Tyla – A*POP (Album)

Tyla’s A*POP arrives as a confident, roots-forward sophomore statement that doubles down on her vision of African pop on a global stage. Released July 24, 2026, the 14-track, roughly 44-minute album follows her self-titled 2024 debut, bolstered by the TYLA+ deluxe and the 2025 WWP EP and arrives after major milestones including Coachella, World Cup performances, and continued chart success with singles.

Tyla has described the project as more intentional than her debut’s whirlwind creation. In interviews, she has spoken about personal growth at 24, feeling more settled and clear on her direction: extending what an African pop star can sound and look like, pushing back against expectations of what is “African enough”. The album’s promotional framing—“African,” “Unapologetic,” “Confident”—aligns with its sonic and thematic core.

The sequence opens with recent singles and moves through a mix of sultry mid-tempos, grooves, and closer moments of reflection:

Key features lean heavily South African (Liquideep’s house-rooted “Fairytale,” MaWhoo, Babalwa M) with Zara Larsson as the main international guest on the dancehall-tinged “She Did It Again.” Production credits include P2J, Sammy Soso, Ian Kirkpatrick, Ari PenSmith, Believve, and others, blending amapiano log drums and grooves with sleek pop, R&B, dancehall, and house elements.

Pre-release singles set the tone: “Chanel” delivered hypnotic, chart-climbing amapiano-pop energy; “She Did It Again” with Zara Larsson brought playful menace and international crossover; “Is It Love” and the earlier “Is It” further established the album’s questioning, sensual vibe.

A*POP builds on the debut’s amapiano-pop-R&B foundation but feels more rooted and self-assured. Tyla’s breathy, playful vocals remain central—sensual yet controlled—over productions that prioritize groove and atmosphere without overstuffing. Collaborations with South African artists reinforce hometown pride, while global polish keeps it playlist-ready for summer.

Lyrically, the album often withholds easy romance. Love demands proof: tears, Chanel bags, presence, or receipts rather than empty compliments. Tracks explore confidence “That Girl,” “Mr. Nonchalant”, desire and hesitation “Kiss,” “Feel Something,” “Right Now”, post-relationship clarity “I Don’t Care”, and self-questioning “Is It”. It’s flirtatious with an edge, Tyla positions herself as someone who sets terms rather than chasing validation.

Early standouts includes the vocally strong openers “Is It Love” and “Is It”; the Rihanna-esque plea of “That Girl”; the hypnotic “Chanel”; the generational house nod “Fairytale”; the confident strut of “Mr. Nonchalant”; and the chemistry-driven “She Did It Again”. Some mid-album cuts “Double Blind,” “Feel Something,” “Right Now” are more transitional or thinner on hooks by certain listeners, creating a slight dip in momentum before stronger closers.

Tyla’s A*Pop carries an effortless cool with a balance of confidence and vulnerability, refined melodies, and natural integration of South African influences with global pop ambitions. It’s a record of intention that strengthens her foundation, with a thematic rigor around proof and agency.

A*POP is not a radical reinvention, it is Tyla stepping more fully into her self-defined lane: an African artist making sleek, sensual, groove-heavy pop that refuses to dilute its origins while chasing broader appeal. The best moments deliver infectious hooks, a confident attitude, and cultural grounding.

Mavo – Business (Album)

Mavo’s ‘Business’ lands as a polished, street-smart Afrobeats mixtape that turns hustle anthems and luxury flexes into a full statement of arrival. The 13-track, roughly 35-minute project dropped on July 24, 2026. It marks a key chapter for the 22-year-old Nigerian artist who has balanced optometry studies at Afe Babalola University with a rapid rise from SoundCloud uploads to mainstream breakthroughs.

Long before the 2025 viral smash “Escaladizzy” with WAVE$TAR thrust him into wider Nigerian and international attention—alongside tracks like “Shakabulizzy,” collaborations with Wizkid, and strong streaming numbers—Mavo was already carving out a distinct lane. He calls his sound “Burbur,” a swaggering hybrid of Afrobeats, street slang, melodic rap, and youthful energy. ‘Business’ feels like the natural escalation: a project centered on the grind, guap, sacrifice, survival, and the spoils that come with it while still making room for romance and reflection.

Collaboration on production comes from names including PsykoWorldwide, Wana SN, Decs, AOD, Mootion, and Sleazy. Features include UK rapper AJ Tracey on “Poison” and frequent collaborator SSSoundgawd on the already-popular “BB Lifestyle.” “Use Me” also ties closely to producer P.Priime. Lead singles and pre-release cuts such as “Use Me,” “Mofe,” “Shy Lover,” and “BB Lifestyle”.

Mavo’s ‘Business’ is a quest for luxury items and liquidity colors Mavo’s worldview. The title track opens with a direct call—“Let’s talk about guap”—setting a tone of ambition that runs through family care and exclusive access on “Jehovah,” romantic vulnerability on the soulful “Letter To My Baby,” and transactional or uncertain desire on “Use Me.” The project balances commercial Afrobeats bounce with street authenticity, mixing uptempo flexes, melodic hooks, and more introspective moments.

Production is sleek and contemporary, leaning into the polished studio sound that has defined his recent singles while retaining the energetic, slang-heavy delivery that made early work resonate. Standouts emerging in early listens include the title track’s motivational drive, the reflective “Jehovah” and “God’s Promise,” the romantic “Letter To My Baby,” the infectious “Ice Cream” and “Superwoman,” the hit-ready “Use Me” and “Mofe,” the smoother “Shy Lover,” and the feature-boosted closers “Poison” and “BB Lifestyle.”

‘Business’ is Mavo doubling down on what works. Hustle narratives, luxury aspirations, melodic hooks, and Burbur swagger dominate a concise, replayable set that feels both of-the-moment and true to his independent roots. The best tracks deliver instant energy and personality; the features add useful variety; and the thematic focus on money, ambition, and relationships gives it cohesion.

Teni – The Wellness Package (EP)

Teni’s The Wellness Package arrives as a concise, feel-good seven-track EP centered on healing, balance, self-expression, and good vibes. Released July 24, 2026, the project marks a colorful new chapter for the Nigerian Afrobeats star. Teni has long stood out for her charismatic delivery, socially conscious or playful lyricism, and genre-blending instincts rooted in Afrobeats but open to pop, R&B, and other flavors. After a period of creative reset and promotional campaigns that included interactive “treasure hunt” challenges tied to the wellness theme, ‘The Wellness Package’ positions itself as “the cure” for normalcy: a personal, reflective, yet celebratory body of work about growth, reflection, and unapologetic living.

The seven-track EP opens introspectively and builds through collaborations before closing on an energetic note. “Zion” with Olamide served as a key pre-release single and cultural centerpiece. Production credits include talents such as Deeyasso and Spotless. The project leans into soulful storytelling, melodic hooks, and Teni’s signature charm, with reported experimentation including reggae-inspired elements on the opener.

Thematically, the EP revolves around wellness in a broad sense; meditation and facing forward, wisdom, emotional or relational dynamics, spiritual or cultural grounding, material success, and forward motion (“HTGT”), balancing reflective moments with feel-good, replayable energy. The features add strong chemistry: Olamide on the previously released “Zion,” Chike’s melodic touch on “Wurumanya,” and The Cavemen’s organic highlife/Afrobeats flavor on “Wise”, all coming together to form a colorful creativity, cohesive listening experience, and Teni’s ability to deliver charm across the short runtime. As a short EP rather than a full album, it prioritizes quality and mood over volume.

‘The Wellness Package’ is Teni delivering exactly what the title promises: a compact, personality-driven set focused on balance, reflection, and uplift. It doesn’t reinvent her sound so much as refine and package it with thoughtful features and thematic cohesion. The best moments—particularly the introspective opener, the Olamide collaboration, and the Cavemen feature—showcase her charisma and willingness to experiment within a feel-good framework.

Taves – Popstar – Side A (EP)

Taves steps firmly into his popstar era with Popstar – Side A, a tight, emotionally sharp eight-track EP that captures the chaos, romance, faith, and ambition of a young man rising in Lagos. Released July 22, 2026 the roughly 19-minute project serves as the first half of a planned two-part body of work. Taves, the Ibadan-raised singer-songwriter, has been steadily building momentum since his earlier work, including the 2024 EP Are You Listening? and the viral “Folake”. He earned recognition as an Apple Music Rising Ambassador, Billboard’s African Rookie of the Month, and a Headies Rookie of the Year nominee. 

Taves “Popstar” opens with the declaration “See my life set to chaos / ’Cause I’m a young man in Lagos” on the title-evoking “Chaos”. The EP explores the dual meaning of “popstar”—fame and pressure on one side, playboy energy and romantic entanglement on the other.

Romance and desire drive several tracks. On “Deliver Me,” a love interest acts as both stimulant and savior who can motivate him back to life. “Isn’t It Beautiful” leans into the moral gray of white lies for peace. “Uche Jumbo” flips the talking-drum motif and energy of Wizkid’s “Don’t Dull” into a celebration of Nigerian beauty standards, complete with the “Awọn eleyi” refrain. “Preaching” turns financial struggle into a grounded prayer for sustenance and a chance rather than excess, with a driving bassline and the line about fighting demons while simply finding a way forward. The project balances upbeat, melodic Afropop and R&B textures with introspective lyricism.

Early standouts frequently mentioned include the opener “Chaos,” the romantic “Deliver Me,” the already-familiar “Uche Jumbo,” and the closer “Take Me Away”.

‘Popstar – Side A’ is a confident, concise statement from one of Nigeria’s sharper rising voices. Taves sharpens his melodic instincts and personal storytelling into a short, immersive set that feels both of-the-moment and rooted in lived Lagos experience. The best tracks deliver instant hooks alongside genuine emotional texture.

Zaylevelten – B4SAVEME (EP)

Zaylevelten’s B4SAVEME is a razor-sharp, eight-minute teaser that doubles as a statement of intent from one of Nigeria’s most interesting underground voices. The four-track EP following its release quickly climbed to No. 2 on Apple Music Nigeria’s Top Albums chart. It functions explicitly as a prelude to his forthcoming full project Save Me or SAVEME.

Zaylevelten is an Ikorodu, Lagos-raised artist with family roots in Ebonyi State. Born in 2002, he self-produces much of his work and has carved a lane blending trap, hip-hop, alté, and Afrobeats into a raw, experimental sound aimed at Gen Z and Gen Alpha listeners. Producers on the project include Thislondon, ELEMEN3, Johnson IP, Oche, and others. “Tease Me” stands out for sampling/interpolating Wizkid’s 2011 classic “Tease Me/Bad Guys,” giving the old hit a modern, darker flip.

B4SAVEME leans into experimental, atmospheric production with hip-hop and trap foundations, Nigerian street energy, and flashes of Afrobeats nostalgia. The dark cover art matches the mood: chaotic, teasing, and slightly unhinged in the best way. It moves through high-energy experimentation, nostalgia, and personal updates without overstaying its welcome.

“Tease Me” opens with the Wizkid sample and immediately generates conversation for how it reworks a Superstar-era classic into something current. “Yeye Talk” benefits from the Thisizlondon feature, while “SuperMega” and “Update” deliver the denser, more signature Tenski production and delivery. The EP feels like a controlled burst rather than a full narrative, exactly what a “before” project should be.

B4SAVEME is short, sharp, and purposeful. Zaylevelten doesn’t waste a second: he samples a classic, locks in a strong feature, and delivers his experimental hip-hop/Afrobeats hybrid with confidence. It works best as a vibe check and appetite-whetter for the full ‘Save Me’ project rather than a standalone epic. The real test will be how ‘Save Me’ expands on this foundation.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

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Davido & NO11 — “Gimme Dat Ting”

With Oriade on the horizon, Gimme Dat Ting offers another glimpse into Davido’s next chapter although it’s not the one many expected. Contrary to the traditional influences hinted at by the album’s title and rollout, the record embraces glossy Afropop, infectious melodies, and a carefree, nightlife-ready energy.

Built around buoyant percussion, playful chants, and an instantly memorable hook, the song never takes itself too seriously. Davido slides comfortably into the pocket, delivering the charismatic melodies that have long made him one of Afrobeats’ most reliable hitmakers, while NO11’s catchy refrain gives the record its strongest earworm.

Lyrically, there’s little ambition beyond having a good time, but that’s precisely the point. Gimme Dat Ting isn’t trying to unpack identity or purpose; it’s designed for movement, celebration, and immediate replay. Whether it ultimately reflects the direction of Oriade remains to be seen, but as a standalone record, it does exactly what it sets out to do: keep the energy high.

Steve Lacy & Erykah Badu — “pure colour”

Steve Lacy has always excelled at making emotional confusion sound beautiful, and pure colour continues that tradition with remarkable restraint. Joined by the incomparable Erykah Badu, he trades polished declarations for vulnerability, allowing uncertainty to sit comfortably at the centre of the record.

Built around sparse instrumentation and dreamy textures, the song unfolds slowly, giving every lyric room to breathe. Steve sings about losing himself in another person, questioning his own identity and wrestling with expectations placed on him, while Erykah Badu’s brief but hypnotic appearance feels almost like an inner voice cutting through the noise. Her spoken, meditative delivery shifts the song from heartbreak into something more introspective, gently steering it towards healing rather than despair.

What makes pure colour so compelling is its honesty. There’s no dramatic climax or oversized hook chasing virality. Instead, Steve Lacy trusts the emotion to carry the record, letting silence, repetition and understated production do much of the storytelling.

It’s the kind of song that grows louder the quieter your surroundings become a beautifully understated reminder that some of the strongest records don’t demand your attention; they patiently earn it.

LADIPOE & Pa Salieu — “No Level”

There’s something refreshing about hearing two rappers from different worlds meet each other without either compromising their identity. On No Level, LADIPOE and Pa Salieu build a collaboration that feels like a conversation.

The production sits comfortably between Afrobeats and contemporary hip-hop, driven by moody basslines, crisp percussion and enough space for both artists to command attention. LADIPOE approaches the beat with the effortless confidence that has become one of his greatest strengths, delivering measured verses that never feel rushed. Pa Salieu brings a welcome contrast. His unmistakable rasp injects urgency into the record, giving it a rougher edge that complements LADIPOE’s smoother delivery.

Rather than fighting for the spotlight, both rappers understand the power of restraint. Their contrasting styles create the song’s momentum, making No Level one of those collaborations that feels inevitable in hindsight. It’s confident, replayable, and another reminder that African hip-hop continues to thrive when artists allow their individuality to coexist instead of compete.

Tobe Nwigwe, Flavour & C.S. Armstrong — “PERFECTION”

Few artists approach collaboration with the intentionality of Tobe Nwigwe, and PERFECTION is another example of why his music feels so distinct. Bringing together Flavour and C.S. Armstrong, the record blends soul, gospel, hip-hop and African influences into something that feels deeply human.

The production is warm and expansive, built around rich instrumentation that allows every voice to shine without overwhelming the song’s message. Tobe delivers his verses with the calm conviction that has become synonymous with his work, while C.S. Armstrong’s soulful vocals provide emotional weight throughout. Then comes Flavour, whose unmistakable voice introduces a warmth that ties everything together beautifully, reminding listeners why he remains one of Africa’s most expressive vocalists.

Rather than chasing a viral moment, PERFECTION embraces patience. It unfolds gradually, rewarding listeners willing to sit with it, making the record feel less like a single and more like an experience. It’s thoughtful, uplifting, and one of this week’s most rewarding listens.

Sam Deep, Aidah, Njelic & Thatohatsi — “Rapela”

Amapiano continues to prove that sometimes the strongest records are the ones that refuse to rush, and Rapela understands that better than most.

Built around rolling log drums, airy synths and understated percussion, the production settles into a hypnotic groove almost immediately. Instead of relying on dramatic beat switches or explosive drops, the song allows its rhythm to evolve naturally, creating the kind of immersive atmosphere that has made Amapiano a global movement.

Aidah’s vocals float effortlessly above the production, adding softness without interrupting the momentum, while Sam Deep, Njelic and Thatohatsi ensure every element feels carefully placed. Nothing sounds excessive. Every progression serves the groove.

Rapela isn’t interested in instant gratification. It’s designed for long drives, late-night sets and dancefloors where the music is allowed to breathe. In a week filled with bigger names and louder releases, it quietly reminds listeners why South Africa continues to shape some of the continent’s most exciting sounds.

Whether you’re in the mood for effortless Afropop, thoughtful lyricism, soulful collaborations or slow-burning Amapiano, this week’s releases have something worth returning to.

If you’re looking for more new music to soundtrack your weekend, We’ve put together the best new releases from across Africa and beyond, so whether you’re discovering a new favourite or catching up on everything that dropped this week, there’s something waiting for you:

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The Best Afrobeats Artist win carried particular weight. Tyla edged out an elite field that included Nigerian heavyweights Burna Boy, Rema, and Wizkid, alongside Ghanaian-American artist MOLIY. It marks the second consecutive year she has won the category, reinforcing her rapidly solidifying position as one of Africa’s most commercially potent global exports.

Her victory with “CHANEL” in the Social Song of the Year category further underlined the song’s internet-era dominance. The single outperformed records tied to acts including Tinashe and Taylor Swift, proving just how deeply the record travelled across streaming culture, fan engagement, and digital conversation.

For Tyla, she entered the ceremony with four nominations—more than any African artist at this year’s AMAs—spanning Best Female R&B Artist, Best Afrobeats Artist, and two nominations tied to “CHANEL”. By the end of the night, her overall American Music Awards tally climbed to three.

The wins also extend what has become a remarkable two-year international run. Earlier in 2026, Tyla secured her second Grammy Awards win, claiming Best African Music Performance for “PUSH 2 START”. Meanwhile, “CHANEL” has maintained strong momentum on the Billboard U.S. Afrobeats Songs chart, where it spent an extended run at No. 1, and continued to expand her crossover reach beyond African markets.

Yet, as with many of Tyla’s recent wins, the moment also reopened ongoing conversations around the global music industry’s handling of African genres. Tyla has consistently identified herself as an amapiano artist, and previous wins in Afrobeats categories—from the VMAs to Billboard ceremonies—have repeatedly sparked debate among fans and commentators over whether global award bodies flatten African music into one commercial umbrella.

Still, regardless of the genre discourse, the numbers continue to work in her favour. The AMAs are fan-voted awards determined through streaming, sales, social engagement, and touring metrics, making Tyla’s victories reflective of measurable audience momentum rather than purely academy-based selections.

In many ways, the night captured the current shape of African pop’s global evolution. Nigerian stars remain central to the worldwide Afrobeats explosion, but Tyla’s continued dominance signals how amapiano-infused pop from South Africa is increasingly becoming part of that same global commercial conversation.

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Somewhere between those discoveries and his own ambitions, Homebase was born.

The single blends Afrobeats with amapiano, but what makes it stand out is the message beneath the rhythm. When asked about the phrase Odikinaka cheta Homebase, which he repeats throughout the song, he explained:

“Odikinaka cheta Homebase is an Igbo adage that means remember home when success starts to come.”

That line makes Homebase more than a song to dance to. It becomes a reminder that growth should not cost you your identity, and distance does not have to mean disconnection.

How Sucrepapito Blends Afrobeats and Amapiano

In recent years, amapiano and Afrobeats have become two of the most exciting sounds within African music’s global expansion. While some artists choose one lane, Sucrepapito leans into both.

On Homebase, Afrobeats brings familiarity and melodic warmth, while Amapiano textures add movement and bounce. The result is a sound that feels like migration translated into music.

Beyond making music, he is also the creator of Afrobeats vs Amapiano Verdict (AAV Show). A structured platform where he explores, discusses, and ranks contemporary African sounds. The project reflects his interest in how genres evolve, overlap, and compete within today’s music ecosystem.

It also positions him as part of a growing wave of UK-based Afro-fusion artists who not only participate in the sound but also actively shape how it is interpreted, compared, and consumed globally.

As African sounds continue to travel across borders, artists like Sucrepapito are proving that identity can travel with them too.

Sucrepapito’s Creative Process and Inspiration

When speaking about his creative process, the artist describes it as intuitive.

“My process often starts with a few lines or a melody in my head, then I work with a producer to develop the full sound.”

He also revealed that one of the strangest places inspiration has found him was in Lagos traffic.

“I got the inspiration for my song ‘The One’ during a bus ride from CMS to Lekki.”

For someone singing about remembering home, it feels fitting that one of his favourite meals is oha soup, and yes, he can cook it too.

The Story Behind Sucrepapito’s Journey

Like many promising Nigerian artists, Sucrepapito’s relationship with performance began early.

There was a church choir, dance competitions, and even a win at the 2010 Global Communications rock and roll dance competition.

Long before Homebase, there were already signs that rhythm and performance would remain close to him.

Later, while other students treated holidays as time to rest, he spent his breaks away from Mass Communication classes at Madonna University, Okija, in the studio. 

After striking a deal with his father, he earned the chance to record two songs every holiday as long as he returned home with good grades.

That arrangement helped shape the artist he is becoming today.

When asked about the artists who have shaped his musical taste, Sucrepapito points to a wide and ambitious range of names.

From the creative boldness of Kanye West to the showmanship of Bruno Mars and the star power of Wizkid, Davido, and Timaya, his influences stretch across genres and generations.

Though he’s currently an independent artist, he remains open to partnerships with labels that value artist development and long-term structure, citing Mavin Records as one example.

What’s Next for Sucrepapito

Beyond the music, Sucre Papito is still in the early stages of building his audience and shaping his artistic identity.

A recent listening party for Homebase saw a strong turnout, hinting at a growing community forming around his sound.

For now, the focus remains on consistency and connection, as he continues to build a fan base that grows with him.

When asked what he hopes to see when he looks back on his career years from now, his answer was simple:

“Greatness.”

If Homebase is any indication, he is already laying the foundation.

Listen to Homebase on all streaming platforms now.

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Lekompo is not just a BPM; it is a middle finger to the polished, “soft life” aesthetic of Johannesburg. It is the sound of the Limpopo “trenches,” finally demanding its seat at the table of global electronic music.

Lekompo at a Glance 

What is Lekompo Music?

Lekompo is the sonic manifestation of rural rebellion. While often compared to Amapiano, Lekompo is technically distinct, blending the melodic structures of Bolo House with the frantic speed of Shangaan Electro and the heavy percussive “log drums” of modern dance music.

The name itself is a reclamation. Originally, “makompo” was a derogatory term for those living in labor compounds. By naming their genre after this struggle, artists have transformed a badge of poverty into a symbol of street-smart authenticity.

The Genesis of the “Compound” Sound

To understand Lekompo, you must understand the word Makompo. Historically, it was a slur, a term used to belittle the migrant laborers who lived in the single-sex worker compounds of the mining and farming belts. To be called a Lekompo was to be called “unrefined,” “backward,” or “dirty.”

But in a classic act of cultural alchemy, the youth of Limpopo led by artists who grew up in the shadow of these very compounds have reclaimed the word. They’ve turned “unrefined” into “authentic.” The music mirrors this history: it is “dry” (lacking the expensive reverb of studio-produced house) and “fast” (mimicking the frantic energy of a weekend spent trying to forget a week of hard labor).

It is the evolution of Bolo House, but where Bolo House was melodic and often romantic, Lekompo is percussive and confrontational. It is the marriage of Shangaan Electro’s 130+ BPM speed and the Amapiano log drum, stripped of its jazz influences and replaced with the raw, piercing synths of European hard-techno.

Lekompo vs. Amapiano: Key Differences

People frequently ask: “Is Lekompo just fast Amapiano?” The answer is no.

1. Speed: Lekompo is significantly faster, averaging 130 BPM, whereas Amapiano sits at 112-115 BPM.
2. Texture: Amapiano uses smooth “Private School” piano chords. Lekompo uses gritty, sharp synthesizers reminiscent of early 2000s disco and Bolo house.
3. Vibe: Amapiano is for the “Chill & Lounge” culture; Lekompo is for the “High-Energy Dancefloor.”

The Pioneers: Artists Championing the Sound in 2026

To understand the movement, you must know the figures currently holding the torch. These artists have bypassed traditional record labels, using WhatsApp and TikTok to build massive, cult-like followings.

Makhadzi: The Matriach and The Global Bridge

While new stars dominate the charts, Makhadzi remains the certified star of the movement and its most vital bridge to the global stage. Having started her career performing at taxi ranks for pocket change, she embodies the “Miracle Child” narrative of the Makompo.

In 2025 and early 2026, Makhadzi’s role has shifted from artist to “canonical genre-shifter.” Her BET Award win wasn’t just a win for her; it was a validation of the entire Limpopo sound. By collaborating with younger titans like Kharishma and Shebeshxt on tracks like “Queens Lekompo“ and “Tlala,” she has provided the movement with institutional weight. She is the proof that the Venda and Pedi tongues are not regional dialects, but global hit-making languages.

Kharishma: The Queen of Lekompo

While the genre is often associated with hyper-masculinity, its most powerful figure is a woman. Kharishma has become the undisputed “Queen of Lekompo” by doing something radical: she made the genre vulnerable.

In her 2025/2026 run, Kharishma has moved beyond simple club bangers. Her songwriting in Sepedi and Khelobedu functions as a mirror for the rural South African woman. In tracks like “Chokeslem,“ she doesn’t just provide a beat for the tavern; she provides a soundtrack for survival, tackling the epidemic of gender-based violence (GBV) with a grit that mainstream artists often shy away from. Her voice—powerful, staccato, and soaring above Ba Bethe Gashoazen’s distorted production is the primary reason Lekompo has successfully crossed over from regional curiosity to national anthem.

Ba Bethe Gashoazen: The Architect of the Log Drum Evolution

If Kharishma is the voice, Ba Bethe Gashoazen is the brain. As a primary producer for the genre’s biggest hits, Gashoazen’s signature is the “Tribal Log Drum,” a more distorted, rhythmic version of the Amapiano bassline. His 2026 collaborations with artists like Makhadzi have successfully brought the “village sound” into the global electronic music conversation.

The Shebeshxt Phenomenon: Folk Hero or Cultural Chaos?

No editorial on Lekompo is complete without addressing Shebeshxt. If Kharishma is the genre’s soul, Shebeshxt is its unbridled, chaotic id. Born in the streets of Lebowakgomo, Shebe (Lehlogonolo Chauke) represents the “anti-hero.”

He is the tatted, shirtless face of the Makompo identity. To his fans, he is a folk hero who survived the prison system and the “streets” to become a superstar. To his critics, he is a cautionary tale of the dangers of glorifying “tavern culture.” His 2025/2026 legal battles and his polarizing presence on social media haven’t dimmed his star; they’ve brightened it. He represents the “unfiltered” truth that Lekompo promises a rejection of the “fake” celebrity lifestyle in favour of a raw, often dangerous, reality.

The Architects: Producers Who Defined the 2026 Era

The shift in 2026 has been toward technical sophistication without losing the “dirt.” The producers are the unsung engineers of this movement.

• Ba Bethe Gashoazen: The “Godfather” of the sound. His signature is the stutter-step log drum. He was the first to realize that Lekompo could be polished enough for a Sony Music contract without losing the tavern grit.
• Naqua SA & Buddy Sax: These are the underground purists. Their tracks are often released as 2-minute snippets on WhatsApp, designed to be played at maximum volume on distorted speakers. They prioritize the “kick”—a bass sound so heavy it’s felt in the chest before it’s heard in the ears.
• Tribby Wadi Bozza: Known for incorporating elements of Manyalo (wedding music), Tribby has ensured that Lekompo remains tied to the traditional Pedi and Venda ceremonies, making it a multi-generational phenomenon.

Why Lekompo is the Future of the Global South

As the world becomes more digitized, there is a global hunger for music that feels “human” and “unrefined.” We see this in the rise of Gqom years ago, and we see it in the global fascination with Latin American Funk Carioca.

Lekompo is South Africa’s entry into this global “Hard Dance” movement. It is music that doesn’t care about radio edits or corporate sponsorships. It is an ecosystem built on TikTok virality, WhatsApp distribution, and Nike-clad loyalty. In 2026, Lekompo has proven that you don’t need a studio in Johannesburg to change the world you just need a laptop, a heavy bassline, and the courage to speak for the forgotten.

Why 2026 is the “Year of the Lekompo”

In early 2026, we are seeing a “War of the Beats”. As the world becomes accustomed to the slower “Private School Piano”, the club scene is craving the high-octane energy that Lekompo provides.

Pro-Tip for Producers: Lekompo’s signature is the “rickety rhythm.” It sounds like a machine in motion, perfect for the 2026 trend of high-intensity fitness and viral dance challenges.

FAQ: Everything You Need to Know

Q: Where did Lekompo originate? 

A: It originated in the rural compounds of Limpopo, South Africa, evolving from traditional wedding music (Tsa Manyalo) and Bolobedu House.

Q: What are the best Lekompo songs of 2026? 

A: Currently trending tracks include “Rato Laka” (Zee Nxumalo), “Ke Chaba Boloi” (DJ Call Me ft. Shebeshxt), and “Sdudla or Slender” (Shandesh).

Q: Why is Lekompo becoming so popular? 

A: Its rise is fueled by its high-energy nature which is perfect for short-form video platforms like TikTok, and a growing global interest in “authentic, raw” African street sounds over polished studio pop.

Q: Where can I see Lekompo live?

A: Look for the “Lekompo Balcony Mix” in Pretoria or the “Lekompo Music Festival” which holds major crossover events in Limpopo.

Lekompo is more than a trend; it is a testament to the resilience of Limpopo’s creative spirit. It is a reminder that the most powerful art doesn’t always come from expensive studios—it comes from the places people work, live, and struggle. As the world turns its ears toward South Africa, Lekompo stands ready to shake the floor.

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Sarz – Protect Sarz At All Costs

Nigerian super-producer Sarz has long been a cornerstone of Afrobeats, crafting hits for giants like Wizkid, Davido, and Burna Boy while shaping the genre’s global sound. With ‘Protect Sarz At All Costs’, his debut album, Sarz steps into the spotlight as a front-facing artist, delivering a 12-track project that’s as ambitious as it is cohesive. The album’s vocal delivery is a masterclass in curation, with Sarz handpicking a star-studded lineup that bridges Afrobeats with global sounds. Featuring artists like Wizkid, Asake, Gunna, Lojay, WurlD, Fireboy DML, Joeboy, Teni, Libianca, Shallipopi, Skillibeng, Victony, Qing Madi, Odumodublvck, and more, the project feels like a global conversation. Each artist brings a distinct flavor, yet Sarz’s vision ensures cohesion. For instance, Joeboy’s honeyed vocals on “Body” glide over a minimalist, groove-heavy beat, balancing intimacy and dancefloor energy. Similarly, Victony’s soaring performance on “Up” channels resilience and hope, elevating the track into an anthem of triumph.

Qing Madi’s “In A Mustang” stands out for its dreamy, soulful delivery, with her vocals floating over airy synths, evoking a cinematic night-drive vibe. WurlD’s “Nice n’ Slow” leans into sultry R&B, with his textured voice complementing Sarz’s unhurried production, creating a mood that’s both intimate and otherworldly. The reunion with Wizkid, a longtime collaborator, is a highlight, delivering nostalgic yet fresh energy that recalls their iconic past work like “Jaiye Jaiye.” Every vocal performance feels purposeful, with Sarz’s direction ensuring that no feature overshadows the project’s core vision.

Sarz’s production on ‘Protect Sarz At All Costs’ is a testament to his reputation as a sonic architect. Known for his drum-heavy, genre-bending soundscapes, he blends Afrobeats with R&B, hip-hop, dancehall, and experimental textures, creating a project that feels both rooted in African rhythms and globally resonant. Tracks like “BMF” (featuring Fireboy DML and Byron Messia) fuse Afrobeats with dancehall grit and R&B soul, showcasing Sarz’s ability to weave contrasting styles into a cohesive sound. The previously released single “Happiness” (featuring Asake and Gunna) is a standout, with an extended, never heard before Gunna verse.

Sarz’s signature bounce is ever-present, but the album also explores new territory. “In A Mustang” uses hypnotic rhythms and futuristic synths to create a cinematic mood, while “Up” layers shimmering synths and crisp percussion for an uplifting, expansive feel. His attention to detail—think subtle basslines, floating synths, and traditional drum patterns inspired by fuji music—gives the album a rural authenticity that ties it to Afrobeats’ roots while pushing boundaries.

‘Protect Sarz At All Costs’ positions as Sarz’s legacy and his determination to protect Afrobeats’ cultural significance. The title, inspired by his strict upbringing, reflects a competitive spirit and a mission to preserve his influence in the genre. The album’s rollout was a masterstroke, with cinematic, humor-laced promo videos featuring comedian Layi Wasabi and creative skits like a mock press conference, building anticipation in a way that felt novel and engaging. 

‘Protect Sarz At All Costs’ is a bold debut that lives up to the hype. Sarz’s production is meticulous, blending innovation with tradition, while the carefully selected features ensure every track feels purposeful and distinct.

Pheelz & Fireboy DML – Peace By Piece

The highly anticipated collaborative EP ‘Peace By Piece’ by Nigerian hitmaker Pheelz and Afrobeats sensation Fireboy DML has arrived on streaming platforms, under YBNL Nation and EMPIRE. The five-track project marks a significant reunion for the duo, whose previous work together shaped iconic albums like ‘Laughter, Tears & Goosebumps’ in 2019 and ‘Apollo’ 2020. With their proven chemistry, ‘Peace By Piece’ blends Pheelz’s ambidexterity as a producer and vocalist with Fireboy’s soulful vocals and introspective lyricism, with both delivering a compact yet unique addition to the Afrobeats landscape. 

Fireboy DML’s vocal performance on ‘Peace By Piece’ is a masterclass in versatility, seamlessly navigating heartfelt ballads and high-energy anthems. His soulful delivery, a hallmark of his artistry, shines on tracks like “Young Again”, where his emotive storytelling captures themes of resilience and nostalgia. The lead single, “On A Kentro” featuring L.A.X, is a standout, with Pheelz’s smooth melodies paired with L.A.X’s vibrant energy, delivering catchy, street-ready vibes with spiritual undertones. Lyrics like “Dori mi mu! Ẹmi Mimọ, Ẹsẹ mi n gbọn, But I stand strong” reflect a blend of Yoruba culture and universal themes of perseverance, making the track both relatable and dancefloor-ready.

Pheelz, while primarily behind the boards, occasionally steps into the spotlight, showcasing his evolution from producer to artist. His vocal contributions add a layer of authenticity across board, particularly on “Shake”, a track from their “Evil Twin” playlist that carries over to this EP, blending playful energy with Fireboy’s charisma. The EP’s concise tracklist—five songs, including “Shake,” “ILWY,” “Young Again,” “Gozi,” and “On A Kentro” feat. L.A.X—ensures every vocal moment feels purposeful, with no filler.

The production on the EP showcases Peelz’s genre-bending prowess, fusing Afrobeats with elements of highlife, amapiano, and R&B. The EP’s sound is vibrant yet introspective, balancing infectious rhythms with emotional depth.

‘Peace By Piece’ explores finding calm amidst chaos, with tracks like “Young Again”, “Gozi” and “On A Kentro” weaving narratives of personal growth, resilience, and spiritual grounding. The EP’s title reflects this journey, with each song offering a fragment of peace through music. The rollout was expertly handled, with a cinematic black-and-white trailer, capturing candid studio moments and Pheelz’s narration about their “laughter, tears, and goosebumps” chemistry.

Spyro – The Men, The Boys & Your Guy

Nigerian Afrobeats star Spyro, has effortlesly cemented his place in the scene with hits like “Who Is Your Guy?” and “For You” His debut album, ‘The Men, The Boys & Your Guy’, released on September 26, 2025, under Cinq Music Group, is a 19-track behemoth that showcases his versatility, ambition, and knack for bridging generations. Structured in three thematic sections—“The Men,” “The Boys,” and “Your Guy”—the album is a bold statement of Spyro’s journey from a breakout artist to a defining voice in Afrobeats.

Spyro’s vocal delivery on ‘The Men, The Boys & Your Guy’ is a blend of smooth, emotive melodies with streetwise charisma. He shifts from introspective to celebratory tones across the album’s three acts. In “The Men” section, Spyro pays homage to Nigerian music veterans, delivering heartfelt performances alongside icons like M.I Abaga on “Para”, 2Baba on “If To Say”, D’Banj on “Wait”, and Faze on “Can’t Lie”. These tracks carry a nostalgic weight, with Spyro’s soulful vocals complementing the veterans’ seasoned styles. For instance, “Can’t Lie” sees Spyro and Faze harmonizing over themes of love and vulnerability, creating a timeless vibe that resonates with longtime Afrobeats fans.

“The Boys” section spotlights newer talents like Bayanni, Shoday, Oxlade, Suave, Soundz, Jeriq, and Ceeboi. Tracks like “No More” with Bayanni showcase Spyro’s emotive side, tackling heartbreak and closure with a tender yet commanding delivery. His chemistry with Shoday on “Sweet” is infectious, blending playful energy with catchy hooks that feel tailor-made for radio and playlists. The “Your Guy” segment is Spyro’s personal spotlight, with solo tracks like “Dance,” “Pray,” and “Serving a Living God” showcasing his introspective and spiritual side. The gospel-infused “Serving a Living God” is a highlight, with Spyro’s passionate delivery elevating its message of faith and resilience. The sole feature in this section, Pitch6lack on “Away,” adds a soulful edge, but Spyro’s solo moments steal the show, proving his star power.

The production on ‘The Men, The Boys & Your Guy’ is a vibrant tapestry of Afrobeats, trap, gospel, and R&B, showcasing Spyro’s knack for polished yet dynamic soundscapes. Tracks like “Para” with M.I Abaga lean into trap-influenced beats, with hard-hitting drums and melodic synths that amplify M.I.’s razor-sharp lyricism and Spyro’s energetic flow. “Shutdown” with Phyno is another banger, blending Afrobeats with street-ready trap elements, its punchy production making it a club and playlist favorite. The nostalgic “Can’t Lie” with Faze uses subtle percussion and melodic instrumentation to evoke early 2000s Afrobeats while keeping a modern edge.

Spyro’s gospel roots shine in “Serving a Living God,” where smooth synths and melodic harmonies create a worshipful atmosphere that feels both contemporary and reverent. “Shope” is a quintessential Afrobeats anthem, with infectious percussion, lush guitar riffs, and dynamic arrangements that scream celebration. The production across the album is precise, with each track tailored to its featured artist or theme, ensuring variety without losing cohesion. Spyro’s ability to fuse traditional African rhythms with global influences makes the album accessible to both local and international audiences, positioning it as a potential crossover hit.

‘The Men, The Boys & Your Guy’ is a journey of legacy, identity, and growth, cleverly echoing Spyro’s breakout hit “Who Is Your Guy?” The album’s tripartite structure—“The Men” (honoring veterans), “The Boys” (celebrating new talent), and “Your Guy” (Spyro’s personal narrative)—creates a narrative arc that feels like a musical rite of passage. The cinematic 52-second trailer, featuring a young boy watching TV and a voiceover narrating Spyro’s evolution “from a boy chasing melodies to a bridge between legends and the future,” sets the tone beautifully. The album art, with Spyro in a bold red suit amid a monochrome grid of men, visually captures his standout presence in Afrobeats.

The Cavemen – Chameleon

Nigerian highlife duo The Cavemen, consisting of brothers Kingsley Okorie (bass) and Benjamin James (drums), have been torchbearers of modern highlife since their 2020 debut ‘Roots’. Their latest single, ‘Chameleon’, arrives as a lead single ahead of their forthcoming studio album and continues their mission to blend classic highlife rhythms with contemporary flair. Known for their soulful melodies and live-performance prowess, The Cavemen deliver a track that’s both a nod to their roots and a step into fresh sonic territory. 

The Cavemen’s vocal and instrumental delivery on ‘Chameleon’ is a masterclass in understated elegance. Benjamin James’ lead vocals are warm and emotive, carrying the weight of the song’s heartbreak theme. The lyrics, which liken his subject to a chameleon’s ability to change colors, are delivered with a conversational sincerity that feels deeply authentic. ‘Chameleon’ balances philosophical introspection with accessible storytelling, blended with Kingsley’s backing harmonies that add depth and a rich, layered vocal texture.

The duo’s instrumental interplay is equally compelling. Kingsley’s basslines are smooth yet commanding, anchoring the track with a groove that feels both nostalgic and modern. Benjamin’s drumming is precise, weaving traditional highlife rhythms with subtle contemporary flourishes, ensuring the track remains dynamic without overpowering its soulful core. The delivery is intimate yet universally relatable, making ‘Chameleon’ a song that invites both reflection and movement.

The production on ‘Chameleon’ showcases The Cavemen’s ability to fuse vintage highlife with modern sensibilities. The track is built on warm percussion, intricate guitar work, and smooth harmonies, creating a sound that’s organic and timeless, as the lyrics tell a story of deceit, and the feeling of bitter betrayal that comes after.

A precursor to their forthcoming album, ‘Chameleon’ is a captivating lead single that reinforces The Cavemen’s status as highlife innovators. Its soulful delivery, meticulous production, and moving theme positions it as a standount in their discography. While it’s a single rather than a full album, its depth and replayability places it as an approapriate release to a larger project.

Thakzin – Gods Window, Pt. 1

South African producer and DJ Thakzin, a pioneer of the 3-Step genre, has released his highly anticipated debut album ‘Gods Window, Pt. 1’ via Platoon. This 18-track project, featuring a range of collaborators is a spiritual and cultural journey that blends traditional African rhythms with contemporary sounds like amapiano, gqom, and Afro-house.

Thakzin’s ‘Gods Window, Pt. 1’ is a collaborative triumph, with Xolani Guitars’ contribution on “When We Play” standing out as a highlight. The track features Xolani’s traditional string work, which adds a jazzy, soulful texture to Thakzin’s 3-Step framework. 

Across the album, Thakzin’s vocal presence is understated but impactful, often serving as a guiding thread rather than the focal point. Tracks like “Makukhanye (The Way In)” with Thandazo and “The Calling” with Thandazo and Tete showcase soulful, emotive deliveries that balance modern R&B with native vocal styles. The collaborative approach—featuring artists like Sun-EL Musician, Miči, Mzizi, and Baby S.O.N—ensures a diverse vocal palette, with each artist bringing authenticity to the project’s spiritual and cultural themes. 

Thakzin’s production on ‘Gods Window, Pt. 1’ is a masterclass in genre fusion, with multiple tracks exemplifying his 3-Step philosophy—a rhythmic approach that drops a kick from the traditional house pattern for a distinctive tension-and-release feel. The production is hi-fidelity, with crisp drums, pillowy synths, and layered textures that evoke a healing, spiritual energy.

The album as a whole is a sonic journey, divided into three thematic sections—past, present, and future—reflecting Thakzin’s vision of continuity between ancestry and modernity. Tracks like “Imali Yephepha” (featuring Suffocate SA, Citizen Deep, Divine Keys, and Baby S.O.N) and “Love & Pride” (with Sun-EL Musician and Miči) showcase his ability to merge amapiano’s crunching energy, gqom’s guttural drums, and Afro-house’s soulful harmonies. “Botho Begins With Her” with Mankabosane Cultural Group leans into tribal dub, while “Utlwa” with Mörda and Xelimpilo explores atmospheric, melody-driven soundscapes. The production is cohesive yet varied, designed as a “no-skip” experience that feels like a layered cultural narrative.

‘Gods Window, Pt. 1’ is a spiritual odyssey, drawing from Thakzin’s upbringing in Johannesburg’s Ivory Park, where Sangoma drumming rituals shaped his belief in music’s healing power. The album’s title, inspired by the scenic South African landmark, symbolizes a window into cultural and personal evolution. 

The strategic rollout saw singles like “Imali Yephepha” and “Love & Pride” that built anticipation, alongside a Spotify documentary, ‘RADAR Presents Thakzin’, spotlighting his 3-Step innovation. The album’s release coincides with Thakzin’s upcoming performance at the ACCES 2025 music conference in Tshwane

‘Gods Window, Pt. 1’ is a stunning debut that cements Thakzin as a visionary in South African electronic music. Thakzin’s 3-Step production, paired with a stellar cast of collaborators, creates a cohesive, spiritually resonant project that’s both a dancefloor catalyst and a cultural statement. While its 18 tracks demand commitment, the album’s layered storytelling and sonic diversity make it a rewarding listen. 

Mavo – Kilometer II

Fast-rising Nigerian artist Mavo, signed to Kilogbede Records, has dropped his highly anticipated sophomore EP, ‘Kilometer II’, on September 26, 2025, via Inner Circle Entertainment. Building on the success of his 2023 debut ‘Ukanigbe’ and 2024’s ‘Sanko’ and ‘Kilometer’, this seven-track project solidifies Mavo’s place in the Afrobeats and Afro-trap scene. Featuring heavyweights like Ayra Starr, Zlatan, Shallipopi, Kashcoming, Famous Pluto, and WAVE$TAR, ‘Kilometer II’ is a vibrant blend of street-hop, Afrobeats, and highlife influences. 

Mavo’s vocal delivery on ‘Kilometer II’ is confident and charismatic, showcasing his signature blend of gravelly vocals, streetwise swagger, and melodic finesse. Tracks like “Shakabulizzy” are infectious anthems, with Mavo’s playful yet assertive flow capturing themes of attraction and hustle. His delivery on “Escaladizzy II” (feat. Zlatan and Ayra Starr) is a standout, blending his pidgin-laced rhymes with Ayra’s soulful melodies and Zlatan’s energetic ad-libs, creating a dynamic, club-ready vibe. “Too Busy” (feat. Kashcoming) sees Mavo leaning into a reflective tone, addressing ambition and distractions with a conversational delivery that feels authentic.

The features elevate the EP without overshadowing Mavo’s presence. Ayra Starr’s ethereal vocals on “Escaladizzy II” add emotional depth, while Shallipopi’s street edge complements Mavo’s raw energy. “Kilogram” (feat. Famous Pluto) highlights Mavo’s ability to hold his own alongside rising stars, with his gritty storytelling shining through. Each track feels like a chapter in Mavo’s journey, with his versatile delivery tying together tales of campus hustle, heartbreak, and street credibility. His knack for “lamba” (Afrobeats slang) adds a fresh, youthful energy that resonates with Gen Z listeners.

The production on ‘Kilometer II’ is a vibrant fusion of Afrobeats, street-hop, and highlife, with producers like Dibs, 2Frosh, Wana Sn, and Aibrid crafting a sound that’s both gritty and polished. “Shakabulizzy,” produced by Dibs, is a club banger with energetic log drum grooves and lush guitar riffs, designed to dominate dancefloors. “Escaladizzy” (feat. WAVE$TAR), produced by 2Frosh, blends legwork-inspired beats with melodic hooks, showcasing Mavo’s experimental side. “Kilogram,” produced by Wana Sn, leans into street-hop with punchy drums and atmospheric synths, amplifying its raw energy.

The EP’s sonic palette is concise yet diverse, clocking in at just 9 minutes across seven tracks, ensuring every moment hits hard. “Shooting Star,” produced by Aibrid, opens the project with a reflective, melody-driven vibe, setting the tone for Mavo’s narrative of growth. The production ties into Mavo’s “Afro-trap” style, blending trap’s hard-hitting drums with Afrobeats’ infectious rhythms, as seen in “Ilashizzy.” The EP’s brevity works in its favor, delivering a no-filler experience that keeps listeners engaged.

‘Kilometer II’ is a journey of ambition, resilience, and self-expression, building on Mavo’s narrative from ‘Kilometer’ and ‘Ukanigbe’. The EP reflects his hustle, from street life to personal triumphs, with tracks like “Eko Towers” and “Ilashizzy” grounding the project in Nigerian urban culture. While the EP’s short runtime might leave some wanting more, its tight structure and high-energy tracks make it a potent addition to Mavo’s catalog.

DJ Neptune – Greatness IV

Nigerian disc jockey and producer DJ Neptune, a titan in Afrobeats, has unleashed his highly anticipated album, ‘Greatness IV’. Following the success of ‘Greatness III’ in 2024, this 14-track project elevates his legacy as a cultural curator, blending Afrobeats with diverse global sounds. Featuring a star-studded lineup including Kojo Black, Swayvee, Moelogo, Rybeena, Guchi, Berri Tiga, Timi Martins, Shon, Hotkeed, Reeha, Kabusa Choir, Lazarus, Dera, Lyrxx, Kimimoteleba, Gbolar Mighty, and Portable, ‘Greatness IV’ is a vibrant celebration of African diverse talents.

DJ Neptune’s ‘Greatness IV’ is a masterclass in collaborative synergy, with each artist bringing distinct energy to the project. Tracks like “Jeje Laye” (feat. Portable) burst with raw, streetwise charisma, with Portable’s unfiltered energy delivering an anthem that pulses with Lagos’ grit. “My Girl” (feat. Berri Tiga) showcases a smoother, romantic side, with Berri Tiga’s heartfelt vocals and catchy hooks like “I no get no other baby, only you in my head” creating an instant earworm.

Moelogo’s soulful verse on “Come With Me” adds emotional depth, blending R&B finesse with Afrobeats’ bounce, while “Taliban” (feat. Kojo Black) sees Kojo’s bold delivery channeling street pride with lines like “I be bado, call me Rambo, emi Dragon.” Lyrxx’s playful yet confident flow on “No Kiss And Tell” complements Neptune’s vision of lighthearted, flirty vibes, with lyrics like “I know you got another man, you just needed a passerby wey no go kiss and tell.” The Kabusa Choir’s harmonies on “Amin” bring a spiritual, Yoruba-inspired uplift, grounding the album in cultural authenticity. Every artist’s contribution feels purposeful, creating a cohesive yet adventurous sonic journey.

The production on ‘Greatness IV’, helmed by Timbun, Ugly & Though, NYRP, and DJ Neptune himself, is a dynamic blend of Afrobeats, Afro-fusion, and global influences like R&B and street-hop. Tracks like “Dance No Dance” (feat. Swayvee) are electrifying, with infectious percussion and lush guitar riffs that fuse Afrobeat’s rhythm with a contemporary edge, making it a dancefloor staple. “Katampe” (feat. Rybeena) leans into crisp, log-drum-heavy beats, while “Good Mood Good Vibe” (feat. Kikimoteleba) uses vibrant synths and punchy drums to create an uplifting, party-ready atmosphere.

The album’s soundscapes are meticulously crafted, balancing high-energy anthems with introspective moments. “Amin” (feat. Reeha and Kabusa Choir) incorporates Yoruba spirituality with melodic harmonies, while “Street” (feat. Gbolar Mighty) delivers raw, unfiltered energy with gritty production that mirrors Lagos’ hustle. The production is hi-fidelity yet rooted in African rhythms, with each track designed to resonate across moods—from turn-up bangers like “Never Settle For Less” (feat. Hotkeed) to reflective cuts like “Money I Get” (feat. LAZ and Dera). Neptune’s ability to weave diverse sounds into a cohesive narrative cements his role as a sonic architect.

‘Greatness IV’ is a celebration of African identity, resilience, and creativity, with tracks reflecting daily struggles, aspirations, and joy. The album’s 14 tracks are structured for broad appeal, with no filler, though its dense roster of features might overwhelm some listeners.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

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Released on April 11, 2025, “Isaka (6am)” has resonated deeply with listeners, blending elements of Amapiano and Afro-soul to create a track that captures the reflective tranquillity of early morning. The song’s emotive lyrics and atmospheric production have contributed to its widespread appeal.

Ciza, born Nkululeko Nciza, has been steadily rising in the music scene, with previous hits like “Come Alive” and “Adje”. His latest success with “Isaka (6am)” marks a significant milestone in his career, showcasing his ability to blend genres and connect with a broad audience.

The track’s popularity has been bolstered by its presence on various streaming platforms and playlists, as well as its viral spread on social media, where fans have praised its emotional depth and musicality.

“Isaka (6am)” is a material that showcases Ciza’s evolving artistry, the global influence of South African music genres like Amapiano, and the growing influence of the 3 Step subgenre. As the song continues to dominate charts and airwaves, it solidifies Ciza’s position as a leading figure in the contemporary African music landscape.

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The almost 3-minute track is a masterclass in emotive songwriting layered over breezy, uncomplicated production. The song opens with the vibrant sounds of guitar, shakers, Afrobeats percussion, and log drums that usher in the chorus. Nnennaya is fearlessly vulnerable: “Just surrender, just surrender to me baby forever, see my lover make we make memories together.” The brief intro is grounded with subtle background vocals: “See me baby, you know I love you so / If you screw me baby, I’ma let you go / I adore you with my heart and soul / But if you screw me, I’ma let you go.”

Nnennaya Kelly’s ‘A’ma Get My Way’ carries the very essence of a well-produced Afro-R&B record—a poignant narrative laid over a vibey, emotionally textured beat. However, it may have landed with even more impact if delivered with a slightly shorter runtime and a bump in instrumental volume.

On ‘A’ma Get My Way’, the songstress is unfiltered in her desire for her muse. Yet, she lays bare her vulnerability as if she holds all the cards, an interesting inversion of power that reflects the emotional complexities of modern-day romance. Nnennaya makes no attempt to hide her desire. It’s a full-blown plea, the kind that comes without ego, almost like she’s handing over every card in the deck. But there’s strength in that vulnerability, the type that doesn’t beg for love as much as it dares the muse to be worthy of it.

In a time where emotional detachment is currency, her openness feels bold, and if this single is any indication, her forthcoming EP is set to challenge the genre’s conventions and expand what Afro-R&B can feel and sound like.

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Leading up to the awards, Tyla received three nominations: World Artist of the Year, R&B Song of the Year, and Dance Song of the Year. Her nomination for World Artist of the Year is to highlight her role in bringing African music to a global audience. ​In this category, Tyla was nominated alongside prominent artists such as Burna Boy, Central Cee, Tems, YG Marley. Securing the award amidst such esteemed company highlights her remarkable rise in the international music arena.​

Tyla’s self-titled debut album, released in 2024, debuted at number 24 on the US Billboard 200 chart. The album features her breakthrough single, “Water,” which peaked at number seven on the US Billboard Hot 100. ​

The 12th annual iHeartRadio Music Awards celebrated the year’s most-played artists and songs across iHeartRadio platforms, reflecting the dynamic evolution of the global music industry. ​Tyla’s achievement not only marks a personal milestone and signifies a moment of pride for African music on the world stage.​

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This wasn’t just another stop on a tour; it was a landmark moment for South African and African entertainment. Showmax made history by becoming the first streaming service (SVOD) in Africa to exclusively live stream a homegrown concert, bringing Tyla’s electrifying performance to fans across 44 African countries.

The night drew a diverse crowd, including notable figures like South African Minister of Sports, Arts and Culture, Gaston Mckenzie. His presence emphasizing the cultural significance of Tyla’s performance and the growing recognition of the cultural landscape of Amapiano within South Africa and abroad.

Following the exhilarating concert, an official after-party was held at The Beach in Rivonia, allowing fans and attendees a chance to continue the celebration and mingle in a more relaxed setting.

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