FOLA & Ayra Starr — “TREAT U RIGHT“

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

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

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

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

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

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

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

Jorja Smith ft. Wizkid — “Alive”

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

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

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

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

Reekado Banks — “Worthy Challenger” (EP)

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

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

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

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

Frenna, Odeal & Wizkid — “Coca Body”

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

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

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

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

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

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

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

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

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

Joshua Baraka — “What Do I Know?”

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

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

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

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

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

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST

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

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

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

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

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

What Are The Odds Tracklist

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

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

Watch the music video “Alive” ft. Wizkid

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The filmmaker whose recent first feature film Call Of My Life, is staking its claim as a turning point for romantic comedies in Nigeria, Dammy Twitch takes a trip down memory lane on Davido’s “I Know Who I Be” with a striking visual representation of a now too-familiar story synonymous with the artist’s career. He consolidates it with a full-circle reflection of Davido’s singular human footprint—his career and the lives he has directly impacted—all within four compelling minutes.

Dammy Twitch transforms a familiar narrative of Davido’s career into an immersive, emotive visual experience with the expertise of an accomplished filmmaker. He retells what many perceive as an ordinary success story, turning it into something profoundly extraordinary yet deeply human, capturing Davido as an individual: his beginnings, his journey, his legacy, and his personal achievements stripped of wealth and family name.

The video opens with a young Davido conceiving his breakout single, “Dami Duro”, inside his father’s mansion, its opulence carefully established before the story shifts to a recording studio following his father’s scolding to focus on his studies rather than pursue music. The narrative then unfolds through the aftermath of that breakout success and the ripple effect of his career, highlighting his role in discovering, nurturing, and helping establish several household names within the Nigerian music industry.

By this point, viewers have witnessed a life defined by grit, talent, purpose, and impact. Dammy Twitch concludes the film by bringing Davido’s journey into the present, where another chapter begins with a teaser of ‘Oriadé’, his sixth studio album.

Rather than simply commemorating Davido’s achievements, ‘I Know Who I Be’ reframes them through the lens of purpose. Every setback, breakthrough, and milestone becomes part of a larger story that the artist believes was always unfolding. In doing so, Dammy Twitch crafts a visual prologue to ‘Oriadé’, one that gives emotional weight to the album’s central idea—that the crown had arrived long before destiny ran its course.

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

A Strategic Power Move for Global Dominance

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

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

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

Timing with Upcoming ‘A Pop’ Album

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

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

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

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

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For more than two decades, the BET Awards has served as one of the few spaces where Black music, film, fashion, sports, and cultural influence occupy the centre rather than the margins and the 2026 BET Awards was no exception.

While other award shows often chase universal appeal, the BET Awards has built its identity around celebrating Black excellence without explanation.

On June 28, 2026, that tradition continued inside the Peacock Theater in Los Angeles.

There were awards, viral moments, emotional speeches, and unforgettable performances. Like every memorable BET Awards ceremony, the real story wasn’t simply who won. It was what the night revealed about Black culture, its past, its present, and the future being shaped by a new generation.

On June 28, 2026, the Peacock Theater in Los Angeles pulsed with the unfiltered heartbeat of Black America. Recreating his viral skit, Druski descended from the ceiling, the crowd roaring as he landed for his history-making turn as the youngest host in BET Awards history.

Culture’s Biggest Night delivered a three-hour collision of laughter, tears, legacy, and fresh fire that felt a family reunion with the volume turned all the way up.

The Last Award Show That Still Feels Like a Family Reunion

The BET Awards has always operated on its own frequency. While other ceremonies chase crossover appeal and sanitised narratives, this one treats Black creativity as the main event rather than a sidebar. It honours the algorithm makers, not just those the algorithm favours.

At a time when many award shows struggle to remain culturally relevant, the BET Awards continues to occupy a unique space.

Sylvia Rhone put it plainly when she accepted the Ultimate Icon Award:

“Black creativity is one of the most powerful forces in the world. We make the algorithm. It doesn’t make us.”

Few quotes captured the spirit of the evening more accurately.

Family, Legacy and the Passing of the Torch At The BET Awards

This year the night leaned hard into family as both comfort and inheritance.

T.I. opened the show perched atop a car, rapping “Top Back” and “Let ‘Em Know” while his son King sat behind the wheel.

Jamie Foxx joined his 17-year-old daughter Anelise for the guitar-driven intro to Kehlani’s “Folded,” the teenager’s playing sharp enough to cut through any nepo-baby skepticism.

D’Angelo’s children: Imani, Swayvo, and Morocco opened the tribute to their father with quiet dignity:

“To the world, he was D’Angelo. To us, he was just dad.”

D’Angelo’s children paid tribute to their late father at the 2026 BET Awards, opening the emotional segment with heartfelt words honoring his legacy and impact on music.

via @DEADLINE#DAngelo #BETAwards #BETAwards2026 #MusicLegend #Hungamaexpress pic.twitter.com/YfspIgxpw1

— Hungama Express (@HungamaExpress) June 29, 2026

Lauryn Hill’s children Selah, YG, and Zion sang their mother’s music during her Living Legend Icon Award segment, and she shouted out her other children from the stage.

The message appeared repeatedly throughout the night: culture survives because people pass it on. Talent, wisdom, stories, and songs move from one generation to another like family heirlooms.

Honouring the Architects At The 2026 BET Awards

The tributes throughout the evening reminded viewers that culture does not appear from nowhere.

Every era stands on foundations built by those who came before it.

A sweeping D’Angelo medley featuring The Vanguard, Ari Lennox, Raye, George Clinton, Durand Bernarr, and BJ the Chicago Kid celebrated a catalogue that helped shape modern R&B and neo-soul. Less than a year after his death, the performance reminded audiences that D’Angelo’s influence remains impossible to ignore.

Erica Campbell and Le’Andria Johnson’s rendition of “I Love the Lord” during the In Memoriam segment folded gospel into the night’s emotional architecture, grounding celebration in remembrance.

Lauryn Hill and the Weight of a Legacy

Then came the Lauryn Hill portion, the gravitational centre of the evening.

Ice Cube introduced the inaugural Living Legend Icon Award recipient before a remarkable lineup of artists traced her influence across generations.

The War and Treaty performed “Joyful, Joyful.” SZA and Doechii tackled “Ready or Not.” Tems and Tierra Whack delivered “Fu-Gee-La.” Nas and Doja Cat revisited “If I Ruled the World.” Lizzo and Rapsody took on “Doo Wop (That Thing).” Common and Queen Latifah performed “Lost Ones.”

The performances highlighted something many artists spend entire careers chasing: impact.

Hill’s influence stretches across hip-hop, soul, R&B, rap, and contemporary Black music in ways few artists can claim.

Then she appeared herself.

Performing “Ex-Factor” and “Everything Is Everything,” Hill reminded audiences why her catalogue continues to resonate decades after its release.

In her acceptance speech she reflected on the inspiration behind The Miseducation of Lauryn Hill:

“When I made Miseducation, I was inspired by you. I was inspired by the beauty. I was inspired by our potential.”

The Stars Defining This Era

If Lauryn Hill represented legacy, the night’s biggest contemporary stars offered a glimpse of where culture is headed.

Cardi B moved through the evening like the main character she has always been.

Leading nominations with six, she secured Best Female Hip-Hop Artist for her seventh BET Award and delivered a medley from Am I the Drama? featuring “Hello,” “Check Please,” “ErrTime,” and “Pretty & Petty.”

During the latter, she pulled out her previous six BET trophies for a moment that was equal parts celebration, theatre, and unapologetic flex.

The performance reinforced what has made Cardi B one of hip-hop’s defining figures: she refuses to smooth out her rough edges for anyone.

Doechii and SZA’s BET Her Award win for “Girl, Get Up” provided a different but equally compelling narrative.

Accepting together, Doechii credited SZA with helping her through a difficult period.

SZA’s response was simple:

“Anything for you, always.”

What stood out throughout the evening was the absence of the old narrative that success must be a solitary pursuit.

Many of the night’s strongest moments centred collaboration rather than competition. Whether artists paid tribute to their influences or celebrated each other’s achievements, the ceremony repeatedly reinforced the idea that culture survives through community.

Kehlani’s Best Female R&B/Pop Artist win and Video of the Year award for “Folded” highlighted R&B’s continued evolution, while Clipse’s Album of the Year win for Let God Sort Em Out proved that veteran lyricism still commands attention.

Teyana Taylor’s Icon of the Year Award and the newly introduced Fashion Vanguard Award recognised a career built on creativity, direction, style, and reinvention.

Africa Is No Longer a Guest at the Table

For years, African artists appeared at global award shows as exciting additions to the conversation.

Today, they help shape the conversation itself.

The African presence at the 2026 BET Awards felt less like a crossover moment and more like a reflection of reality. Afrobeats, Amapiano, Afro-fusion, and other African sounds have become permanent fixtures within global music culture.

The question is no longer whether African artists belong in these spaces.

The question is how much influence they will continue to wield within them.

Tems delivered a crystalline performance of “What You Need,” threading Nigerian soul into the evening’s American spine.

Her earlier appearance alongside Tierra Whack during the Lauryn Hill tribute further strengthened the connection between Africa and the wider Black diaspora.

Tyla’s Video of the Year nomination for “Chanel” reinforced the same point. African artists increasingly move through global cultural spaces without abandoning the sounds, aesthetics, and identities that made audiences fall in love with them in the first place.

What makes these moments significant is not simply representation.

Representation suggests inclusion into an existing structure.

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Fashion Remains One of Black Culture’s Most Powerful Languages

On the red carpet and beyond, fashion functioned as cultural language rather than decoration.

Doechii arrived in a standout Dsquared2 look that balanced elegance with edge. Kehlani, Lizzo, Janet Jackson, and Queen Latifah each offered distinct expressions of self-possession and individuality.

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Teyana Taylor’s recognition through both the Icon of the Year and Fashion Vanguard awards felt especially fitting.

The introduction of the Fashion Vanguard category acknowledged something Black culture has understood for decades:

Black style rarely follows trends.

It creates them.

Why the 2026 BET Awards Mattered

Throughout the night, one message emerged repeatedly.

Black creativity remains one of the world’s most influential cultural forces.

Not because institutions validate it. Not because algorithms reward it. But because generation after generation continues to reinvent it.

Sylvia Rhone’s declaration that “we make the algorithm” felt less like an acceptance speech and more like the evening’s mission statement.

Artists defining this era right now include Cardi B, whose persistence and specificity keep hip-hop honest; Doechii, whose rise feels both inevitable and hard-won; Kehlani and Leon Thomas, who continue to anchor R&B’s emotional centre; Clipse and Kendrick Lamar, who prove lyrical excellence still moves rooms; and Tems, whose global reach continues to expand the map of contemporary Black music.

The trends were impossible to miss: intergenerational handoffs, collaborative uplift over solitary competition, fashion as identity, and tributes that preserved history while creating new memories.

Weeks from now people will still be talking about Lauryn Hill taking the stage and speaking directly to the beauty and potential she saw in her people. They will replay D’Angelo’s tribute. They will quote Cardi B’s trophy moment and laugh at Druski’s hosting antics. They will remember Tems carrying African excellence onto one of Black America’s biggest stages.

But the lasting significance of the 2026 BET Awards extends beyond any single performance or winner.

The ceremony served as a reminder that Black culture remains one of the world’s most influential creative forces precisely because it continues to honour its history while making room for what comes next.

In its best moments, the 2026 BET Awards not only documented black culture but it renewed it.

Every tribute, performance, speech, and passing of the torch reminds us that the culture remains its own greatest resource.

And on June 28, 2026, that resource was on full display.

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

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

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

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

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

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

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

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

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

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

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

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

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

Let’s get into it:

Wande Coal, BNXN & Ruger — “Gbesunmo”

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

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

Thankfully, it mostly is.

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

Then the song gets interesting.

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

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

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

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

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

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

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

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

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

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

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

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

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

Wande Coal & Wizkid — “Oshe”

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

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

The chorus is where the song really shines.

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

It’s simple, repetitive, and ridiculously catchy.

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

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

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

Wizzy and Wande sure did a thing here.

Taves — “Uche Jombo”

Sampling a Wizkid record is one thing.

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

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

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

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

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

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

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

He doesn’t try to outdo the original.

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

La Soülchyld, Soundlykob & MAUIMØON — “Take Control”

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

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

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

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

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

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

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

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

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

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

This week’s releases did all three.

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

Hit play and enjoy the ride:

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

The title suggests movement, discovery, and sonic range. Alfa Calistus, the artist behind the sound, positions the project as a blend of Afrobeats, soul, and contemporary urban sounds that reflect personal growth, ambition, and the daily grind of Nigeria’s creative scene.

In practice, Journey Through Sound feels firmly rooted in a familiar corner of contemporary Nigerian music. If this EP were a physical place, it would not transport listeners across continents or cultures. It would probably take them across Lagos—from one side of the city to another—with the windows down and enough traffic to make a good soundtrack feel essential.

That is not necessarily a bad thing.

The project opens with “Big Energy,” a track that immediately lives up to its name. Built on infectious rhythms and easy-going confidence, it carries the kind of energy that gets heads nodding and feet tapping almost instantly. One standout lyric, “Pray for my enemies because if I no be me I go jealous me,” captures the self-assured spirit that runs through the record.

“Big Energy” may not reinvent the wheel, but it understands exactly what it wants to do. It wants listeners to feel good, and it succeeds.

Midway through the project, the third track  “Nice To Know” introduces VJ Skinny. He brings a raw, brash cadence that immediately shifts the temperature. There is an energetic quality to his delivery that recalls the disruptive presence artists like ODUMODUBLVCK often bring to a song. The feature cuts through the EP’s smoothness and delivers one of its most striking moments.

For a body of work called Journey Through Sound, the listening experience does not tally. While the songs differ in cadence and energy, they largely operate within a similar sonic framework. 

This restraint is not necessarily a flaw in execution. Khaliberry clearly knows how to write and arrange songs that connect quickly. The hooks land, the features serve their purpose, and the closer leaves a positive impression. For listeners seeking straightforward, feel-good Afrobeats with occasional lyrical bite, the EP delivers. The problem surfaces when measured against the stated ambition. More deliberate genre-hopping, stranger production choices, or riskier vocal experiments would have strengthened the central concept rather than leaving it as an unfulfilled tease.

On that note, the fifth and last track titled Give Am Chance comes closest to fulfilling the project’s premise. Trumpets weave through the production while chants of “Give Am Chance” inject personality and texture into the arrangement. The result feels vibrant, communal, and distinctly rooted in Nigerian musical traditions. At different moments, the track evokes the playful theatricality associated with Lagbaja while maintaining its own identity.

More importantly, it offers a glimpse of what a more expansive version of Journey Through Sound might have sounded like. The willingness to experiment with instrumentation and atmosphere creates one of the EP’s most compelling moments.

While this EP may not fully deliver the sonic exploration implied by its name, it succeeds as a concise collection of songs suited for everyday listening.

By the time the project ends, it leaves behind a feeling that is both complimentary and critical. The EP’s strongest moments suggest an artist capable of exploring much wider terrain than he currently does.

For now, Journey Through Sound feels less like a grand expedition and more like a promising first stop. The destination may not be as far-reaching as its title suggests, but the journey is still worth taking:

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

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

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

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

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

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The Room Before the Music

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

Asake Steps Out

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

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

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

The New Material

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

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

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

After the Last Note

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

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

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

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

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

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