He addressed the crowd, expressed sorrow for the families, prayed publicly, and highlighted the tragedy that began on May 15, 2026, when armed gunmen stormed multiple schools in the Yawota and Esiele communities.

We should give Davido credit for using one of the world’s biggest platforms to ensure the world noticed Nigeria’s latest security failure. In a country where school abductions have become disturbingly familiar, this gesture stands out.

More importantly, it reminds us of both the power and the limits of celebrity activism in Nigeria.

Davido’s jacket drew attention to a tragedy that many people outside Nigeria would otherwise never have heard about. It generated headlines, social media discussions, and renewed interest in the fate of the abducted children.

But awareness and action are not the same thing.

A jacket with names and a heartfelt onstage plea can shine a light on a crisis. It can move people emotionally. It can keep a story alive in the public consciousness. What it cannot do is free the children still being held, dismantle the criminal networks responsible, or hold public officials accountable for repeated security failures.

That responsibility belongs elsewhere.

Yet moments like this often trigger a familiar conversation. Nigerians repeatedly demand that celebrities “speak up” during every national crisis; economic hardship, insecurity, corruption, and institutional failure.

The frustration is understandable. People feel powerless, and famous voices with millions of followers appear to be the most effective megaphones available.

However, the expectation that entertainers must always become activists deserves closer examination.

The Power and Limits of Celebrity Activism in Nigeria

Celebrity influence is real.

Artists can draw attention to issues that might otherwise go unnoticed. They can amplify conversations, mobilise young audiences, and force uncomfortable topics into mainstream discourse. Davido’s FIFA World Cup gesture did exactly that.

Yet influence and power are not the same thing.

A musician can shape public opinion. A musician cannot reform security agencies, rescue abducted children, prosecute criminals, or build effective institutions.

When conversations around national crises become centred on whether celebrities have spoken loudly enough, attention often shifts away from the people and institutions that actually hold decision-making power.

The danger is not that celebrities speak out. The danger is treating celebrity interventions as substitutes for meaningful action.

Nigeria’s Long History of Protest Music

Nigeria’s music industry has a proud tradition of political engagement.

Few artists embodied that tradition more than Fela Kuti. Through songs like “Zombie” and “International Thief Thief,” he challenged military governments and openly criticised corruption and abuse of power.

The consequences were severe.

Authorities raided Kalakuta Republic, assaulted him repeatedly, destroyed his property, and inflicted violence that contributed to the death of his mother. Over the course of his career, Fela endured arrests, imprisonment, intimidation, and relentless harassment.

His courage remains one of the most powerful examples of artistic resistance in Nigerian history.

Subsequent generations continued that tradition in different ways. Eedris Abdulkareem’s “Jaga Jaga,” Asa’s “Jailer,” Falz’s “This Is Nigeria,” and Burna Boy’s “Monsters You Made” and “20 10 20” all confronted societal failures and political realities.

These songs shape conversations, document public frustration and preserve moments in history that might otherwise be forgotten.

But recognising this legacy should not create a permanent obligation for every entertainer to become a frontline activist.

Why Celebrities Do Not Owe Society Activism

Artists are citizens, but they are also individuals with families, businesses, personal fears, emotional limits, and legitimate concerns about their safety.

In Nigeria, speaking out often comes with consequences.

Outspoken public figures frequently face coordinated online attacks, political pressure, threats, lost endorsements, damaged business relationships, and, in some cases, physical danger.

The #EndSARS movement demonstrated this reality clearly.

DJ Switch livestreamed the events at the Lekki Toll Gate during the protests and quickly became one of the most visible faces associated with that moment. The backlash that followed was significant enough that she eventually left Nigeria.

Other activists, public figures, and supporters faced frozen accounts, arrests, harassment, and prolonged intimidation.

More recent examples show that public scrutiny does not disappear once a crisis fades from the headlines. Artists who speak on social issues often become targets themselves.

No one owes their voice in a free society.

Some artists choose direct activism. Others communicate through their music. Some focus on philanthropy, community development, quiet advocacy, or simply doing the work they were trained to do.

Silence is not always indifference.

Sometimes it reflects fear. For some, it reflects strategic thinking or emotional exhaustion. And for others, it reflects the belief that statements alone are unlikely to produce meaningful change.

Celebrity Influence Cannot Replace Strong Institutions

One reason celebrity activism attracts so much attention is because institutional trust remains low.

When citizens lose confidence in governments, security agencies, and public institutions, they naturally look elsewhere for leadership and representation.

Celebrities often become the beneficiaries of that expectation.

But no amount of fame can replace functioning institutions.

A viral post cannot substitute for effective policing. A protest song cannot replace judicial accountability. A FIFA World Cup statement cannot replace competent governance.

The burden of solving systemic problems cannot rest on entertainers, athletes, or influencers.

It belongs to governments, institutions, communities, and citizens collectively.

What Real Change Requires Beyond Celebrity Activism

Davido’s gesture mattered.

It ensured that the names of abducted children travelled far beyond Oyo State. The gesture brought international attention to a tragedy that deserved visibility and reminded audiences across the world that insecurity remains a serious issue in parts of Nigeria.

That is meaningful but we must be careful not to confuse visibility with resolution.

The persistence of Nigeria’s challenges, despite decades of conscious music, public advocacy, celebrity statements, and viral campaigns, reveals a simple truth: awareness is only the beginning.

Real change requires functioning institutions, accountable leadership, engaged citizens, and sustained pressure that extends beyond social media cycles.

Celebrities can contribute to that process. They can amplify voices, spotlight issues, and inspire conversations.

What they cannot do is carry the entire weight of a nation’s problems.

Perhaps the lesson from Davido’s FIFA moment is not that celebrities need to do more.

Perhaps it is that the rest of us need to stop expecting them to do what institutions were created to do in the first place.

Celebrities owe themselves authenticity, safety, and the freedom to choose how they engage with public issues.

The rest of us owe Nigeria sthe difficult, collective work of demanding accountability, strengthening institutions, and building a society where emergency activism from vulnerable public figures becomes far less necessary.

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

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

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

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

Let’s get into it:

Ayra Starr – “Tornado”

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

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

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

Sarkodie ft. Shatta Wale – “Everlasting”

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

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

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

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

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

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

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

Zaylevelten – “Go Again”

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

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

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

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

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

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

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

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

Chances of hearing something this unique? Slim to none.

Hotkeed – “Dear God”

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

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

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

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

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

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

Listen to the full playlist here:

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

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The Nigerian singer-songwriter has secured her fourth career top 10 entry on Billboard’s Mainstream R&B/Hip-Hop Airplay chart as her single “What You Need” climbs from No. 12 to No. 10 this week, marking another significant milestone in her steadily expanding global career.

Taken from her 2025 EP Love Is a Kingdom, “What You Need” has enjoyed a consistent rise since debuting at No. 37 in March 2026. Now in its 12th week on the chart, the record has broken into the top tier of R&B radio, further highlighting Tems’ growing resonance with listeners and programmers across the United States.

Co-written and co-produced by Tems alongside GuiltyBeatz and Ronald Banful, “What You Need” leans into the singer’s signature minimalist approach. Built around themes of emotional boundaries, self-preservation, and the courage to walk away from relationships that no longer serve a purpose, the song finds strength in restraint rather than spectacle.

The achievement adds another chapter to an already impressive radio résumé. Over the years, Tems has become one of the most successful African artists on U.S. R&B radio, earning top 10 placements through records such as “Free Mind” and her breakthrough contribution to Wizkid’s global hit “Essence”. Those records helped introduce a wider audience to the seamless overlap between Afrobeats and contemporary R&B, a space Tems has continued to shape in her own image.

“What You Need” has also benefited from a string of high-profile promotional moments. A widely praised COLORS performance introduced the song to a broader audience, while a television appearance on The Tonight Show Starring Jimmy Fallon further amplified its reach. More recently, an official video directed by Ayinde Anderson expanded the song’s narrative, visually exploring its themes of vulnerability, self-worth, and empowerment.

As “What You Need” enters the Billboard top 10, Tems once again demonstrates the staying power of her artistry. In an era often driven by fast-moving trends, she continues to build momentum through emotionally rich songwriting, understated production, and a distinct voice that remains instantly recognizable.

With airplay continuing to grow and the song maintaining a strong presence in cultural conversations, “What You Need” appears poised for an even bigger run. For Tems, the latest achievement is further proof that Nigerian soul music continues to command attention on one of the world’s most competitive radio landscapes.

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The Official FIFA World Cup 2026 Album was released on the 5th of June and features a wide mix of Afrobeats, hip-hop, Latin, pop, dancehall, and K-pop artists, making it one of the most diverse soundtrack projects in FIFA World Cup history.

African artists once again take centre stage on the project, with several high-profile collaborations spread across the tracklist.

Burna Boy teams up with Shakira on “Dai Dai,” which is also positioned as the tournament’s official theme song.

Tyla appears alongside Future on “Game Time,”

while Rema joins LISA and Anitta on “Goals.”

Davido features on “No Place Like Home” with Major Lazer and Nelly Furtado, and Ayra Starr collaborates with Latto on “Show Me.”

The 2026 World Cup album tracklist highlights FIFA’s continued push toward global musical integration, connecting artists from Africa, the Americas, Europe, and Asia in one unified project tied to the world’s biggest football tournament.

Official FIFA World Cup 2026 Album Tracklist

• Goals – LISA, Anitta and Rema
• Game Time – Future and Tyla
• Illuminate – Jessie Reyez and Elyanna
• Echo – Daddy Yankee and Shenseea
• Por Ella – Los Ángeles Azules and Belinda
• Three Nations – 21 Savage, Nata Cano and French Montana
• No Place Like Home – Major Lazer, Nelly Furtado and Davido
• In the Stars (Remix) – The Rolling Stones
• Show Me – Ayra Starr and Latto
• Mi Mexico Lindo – Alejandro Fernández
• Blessings – Stormzy, Fridayy and Angel
• Energy – Ava Max and BIA
• Lighter – Jelly Roll and Carín León
• Siir Siir – Nora Fatehi, Vegedream and Sanjoy
• Partidazo – Danny Ocean
• Champion – IShowSpeed
• Love Always Wins – Shaggy, Cimafunk and Zema
• Dai Dai – Shakira and Burna Boy

The announcement reinforces how FIFA continues to position its World Cup soundtracks as global cultural moments rather than regional compilations, with Afrobeats acts now firmly embedded in the mainstream international music ecosystem.

With names like Burna Boy, Rema, Davido, Ayra Starr and Tyla all appearing on the 2026 World Cup album tracklist, the project signals the continued global expansion of African music on the world stage.

Listen to the album here:

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True to its name, the project builds on the premise of the genre as interpreted by an artist well versed in hip-hop, soul, R&B, and Afrobeats. On the EP, Joey B plays a central role beyond performing, from producing certain tracks like “Monte Carlo” to mixing and mastering a handful of songs, evidently steering the sonic course of the project.

With a runtime of 18 minutes, the project ushers listeners in with a skit that spells out its intent, laying the groundwork for much of the EP. It is primarily anchored by dreamy guitar plucks and Ghanaian Highlife riffs that give it its intermittent trippy mood, a feeling that Track 2, “Monte Carlo”, quickly consolidates.

“Exopa”, featuring Nigerian alté pioneer Odunsi The Engine, yields perhaps the strongest collaboration from every contributing artist involved, including producers Joshua Moszi and Mono, resulting in an alchemy reminiscent of a late-2010s alté classic. Rich in bass and driven by a groove that feels like a missing piece from the preceding track, “Monte Carlo”, the record seamlessly extends the atmosphere already established.

‘Sexy Highlife’ progresses through a sonic portal, “Botanical (Interlude)”, which strengthens the curatorial flavour beginning to seep through the project. It features a medley from Joey B straddling the harmonies of a saxophone, a piano, and the ambience of what feels like a botanical, beachside retreat. The seamless sequencing of tracks shines yet again on “Roses” in a bid to conclude a chapter as prefaced by “Botanical (Interlude)”, showing intentionality in its titling. “Roses” opens with the stimulating melody of the saxophone as Joey B channels his rap image to brag about his muse and pledge an undying allegiance to her, with infatuation and lust serving as catalysts.

‘On Sexy Highlife’, no two tracks are technically rendered in the same flair. Rather, they feel like extensions of one another, evoking a similar sentiment while arriving there through different sonic routes. Joey B gets more lyrical on the other side of the tape, evident on tracks like “Akosua Broni”, “Kyeiwa” featuring Bisa Kdei, and the hardcore boom-bap rap cadence on “News at 8″, where he takes swipes at perceived threats. The EP eventually closes with the Brooklyn drill-layered “Princess”, bringing together several of the project’s sonic ideas in one final statement.

To the trained ear, there is a string of Caribbean influences, particularly Kompa and Zouk, coursing through the project—elements that technically should not be regarded as classic Ghanaian highlife. However, the distillation of these sounds is what likely forms the hybrid Highlife aura of the EP Joey B christens ‘Sexy Highlife’. Ultimately, the similarities that exist within the distinctions of these genres are a testament to how interconnected African and diasporic music traditions are, and it is from this standpoint that Joey B curates ‘Sexy Highlife’.

What makes ‘Sexy Highlife’ compelling is that it attempts to preserve Highlife in its purest form by approaching the genre as a living, breathing idea. Joey B wields Highlife as a foundation upon which new influences, memories, and identities can coexist. Across its brief runtime, the EP feels meticulously sequenced, sonically cohesive, and confident in its experimentation. In doing so, ‘Sexy Highlife’ joins a growing lineage of contemporary African projects that are concerned with recreating tradition by extending its possibilities and finding novel pathways back to home.

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For much of his career, Tobe Nwigwe has occupied a unique position in contemporary music. The Grammy-nominated artist of Nigerian descent has built an ecosystem where music, film, faith, family, and cultural storytelling exist as parts of the same conversation. His records explore the realities of responsibility, self-discovery, and the pursuit of something greater than personal success. His newest release, “All or Nothing” continues that tradition.

Built on a soaring refrain delivered by Labrinth, the song immediately establishes its emotional centre. “You just call me when you need me” repeats throughout the record, transforming what could have been a simple hook into something that resembles a promise. The repetition is intentional. Commitment, after all, is rarely expressed through grand gestures alone. More often, it reveals itself through consistency.

Tobe Nwigwe’s verses navigate familiar terrain for listeners who have followed his work. There are references to sacrifice, perseverance, vulnerability, and faith, all delivered through imagery that feels both personal and universal. He approaches love as responsibility, acknowledging fear, uncertainty, and failure while choosing devotion anyway.

What makes the collaboration particularly effective is the contrast between both artists. Tobe Nwigwe grounds the record in lived experience, speaking from a place shaped by Houston, Nigeria, family, and community. Labrinth brings a different energy, one that feels expansive and almost spiritual. Together, they create a song that feels larger than either artist individually.

The production mirrors that ambition: cinematic yet restrained, allowing the vocals and storytelling to remain at the forefront. There are subtle rhythmic textures that hint at the global framework underpinning the project, but the record never feels consumed by its concept.

That sense of scale becomes even more significant when viewed through the lens of ‘The Bridge’. According to Tobe, the project explores the connections between Houston, Lagos, London, and communities across the diaspora. “All or Nothing” focuses on showing up, examining what happens when people choose each other repeatedly despite distance, uncertainty, and the many pressures that threaten connection. As the first offering from ‘The Bridge’, “All or Nothing” succeeds in introducing the project’s larger vision. Tobe Nwigwe has spent years proving that purpose can coexist with popularity. On “All or Nothing”, that purpose finds one of its clearest expressions yet—a reminder that what connects us is often not where we come from but who we choose to show up for.

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As Arsenal reflects on a historic season that delivered its first Premier League title in 22 years, the installation provides a timely opportunity to celebrate the sense of pride and belonging that unites Arsenal’s communities. These values were vividly reflected throughout last week’s Champions Parade, where supporters from Islington and around the world came together in celebration. Music played a central role in expressing that togetherness – with artists Sammy Virji and Femi Koleoso DJ’ing at the heart of the parade’s celebrations – helping to create memorable shared experiences that reflect Arsenal’s cultural significance beyond the game.

Bringing together voices from football, music, fashion and academia, the evening explored Arsenal’s unique place within Black British cultural life and how the club’s influence has extended beyond football into music, fashion, culture and community for generations.

Hosted by Academic-in-Residence Dr Clive Nwonka, author of the acclaimed book ‘Black Arsenal’, and chaired by former Olympian and broadcaster Jeanette Kwakye MBE, the panel featured Arsenal legend Anita Asante; LABRUM London founder Foday Dumbuya, who collaborated with Arsenal and Adidas on the club’s 2024/25 Africa-inspired away kit, and Ghanaian-British Afrobeats producer, DJ and musician, Juls, who composed the music for the kit’s launch film.  

The discussion also explored how generations of Black players, supporters and creatives have helped shape Arsenal’s identity, redefining representation in English football and establishing the club as a cultural force extending into music, fashion and everyday life.

Sharing their thoughts on Arsenal’s enduring bond with the communities at the heart of the club, the panellists reflected on the relationships, moments and experiences that have shaped its legacy:

Arsenal legend Anita Asante said: “When you see yourself and your community reflected in these players, you see yourself represented on the pitch. You also see the freedom they have to express themselves beyond the game.”  

DJ & musician Juls said: “Arsenal is always around me when I’m creating because it represents so much of who I am. I want to support the club, because it makes me feel part of a community, part of a family.”

Labrum Founder, Foday Dumbuya said: “We’re far away from home, but North London is everywhere in Africa. The fact that we shot the collection for Arsenal’s 24/25 away kit in my hometown in Sierra Leone shows just how far this club and its culture stretch around the world.”

Arsenal’s installation forms part of V&A East’s ‘The Music is Black: A British Story’ exhibition celebrating 25 years of Black music-making in Britain, which explores the creativity, resilience and global influence of Black British music and culture through immersive sound experiences, multimedia installations and more than 120 tracks spanning generations.  

The club’s contribution features a mural first showcased at Emirates Stadium that traces Arsenal’s Black history, alongside a selection of player shirts and memorabilia from the club’s history.

Also on display is a curated selection of the club’s recent video content celebrating the influence of Black culture, music and storytelling within football. Taking visitors on an immersive journey, the exhibition moves from musical moments, including the club’s collaborations with Ezra Collective’s Femi Koleoso welcoming Martin Zubimendi and Arsenal Women’s Olivia Smith to the club, through to the award-winning film bringing together Eberechi Eze and Arsenal legend Ian Wright, and in-depth conversations with Noni Madueke, Taylor Hinds and Black Arsenal editor, Dr Clive Nwonka exploring the history, stories and inspirations behind this special relationship.The Black Arsenal installation is now open at V&A East as part of The Music is Black: A British Story, running until January 2027.

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

Dance by Fave

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

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

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

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

Many People by Ema Ogah and Ladipoe

Many People – Ema Ogah & Ladipoe

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

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

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

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

Nervous by Shatta Wale

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

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

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

Fantasize by Ric Hassani, Tegha

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

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

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

Idol by Esoterica

Consider this your official introduction to Esoterica.

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

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

Fre$h by Victony

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

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

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

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

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

Here’s a link to the full list:

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

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

The concert forms part of FIFA’s broader entertainment rollout ahead of the 2026 World Cup, with live shows in Los Angeles, Mexico City, and Toronto broadcast simultaneously as one global experience. The format reflects FIFA’s shift toward a more connected, cross-border entertainment approach, where music and football now share the same global stage.

For Davido, the upcoming performance extends a relationship with FIFA that dates back to the 2022 World Cup in Qatar, where he became the first Nigerian artist to appear on the tournament stage during the closing ceremony. That moment marked a significant milestone for Afrobeats on one of the world’s biggest sporting platforms.

Since then, the presence of Nigerian artists in FIFA-related programming has continued to grow, with Afrobeats acts increasingly featured in global football entertainment lineups. Davido’s FIFA World Cup 2026 performance further reinforces that trajectory, placing him once again in a space where music and sport intersect.

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In a series of emotional remarks, Qing Madi accused Joy Tongo of forgery, theft and other actions she claims have affected her music and professional growth. At one point during the livestream, she repeatedly asked, “How are you fighting with a kid?” highlighting the frustration she feels over the dispute.

The disagreement is not entirely new. Earlier this year, her hit single Pepper Me ft Zinoleesky was also taken down from Spotify. During the tik tok live, Qing Madi spoke about a legal dispute involving her former management structure, stating that she was still underage during parts of the process and attended court proceedings alongside her mother. According to the singer, the matter had already been resolved in her favour.

Joy Tongo has disputed those claims. In response to the latest allegations, she maintained that issues between both parties remain unresolved and challenged parts of Qing Madi’s account, including claims surrounding previous court proceedings and the reasons behind the Spotify removals.

As a result, the situation has become a case of competing narratives. While Qing Madi insists the disappearance of the songs is connected to actions taken by her former manager, Tongo has rejected those accusations. At the time of writing, neither side’s version of events has fully settled the public debate.

Beyond the dispute itself, the situation has reignited conversations about artist ownership, catalogue control, and management relationships within the Nigerian music industry. In recent years, disagreements over rights, contracts, and distribution have increasingly played out in public, often resulting in songs being temporarily removed from streaming platforms while disputes are addressed.

For now, parts of Barely Legal remain affected on Spotify, and the disagreement between Qing Madi and Joy Tongo appears far from over. As fans wait for clarity, the story serves as another reminder of how important ownership, management structures, and contractual agreements remain in today’s music business.

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