Ema Onigah, Olamide, Naira Marley, Harmonize and More on New Music Friday
Every New Music Friday comes with its own pattern. Some weeks are noisy, packed with obvious hits and social media moments. Others feel slower, more intentional, artists testing new pockets, revisiting familiar sounds, or simply dropping records that sit with you longer than the first listen. This week lands somewhere in between. From laid-back grooves to emotionally heavy records and club-ready production, the latest releases show artists settling deeper into their identities instead of chasing urgency.
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.
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