“Doucement” – Fally Ipupa ft Joé Dwèt Filé

“Doucement” is the new single from Fally Ipupa featuring Joé Dwèt Filé, dropped today as a lead-in to Fally’s upcoming album XX. It’s track 7 on the project and marks a clear cross-cultural pairing: Congolese rumba king meets one of Haiti’s biggest current kompa/gouyad voices.

Built on a softened, mid-tempo groove, “Doucement” leans into the kind of restrained sensuality that has long defined Fally’s work. The track opens with a mid-tempo groove that’s unmistakably rooted in classic Congolese rumba—those rolling, melodic guitar lines (seben-style undertones) and Fally Ipupa’s signature smooth, slightly nasal Lingala/French delivery. He comes in confident and romantic right away: calling the woman “Queen du Congo,” saying he’s waited his whole life for someone like her, promising protection in a “matata” world, and suggesting they take it slow (“faisons doucement”). The hook repeats the idea of exclusive, after-midnight connection with simple, repetitive phrasing that sticks: “Eza kaka yo moko… bolingo oyo ekozala ya solo.”

Joé Dwèt Filé jumps in on the second verse and brings the Haitian flavor. His part shifts the imagery to beaches in Haiti, “diri djondjon and mikatés” (nodding to Haitian food/culture), ocean eyes, and a blend of the two worlds. His voice has that lighter, more R&B-inflected kompa croon, which is less gritty than pure traditional compas but very accessible and melodic. The chemistry works because both guys are singing in a similar romantic lane.

The production is clean and unintrusive: light percussion, a steady bounce, and enough melodic space for the vocals and guitars to breathe without competing for attention.

The “juste une fois” bridge and repeated “donne-moi un peu, un peu” pleas lean into teasing sensuality without going explicit. It’s polished, modern rumba with a kompa/R&B seasoning rather than a forced fusion banger.

“More To Life” – 17

“More To Life” EP by 17 aka Alex Iwobi, arrived yesterday as his debut 9-track project. It’s short at about 23-24 minutes, featureing a handful of mostly rising Nigerian/UK Afrobeats and street-pop voices Fido, 24AM/Amadou Onana, Giddi, Teniola Time, SPKS, P17, and carries the theme of growth, freedom, and stepping outside the footballer box. Alex Iwobi records under “17”, his longtime jersey number, and this feels like a personal side project and a creative pivot.

Production stays firmly in the current Afrobeats/street-pop lane: mid-tempo beats, log drums, soft synths, light guitar or piano touches, and clean mixes that prioritize vibe over aggression.

Delivery is clear, relaxed, and conversational. With storytelling that balances fame/football pressure with personal freedom, enjoying success, relationships, and self-reflection. Track 0: Opens with a freestyle energy. Alex Iwobi sounds most confident here — loose, rhythmic, setting the “this is me outside the pitch” tone. Short and direct. Mine (ft. 24AM): smooth collab with his former teammate sees decent chemistry and a melodic hook. Feels like a relaxed flex track. Bussdown E (ft. Teniola Time, 4AM & Giddi): More crowded, tries to add energy with multiple voices. Joanna E (ft. Fido): One of the stronger cuts. Fido brings his melodic touch with a hook that is catchy. Proper (Freestyle) (ft. P17 & SPKS) and the following cluster (Double Double, By My Side, Joga Bonito): These blend into each other. More rap-leaning moments with the features handling verses. “Joga Bonito” nods to his football roots with a light, playful feel. Closer Letter: Feels like the intended emotional endpoint; it is reflective, slower, and more personal. It’s quiet and ends the project on a thoughtful note.

‘More To Life’ is a respectable, low-risk debut from a footballer dipping seriously into music. It is a genuine passion project that delivers exactly the smooth, reflective, success-and-freedom theme the title promises.

It’s a decent 23-minute escape that says “there’s life beyond the pitch”. The first thing that stands out about ‘More To Life’ is the context. 17 is still primarily known as a footballer, and that reality hangs over the entire listen. This is a transition attempt, and on first listen, you can hear the curiosity that comes with that. The 9-track project moves between Afrobeats and Afrowave textures, leaning on familiar, mid-tempo production.

There’s a noticeable reliance on collaborators—Fido, 24AM, Giddi, SPKS—who help carry different moments across the tape. On songs like “Joanna” or “Bussdown,” that support is useful; it fills in gaps where 17’s delivery still feels tentative. 

Lyrically, the EP circles around growth, freedom, and life beyond expectations—themes that clearly mirror his real-life position balancing football and music. The intention is clear. There are moments where the writing feels honest and direct but occasionally slips into generic phrasing that doesn’t leave much behind after the track ends. What works in the EP’s favour is its listenability. It’s easy to play through with a sequencing that is smooth and doesn’t drag. Each track sits comfortably next to the other, which makes it feel cohesive.

This EP feels like groundwork. You can hear the interest, the access, and the willingness to explore coupled with a reasonable urgency that makes a debut stick.

 “Dance 4 Jesus”- Fido, Zlatan, ODUMODUBLVCK

There’s an obvious idea at the centre of “Dance For Jesus”, and the song doesn’t try to hide it or dress it up. It’s right there in the title, and everything else is built around that: energy first, meaning second. “Dance 4 Jesus” is Fido’s first single of 2026 e featuring Zlatan and ODUMODUBLVCK, released as a high-energy street-hop/Afrobeats cut, mixing club-ready percussion with a loose dance concept.

The track jumps straight into a bouncy, mid-to-uptempo groove built on rolling Afrobeat drums, sharp percussive hits, light trap-leaning bass, and layered claps that keep it moving without getting too dense. Production feels current and functional with enough low-end and snap to hit on speakers.

Fido leads with the main hook and verses, delivering in his melodic street style. The chorus revolves around repetitive, chant-like lines: “you go shake body… make you dance for Jesus… you must shake body jerk… I go spray money… you go wine for Jesus.” It’s simple, catchy, and built for sing-alongs.

Zlatan comes in with his signature bouncy flow, ad-libs, and street swagger, adding hype and that familiar gritty flavor that makes his parts instantly recognizable and fun. ODUMODUBLVCK brings an equally gritty, commanding edge with his raw delivery and intensity, giving the track a harder street-hop contrast without derailing the dance vibe. The three complement each other: Fido holds the melodic center, Zlatan adds weight, and Odumodublck lifts the bounce.

Fido’s “Dance For Jesus” is immediately danceable. The hook sticks after one or two listens, and the beat encourages movement. It is straightforward, functional party/street energy, with Fido setting the tone and a hook that leans heavily on chant structure. It’s repetitive, easy to latch onto, and clearly designed for crowd response. The production follows that same logic: hard drums, minimal distractions, and a bounce that doesn’t let up. It’s less about musical layering and more about impact.

The interesting part is how the song handles its “gospel” angle. It’s not reflective or spiritual in the traditional sense; the record frames devotion as celebration, almost like turning a street anthem into a praise session. That blend—faith language over street-hop structure—is what gives the song its identity.

“Colorado” – Johnny Drille, Ayra Starr, Young Jonn

“Colorado” is the new single from Johnny Drille featuring Ayra Starr and Young Jonn. Produced by TeeMode with Young Jonn involved in the polished finish, it’s a mid-tempo Afro-fusion/R&B track that mixes soulful melodies, soft instrumentals, warm chords, and a relaxed groove.

The song opens with Johnny Drille’s layered “no, no, no” ad-libs leading into a pre-chorus where he sounds vulnerable and questioning: “Suddenly, my loving no come dey dey enough / Tell me wetin I do, odo? / Ṣe you get another someone?” The production stays understated with gentle percussion, subtle keys, light Afrobeat swing without heavy log drums or aggressive drops. It’s clean, warm, and designed for laidback listening.

The chorus, led by Ayra Starr with Johnny Drille harmonising, is the hookiest part: “You know nobody perfect, oh / No be by who drive Benz, oh / It’s how you got me high like Colorado / High me like Colos.” It uses the “Colorado” metaphor for getting euphorically high on love (or the relationship high), plus playful lines like “Ruler for my math-set” and “Never play you Nintendo.” Ayra Starr’s delivery here is bright, melodic, and effortless. Her tone cuts through nicely and gives the track its lift.

Young Jonn comes in, his verse smooth and melodic: “Pass me your love, oh / Slay, slay, pass me your love”—adding a bit of street-flavoured plea while keeping the romantic insecurity theme going (“you show me say my love is not enough”). Johnny Drille handles a second verse with more emotional depth: “My heart is pacing… All your flaws cannot blur my view / Do masa-masa, fight me, kung fu / Still, I’m reserving table for two.” The bridge blends their voices with lines about being “all for you” and missing the groove.

Johnny Drille’s ‘Colorado’ rides a consistent, laid-back wave with layered vocals and harmonies filling the space. The outro fades on reflective ad-libs about things happening and “save your head, don’t fall in love” mixed with gratitude.

Johnny Drille anchors it with his signature heartfelt, slightly acoustic-leaning emotional delivery. Ayra Starr adds sparkle and catchiness, and Young Jonn slots in cleanly for melodic contrast, making a competent, pleasant grown-and-sexy Afrobeats/R&B record.

“Colorado” looks like an easy win—Johnny Drille bringing his controlled, soft-edged style into the same room as Ayra Starr and Young Jonn. Three different energies, three different audiences. But on first listen, the song is less about collision and more about compromise.

The production sits in a safe middle. It blends Afropop with light R&B elements—warm, easy, and intentionally unchallenging. It’s the kind of beat that leaves space for vocals to carry heavily, which fits Johnny Drille’s strengths. He opens the record in a familiar tone: calm, slightly pleading, and melodic without trying to stretch range or tempo. The theme is straightforward—love, uncertainty, and the need for reassurance. There’s a recurring idea of not being enough, of trying to hold on while something slips.

Ayra Starr comes in with a lift in tone. Her voice adds brightness and movement, giving the song a bit more texture, but she stays within the same emotional lane. Young Jonn plays the glue role. His contribution leans into rhythm and catchiness, helping the record stay engaging without shifting its structure. He doesn’t disrupt the softness of the song; he smooths it out further. Again, it works, keeping everything in a controlled range.

“MINK SB” (Make I No Kill Somebody) – Jae5, Skepta, Lojay, Skillibeng

JAE5’s “MINK SB” (Make I No Kill Somebody) featuring Skepta, Lojay, and Skillibeng sees a lineup that pulls from varying roots for a deliberate global Afrobeats/UK rap/dancehall fusion.

The track opens with a y and an overall restrained production — rolling Afro-percussion, subtle bass, light synth or guitar touches, and space that lets the voices sit upfront. JAE5’s signature style keeps things smooth and commanding without big builds. It rides one consistent wave with a laid-back summer-ready energy.

‘MINK SB’ leans into lifestyle, confidence, flex, and global influence. Typical braggadocio with international flavour, money talk, and cool detachment. The production is minimal but effective — infectious enough to nod your head, smooth enough for playlists or drives. It sounds expensive and polished without clutter.

The sound sits comfortably in 2026 Afro-fusion territory with a minimal beat that keeps it cool and vibey. It delivers exactly what the stacked lineup promised — a smooth fusion with each artist shining in their lane.

Skepta opens the track with sharp, confident rap verses — his flow is unmistakable, dry and authoritative, adding that gritty London edge and personality. Lojay handles a prominent melodic hook and silky vocal parts that give the track its accessible, singable centre. His tone adds warmth and depth as Skillibeng drops the dancehall flavor with his gritty, rhythmic delivery and ad-libs that inject bounce and menace. The order and chemistry feel natural: Lojay carries the melody, Skepta grounds it in rap confidence, and Skillibeng spices it with Jamaican energy, complementing each other in a four-way pass-around.

With a lineup like this, “MINK SB” already comes with expectations, but JAE5 sublimely curates a space where different scenes meet. The production is the anchor. It’s stripped back but intentional—light bounce, clean percussion, and a groove that sits somewhere between laid-back and assertive. That’s typical of JAE5’s style: he creates room and lets the artists define the movement. Here, that works. The song feels controlled from the start.

Skepta steps in with the most defined presence. His delivery is sharp, measured, and confident in a way that immediately stabilizes the record, making the beat adapts to him. That contrast gives the song its first real edge.

Lojay’s vocals bring melody and texture, but more importantly, they make the record easy to sit with. He doesn’t push the song forward; he smooths it out. It’s effective, but it also lowers the tension that Skepta introduces.

Skillibeng comes in with a dancehall inflection that adds variety, but like the others, he doesn’t try to dominate the record, rather, he fits into the structure.

That’s really what defines “MINK SB.” It’s cohesive, almost to a fault. “MINK SB” feels like a well-executed link-up; smooth, global, and easy to replay, especially in low-pressure settings.

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