Shallipopi, BOJ, ID Cabasa, Kizz Daniel and More on New Music Friday
December always arrives with that familiar rush — new bangers dropping like confetti, artists squeezing in last-minute flexes, and the entire music scene moving with the urgency of people trying to outrun the year. But this weekend feels especially loaded. From Shallipopi stretching his chaotic genius into something more grown, to Kizz Daniel slipping in a tender December anthem, to ID Cabasa rewriting Afrobeats history in real-time, and BOJ painting in dual tones like he’s scoring a noir film — it’s a lineup that fills your playlist and shifts the temperature. These are releases built for late nights, long drives, detty December crowds, and that quiet moment when the year finally exhales.
Shallipopi – Auracle
Nigerian superstar Shallipopi returns with his third studio album—22 tracks, over an hour long, and stacked with both local and international heavyweights. Arriving after his 2023 debut, “Presido Pluto”, and 2024’s “Shakespopi”, ‘Auracle’ marks the moment he shrugs off the “Benin boy who blew up with two chaotic, meme-first projects” tag. This time, he’s aiming for permanence. “Auracle”—a playful twist on “Oracle”—leans into the internet slang “aura”, that shorthand for a distinctive, effortlessly cool, enigmatic presence.
Sixty-five minutes long, you know the album won’t outclass his earlier projects. It sometimes feels like he made it over a long weekend, but still, ‘Auracle’ is a convincing contender.
The album opens with “Ant,” a groove-laced, highlife-infused mood-setter that taps into the indigenous pockets Shallipopi has always handled well. It works. Then comes “Laho,” the familiar lead single, snapping the project into full gear. From there, it’s classic Shallipopi: half-sung street sermons, Benin–Pidgin flexes, easy-rhyme hooks, and enough log drums to power a December rave. “Gbefun,” “Opuehh,” and “Like That (Bomboclat)” are pure dancefloor artillery. Production-wise, Auracle offers a more polished and expensive sound than his previous lo-fi hits. While the core elements of the “Pluto” sound remain, the heavy basslines and repetitive, trance-inducing hooks, there is a noticeable upgrade in the mixing and mastering.
The features carry the project whenever the formula starts to sag. Gunna on “Him” gives him his sleekest transatlantic moment yet; Pa Salieu injects bite into “Pull Up”; Burna Boy transforms “Laho II” into an obvious radio behemoth; and Rauw Alejandro slips into “Laho III,” giving the third iteration surprising freshness. Shallipopi sticks to what works—his lazy drawl, his amapiano pocket, and those sticky sing-song hooks remain hypnotically effective.
Where Auracle really surprises is in the quieter moments. “Stay” (with Swae Lee) and “Searching 4 Me” finally let the beat breathe, dial down the bravado, and reveal a 22-year-old trying to steady himself in real time. Those two tracks alone make the album feel less disposable than ‘Shakespopi’.
Auracle is Shallipopi growing up—just not too much. It’s tighter than his earlier tapes, more ambitious in its sound choices, but still defiantly simple at its core. If you already like Pluto, you’ll find six immediate playlist picks. If you never understood the hype, this won’t convert you.
Where his two preceding albums, 2023’s Presido La Pluto and Shakespopi, were built around a gritty hip-hop framework and groovy native samples, Auracle pulls influences from soul, R&B and amapiano to centre Shallipopi’s messaging. There’s a dedication to the rungs of the ladder he’s ascended on “Igho”, but Shallipopi is still about soundtracking a good time. He’s having the time of his life on “Like That (bomboclatt” with Wizkid and detailing his financial liquidity on “Ballingo”
Kizz Daniel – Holy Romance
On the first Friday of December, Kizz Daniel drops ‘Holy Romance’ like he’s been timing it for peak Detty December playlists. The intro eases in with soft, pacy highlife percussion—no heavy 808s, no log-drum chaos. Just gentle rhythms and a swaying bassline. Then Kizz Daniel glides in, voice rich and smooth, singing about a love that’s “holy” but dripping with signature mischief. The opening lines flip religious metaphors into bedroom confessions: devotion dressed in desire, sacred vows whispered under dim lights. The chorus is one of his stickiest in a minute—melodic, featherlight, the kind that loops in your head long after the music ends. His falsetto floats without effort, untouched by autotune. The bridge dips into a soft reggae bounce, polished but intimate. It’s built for slow wines, rooftop evenings, and the kind of road trip you wish would never end.
Lyrically, he does what he always does: simple lines that land harder than they look. Love as grace, love as alignment, not preachy, just honest. If you’re allergic to sweetness, the sincerity may feel excessive, but in a December packed with street anthems and holiday bangers, ‘Holy Romance’ holds its lane: tender Afrobeats for listeners who want rhythm with their reverence. Kizz Daniel closes the year the way he knows how—consistent, catchy, and quietly elite.
ID Cabasa – Unfinished Business
Legendary producer ID Cabasa—the architect behind half of early Afrobeats through the Coded Tunes era, the man who launched Olamide and 9ice—steps out once again with his third studio album, ‘Unfinished Business’. It’s a meeting point between eras: reimagined classics intertwined with new cuts, old guards sparring with the next wave.
The project kicks off with “Bere Mi (Reimagined)” featuring T.I Blaze and Zlatan: pure street-hop energy built on highlife swagger. It’s the generational handshake the album promises—ID Cabasa’s DNA distilled for younger ears without abandoning its roots.
“Photocopy (Reimagined)” revives the iconic 2008 9ice record. 9ice’s soulful croon anchors the nostalgia, while Vector sharpens it with clean, 2025-ready bars. Crisp hi-hats and the familiar guitar shimmer pull the track between eras, perfectly suspended. Then comes “Olufunmi (Reimagined)” featuring Fireboy DML, Odumodublvck, Boj, and Joeboy—a loaded lineup that turns Styl-Plus’ classic romance into something urgent and glowing. Fireboy’s falsetto soars, Odumodublvck brings grit, Boj smooths the edges, and Joeboy warms the hook. ID Cabasa keeps the percussion tight and intentional, updating the nostalgia without overwhelming it. “Anytime (Reimagined)” brings 9ice back again, alongside Bella Shmurda, Ayo Maff, and Ajebo Hustlers. The 9ice classic morphs into a street-hop rally—Bella’s raw emotion, Ayo Maff’s fire, and Ajebo Hustlers’ bounce all melding seamlessly under Cabasa’s immaculate production.
‘Unfinished Business’ delivers exactly what it sets out to: nostalgia without gimmicks. The reimagined tracks are the heart of the project—vibrant, respectful, and recharged. Some new songs blend in a bit too safely, but the overall project stands tall as a reminder that Afrobeats didn’t sprout overnight; its lineage was built in rooms like ID Cabasa’s. By revisiting and reimagining the classics through a contemporary lens, he nudges the culture forward—just like he’s been doing for nearly two decades.
BOJ – Duplicity
Alté pioneer BOJ returns with Duplicity, his sixth studio album, arriving a year after 2024’s 12 Summers. True to its name, it leans into themes of duality—light and dark, lover and rebel. “Contraband” with Olamide follows, rooted in Afro-pop grit. Olamide’s groovy, laid-back delivery slices through Boj’s equally laid-back cadence; luxury, vice, and caution all in one tight package. “Diamonds”, with Mavo, softens the edges with sparkling synths, warm harmonies, and a tender, unfussy hook. “Ijo” shifts gears into a kinetic groove built for dancefloors—minimal lyrics, maximum sway. Then “Cana” with Pa Salieu kicks in, an earworm loaded with energy; Pa Salieu’s UK grit meshes beautifully with Boj’s calm centre. Sonically, Duplicity is rich, warm, and textured, largely thanks to the production work of Genio and Blaise Beats. The album moves away from the standard Afrobeats shakers and leans into jazzier chords, muted trumpets, and rolling basslines. “Shana” (with Show Dem Camp and Joey B) carries that confident alté bounce, with SDC weaving silk and Joey B adding Ghanaian spice. It’s one of the stickiest hooks on the album. “After Hours” with Anaïs Cardot, melting into a smoky R&B haze of muted horns, jazzy keys, and soft shadows everywhere. Their vocals trade in whispers, intimate and low-lit, like overhearing two people talk too close on a rooftop. Genio’s production is warm, uncluttered, and textured. “Imposter Syndrome” with Obongjayar is an immediate standout—Afropop pulses under jittery synths as both artists dissect fame’s false smiles, landing like a therapy session you can still two-step to. “Italawa”, featuring Odumodublvck and SGaWD, delivers gritty duality, hard vs. soft, and street vs. soul. Sharp, experimental, and replay-heavy. “Command” strips things back with bare percussion, introspection, and a quiet clarity. “Choke” leans into darker electronica, shadowy and atmospheric. “Paranoia” is short and vulnerable, like a diary confession set to a groove. “Coming for Me” closes the album with a slow exhale—acknowledging the paranoia but choosing defiance. Horns fade gently, completing the circle. ‘Duplicity’ is Boj at his most balanced—cohesive without being rigid, dual-toned without feeling divided. It’s intimate and gritty in equal measure.
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