Zlatan, who has had one of the most successful breakout year in Nigerian music, rose to prominence after collaborating with Chinko Ekun and Lil Kesh on “Able God”, and later releasing the smash single “Zanku” in October 2018, a song that birthed a viral dance and cemented his name in the mainstream. That success culminated in the release of his 17-track debut studio project of the same title, ‘Zanku’. Although, it wasn’t Zlatan’s first foray into the music scene, having previously participated in rap competitions and released a record with Nigerian rap veteran Olamide in 2017 titled “My Body”, ‘Zanku’ marked a significant turning point in his career.

For a rap artist in Nigeria, his newfound success in the years 2018/2019 and its subsequent ripple effect were rare. Only a few rappers have managed to break the mold and attain the kind of mainstream success that allows them to rival popstars. Save for Olamide (Baddo), who redefined the possibilities for rap artists in an industry dominated by Afrobeats, only a select few including Zlatan have managed to replicate such success. Known for his gritty lyrics and energetic delivery, Zlatan has sustained a strong presence in the music scene by leaning into a familiar hip hop template that cleverly infuses pop sensibilities, producing what can be regarded as “melodic rap” in the Afrobeats context.

However, with his success came a change in social standing, one that mirrors a grass-to-grace story that unfolded before the eyes of some of his listeners in real time. Born into a low-income family in Ikorodu, Lagos State, Zlatan defied all odds with nothing but his talent, determination, and a burning desire to succeed, a tale that many would consider the Nigerian dream. It is from this state of reflection that Zlatan delivers his third studio album, ‘Symbol of Hope’. He reaches deep into the well of self-reflection with the vulnerability of a therapy session, musing on his life’s journey and crafting a 15-track album that reads like pages from a personal diary. On ‘Symbol of Hope’, Zlatan acknowledges and chronicles the many milestones in his career — his growth as a son, father, and friend. But beyond the self-awareness and documentation of his transformation, Zlatan is intentional about his message: this third studio album is meant to serve as a nudge to keep going; a beacon of light, a Symbol of Hope.

A Review of the Album: Symbol of Hope

The 42-minute album opens with the tuneful “Pay Day”, where Zlatan reflects on his newfound financial stability. Together with Chechdaproducer, he creates a soulful opener; a beautiful blend of sing-rap delivery, choral backups, and uplifting progressions that elevate both the lyrics and the listener. ‘Symbol of Hope’ soon dives into its recurring themes of introspection and life’s harsh realities, particularly on “Demons” featuring one of this generation’s vocal powerhouses, Qing Madi. The track opens with stirring guitar chords that set a somber mood, while Qing Madi’s piercingly rich vocals create a haunting backdrop for Zlatan’s 32-bar verse.

“Oyoyo” finds Zlatan in celebratory mode, delivered over an upbeat production laced with heavy percussions and log drums by Telz. Here, he reflects on his humble beginnings, the challenges he’s overcome, and his gratitude for how far he’s come. He raps, “From Ikorodu to America,” painting vivid pictures with the scantiest words. The energetic “Jeserawa” carries the delivery flair of vintage Zlatan, crafted for the dancefloor with persistent adlibs evocative of his 2019 sound. It’s also the only track that assembles multiple guest features, with Zlatan and Idowest delivering raw, street-hop energy that balances out Shallipopi’s and Terrythevoice’s lighter contributions. Produced again by Chechdaproducer, “Jeserawa” is buoyed by familiar bounce and a club-ready feel that fits its recklessly sensual tone.

On the fifth track, “Hip Hop Messiah” a heavy Amapiano collaboration with Afrobeats hitmaker Davido, Zlatan makes a statement, though not in the way rap purists might expect. Contrary to the title, the track leans into pop territory, with Zlatan opting for a sing-rap template that has consistently worked for mainstream rappers. Davido anchors the song effortlessly, creating a balance between star power and melodic depth.

The album maintains a steady flow, playing it safe without veering into experimental or overly climactic territory. It transitions smoothly into “Get Better”, featuring Fola, one of the most commericially successful artists of the year. Helmed by Chechdaproducer, “Get Better” continues Zlatan’s grass-to-grace narrative, offering glimpses of his inner monologue during moments of struggle, perseverance, and mental tenacity. Fola’s somber yet motivating chorus complements Zlatan’s reflective tone, creating a resonant piece about resilience.

Seventeen minutes into ‘Symbol of Hope’, the project takes an intriguing turn on “Diamond”, an Afrobeat-inspired track deeply nostalgic and evocative of Lagbaja’s folk soundscape. With its fusion of percussions, saxophone, flute, and rich bass guitar, “Diamond” marks one of the most complete songs on the project, and a testament to Chechdaproducer’s range. The album’s newly found momentum continues with “Paypal”, where Zlatan delivers braggadocious verses in a melodic cadence that almost outshines Mayorkun’s contribution. The Semzi-produced track is sleek and confident, further showcasing Zlatan’s position as an artist who effortlessly straddles rap and pop.

“Odeshi” follows, maintaining the album’s pulsating energy, while “Till Thy Kingdom Come” pivots to a more spiritual tone, a gratitude-filled track layered with trumpets, log drums, and gospel-inspired backup vocals that give it a Pentecostal edge.

Zlatan introduces a new flavour on the 11th track, “Genesis”, incorporating percussion and flute peculiar to Nigeria’s southern region to craft a highlife/Igbo-pop fusion. Here, Flavour thrives within his natural sonic terrain, while Zlatan continues to explore his recurring themes of reminiscence, gratitude, motivation, and resilience. The project then moves into the fourth of its six lead singles, “Happy Day”, a playful, celebratory record built on bouncy percussion and intentional rap verses.

“Bebe”, featuring Victony, opens with a smooth, flirtatious vibe that’s pure Afro-fusion charm, as Zlatan and Victony trade verses over a breezy beat laced with melodic hooks and subtle percussive elements. Building on that momentum, “Gimme Your Love” dials up the energy into a high-octane party anthem that feels both nostalgic and fresh. Reuniting with his mentor Olamide, Zlatan crafts a record brimming with Afro-fusion rhythms, infectious ad-libs, and a chorus begging for replay — “Come gimme your love, fún mi je.” Olamide’s verse, dripping with swagger and wit “The boy’s hot dripping Gucci, not mad”, steals the show.

The reflective closer shifts gears into introspective street gospel, weaving faith, grind, and gratitude into a soul-stirring anthem. Over a blend of Afro-fusion and subtle highlife nods, Zlatan delivers authoritative bars on perseverance and divine favour, looking back at his Ikorodu roots with raw honesty. BhadBoi OML’s emotional vocals and storytelling chorus adds haunting depth with his tone transforming the hook into a mantra of triumph. The production is sparse yet powerful, allowing the lyrics to breathe while building to euphoric drops that evoke old-school Galala vibes with modern polish, and ties the project’s ethos together.

For Zlatan, every taste of success drawn from Afrobeats’ influence has come with a degree of conformity that distances him slightly from the essence of a rap artist. Hence, it remains debatable whether Zlatan is truly rap’s messiah, as he claims to be on the album. However, his journey, from a child born into a low-income household to one of Nigeria’s most successful mainstream rappers, objectively positions him as a ‘Symbol of Hope‘, not only to the rap scene but to anyone who believes in light at the end of the tunnel.Ultimately, ‘Symbol of Hope’ is Zlatan reaffirming his place as a cultural figure whose story continues to inspire. It’s a sonic diary of survival, gratitude, and growth that thrives on sincerity. For listeners, it serves as both mirror and motivation; for Zlatan, it stands as proof that success, when earned against the odds, becomes more than personal victory, it becomes a symbol of hope.

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The album’s title, ‘This One is Personal’, reads like a statement from Tiwa Savage, implying that there will be little to no pandering on her fourth studio project and her most vulnerable yet. This change in direction could stem from several reasons: the growing disconnect between her craft and her core fans back home in recent times, or other unconfirmed reasons that prompted her choice of a more natural musical expression that speaks to her essence as an artist—R&B. This writer holds no grievance with Tiwa Savage’s conspicuous change in sonic direction and near-total rebrand following her announcement of a fourth studio album. In fact, it was a refreshing and much-needed chapter in her artistic journey.

When Tiwa Savage began her professional career, she was a backup singer in London, notably for the late English pop icon George Michael and the queen of soul/R&B, Mary J. Blige. Eventually, she decided to return to Nigeria to pursue a solo career. Signed under Mavin Records, she released her debut project ‘Once Upon A Time’ a year later. The album opens with a Disney-esque melody on the titular track before flowing through an Afrobeats/R&B pipeline in both delivery and production, as heard on “Middle Passage”, hinting at the calibre of artist Tiwa Savage is: a culturally curious one with a strong R&B impulse.

By her sophomore LP ‘R.E.D’, she had taken full form as an Afrobeats artist and was crowned the leading female pop figure in Nigeria and across Africa by popular consensus. Beyond that status, she became the preferred artist for mainstream street-pop remixes. And in a male-dominated industry, Tiwa defied the odds, sustaining an undisputed decade-long run, armed with the cultural curiosity she brought back from the UK in 2012.

However, in today’s fickle, oversaturated music landscape, where new-generation artists are rising with ambitions of becoming the pop queen of their era, Tiwa has struggled to fully connect with her core fans with each single release. This isn’t necessarily the fault of the fans, who have evolved alongside her, however, time has eroded the bond they once effortlessly shared. Add to that the creative strain of sustaining a decade-long dominance, coupled with the anxiety from not achieving desired results in recent times, and it becomes clear why creative passiveness may have crept in. In December 2024, Tiwa Savage shared a telling Instagram story: “This might be my last studio album. I’m tired, I don try”

Five years after her last studio album, Tiwa Savage, amidst reflective episodes, announced what she claims to be her last and most personal project: ‘This One is Personal’.

Debuting a short pixie cut, a hairstyle she has embraced at various points in her career, ‘This One is Personal’ was shaping into a “period” at the end of an epic career. She reaches deep for her essence on this LP, defiantly but lovingly offering herself and her fans one last dance before the curtain drops: a vulnerably expressive 15-song R&B exploration centred on love and fleshly narratives. Here, Tiwa is at her most vulnerable, willfully unpacking sensitive and personal experiences about the complexities of adult intimacy.

Opening with the KMKD-produced “I’m Done”, ‘This One is Personal’ dives straight into the heart of things. Tiwa frees herself from an unhealthy relationship scarred by unfaithfulness. Her vocals glide over soft piano notes before crescendoing into the theme of “finality.” While “I’m Done” functions as the opening track, it hastily identifies as a climax point, though the album promises—and delivers—more.

The LP continues in its R&B glory with “Angel Dust”, where a smitten Tiwa metaphorically likens love to the recreational drug known for its hallucinatory effects. On the sultry pop track, she slips in innuendos: “My appetite get higher when I’m on the loose, Better stay away or else I’m onto you/ I’m fiesty like a tiger it’s a different move”

‘This One is Personal’ then slides into the Tamia-sampled “You4Me” the album’s lead single released in April. Produced by Mystrsugar, Tiwa reimagines Tamia’s 1998 R&B classic ‘So Into You’, tying into the feminine urge of fantasizing about a man she’s smitten by. This transitions seamlessly into “On The Low” featuring Skepta. Four tracks in, Tiwa already affirms that R&B isn’t a borrowed sound for her but an innate language. “On The Low”, the album’s second and final lead release, explores discreet romance, the thrill of secrecy mingled with the sadness of the world’s ignorance. Tiwa and Skepta’s chemistry is undeniable, making the track an earworm and a justified single. Producer Rymez adds an almost perfect UK Afro-fusion-R&B twang to the two-minute gem.

Across the album, Tiwa Savage navigates love, heartbreak, and fleeting entanglements. “Holding It Down” paints a no-strings-attached arrangement over a production that identically simmers with the lyric’s sexual tension. “10%”, however, is the crown jewel of the emotionally detached, sex-charged songs. With live-band soul textures, Tiwa recounts leaving the studio for a “sex-date” with her phone battery at 10%. Though the arrangement might appear shallow, her delivery suggests otherwise, that genuine emotions seeped in at some point.

“Twisted” produced by ZONE and Gabriel Eric Augustin, leans heavily into contemporary toxic R&B, evoking artists like Brent Faiyaz, Dvsn, and Blxst. Unlike earlier tracks where Tiwa seemed at the mercy of men, here she flips the script, becoming the toxic one. Soon after, she softens with “Scared to Love” and “Pray No More” soothing ballads that segue into one another, chronicling her transition from fear to hopeful optimism

As the album grows lush and dreamy, on the standout track “Addicted,” featuring rising Nigerian act Taves, Tiwa Savage creates space for the emerging new-gen artist, inviting him on a familiar pop-funk production where he shines effortlessly with a delivery that is glossily sweet. On the titular track, Tiwa processes heartbreak through the stages of grief. “Will I Run Again” follows with raw vulnerability as she questions her patterns of self-blame in love. On soft guitar licks, Tiwa Savage confesses in brief lyrics how much she committed to a relationship now on the verge of ending, she questions herself on what they shared with heavy disappointment calling herself “foolish” as she chorus: “Never learn if I run away/ If I learn, will I learn if I run away?/If I run, I never learn, and I never run away. If I learn, if I learn, will I run again?”

“For One Night” detours into Afro-R&B with TSB’s production, though placed too deep in the tracklist, it feels like unnecessary filler than a track with flavour. Tiwa redeems the flow with the stripped-down “You’re Not the First, You’re the Worst”, a haunting ballad that immortalizes the sting of her most painful heartbreak.

The outro, “Change,” brings African percussion into play with the talking drum and features a duet with American artist James Fauntleroy. Resolute and self-aware, Tiwa closes the album with a promise of accountability and growth.

At 15 tracks, This One is Personal doesn’t suffer a drab moment. Tiwa Savage could have added even more songs without diminishing its replay value. R&B suits her like second nature, and perhaps should have been unveiled earlier. Still, even when it arrives this late in her career, she hesitates to fully embrace the genre’s collaborative spirit. Inviting fellow R&B voices could have made the album more robust, layered and widened its reach.

Yet, her restraint is understandable. Going by the title and direction, this album was meant to be intimate, unfiltered, and hers alone. Perhaps a deluxe version, enriched with R&B guest features, would be the perfect way for Tiwa Savage to bow out of an undisputedly epic career.

RATING: 8/10

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On his curiously brief debut album ‘Behind Closed Doors’, clocking in at 26 minutes, Runda comfortably struts familiar romance narratives delivered in heart-pinching, feelings-rousing melodies. Yet, the album’s most striking moments are captured in up-close and personal moments of vulnerability and hope. On tracks like these, Runda’s melodies are elevated by his experiences, mirrored back to listeners in ways that demand their full attention—and it’s on this note that Runda opens his debut album.

Runda’s 11-track project grabs attention right from the cover art: duplicates of the artist in a bleak, interrogation-style room, sitting across from each other. Their appearance symbolises the album’s central themes—soul-searching and hedonism.

‘Behind Closed Doors’ opens with “Sometimes”, a reflective choral harmony that provides a vibrant texture Runda adapts his storytelling to, transporting listeners to a time before the music and fame—a grass-to-grace tale, a story of hope with hints of gratitude. All of this unfolds over the emotive yet minimal production of Graham BMG, delicately mixed and mastered by Swaps. These emotions carry into Runda’s third and final lead single, “Child Of God”, a song about faith, not from the standpoint of a pastor’s son, but through the lens of a deeply personal relationship with God. He playfully recounts his blessings in the hook: “All the blessings put am for my body, Aston Martin, Richard Mille, Wire Daddy, Wire Mummy, For my body oh.” The production on “Child Of God” is pacer and groovier—typical of songs of gratitude in this part of the world. Fiokee’s delicious guitar riffs sync brilliantly with Krizbeatz’s dance-inducing production, evoking the joy of thanksgiving in a church-like setting.

As the project moves into the third track, Runda slips into a more familiar zone, consumed with lust more than love on the sultry “Tonight”. He’s sexually explicit and forthright about what he desires from his muse—a desire that appears mutual. Runda’s choice of production remains impressive, with guitars and melodies that convey longing alongside his lyrics. ‘Behind Closed Doors’ sees Runda mostly on an Afro-pop pedestal, even within multiple Afro-R&B-rich contexts, which makes sense, as this is the foundation of his sound. The fourth track, “Roma”, embodies this clearly. Produced by Spellz, the upbeat, party-ready record is a dedication to his supporters. On the head-nodding, sensual “Majo”, Runda sticks to what feels familiar, eulogising his musicality and the captivating movement of his muse. The shakes and percussions suggest exactly what he implies: a dance ritual leading to intimacy.

Midway through the offering, Runda pauses from the upbeat energy and leans into a slower, passionate Afro-R&B record, “Hold Me Down”—the album’s second lead single, featuring skilled songwriter and artist Peruzzi. “Hold Me Down” is an emotive song about devotion and love on the brink of collapse. While both artists complement one another, Peruzzi’s delivery is the icing on the cake, belting out a verse that wraps around the production, forming a perfect climax as his melodies ride the swirling pulse of an organ. The Caribbean-esque delivery on “Hypnotize” adds personality and range to the otherwise safe, non-experimental template of the project. Runda gets sensual yet again on this track, and by now it’s clear that as much as music is his means of escape, so is his idea of intimacy. Despite the effort evident in the production, a majority of the 11-track album carries similar messages, offering little new depth to the overall concept, implying, perhaps, that this is all there is behind Runda’s closed doors.

“My G$RL”, the ninth track produced by Clemzy, stands out as an Afrobeats-Amapiano love song written to Runda’s muse. A love letter of unconditional devotion, it’s delivered with a unique touch that makes it an instant standout on the project.

‘Behind Closed Doors’ returns to its sombre opening tone with “Feel Good”, the aforementioned Amapiano-inflected track where Runda channels personal vulnerability over upbeat instrumentation. The outro, “SenzZ”, finds Runda in a more assured headspace—both personally and career-wise. With little to no agitation, he croons smoothly over the mid-tempo Fizzybeat-helmed production, delivering a befitting final act to this 26-minute Afro-pop offering.

‘Behind Closed Doors’ is a carefully curated body of work, punctuated by vivid storytelling, heartfelt gratitude, and a relentless pursuit of self-expression. While it doesn’t dive too deep beneath its surface themes, it delivers what it promises—emotion, melody, and an honest glimpse into Runda’s world. And maybe that’s enough for a debut.

Stream Runda’s Behind Closed Doors full album below and share your thoughts.

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For the past five years, Joeboy has navigated the emotional corridors of love and heartbreak, crafting songs that stand the test of time. However, this signature strength only shines through on select tracks from his third full-length album, ‘Viva Lavida’, which translates from Spanish to “live life” or “long live life.” 

‘Viva Lavida’ captures Joeboy’s romantic and vulnerable expressions through deft melodies, with these themes spilling into one or multiple sequenced songs.

The album opens with ‘Innocent,’ a mid-tempo track where Joeboy is hopelessly enamoured by his muse, his naïveté morphing into unshaken devotion over a laid-back instrumental that complements Joeboy’s delivery. The song closes with what sounds like a soul sample, adding a layered flavour to the well-crafted opener before transitioning into ‘Abena,’ an Afropop track where Joeboy assumes the persona of a sugar daddy, ready to lavish gifts if only she dances. The production on ‘Abena’ is minimalist but vibrant, with guest artist Tempoe’s delivery adding texture, making the track the longing record that it is.

On “Streets Are Lonely”, he reflects on the effort he puts into being a better partner, lamenting that he isn’t receiving the same commitment in return. The instrumental, like the guest artist’s delivery, evokes distress, and like most of the production choices on Viva Lavida, it’s a simple, slow-tempo one. Aware of how daunting the dating scene—the “streets”—can be, he advises both himself and his partner to strive for a smoother relationship.

The project picks up momentum with tracks four and five, where Joeboy continues into matters of the heart on some of the album’s most remarkable lead singles. “Taxi Driver” sees him seeking solace from emotional turmoil, mourning a lost love but remaining resolute in his decision to move on. The Y2K-evoking harmonies of “SMH” are strong and lingering, with Joeboy choosing to extend its original two-minute runtime with an additional verse. “Magdalene” rides on simple guitar progressions, flutes, and elements of Tempoe’s production, transporting the listener to soundtracks reminiscent of Igbo Nollywood.

While ‘Viva Lavida’ maintains a certain sonic consistency, the album feels disjointed, missing the mark on what it aims to achieve. 

Still, standout moments emerge, like “Sunset,” featuring Brazilian pop singer Elana Dara, with Joeboy finding himself in a familiar R&B fusion space, daydreaming and pouring his heart out. The track is followed by “Adenuga,“ a model Afro-pop record featuring the ethereal presence of Qing Madi. Now with a more robust production in contrast to the first half of the album, Joeboy assures his muse of financial security, getting hyperbolic and even promising them the world. On “Free of Charge”, featuring Olamide, he steps away from his comfort zone, sing-rapping over a bouncy and energetic T.U.C.-produced beat.

As ‘Viva Lavida’ nears its end, Joeboy becomes more solemn and introspective. “Osadebe” is a reminder to stay true to himself and a nod to Highlife legend Chief Osita Osadebe, best known for his song “Osondi Owendi” (meaning “one man’s food is another man’s poison”), which Joeboy repeatedly chants on the track. He sets aside love narratives on “Hey Father” to reflect on resilience, embracing a carefree approach to life, aware of God’s protection as he continues his journey and career. The song takes a humorous turn as he shouts out colleague Portable and playfully bites his pen: “Zazu go reason you o, Zeh ko to Zeh ri o.” Meanwhile, “Sinner” is a confessional track on a mellow but moving production by Type A, as Joeboy acknowledges his flaws yet remains grateful for God’s unconditional blessings. ‘Viva Lavida’ closes with the uplifting “I’ll Be Okay,” with Joeboy finding solace and strength in Wizard Chan’s conscious, borderline spiritual delivery. “I’ll Be Okay” puts a fitting end to the LP, offering listeners a warm embrace with Wizard Chan’s prayer-like delivery that truly connects.

There is a slight disconnect between Joeboy’s ability as an artist and the execution of ‘Viva Lavida’. Unlike the lead singles, which exude his musicality and catchy, sing-along appeal, much of the album lacks the engaging delivery that typically defines his stickier records and successful songs.

The album’s executive producer, Tempoe—Joeboy’s frequent collaborator, whose vocals appear on tracks like “Abena,” “Streets Are Lonely,” and “Magdalene”—clearly dictates much of the sound direction, contributing to over half of the album alongside other producers like Dera, Semzi, and T.U.C.

‘Viva Lavida’ could be seen as a carefree, experimental project that finds Joeboy stepping into new sonic territory. But at its core, something feels amiss, resulting in its uneven execution. Is ‘Viva Lavida’ a reflection of an artist searching for reinvention? To this writer, it appears to be a silent tug-of-war for creative ownership between Joeboy and the executive producer, Tempoe.

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Rating 7/10

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Emerging onto the music scene in 2021 under the umbrella of one of Nigeria’s most prominent record labels, Mavin Records, Magixx quickly made a statement with his self-titled EP, ‘Magixx’. He drew particular attention with the success of his R&B fusion “Love Don’t Cost A Dime,” which culminated in a nomination for “Rookie of the Year” at the Headies Awards. Poised to make his mark, he followed up with his sophomore EP ‘ATOM’ in 2022, quickly connecting with audiences and lovers of his craft. His unique way with melodies and signature vocals laid a sturdy foundation for his artistry, and with the backing of his record label, a successful career trajectory seemed inevitable.

But unlike his previous projects, Magixx’s debut album struggles to produce a song that could leave a lasting impression on the mainstream audience—especially at a time when Afrobeats’ soundscape is evolving. This isn’t due to his songwriting ability or artistic depth but rather a result of production choices. 

Much of the album features song arrangements that feel mismatched with their production, leaving the project flat—at best, an alternative offering suited to a niche audience with a particular taste for Magixx’s music. 

The rollout for ‘I Dream In Color’, which began as early as 2023, became more evident following the tease and eventual release of the emotive “Winter & Summer,” where Magixx grapples with strong emotions, numbing them with alcohol and illicit substances. In the weeks that followed, he unveiled the track-list at what appeared to be a listening party, with the titles printed on the back of his t-shirt. ‘I Dream In Color’ consists of 13 tracks, including four lead singles—tracks that, had they been withheld, might have alleviated the album’s overall dreariness—and no new features.

‘I Dream In Color’ opens with the weighty “Consistency,” where Magixx curiously finds strength and solace in gratitude. Both in “Consistency” and throughout the album, he shares stories of resilience, navigating personal struggles while balancing his responsibilities and career as an artist. This theme spills into the second track, “Ori Mi,” where a prayerful Magixx commits his hustle into God’s hands, resulting in an excellent Afro-adura hustler’s anthem. The refreshing sound of “With You” sparks some excitement, showcasing a love-struck Magixx on a familiar subject he has mastered, delivered with such sublime ease that it instantly connects with the listener.

Previously released singles like “Okay,” where Magixx wrestles with overwhelming responsibilities and familial expectations, the South East-influenced “Vibration” featuring Jeriq, and “Bad Decisions & Foreplay” are well-placed throughout the album, contributing positively to its sequencing.

However, midway through the project, the absence of sonic variety makes it difficult—almost impossible—to pinpoint a personal favourite or standout track. The album’s uneventful progression renders the listening experience tedious, raising questions about whether Magixx recorded his debut album under the grandest circumstances and sharpest artistic form. There’s a slight shift in energy with “Eleven,” temporarily breaking free from the monotony, leading into the potentially mainstream-leaning “Sexy Lady.” 

While Magixx makes a bold move in offering listeners access to a more sensitive, private aspect of his life, ‘I Dream In Color’ exposes a deficit in his versatility. The tracks feel too indistinguishable in melody, cadence, and production, making the album a challenging listen despite its deeply personal themes. 

RATING: 6.5

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Her efforts were soon rewarded when TikTok propelled her breakout single ‘See Finish’ into the limelight. This marked the beginning of a promising career, which Qing Madi sustained with three additional singles over the following year.

‘Ole,’ the follow-up to ‘See Finish’ featuring Bnxn, resonated with audiences beyond Nigeria, peaking at the number one spot on the Uganda Top 100 Apple Music Chart. At this point, her talent was undeniable. 

Approximately a year after her debut, she released the seven-track, self-titled extended play ‘Qing Madi‘ in November 2023, which peaked at number 14 on the Nigeria Apple Music Chart. In July 2024, she unveiled the deluxe edition, featuring American R&B singer Chloe Bailey and Nigerian pop star Kizz Daniel. In less than two years, through her vocal prowess and a songwriting style that deeply resonates with a younger generation, Qing Madi has positioned herself as a leading voice in Afro-R&B and Afropop.

‘I Am the Blueprint’ is more than just an album title; it’s a statement—an emphatic declaration born from a place of realization, perhaps even epiphany, about one’s gift.

Though she didn’t need a Twitter posting rampage, boldly promising she was coming for it all, those tweets served as a necessary message to anyone who ever doubted her talent. They were a series of self-assured statements, a confidence that permeates her no-feature debut album, ‘I Am the Blueprint’. 

From her breakout year until the release of her debut project, Qing Madi has been relentless in her craft, consistently releasing music alongside successful features. Her career thus far is objectively successful, with a track record that speaks to discipline, strong work ethic, and exceptional vocal and songwriting abilities. These attributes shine through every stage of the ‘I Am The Blueprint’ rollout, including the closely released lead singles. On the LP, Qing Madi shines as a virtuoso serenader, seamlessly transitioning between predominantly African and, on specific tracks, Western musical styles.  She understands that her vocal prowess is the foundation of her craft and confidently showcases it on each track’s robust production.

The production and thematic cohesiveness of ‘I Am the Blueprint’ prevent it from falling flat during its 35-minute runtime, as Qing Madi explores complex love narratives and personal musings across 13 tracks. On the opening track, ‘Bucket List,’ she sings about career and life goals she considers essential. She expresses her dedication to the music business and her ambition to reach the pinnacle of her career.

The LP progresses into a familiar soundscape where Qing Madi is captivated on ‘Ali Bomaye,’ finding peace in the pure love of her muse. Her infatuation is absolute, surrendering her love while basking in his.  Navigating the complexities of love on tracks like ‘Akanchawa,’ ‘Feeling Alright,’ ‘Damn It All,’ and ‘It’s A Game,’ Qing Madi is soon confronted by personal struggles, which she strives to overcome. ‘Pressure’ serves as an intermission from Madi’s love rollercoaster, a reminder of self-care and eliminating negativity.

While the material on her debut EP and album is largely influenced by elements such as her age, origin, culture, and a young core demographic, tracks like ‘Right Here’ and ‘Garden’ are clear examples of Qing Madi’s potential to appeal to an international audience should she choose to pivot in that direction. With ‘Right Here,’ she closes on a personal note, expressing a need to be focused and present on what really matters, by refusing to be distracted or weighed down by external pressures or pleasures.

In less than three years, Qing Madi has established herself as a force to be reckoned with in the Afro-R&B and Afropop scene. “I Am the Blueprint” is her arrival, and the music world has been put on notice.

Stream the full album “I Am The Blueprint” below and share your thoughts.

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Following his mom’s death and subsequent funeral, the reclusive and mysterious Wizkid persona was displaced in the advent of ‘Morayo’, giving way to an emotionally upset side of Wizkid. The album rollout saw multiple listening parties, event appearances, and two contrasting lead singles released a month apart. The tracks—“Piece of My Heart” and “Kese (Dance)”—hinted at the possibility of an eclectic project, one where Wizkid skilfully navigates diverse genres grounded in Afrobeats.

Ranging from melancholic depths to upbeat party rhythms, ‘Morayo’ captures Wizkid’s past and present sonic facets, all arranged with lush production. The sequencing of tracks is tailored in terms of tempo or otherwise tied together thematically, allowing for a smooth listen.

The album opens with “Troubled Mind,” unexpectedly featuring the golden vocals of Nigerian Fuji legend K1 De Ultimate and his live band eulogising Wizkid, paving way to the melodies of a taking drum and trumpet. Here, Wizkid acknowledges his inner turmoil, suggesting that creating ‘Morayo’ isn’t just an artistic endeavour or a tribute but also a means of escape. This explains why he didn’t set out to make a 16-track album with pensive grief as a theme but rather to find relief through music. It also explains why songs like Kese (Dance), A Million Blessings, Bad For You, and Lose showcase different aspects of Wizkid. 

The project continues with groovy records like ‘Karamo’ the dance-floor-ready “Kese (Dance),” and the Asake-assisted “Bad Girl.” On ‘Bad Girl’—a stark difference from their sombre collaboration earlier in the year—both artists exhibited a slicker chemistry with a cyclic delivery that hugs the production. Much of the refinement in ‘Morayo’ can be attributed to the contributions of other brilliant creatives involved in the execution process.

Shifting gears, the soulful R&B ballad “Time” offers a reprieve from the gyration-heavy tracks, drawing listeners into a more serene Afrobeats and R&B soundscape. “Piece of My Heart” stands out as a masterful performance of Afrobeats and contemporary R&B, a sublime melding of both worlds. Similarly, “Break Me Down” fuses these styles with dancehall influences and DAMEDAME’s evocative vocals, resulting in a compelling record. On this track, Wizkid describes a sensual arrangement with a love interest, where emotional detachment is evident, yet their physical intimacy is electrifying.

Teased alongside tracks like “Soji” and “Kese (Dance)” at the UK listening party, “Bend” was designed as a club disruptor, particularly for the women who love to party. The lively track spills seamlessly into “A Million Blessings,” a boastful, introspective track produced by P2J and The Elements, where Wizkid confidently dismisses any competition, wielding his lyrics like championship belts.

The silky “Après Minuit” (French for “After Midnight”) is bound to be a listener’s favourite, with its sonorous opening by Wizkid and Tiakola’s enchanting vocals. Both artists express their desires to their respective love interests. As it closes, Jazmine Sullivan‘s voice can be heard opening on the passionate ‘Bad For You‘, followed by Wizkid’s coo. The synergy between her and Wizkid, particularly in the second and third verses, makes it difficult to believe this is their first collaboration on a single. It’s the kind of tipping that every great, timeless music carries.

“Don’t Care” is another introspective track, rich in storytelling as Wizkid reflects on the ups and downs of his journey. Anaïs Cardot, who was introduced to the Afrobeats scene through Asake’s third studio album, reappears on “Slow.” Her feather-light yet captivating vocals open the track, and Wizkid follows suit effortlessly, creating a tender love ballad.

The album closes with two reflective tracks: “Lose” and “Pray.” Both are packed with musings on life’s complexities, delivered with witty metaphors and aphorisms. “Lose” stands out as one of Wizkid’s best melodic performances on the album, coupled with impressive storytelling and relatable scenarios.

As Wizkid admitted 15 tracks earlier on ‘Troubled Mind,’ “Right now, me just wan vibes and think, but my troubled mind wan sing, yeah,” he generously gives listeners access to his vibes, thoughts, and melodies—an honest orchestration of his troubled mind. 

Rating 7.5

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To begin with, let’s discuss the EP’s title track Dutty Love, which sets a sexy and engaging tone. Fave’s smooth vocals blends so smoothly with the Afrobeats and R&B tune which creates an inviting atmosphere. The lyrics goes hard as it points out the difficulties of love, capturing both the excitement and challenges that come with it.

Complicated, as the name suggests, Fave sings about the confusion found in relationships, especially in the modern dating pool. The song thrills listeners with relatable lyrics of dealing and working through the issues of love in a world filled with mixed signals and uncertain feelings. A sweet blend of Afrobeats and R&B, the geniusly produced beats goes smoothly with Fave’s melodic voice.

Next up on is the rhythmic Controlla which brings a vibe that is infectious. The song discusses matters of desire and connection, with Fave’s vocal delivery adding a sense of sensual appeal to it. The production is vibrant and features a mix of synths and percussion that keeps the energy high throughout the track.

Definitely a standout track on the EP, Juju brings some sort of playful appeal to it, which can be felt through Fave’s lyrics. Her witty songwriting combines with upbeat melodies to show off Fave’s ability to create a fun and lively atmosphere while also speaking on matters of the heart. This track makes it perfect for parties or celebrations. The catchy hook and lively instrumentation make it a fan favorite, once again proving just how versatile Fave’s talent is.

A heartfelt track which triggers one to ponder on love, Lose My Mind has Fave reflecting on emotional struggles in love. Lose My Mind‘s production is one with a softer atmosphere which allows her vocals to take fill up the whole space. The lyrics are touching and relatable, especially with anyone who has experienced heartache. This song adds depth to the EP, showcasing Fave’s emotional range.

No Games draws focus to the importance of honesty and transparency in relationships. With a strong beat and confident lyrics, Fave strongly states her desire for genuine connections. A production with so much freshness, and a memorable chorus, the entire work done on No Games makes it a powerful anthem for those seeking authenticity in love.

Fave closes out the EP with Belong to You, a heartfelt track that sums up the importance of commitment and belonging. Fave’s vocals are soft and sincere, creating an emotional connection with listeners. The instrumental is tender, making it even more fitting for the themes of love being discussed.

Fave’s ever-increasing growth as an artist shows off itself in her latest “Dutty Love” project. Her ability to connect with listeners through relatable subject matters and heartfelt lyrics goes to show how much of a huge talent she is. Each track is a combination of catchy melodies, emotional depth, and Fave’s special voice.

Stream the new EP “Duty Love” below and share your thoughts.

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The LP fully immerses listeners in a world of sound that blends rich, organic instrumentation with modern production—the creation of a unique and atmospheric sonic landscape. ‘ECHOES OF PRAYER’ features Bnnyhunna’s rare gift in the form of robust productions and minimal, layered vocals. 

The 39-minute album opens with the sacred sounds of an organ on “Prayer,” fused with a prominent lead trumpet, the sublime play of sticks on a drumset, and electric guitar, which Bennyhunna combines to produce a hip-hop tune that spills and becomes evident in the second part of the composition. “Calm Waters” feels like flipping to a new sonic chapter with a bass guitar, trumpet, and afrobeat percussive undertones. As the title suggests, the listener is soon transported to the calm waters of an African island—but only for a brief moment.

The brilliant play of the trumpet soon teleports one to the work of Afrobeat legend Fela Kuti and his masterful play of the trumpet. The track is followed by the soft, mellow pulls of the guitar on “Avanti”—an Italian word that means “forward” or “ahead”—and also serves as an interlude. The LP transitions into its first vocal track, the soulful ”Silent Chaos,” a title that evokes a paradoxical state where, despite the outward calm, there’s an intense, overwhelming sense of disorder simmering beneath the surface. It’s a silent chaos/when a good thing goes wrong/I hope that it paid off/was it worth it all. The brilliance of Bnnyhunna’s offering as you progress in this sonic composition is the element of surprise. You’re in a magical realm of Jazz this moment, and the next you’re sucked in a soulful, hip-hop world. 

Bnnyhunna’s ‘ECHOES OF PRAYER’ includes lead releases like “Calm Waters,” “SHOULD’VE BEEN YOU,” and “Communicate” with Nigeria’s Highlife Fusion band, The Cavemen. 

“Communicate” showcases The Cavemen‘s signature delivery, harmonised with Ghana’s own Jembaa Groove’s smooth rhythm. The track unfolds through a four-minute break-up dialogue, emotionally conveyed by Bnnyhunna and Sydney Lowell, while accompanied by a spirited background trumpet. 

It glosses into the heavily driven electronic textures of ‘Sonder’, an R&B record that features lustrous female vocals. The track’s prominent use of synthesisers and melodic patterns gives the listener a rare kind of euphoric burst. 

As the album ventures into R&B soundscapes, the 2023 track “SHOULD’VE BEEN YOU” reaffirms Bnnyhunna’s artistry, and a song like “Sum Love” highlights his ability to masterfully create music across virtually any genre.

“One Day” feels like the continuation of the story of desire and longing in “Sum Love,” told in the composition of sounds. 

The beautiful journey of masterfully composed sounds and delectable vocals concludes with a monologue skit delivered in a Ghanaian accent on “Laminar Flow,” ridden off on a layered production.

With his debut album, Bnnyhunna steps into the spotlight as a solo creative and artist, delivering music that is deeply personal and reflective of his African heritage while incorporating influences from hip-hop, neo-soul, and electronic music. ‘ECHOES OF PRAYERS’ did just that, exploring themes of identity, heritage, and introspection, told in soulful melodies and complex rhythms.

RATING: 8/10

Listen to the album and enjoy!

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Last Friday, his long-awaited debut album eventually arrives nearly three years later, following a turbulent era of controversy, personal struggles, and a singles-feature stint. In this period, Oxlade released the infectious chart-topping hit ‘KULOSA.’ And except for the spaced-out singles and abrupt announcements of a forthcoming album, Oxlade From Africa, it was generally unclear that Oxlade was working on his debut album, an idea that didn’t exactly thrill fans. And this was a result of the tacky to non-existent rollout, the absence of a defined album theme or direction, and the overall lack of world-building.

Although the project deserves credit for bringing together a diverse group of African guest artists, which leans into the album title, it was devastating to this writer and many others to learn that nearly half of the 16-track album contains pre-released singles, the oldest of which dates back to June 2022.

Oxlade From Africa opens with one of the two interludes on the project ‘D PTSD INTERLUDE’, which features Ugandan activist Bobi Wine. Voices of angry protesters from the Endsars movement could also be heard demanding the whereabouts of Oxlade’s manager, Ojah Bee, after he was unlawfully detained and battered by the Nigerian police. The moving track recalls emotions and events of the brave fight put up against police brutality by Nigerian youths and sounds like a song originally recorded around the time. 

With a play on words, cascading flows, and a catchy chorus on ‘OLAITAN-OLAOLUWA,’ Oxlade reflects, brags, and is grateful. The sequencing track ‘BLESSED’ is a mellow rendition of victory in the face of trials and strength in times of weakness. The album, particularly the non-single tracks, is delivered with an afrocentric flair that informs old and new listeners that it’s indeed an African project by an Afrobeats artist.

From track four to 8, the listening experience is a drab sequence of previously released singles, with the oldest dating as far back as 2 years ago. The album, which began rather satisfactorily, is displaced by an uncreative interference of now-overfamiliar songs, which disrupts the listening pleasure due to the lack of new materials that albums are generally distinguished by. It is possible that if these songs were compact singles with the album and not old, standalone—some, immensely successful—singles, Oxlade From Africa would be in a one of the best albums to come out of 2024 discourse.

However, ‘TAMUNO INTERLUDE’ marks an upward turn as a feminine chant rendered in the Izon language, also known as Ijaw, is heard.

The long-desired collaboration between iconic singer Wande Coal and Oxlade happens on ‘ASUNASA—HOLD YOUR WAIST.’ The dance and ultimate marriage of vocals and melodies from some of the country’s finest singers is nothing short of amazing, as the album progresses into another previously released single. 

‘OLOLUFE’ with Sarkodie is a reenactment of the musical chemistry the duo have built over the years, from “Overload 2” to “Non Living Thing” to “She Bad.” Perhaps a collaboration project with Sarkodie would be a wiser, more rewarding course to steer next after the directionless mixtape that is Oxlade From Africa. The opening and first half of the 13th track, ‘RMF,’ sound like Oxlade was on a Show Dem Camp song, and a listener is immediately drawn in. The second part of the song, Oxlade Shape-shifts into a rapper, and his cascading flows on ‘OLAITAN-OLAOLUWA’ grow a lot more intense. It’s clear he was knowingly rapping as he singlehandedly recreated what an Oxlade, SDC record typically sounds like, with rap verse(s) and an enchanting chorus.

‘ON MY MIND’ is a feel-good track that spills ideas of longing for a love subject over a cheerful production. It has the tendency to be the album’s deep cut and go unnoticed. Oxlade’s debut album concludes with the title track, ‘OFA,’ which features groovy percussion and his catchy melodies.

Oxlade From Africa was not created with stakeholders’ interests, particularly fans, in mind and is a late attempt at releasing a three-year due album that has received numerous listens from the average Oxlade fan. Although the new singles are well-crafted and delectable music, there’s a chance a listener will miss out if they experience the album as a whole rather than listening to these songs individually.

Stream the album and share your thoughts in the comment below.

RATING: 7/10

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