan, ODUMODUBLVCK

There’s an obvious idea at the centre of “Dance For Jesus”, and the song doesn’t try to hide it or dress it up. It’s right there in the title, and everything else is built around that: energy first, meaning second. "Dance 4 Jesus" is Fido's first single of 2026 e featuring Zlatan and ODUMODUBLVCK, released as a high-energy street-hop/Afrobeats cut, mixing club-ready percussion with a loose dance concept.

The track jumps straight into a bouncy, mid-to-uptempo groove built on rolling Afrobeat drums, sharp percussive hits, light trap-leaning bass, and layered claps that keep it moving without getting too dense. Production feels current and functional with enough low-end and snap to hit on speakers.

Fido leads with the main hook and verses, delivering in his melodic street style. The chorus revolves around repetitive, chant-like lines: "you go shake body... make you dance for Jesus... you must shake body jerk... I go spray money... you go wine for Jesus." It's simple, catchy, and built for sing-alongs.

Zlatan comes in with his signature bouncy flow, ad-libs, and street swagger, adding hype and that familiar gritty flavor that makes his parts instantly recognizable and fun. ODUMODUBLVCK brings an equally gritty, commanding edge with his raw delivery and intensity, giving the track a harder street-hop contrast without derailing the dance vibe. The three complement each other: Fido holds the melodic center, Zlatan adds weight, and Odumodublck lifts the bounce.

Fido’s “Dance For Jesus” is immediately danceable. The hook sticks after one or two listens, and the beat encourages movement. It is straightforward, functional party/street energy, with Fido setting the tone and a hook that leans heavily on chant structure. It’s repetitive, easy to latch onto, and clearly designed for crowd response. The production follows that same logic: hard drums, minimal distractions, and a bounce that doesn’t let up. It’s less about musical layering and more about impact.

The interesting part is how the song handles its “gospel” angle. It’s not reflective or spiritual in the traditional sense; the record frames devotion as celebration, almost like turning a street anthem into a praise session. That blend—faith language over street-hop structure—is what gives the song its identity.

"Colorado" - Johnny Drille, Ayra Starr, Young Jonn

"Colorado" is the new single from Johnny Drille featuring Ayra Starr and Young Jonn. Produced by TeeMode with Young Jonn involved in the polished finish, it's a mid-tempo Afro-fusion/R&B track that mixes soulful melodies, soft instrumentals, warm chords, and a relaxed groove.

The song opens with Johnny Drille's layered "no, no, no" ad-libs leading into a pre-chorus where he sounds vulnerable and questioning: "Suddenly, my loving no come dey dey enough / Tell me wetin I do, odo? / Ṣe you get another someone?" The production stays understated with gentle percussion, subtle keys, light Afrobeat swing without heavy log drums or aggressive drops. It's clean, warm, and designed for laidback listening.

The chorus, led by Ayra Starr with Johnny Drille harmonising, is the hookiest part: "You know nobody perfect, oh / No be by who drive Benz, oh / It's how you got me high like Colorado / High me like Colos." It uses the "Colorado" metaphor for getting euphorically high on love (or the relationship high), plus playful lines like "Ruler for my math-set" and "Never play you Nintendo." Ayra Starr's delivery here is bright, melodic, and effortless. Her tone cuts through nicely and gives the track its lift.

Young Jonn comes in, his verse smooth and melodic: "Pass me your love, oh / Slay, slay, pass me your love"—adding a bit of street-flavoured plea while keeping the romantic insecurity theme going ("you show me say my love is not enough"). Johnny Drille handles a second verse with more emotional depth: "My heart is pacing... All your flaws cannot blur my view / Do masa-masa, fight me, kung fu / Still, I'm reserving table for two." The bridge blends their voices with lines about being "all for you" and missing the groove.

Johnny Drille’s ‘Colorado’ rides a consistent, laid-back wave with layered vocals and harmonies filling the space. The outro fades on reflective ad-libs about things happening and "save your head, don't fall in love" mixed with gratitude.

Johnny Drille anchors it with his signature heartfelt, slightly acoustic-leaning emotional delivery. Ayra Starr adds sparkle and catchiness, and Young Jonn slots in cleanly for melodic contrast, making a competent, pleasant grown-and-sexy Afrobeats/R&B record.

“Colorado” looks like an easy win—Johnny Drille bringing his controlled, soft-edged style into the same room as Ayra Starr and Young Jonn. Three different energies, three different audiences. But on first listen, the song is less about collision and more about compromise.

The production sits in a safe middle. It blends Afropop with light R&B elements—warm, easy, and intentionally unchallenging. It’s the kind of beat that leaves space for vocals to carry heavily, which fits Johnny Drille’s strengths. He opens the record in a familiar tone: calm, slightly pleading, and melodic without trying to stretch range or tempo. The theme is straightforward—love, uncertainty, and the need for reassurance. There’s a recurring idea of not being enough, of trying to hold on while something slips.

Ayra Starr comes in with a lift in tone. Her voice adds brightness and movement, giving the song a bit more texture, but she stays within the same emotional lane. Young Jonn plays the glue role. His contribution leans into rhythm and catchiness, helping the record stay engaging without shifting its structure. He doesn’t disrupt the softness of the song; he smooths it out further. Again, it works, keeping everything in a controlled range.

"MINK SB" (Make I No Kill Somebody) - Jae5, Skepta, Lojay, Skillibeng

JAE5's "MINK SB" (Make I No Kill Somebody) featuring Skepta, Lojay, and Skillibeng sees a lineup that pulls from varying roots for a deliberate global Afrobeats/UK rap/dancehall fusion.

The track opens with a y and an overall restrained production — rolling Afro-percussion, subtle bass, light synth or guitar touches, and space that lets the voices sit upfront. JAE5's signature style keeps things smooth and commanding without big builds. It rides one consistent wave with a laid-back summer-ready energy.

‘MINK SB’ leans into lifestyle, confidence, flex, and global influence. Typical braggadocio with international flavour, money talk, and cool detachment. The production is minimal but effective — infectious enough to nod your head, smooth enough for playlists or drives. It sounds expensive and polished without clutter.

The sound sits comfortably in 2026 Afro-fusion territory with a minimal beat that keeps it cool and vibey. It delivers exactly what the stacked lineup promised — a smooth fusion with each artist shining in their lane.

Skepta opens the track with sharp, confident rap verses — his flow is unmistakable, dry and authoritative, adding that gritty London edge and personality. Lojay handles a prominent melodic hook and silky vocal parts that give the track its accessible, singable centre. His tone adds warmth and depth as Skillibeng drops the dancehall flavor with his gritty, rhythmic delivery and ad-libs that inject bounce and menace. The order and chemistry feel natural: Lojay carries the melody, Skepta grounds it in rap confidence, and Skillibeng spices it with Jamaican energy, complementing each other in a four-way pass-around.

With a lineup like this, “MINK SB” already comes with expectations, but JAE5 sublimely curates a space where different scenes meet. The production is the anchor. It’s stripped back but intentional—light bounce, clean percussion, and a groove that sits somewhere between laid-back and assertive. That’s typical of JAE5’s style: he creates room and lets the artists define the movement. Here, that works. The song feels controlled from the start.

Skepta steps in with the most defined presence. His delivery is sharp, measured, and confident in a way that immediately stabilizes the record, making the beat adapts to him. That contrast gives the song its first real edge.

Lojay’s vocals bring melody and texture, but more importantly, they make the record easy to sit with. He doesn’t push the song forward; he smooths it out. It’s effective, but it also lowers the tension that Skepta introduces.

Skillibeng comes in with a dancehall inflection that adds variety, but like the others, he doesn’t try to dominate the record, rather, he fits into the structure.

That’s really what defines “MINK SB.” It’s cohesive, almost to a fault. “MINK SB” feels like a well-executed link-up; smooth, global, and easy to replay, especially in low-pressure settings.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

The post Fally Ipupa, Fido, Jae5, Johnny Drille and More on New Music Friday appeared first on Afromixx.

Omah Lay – Clarity of Mind

One of the most anticipated Afrobeats projects in recent years has finally landed. Four years after his breakout debut ‘Boy Alone’ (2022), which topped charts in Nigeria, scored a Justin Bieber collab, and helped fuel a Grammy nod via Davido’s “With You”, Omah Lay (Stanley Omah Didia) returns with his ‘Clarity of Mind’. The 12-track, 33-minute sophomore album follows massive pre-release momentum: lead singles “Don’t Love Me", "Waist", and “Holy Ghost", which have over 227 million Spotify streams.

Omah Lay has spoken openly about scrapping earlier versions after a creative betrayal through leaked DMs and go-to producer Tempoe’s insights pointing to a peer lifting his unreleased sound. He started from scratch, and ‘Clarity of Mind’ is the result: a lean, introspective body of work produced heavily by Tempoe (seven tracks), with additional input from Lekaa Beats on standouts like 'Holy Ghost' and 'I Am'. With only one feature—Elmah on the vulnerable “Coping Mechanism"—there is a focus laser-sharp on Omah Lay’s signature half-sung, half-mumbled delivery over mid-tempo Afrobeats grooves laced with R&B warmth and spiritual undercurrents.

Omah Lay’s ‘Clarity of Mind’ is a solid, cohesive return that doubles down on emotional honesty. Raw self-awareness wrapped in the familiar Omah Lay alchemy of hedonism, faith, heartbreak, and quiet defeat. 

The album opens strong with “Artificial Happiness”, where cannabis itself narrates the night—weed-fuelled escapism colliding with “Blood of Jesus” ad-libs, setting a smooth pace for the album listen. Tracks like “Jah Jah Knows” and “Canada Breeze” lean into uncertainty and displacement, while “Water Spirit” turns sensual/spiritual metaphors into an extended and very explicit bedroom scene. The pre-release singles shine brightest in context. “Don’t Love Me” is a brutal inventory of numbness—Hennessy and igbo no longer hit, so he throws money at fleeting connections (nails, rent, rooftops). It’s bleakly funny and uncomfortably honest. “Waist” flips party energy into something sharper: a bouncy ode to derriere that pauses mid-grind for a quick prayer (“Jesu chai o, scatter my enemies”), only to admit Samson’s downfall was the same.

Listening peaks mid-album with “Coping Mechanism” feat. Elmah, the most unguarded moment: she coaxes a smile while he unloads about carrying the world’s weight, touring for belonging, and feeling nothing in his shoulders. “Julia” turns a booked table for 20 into solitary reflection—hallelujahs ringing while he’d rather be alone. “I Am” confronts contradictions head-on.

It closes on “Amen”, a prayer for peace and enough money to buy whatever he wants, Louis Vuitton on his feet. The religious language and earthly temptations never resolve; they coexist in the same breath. 

Omah Lay’s ‘Clarity of Mind’ offers the listener a therapeutic experience with brilliantly crafted music, with a sonic cohesion and vulnerability that permeates the 12-track project. Omah Lay remains the Port Harcourt poet who refuses to separate the sacred from the profane. He sees his flaws clearly – substances, women, and fame’s uniform – and keeps choosing them anyway. The “clarity” here is lands like the quiet defeat of knowing yourself and showing up tomorrow regardless.

Mavo – “Shy Lover”

Mavo continues a now-consistent release streak with a brand new single titled “Shy Lover” via Kilogbede Records / Inner Circle Entertainment. Produced by Wana Sn, “Shy Lover” arrives after consistent single releases and notable features like “Big Bum Bum” with Kidd Carder. 

Mavo has been building steadily since his 2023 debut project, ‘Ukanigbe’, with momentum from EPs like SANKO and ‘Kilometer’, and the buzzy 'Escaladizzy', which earned him cosigns and street credibility. He blends melodic Afrobeats with rap-inflected flows, street slang, and relatable youth energy—often tagged as “burbur music” for its cultural storytelling rooted in Esan/Edo vibes.

Mavo’s “Shy Lover” is a soft, addictive melodic bop that flips the “shy guy” trope into something vulnerable yet playful. The production is clean and atmospheric: mid-tempo Afrobeats groove with warm synths, light percussion, and enough space for Mavo’s half-sung, confident-yet-stuttering delivery to breathe. It feels like a grown-up version of a crush song, where money brings boldness but one special person still makes you lose your cool. 

The song opens with repetitive “Kilo, kilo” ad-libs, a signature Mavo slang touch, and the hook that instantly sticks: “When I see her face, I smile / Now I don dey shy / Kilo, ṣe na you be shy lover? / Domitila no dey fear God / This your body make me bankrupt…” Mavo plays with contrasts: he’s the “winner” who gets challenged in conversation (“We se feke to ta, when I talk, you talk back”), the guy who buys Gucci even when shy, yet this woman’s presence (and curves) leaves him “bankrupt” in confidence. There’s a cheeky nod to how money changed the game—“Since I start dey make money, everybody call on me… Since I make money, I no dey shy again”—but her “pim-pim” (playful slang for body/curves) brings the shyness right back. Thematically, it’s about the disarming power of attraction amid newfound success—vulnerability wrapped in swagger. It’s replay-friendly, the kind of track that grows on you after the third or fourth spin, perfect for car rides, chill playlists, or those “quiet confidence” moods. Mavo’s ‘Shy Lover’ is a charming, well-crafted single with strong replay value and emotional honesty.

Camidoh – Phony

Ghana’s smooth Afropop voice Camidoh, aka Derrick Osei, delivers a fresh standalone single titled "Phony". Released via Rain Labs, the track is produced by Nawtyboi Tattoo alongside Camidoh himself.

Camidoh has been one of Ghana’s most consistent melodic exporters since breaking through with hits like “Sugarcane” and its remix featuring King Promise & Nxtra, "Adoley", and more recent 2026 drops such as “Ride Solo” and "Jamming". Known for his silky vocals, Caribbean-tinged Afropop fusions, and heartfelt delivery, he often blends romance, street realism, and feel-good energy. “Phony” arrives as a highly anticipated solo cut, teased since early 2026 and positioned as a potential summer vibe. Camidoh’s “Phony” is a smooth, infectious Afropop bop that leans into playful romance with Camidoh’s signature melodic charm. The production is a meld of polished warm synths, crisp percussion, light guitar accents, and enough bounce to keep it groovy without overpowering the vocals. Camidoh’s voice glides effortlessly, confident, and laced with that Ghanaian lilt that makes his hooks stick.

Camidoh dives into themes of love, admiration, and playful exaggeration: “What is the definition of love? / I’m never leaving you, it’s on God / Say this your booty e be confam / The Ghana Cedi wey go suffer / Most beautiful lady of all…” It’s flirtatious and hyperbolic, praising a woman’s allure in classic Afropop fashion while mixing currency jokes (“Ghana Cedi wey go suffer”) and declarations of loyalty. The title “Phony” appears to play on irony or exaggeration rather than literal fakery; think over-the-top compliments that feel “too good to be true” yet are delivered with genuine affection. There’s swagger, light-hearted flexing, and that signature Camidoh tenderness that delivers “Phony” with unapologetic charm and danceable energy.

The production by Nawtyboi Tattoo (who has worked with Camidoh on previous tracks like “NLF/Breakfast”) keeps things clean and vibrant: layered vocals, subtle ad-libs, and a groove that encourages shoulder rolls. 

Camidoh continues proving why he’s a premier Afropop figure: consistent output, strong melodies, and an ability to deliver both club bangers and heartfelt tunes. “Phony” reinforces Camidoh’s lane as a reliable source of feel-good, high-quality Afropop. For new listeners, it’s an easy entry point into his world of smooth vocals and infectious grooves.

Pappy Kojo ft. Kuami Eugene – Roomie

Ghana’s Hiplife scene gets a fresh dose of chemistry with “Roomie” by Pappy Kojo featuring Kuami Eugene. Pappy Kojo, the “Real No” and Fante-rap pioneer from Takoradi) and Kuami Eugene are no strangers to collaboration. Their previous joint “My Heart” left a mark, and “Roomie” builds on that foundation with a smoother, more intimate vibe. Pappy brings his signature energetic Fante-flavoured rap and street-savvy delivery, while Kuami Eugene layers in his signature melodic highlife/Afropop vocals—passionate, catchy, and emotionally warm. This one leans into domestic intimacy and the “victory of perfect cohabitation", turning the idea of a “roomie” into a playful celebration of shared space, deep connection, and finding “the one” you want to build a home with.

Pappy Kojo’s “Roomie” is a chemistry-packed Ghanaian bop that blends rap swagger with silky vocals for an easy, replayable love anthem. The production incorporates warm Afrobeat/highlife rhythms, light percussion, and melodic synths that give it that laid-back late-night or weekend-drive energy without losing groove. At under three minutes, it’s concise and hook-driven, making for a clinical masterpiece. 

The track opens with smooth ad-libs and flows into flirtatious, affectionate bars that paints a picture of admiration and playful domesticity: “Baby, baby, be lady, lady / Since the '80s, you drive me crazy / Mercedes, '80s, you like me, baby…” Pappy handles the rap verses with his characteristic energy and Fante flair, while Kuami Eugene shines on the melodic hooks and ad-libs, delivering that emotional, sing-along quality fans love from him. The beat stays steady and inviting, allowing both voices to complement each other without clashing.

Pappy Kojo’s light-hearted celebration of a woman who makes everyday life feel special: the one who turns “roomie” status into something deeper, perhaps even wife material. Compared to Pappy Kojo’s broader catalog (often more rap-heavy or street-orientated) and Kuami Eugene’s melodic highlife/Afropop lane, “Roomie” finds a sweet middle ground.

Straffitti, Zlatan & Scottyolorin – TE WO II

“TE WO II”, the high-energy remix/sequel to Straffitti’s 2025 hit “Tẹ Wo”, from his BUR$T EP, features Nigerian rap heavyweight Zlatan and melodic collaborator Scottyolorin. Straffitti, born Olawale Olukolade, a multifaceted Lagos creative, found a viral moment with the original “Tẹ Wo” — a bouncy, body-celebrating Afropop/Amapiano-tinged cut that became a street and party staple. The “II” version amps up the formula with Zlatan’s signature street bounce and ad-lib fire, retaining Scottyolorin’s smooth melodic touches. At roughly 2:30–3 minutes, it’s built for instant replay: lively percussion, infectious grooves, and that signature “press and spend” energy.

“TE WO II” is a certified street banger and party starter that upgrades the original into something even more explosive. The production keeps the catchy rhythm of the original version while layering in fresh lively percussion, club-ready bounce. The core of “Tẹ Wo”, and its sequel revolves around playful, street-flavored admiration: “Kilofe, baby? Kilofe? / This your body na pepenape / Kilowi, baby? Make I press / Anything wey you want, I go tẹ / Ṣe, make I tẹ wo (Tẹ, tẹ)…” “Tẹ wo” is clever Yoruba street slang that doubles as “spend on her” or "send money". The original had Straffitti and Scottyolorin trading verses on curves, spending, and good vibes. “TE WO II” brings Zlatan in for that raw, ad-lib-heavy street edge and a trademark bounce and hype energy that turns the track into a full squad anthem. The 3 artists attain a chemistry that doesn’t make the remix feel crowded. Straffitti handles the core flow and clever wordplay; Scottyolorin adds melodic sweetness and harmony; and Zlatan injects fiery rap verses and hype ad-libs that make records move. “TE WO II” stands out as one of the more immediate, replayable party records. It fits perfectly into Straffitti’s versatile catalogue (which blends hip-hop, Afropop, and Amapiano) and reinforces his growing reputation as a consistent voice in the Lagos scene.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST

The post Omah Lay, Mavo, Straffitti, Camidoh and More on New Music Friday appeared first on Afromixx.