Tyla – A*POP (Album)

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

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

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

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

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

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

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

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

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

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

Mavo – Business (Album)

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

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

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

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

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

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

Teni – The Wellness Package (EP)

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

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

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

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

Taves – Popstar – Side A (EP)

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

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

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

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

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

Zaylevelten – B4SAVEME (EP)

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

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

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

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

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

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

The post Tyla, Mavo, Teni, Taves and Zaylevelten on New Music Friday appeared first on Afromixx.

From there, the song gently pulls listeners into the world Pure Colour was created in.

The production is beautifully restrained. The drums keep a steady pulse while the violin quietly carries much of the emotional weight, creating the perfect foundation for Erykah Badu’s voice and lyrics to shine. Every instrument knows exactly when to step forward and when to disappear.

Lyrically, Steve Lacy leans into vulnerability with remarkable honesty. “I miss you, so I lose control of me” and “My want for you runs deep as hell” capture the kind of longing that consumes you long before you realise how deep you’ve fallen.

Then comes one of the song’s most revealing moments.

“My family thinks I’ll be my father / They don’t know shit.”

For a brief moment, the song shifts beyond romantic longing and opens the door to something much heavier. It touches on identity, expectation and the fear of becoming someone you never wanted to be. It’s a simple couplet, but it says far more than many songs manage in an entire verse.

Erykah Badu’s comforting entrance deepens the song.

“I’m high, just wanna feel lighter… Gotta try harder, ’cause I know it works.”

Her verse carries the voice of someone choosing hope, even if they haven’t fully found it yet. She isn’t pretending everything is okay and it is something to be grateful for.

The chemistry between both artists is effortless.

One of Pure Colour’s most memorable moments comes at the end when Steve Lacy and Erykah Badu begin counting backwards together.

“Ten… Nine… Eight…”

The countdown could be a reset, it could be two people grounding themselves before everything fades away or just a nice addition to the song.

Whatever it represents, it leaves a lasting impression. As the numbers disappear, Steve Lacy’s voice lingers for just a little longer, giving the song a quiet, reflective ending that stays with you long after it ends.

Pure Colour is a song that allows its emotions to exist, trusting listeners to find pieces of themselves inside them:

The post Steve Lacy and Erykah Badu Make Every Word Count on Pure Colour appeared first on Afromixx.

Born in South London to Nigerian parents, Moses began his journey documenting friends playing football on local pitches. Without formal training, he honed his distinctive style—characterized by rich, moody color palettes, dramatic lighting, chiaroscuro contrasts, and a profound sense of narrative depth. His early work caught the eye of Nike, leading to his first major commission at age 18. By 21, he became the youngest photographer to shoot a Dazed magazine cover, photographing rapper Pa Salieu.

Moses’ signature aesthetic blends fashion, music, and sport with themes of identity, community, heritage, and resilience. His breakthrough monograph Regina (Prestel, 2024), a tribute to the influential women in his life, particularly his grandmother, mother, and sister, solidified his reputation. The book and accompanying exhibitions celebrate femininity, African diaspora experiences, and cultural hybridity. His largest solo show to date, Selah at 180 Studios in London (2025), featured over 70 photographs and 10 films, including music videos for Travis Scott and Playboi Carti’s FE!N, Schoolboy Q’s Lost Times, and portraits of icons like Skepta, Jude Bellingham, and Alek Wek.

The Mbappé shoot for EA Sports FC 27 fits seamlessly into Moses’ trajectory. The French superstar and Real Madrid forward returns as the Ultimate Edition cover athlete after a four-year hiatus, fresh off record-breaking performances, including the 2026 World Cup Golden Boot. Gabriel Moses’ lens captures Mbappé with the intensity, dynamism, and emotional resonance that define both the player’s on-pitch presence and the photographer’s visual language.

This project joins Moses’ growing list of sports-related work, which already includes collaborations with Nike, Adidas, and portraits of football legends like Zinedine Zidane and Bellingham. It underscores his ability to bridge fine art with commercial giants. EA Sports FC vice president Jeff Sharma highlighted Mbappé’s status as a defining player of his generation, a sentiment echoed in Gabriel Moses’ choice to document such cultural moments.

At just 27 or 28 years old, Moses has collaborated with Louis Vuitton, Burberry, Dior, Pharrell Williams, A$AP Rocky, and more. He designed the 2025 BRIT Award trophy and has exhibited globally in Chicago, Milan, Paris, Seoul, and New York. His work consistently explores legacy, faith, and belonging—values rooted in his South London upbringing and Nigerian heritage.

By photographing Mbappé for EA Sports FC 27, Gabriel Moses adds another layer to his legacy. His growing portfolio proves that authentic, story-driven imagery can thrive in the worlds of gaming, sports, and high fashion. As the game’s gameplay reveal and full launch approach, fans can anticipate visuals that not only promote the title but also stand as compelling artworks in their own right. Moses continues to build a body of work that resonates across generations, celebrating excellence while staying true to his vision.

View this post on Instagram

A post shared by Afromixx Entertainment (@afromixx)

The post British-Nigerian Photographer and Filmmaker Gabriel Moses Adds EA Sports FC 27 to His Growing Legacy appeared first on Afromixx.

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

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

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

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

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

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

The post Tems Makes History as First Female African Artist With a U.S. Diamond-Certified Single appeared first on Afromixx.

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

A Landmark Moment on the Global Charts

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

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

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

The World Cup Boost

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

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

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

View this post on Instagram

A post shared by Afromixx Entertainment (@afromixx)

Another Win for Afrobeats

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

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

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

The post Burna Boy Makes History as First African Artist to Top the Billboard Global 200 appeared first on Afromixx.

Davido & NO11 — “Gimme Dat Ting”

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

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

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

Steve Lacy & Erykah Badu — “pure colour”

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

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

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

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

LADIPOE & Pa Salieu — “No Level”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The post Davido, Ladipoe, Erykah Badu And More On New Music Friday. appeared first on Afromixx.

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

The A*Pop Tracklist

Here’s the complete 14-track lineup:

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

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

A Defining Statement on African Pop

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

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

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

The post Tyla Unveils Tracklist for Sophomore Album A*Pop, Teasing a Bold New Era of African Pop appeared first on Afromixx.

For years, conversations around Francophone African music have been dominated by a familiar group of global stars. But beneath that established tier, a new generation of artists is quietly reshaping the continent’s musical identity. No longer content with the shadows of “world music” labels or the long shadow of established giants, a fresh cohort of Francophone African artists is smashing linguistic, geographic, and stylistic barriers. They fuse ancestral instruments with trap and electronic pulses, street poetry with spiritual introspection, and hyper-local identities with TikTok virality and major-label ambition. Through emotional storytelling, genre-defying innovation, diaspora resonance, and digital firepower, these creators are exporting the rich, multilingual heartbeat of Francophone Africa to global playlists, European festivals, and international charts—proving that the sound is irresistibly borderless.

1. Ste Milano (Côte d’Ivoire)

If there’s an artist embodying the evolution of modern Ivorian street music, it’s Ste Milano. Emerging from Abidjan’s vibrant urban culture, he has become one of the most exciting figures bridging traditional coupé-décalé energy with contemporary trap, Afro-rap and ndombolo influences. Ste Milano emerged in the early 2020s as one of Abidjan’s most dynamic forces in the ever-evolving coupé-décalé landscape. Blending high-energy trap, hip-hop, and ndombolo rhythms with raw celebrations of Ivorian street life and youth culture, he quickly carved a signature lane.

His breakout run has been fueled by records like “Bouchkaraille”, “FAIS OH FAIS (1 COUP KO)”, and collaborations with artists including Didi B and Team Paiya. His music videos routinely attract millions of views, driven by vibrant choreography, fashion and unmistakably Ivorian slang. He has performed at festivals like Festicas, building momentum through viral visuals and infectious party anthems.

Unlike earlier generations of coupé-décalé artists who focused primarily on dancefloors, Ste Milano presents the genre through a younger hip-hop lens. His songs reflect everyday Abidjan life while remaining accessible to Francophone diaspora audiences across France, Belgium and Canada. Ste Milano is pushing coupé-décalé beyond its traditional confines into trap/hip-hop crossovers that travel well across West Africa, the diaspora, and into European Afro scenes. His independent-to-growing traction demonstrates how Ivorian urban sounds are gaining global digital legs without diluting local flavor.

Rather than abandoning coupé-décalé for Afrobeats or Western rap, Ste Milano modernizes the genre without stripping away its identity. His digital-first approach—leveraging TikTok trends, YouTube premieres and streaming platforms—has helped introduce Ivorian urban music to audiences far beyond West Africa.

2. Himra (Côte d’Ivoire)

Himra represents a new generation of Ivorian rappers redefining Francophone hip-hop. Blending trap production, drill influences and Côte d’Ivoire’s distinctive street vernacular, he has become one of the country’s fastest-rising urban artists. His music captures youthful ambition, survival and everyday realities while maintaining infectious hooks that resonate beyond rap audiences. As streaming and social media continue to erase geographical barriers, Himra has found listeners across France, Senegal, Cameroon and other Francophone territories.

French-language African rap has historically been overshadowed internationally by artists from France. Himra is helping shift that narrative by placing Abidjan, not Paris, at the center of his artistic identity, proving that authentic Ivorian rap can travel on its own terms.

Himra represents the sharp new edge of Ivorian Afro-rap. He weaves street narratives with contemporary production, creating a sound that feels both urgent and export-ready. By expanding Ivorian music exports beyond classic coupé-décalé into rap-infused global Afro sounds, Himra contributes to the diversification of Francophone African hip-hop on international platforms and charts.

3. Cheikh Ibra Fam (Senegal)

A Dakar-raised (Mbour origins) multi-hyphenate with Baye Fall spiritual roots, classical training in Italy, and six years singing with the legendary Orchestra Baobab, Cheikh Ibra Fam launched his solo career in 2022 after years in the shadows of giants. Few artists embody cultural fusion as elegantly as Cheikh Ibra Fam. Raised in Senegal and later performing with the legendary Orchestra Baobab, his solo career has showcased an expansive musical palette rooted in West African traditions.

His acclaimed debut album, Peace in Africa, introduced audiences to a sound where mbalax, soul, jazz, Afrobeat and funk coexist naturally. His lyrics often explore peace, spirituality, migration and social justice, reflecting both personal experience and broader African realities. His sophomore effort Adouna, released April 2026 on Cumbancha, continues this evolution with reflective, groove-driven material.

Rather than presenting African music as heritage alone, Cheikh Ibra Fam positions it as contemporary global art. His work comfortably exists alongside jazz, soul and Afro-fusion while remaining unmistakably Senegalese.

His masterful cross-cultural fusions, international tours, RFI recognition, and major-label support (Cumbancha) bridge traditional Senegalese heritage with global grooves. Performing at venues like the Kennedy Center’s Millennium Stage, he authentically represents African identity on world stages while appealing to jazz, world-music, and pop audiences alike.

4. Senny Camara (Senegal)

In West African tradition, the kora has long been dominated by male griots. Senny Camara has challenged that convention by becoming one of the instrument’s leading contemporary voices. Senny Camara is a kora virtuoso, singer, songwriter, and composer who brings a fresh, feminine, and socially conscious voice to a traditionally male-dominated instrument.

Her music blends Mandinka storytelling with modern songwriting, exploring themes including gender equality, environmental protection and community empowerment.

Albums and EPs such as Yéné (2024) and earlier works like Boolo. She performs in multiple West African languages, addressing gender equality, environmental issues, and social justice. As a 2025 Aga Khan Music Award laureate, she revitalizes heritage while expanding the kora’s reach far beyond niche “world music” circles into broader contemporary and diaspora audiences. Her work challenges gender norms in traditional music and promotes cultural diplomacy.

Senny Camara demonstrates that heritage instruments remain relevant in contemporary global music. Rather than modernizing the kora through heavy production, she allows its timeless beauty to lead her compositions.

Senny Camara is a kora virtuoso, singer, songwriter, and composer who brings a fresh, feminine, and socially conscious voice to a traditionally male-dominated instrument.

5. Alune Wade (Senegal)

Alune Wade occupies a unique space between African music and international jazz. Bassist, composer, and bandleader Alune Wade masterfully connects West African rhythmic traditions with Afrobeat, juju, and New Orleans brass influences.

Widely respected as one of Africa’s finest bassists, Wade has collaborated with renowned musicians while developing his own distinctive sound that merges Senegalese rhythms with Afrobeat, jazz, funk and New Orleans brass traditions.

His innovative “New African Orleans” concept creates a genuinely borderless sound that appeals to jazz and world-music listeners globally while remaining deeply rooted in Senegalese identity. International releases and live showcases demonstrate how African bass traditions can converse with American and Caribbean forms on equal footing. 

Previous projects including Sultan (2022) and the ambitious New African Orleans (2025) on ENJA/Yellow Bird, which explicitly explores these transatlantic fusions. Wade reveals the historic dialogue that has always existed between African rhythms and American music.

6. Cysoul (Cameroon)

Cameroon’s remarkable linguistic diversity is central to Cysoul’s music. Singing in French, English and indigenous languages, he has developed what many describe as “pop ethnique”—a sound combining contemporary pop with traditional Cameroonian rhythms. In a scene often dominated by specific urban styles, Cysoul champions linguistic and cultural diversity, making Cameroonian identity more accessible and exportable to broader Francophone and international audiences.

His warm vocals and emotionally driven songwriting have earned him growing recognition across Central Africa. As audiences increasingly seek authentic cultural storytelling, Cysoul demonstrates that multilingual African pop can resonate internationally with ethnic Cameroonian languages, rhythms, and cultural textures.

7. Didi B (Côte d’Ivoire)

Formerly one-quarter of the influential rap group Kiff No Beat, Didi B has successfully transitioned into one of Francophone Africa’s most accomplished solo rappers. Didi B is a sharp Ivorian rapper whose lyricism and urban sensibility have earned him recognition within and beyond local scenes.

His solo catalogue showcases refined lyricism, polished production, and collaborations spanning Côte d’Ivoire, France, and Nigeria. As one of the continent’s most visible Francophone rappers, he has helped elevate Ivorian hip-hop into mainstream African music conversations. Didi B bridges multiple worlds, Francophone rap, Afrobeats collaborations, and global hip-hop aesthetics, without losing the unmistakable identity of Ivorian rap.

His award wins and consistent work help elevate Ivorian rap into broader Francophone African and international hip-hop conversations, pushing the genre’s visibility and credibility.

8. EMMA’A (Gabon)

At just 22, EMMA’A has emerged as one of the most promising young voices in Francophone African music. The Libreville-born artist blends Afro-R&B and pop with vulnerable, emotionally resonant songwriting. EMMA’A has quickly become one of Central Africa’s most compelling new voices.

Revealed in 2022 with “Grand Bandit” (feat. Eboloko). She broke through with the TikTok-viral “Encré”, which dominated charts across Gabon, Côte d’Ivoire, Congo, and beyond. Follow-up releases include the album CYCLE, EP ‘Emma’a Part.II‘, and singles like “Frida Kahlo” and “Ça m’a laissé”, and collabs such as “C’est mon BB” (feat. Chily) and “Touché Coulé.”

Combining Afropop, R&B and heartfelt Francophone songwriting, she built a devoted online following before signing with Sony Music Africa. Her music balances vulnerability with polished contemporary production, making her one of Gabon’s strongest emerging exports.

EMMA’A represents a new generation of African female artists whose careers are being built through streaming platforms, social media, and emotionally resonant songwriting, making her Gabon’s strongest current musical export.

9. Jeune Lion (Côte d’Ivoire)

Jeune Lion has earned respect as one of Central Africa’s most technically gifted rappers. Born in Abidjan’s Marcory district, Jeune Lion is a Franco-Ivorian rapper who fuses boom bap, trap, reggae, coupé-décalé, and spiritual/political elements with bilingual lyricism.

Known for blending boom bap, trap and socially conscious lyricism, his bilingual delivery in French and English allows him to connect with audiences across linguistic divides. His work frequently addresses politics, identity and African youth culture. At a time when African rap is becoming increasingly international, Jeune Lion demonstrates that thoughtful lyricism can coexist with modern production, giving Cameroon a distinctive voice within global hip-hop.

Gaining early recognition with “J U D A” (2021), Jeune Lion released the project Before Babylone Burnt (2022). Continued with tracks like “PIGALLE” and “Nyamien son no fall,” developing a signature style that merges sacred aesthetics, urban reality, and ambitious vision.

His genre-transcending approach and bilingual accessibility make him uniquely exportable. Jeune Lion brings sharp political and spiritual commentary to global Afro-rap conversations while honoring Ivorian and broader African rhythmic traditions.

10. Tam Sir (Côte d’Ivoire)

While many artists chase crossover success as performers, Tamsir has become one of Francophone Africa’s most influential producers and cultural architects.

His productions have helped define the current sound of Ivorian youth culture, combining local rhythms with contemporary electronic production. Through collaborations and TikTok-fueled hits, his work consistently reaches audiences well beyond Côte d’Ivoire. His influence extends beyond production into shaping how Ivorian music is marketed, consumed, and celebrated online.

Tamsir proves that producers can become cultural ambassadors. By amplifying local dance culture instead of replacing it, he’s helped Ivorian music travel organically across Africa and the diaspora.

Tamsir demonstrates how producers can drive global cultural waves from Francophone Africa without compromising roots by doubling down on authentic local identity while achieving massive dominance and adoption. He demonstrates how producers can drive global cultural waves from Francophone Africa without compromising roots—his work amplifying Ivorian youth expression on international digital stages.

What unites these artists is not a shared genre but a shared philosophy. They are building global careers by leaning further into their own cultures, languages, and traditions. In doing so, they’re expanding the map of Francophone African music, proving that the next global breakthrough will come from confidently telling local stories with universal appeal.

The post 10 Francophone African Artists Breaking Global Barriers appeared first on Afromixx.

From its opening moments, the production refuses to overwhelm the emotion. A laid-back reggae rhythm, understated percussion, and warm instrumentation provide enough room for D’Yani’s voice to stretch. He leans into restraint, where every lyric feels lived-in and every melody is intentionally measured, delivering a kind of performance that understands vulnerability has to be convincing.

What ultimately separates “MiSS YOU BAD” from the sea of contemporary love records is its emotional honesty. D’Yani exposes the contradictions of toxic love. Missing someone who continuously hurts you is rarely logical, yet it’s one of the most human experiences imaginable. Instead of presenting himself as either a victim or a villain, he appears fully aware of the damage but unable to silence the craving.

There’s also an evident confidence in how D’Yani approaches songwriting. As someone who has consistently described himself as both a poet and a student of music, his records often prioritize storytelling, which “MiSS YOU BAD” excels in. The lyrics articulate feelings many people struggle to put into words.

The accompanying visual extends that intimacy, reinforcing the emotional push and pull at the heart of the song. Through sensual, understated imagery, the video captures the tension between desire and self-preservation, illustrating how memories can become prisons long after relationships have ended. It complements the record, allowing the music to remain the emotional centerpiece.

For listeners already familiar with D’Yani’s trajectory—from Feelings (Remix) and Live A Little to his growing reputation as one of Jamaica’s most compelling contemporary voices—“MiSS YOU BAD” is another step for an artist becoming increasingly comfortable with emotional transparency. While earlier releases showcased charisma, romance, and optimism, this latest offering embraces discomfort, proving that vulnerability can be just as captivating as confidence.

If ‘Live Life & Prosper’ intends to showcase the full emotional spectrum of D’Yani’s artistry, then “MiSS YOU BAD” is an encouraging indication of what’s to come. It demonstrates an artist willing to challenge himself beyond conventional love songs, exploring the grey areas where affection, obsession, and healing often collide.

The post D’Yani Finds Beauty in Emotional Ruin on ‘MiSS YOU BAD’ appeared first on Afromixx.

Slick – Victony

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

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

Come Over – Nasty C, Tellaman & Oxlade

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

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

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

Heaven on Earth – IkeN

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

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

Kontrol – Timaya & Duncan Mighty

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

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

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

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

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

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

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

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

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