Rema, Tiwa Savage, Fido, and Cheque on New Music Friday

Welcome to the first New Music Friday in the month of August. There’s something in the air this week, a jolt of reinvention, heritage, and sonic curiosity. From Rema’s electric continental voyage to Tiwa Savage’s transatlantic duet, this New Music Friday delivers fresh releases and reminds us that African pop continues to be a space where bold ideas and global influence collide. For this week’s New Music Friday, here’s what should be on your rotation.

Rema — KELEBU

Rema is no longer the kid from Benin with something to prove. At this point, every drop is a deliberate statement — and with KELEBU, that statement is clear: Afropop is borderless.

Co-produced by London and Ambezza, “KELEBU” sounds like it was engineered for dancefloors from Abidjan to Kinshasa, built on Coupe Decalé’s backbone but elastic enough to thread Bongo Flava and Soukous into its fabric. There’s an immediate jolt to the system — a raucous, horn-drenched anthem that doesn’t only borrow from pan-African textures but celebrates them. The production doesn’t overcomplicate: synths sizzle, the sax breathes, and percussion moves in polyrhythmic waves, all while Rema delivers in multilingual, melody-first cadence.

But the real power of “KELEBU” lies in its spirit. It feels like Rema dancing back through time, sampling the joy of his childhood soundscape; unfiltered, cross-continental, and full of voltage. It’s also personal. Written by Rema himself and mixed by Leandro “Dro” Hidalgo, “KELEBU” affirms his global reach while keeping one foot rooted in African exuberance. There’s little doubt this one is built to run the summer.

Tiwa Savage ft. Skepta — On The Low

Tiwa Savage and Skepta finally combining forces on the new “On The Low” is every bit the transatlantic rendezvous fans hoped for. On “On The Low”, the Afrobeats queen steps into noir territory, her velvety delivery weaving through Rymez and Mystro’s minimalist bounce while Skepta punctuates with his deadpan, grime-slicked bars.

The rollout has been clinical without being too flashy. “On The Low” and everything it heralds is grown, precise, and low-key seductive. And with “On The Low” as one of the lead singles off her forthcoming album, Tiwa Savage doesn’t shout her ambition; she wears it like perfume: alluring, understated, and unmistakable. The chemistry between her and Skepta is natural, never forced. The beat allows both voices to breathe, to flirt, and to drift between desire and detachment.

With her upcoming album ‘This One Is Personal’ dropping August 29, this single sets the tone: calculated moves, high-level execution, and no sonic compromises. “On The Low” is less about crossover appeal and more about ownership — of her sound, her narrative, and her place in the wider music ecosystem.

Fido — Olayemi (EP)

Emerging artist Fido takes his first big swing at a collection of songs with ‘OLAYEMI’, a debut EP that wears its name like a badge of honour. Named after his government name (Awosika Olayemi Josiah), the project introduces Fido as more than just another promising voice but a conceptual thinker with a grip on storytelling, identity, and market timing.

First listening attempts hint that Fido’s ‘OLAYEMI’ is a slow-burn resonance that eventually envelops a listener. The Kizz Daniel-assisted track anchors the project commercially, but the rest of the EP is where Fido flexes — weaving personal anecdotes into Afropop cadences that avoid the trap of sounding overly polished or derivative. With his debut EP, there’s palpable growth not in sound or delivery alone, but in intent.

In an era where many newcomers chase the algorithm, ‘OLAYEMI’ feels like a refreshing return to craft. It’s sincere, well-sequenced, and makes the case for Fido as one to watch — not just for what he’s doing now, but for what he’s clearly building toward.

D’banj — Tobari

D’banj is not done. He’s not even winding down. If anything, Tobari signals a veteran who’s mastered reinvention without diluting his essence. Teaming up with DJ Maphorisa and DJ Obi, Tobari plunges headfirst into Amapiano, but with a nostalgic twist.

Built around a reimagining of his 2006 hit ‘Why Me’, “Tobari” is part homage, part rebirth. The “to ba ri…” hook hits like a call to arms, while Maphorisa’s log drums and Obi’s percussion give the track its contemporary muscle. D’banj laces it all with his signature charisma — proverb-laced, cheeky, and intentionally larger-than-life.

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Coming off The Entertainer: The Sequel and recent collaborations with legends like Awilo Longomba and Youssou N’Dour, “Tobari” is another reminder: D’banj isn’t here just for the nostalgia. He’s here for impact — and if that means remixing his past to fit the now, so be it. He’s still the Kokomaster, and this might just be his most inspired form in years.

Cheque — Bad Boy

After some time off the radar, Cheque returns with “Bad Boy”, a track that leans into his genre-blurring sensibilities. While not as explosive as earlier hits like ‘Zoom’, the single shows a willingness to experiment, both structurally and sonically.

There’s something intentionally restless about Cheque’s new single, and it’s in the refusal to sit still. It doesn’t give you all the answers, but it reasserts Cheque’s presence and may be intended as a lead hint to something bigger on the horizon for Cheque