1. Fun by Rema

With Rema’s “Fun,” patience takes center stage. When he says, “Omo mi e go hard before e go soft… universe no like force,” it reflects the idea that effort matters, but forcing outcomes rarely works. Some things unfold better when you allow them to happen in their own time.

2. Disturbing U by Ayra Starr & Darkoo

On “Disturbing U,” Ayra Starr and Darkoo bring confidence into focus. “Even if na wheel barrow carry me come, I go still raise my shoulder” speaks to self-assurance regardless of background. It’s a reminder that how you carry yourself can shift how you experience the world.

3. We Plenti by Simi & Cobhams Asuquo

There’s a sense of reassurance in “We Plenti” by Simi and Cobhams Asuquo. When they say, “This life na turn by turn o, your time dey come,” it captures the idea that life moves at different paces for different people. It also does a good job of reminding you that you are not alone in your struggles.

4. Common Person by Burna Boy

Burna Boy keeps things grounded on “Common Person.” The line, “I be common person, but my happiness still be my own oh,” highlights the fact that joy and dignity are not reserved for a certain status. They belong to everyone, regardless of their current circumstances.

5. This Year (Odun Yi) by Jaywon

On “This Year (Odun Yi),” Jaywon leans into hope and forward thinking. “Things will be better this year,” reflects the determination many people hold onto when things aren’t fully figured out yet. It’s less about certainty and more about choosing to hope whilst still in progress.

6. Uyo Meyo by Teni

With “Uyo Meyo,” Teni reminds listeners of the power of belief. “Everybody is born a winner, if only you just believe,” points to self-belief as a foundation for growth. It may sound simple, but maintaining belief in the face of adversity is often the hardest part of the journey.

7. Sunshine by Asake

Lungu boy Asake has always had a way with words, and Sunshine is no exception. On this song, he frames struggle as part of the process. “All my pains and struggles steady lighting my candle,” suggests that challenges can contribute to growth, shaping resilience in ways that are not always visible in the moment.

When tough times threaten to last, these Nigerian songs hit different because they give you the much-needed ginger to make it through the day.

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Her historic win continues a remarkable tradition of Nigerian talent being recognised on the global stage.

About the MOBO Awards

The MOBO Awards — short for Music of Black Origin — were founded in 1996 in the United Kingdom. It aims to recognize achievements in music genres rooted in Black culture. This includes hip‑hop, R&B, reggae, gospel, jazz, Afrobeats, and others. Over the years, the ceremony has become a key platform for showcasing African talent to a global audience.

Nigerian Artists Who Have Won Made MOBO Awards

2Baba — Best African Music Act (2007)

In 2007, 2Baba (popularly known as 2Face Idibia) became the first Nigerian artist to win a MOBO Award. This win marked a milestone for Nigerian pop music on the international stage.

9ice — Best African Music Act (2008)

In 2008, 9ice won Best African Music Act. It added to the success of his album Gongo Aso and affirmed Nigeria’s growing influence in African music.

Nneka — Best African Music Act (2009)

In 2009, Nneka Egbuna claimed Best African Music Act. This showcased the depth and diversity of Nigerian talent early in the MOBO Awards’ African category.

Wizkid — Multiple Wins (2011-2026)

Wizkid has been one of Nigeria’s most celebrated MOBO winners. He took home the Best African Music Act in 2011, 2016, 2020, 2021, and 2026. He also won Best International Act in 2017 and 2021, cementing his international influence.

D’banj — Best African Music Act (2012)

In 2012, D’banj won Best African Music Act, helping bring Afrobeats further into global consciousness.

Davido — Best African Music Act (2017)

In 2017, Davido won Best African Music Act at the MOBO Awards, a defining moment that reinforced Nigeria’s dominance in the category. His win came during a landmark year that also saw Wizkid take home Best International Act.

Burna Boy — Best African Music Act & Best International Act (2022)

Grammy-winning Burna Boy earned both Best African Music Act and Best International Act in 2022.

Asake — Best African Music Act (2024)

In 2024, Asake’s win for Best African Music Act reflected his creative breakout and the continent-wide appetite for his music.

Ayra Starr — Best African Music Act & Best International Act (2025, 2026)

Ayra Starr’s victories at the MOBO Awards highlight her versatility and influence. In 2025, she won both Best African Music Act and Best International Act. Making history as the first female artist to claim both titles in the same year. Her 2026 MOBO win for Best International Act reinforces her place as one of Afrobeats’ leading voices globally.

Across nearly two decades, Nigerian artists have consistently been recognised at the MOBO Awards. From 2Baba’s first breakthrough win to Wizkid and Ayra Starr’s recent streak, these wins reflect the growth of Nigerian music. They also show the world’s hunger for Nigerian storytelling through song.

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If you don’t know who Angelique Kidjo is, we’ll forgive you only this once, but after this read, we promise that you won’t forget her name again.

The Making of a Legend: Angelique Kidjo’s Early Life

Born in Ouidah, Benin, on July 14, 1960, Angelique Kidjo grew up surrounded by creativity: her father was a musician, and her mother a choreographer and theatre director. By age six, she was performing in her mother’s theatre troupe; by her teenage years, she was singing and composing. Moving to Paris in the early 1980s opened her to global musical styles and collaborations, launching a journey that would redefine how the world hears African music.

Kidjo blends traditional West African rhythms from her native Benin with jazz, funk, Latin, Afro-pop, gospel, and more, often singing in multiple languages, including Fon, Yoruba, French, English, and Gen. Her versatility and fearless experimentation have made her a household name across continents.

Angelique Kidjo’s Grammy Wins and Career Milestones

Angelique Kidjo, true to her trailblazer status, is a five-time Grammy Award winner:

• 2008: Djin Djin — Best Contemporary World Music Album
• 2015: Eve — Best World Music Album
• 2016: Sings — Best World Music Album
• 2020: Celia — Best World Music Album
• 2022: Mother Nature — Best Global Music Album

Beyond awards, she has performed on the world’s most prestigious stages — from Carnegie Hall to the Olympics opening ceremony — and has been recognized by Time magazine as one of the 100 Most Influential People in the World. She has received the Polar Music Prize and the Amnesty International Ambassador of Conscience Award, affirming her influence both as an artist and a global citizen.

Cultural Ambassador and Activist

Kidjo is a UNICEF Goodwill Ambassador and founder of the Batonga Foundation, which supports girls’ education across Africa. Her advocacy shows that music can inspire change, empower communities, and educate.

Her songs often tackle identity, freedom, and social issues, demonstrating how music can be joyful while still carrying a powerful message.

Supporting the Next Generation

More than being an icon, Kidjo is also a fan who constantly celebrates emerging African talent. She praised Rema, describing his hit Calm Down as “a unique flow and feel… rooted in Africa but also catchy and virtuosic,” calling him the embodiment of Afrobeats’ global rise. She complimented Burna Boy by telling him, “You really made me listen to my song differently… You are killing them all.” These moments show her respect for the new generation and her ongoing engagement with Africa’s evolving music scene.

The upcoming track with Ayra Starr represents a convergence of decades of influence and fresh talent. This collaboration promises an exciting fusion of experience and contemporary energy, showcasing how African music continues to evolve while honoring its roots.

Angelique Kidjo has shaped the global perception of African music at every stage of her journey. With this new project, she continues to create, uplift, and inspire. Friday’s release is a celebration of African music’s past, present, and future, and we can’t wait for it.

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10. Crayon

Crayon carved a vital niche in Mavin’s modern roster during his tenure, delivering consistent commercial output and collaborative synergy that bolstered the label’s depth in the streaming era, with a catalogue that approached and surpassed 375 million streams. His versatility across melodic and street-edged sounds earned critical respect for artistic range, while his sustained presence and role in elevating the collective catalogue underscored strong longevity and label-specific value in keeping Mavin’s sound vibrant and competitive.

9. Ladipoe

Ladipoe has brought lyrical credibility and reliable consistency to Mavin’s lineup since 2017, bridging rap-sung hybrids with commercial and critical appeal. Standout releases like “Feeling” and frequent high-profile features have generated tens of millions in streams while earning respect for thoughtful songcraft, supporting the label’s group projects and expanding its sonic palette. His steady output and multi-year tenure reflect strong longevity on the roster and valuable label-specific contributions in maintaining Mavin’s reputation for quality and versatility amid the streaming era’s demands.

8. Johnny Drille

Johnny Drille exemplifies Mavin’s emphasis on artistic longevity and sonic diversity, his 2017 signing yielding the most consistent catalogue presence among current signees. Through multiple acclaimed albums, the enduring “Johnny’s Room Live” series, and loyal fan engagement that translates to sustained streams and touring, he has maintained relevance across shifting industry tides. While his numbers are more niche than the global stars, his distinctive alternative-R&B fusion earns critical admiration and adds essential label-specific depth, proving Mavin’s ability to nurture enduring talents beyond viral hits.

7. Dr. SID

Dr SID earns his place as a key architect of Mavin’s inaugural era, delivering standout individual hits like the anthemic “Surulere” (with Don Jazzy) and carrying forward melodic Afro-pop excellence from Mo’ Hits into the new label via Solar Plexus and features. His awards (Soundcity, NMVA), production-savvy style, and enduring catalogue resonance (millions of streams on classics like “Over The Moon”) reflect a personal hit-making legacy and cultural impact as one of the first faces of Mavin, even as later acts surpassed him in streaming volume.

6. Korede Bello

Korede Bello delivered some of Mavin’s most iconic early commercial moments, his 2014 signing producing hits like “Godwin”, the Headies Best Pop Single winner, and the RIAA Gold-certified “Do Like That” that became the label’s highest-certified digital single at the time. Those breakthroughs, alongside group anthems and Nigeria Teen Choice recognition, anchored Mavin’s formative wave and drove significant local sales and cultural resonance in the pre-streaming-to-digital transition. Though his later catalogue is smaller, the foundational impact and label-defining hits secure his place as an essential architect of the brand’s early success.

5. Reekado Banks

Reekado Banks defined Mavin’s breakthrough mid-2010s phase with explosive early commercial success and award-winning momentum that helped solidify the label’s reputation before the global streaming boom. His 2016 album Spotlight cracked the top 10 on Billboard’s World Albums chart, while signature hits and the Headies Next Rated crown (plus Rookie of the Year honours) drove massive local and regional dominance during his 2014–early-2020s tenure. That era-spanning impact, paired with his anchoring role in iconic group records like “Dorobucci”, reflects high cultural and label-specific value as one of the acts who put Mavin on Nigeria’s map, even as later artists eclipsed his raw streaming totals.

4. Wande Coal

Wande Coal earns a rightful top-tier spot for his individual vocal mastery and foundational influence on the “Mavin sound”, even with a shorter direct tenure (2012–2014). His Mo’ Hits-to-Mavin transition carried iconic artistry forward—hits like those from Mushin 2 Mo’ Hits remain revered benchmarks for Afrobeats crooning and production—while his overall career (650+ million Spotify streams, enduring monthly listeners in the millions, and legend status affirmed by peers) reflects elite individual achievement. He embodies the label’s early prestige as a hitmaker and vocal benchmark, outweighing longer-but-less-iconic runs in pure artistic legacy.

3. Ayra Starr

Ayra Starr embodies Mavin’s evolution into a global critical and commercial powerhouse; her meteoric rise since her 2021 signing delivers the label’s most potent blend of streams, acclaim, and generational influence. Clocking more than 3.4 billion total Spotify streams in just a handful of years—with her album The Year I Turned 21 alone, surpassing one billion, and “Rush” becoming the most-streamed solo track by any Nigerian female artist—she earned a historic Grammy nomination in the inaugural Best African Music Performance category. Her international chart dominance, Latin Diamond RIAA certification for “Santa”, and role as the youngest African female to crack major global playlists underscore profound cultural impact, while her rapid yet sustained output affirms both longevity on the roster and the label-defining prestige of elevating Mavin’s female artistry to worldwide stages.

2. Tiwa Savage

Tiwa Savage is the irreplaceable foundation stone of Mavin Records, the artist whose longevity and cultural authority from the label’s 2012 inception bridged the pre-streaming and digital eras with unmatched authority. As the first major signee and self-crowned Queen of Afrobeats, she racked up over 800 million career Spotify streams while delivering era-defining albums like R.E.D and anchoring collective anthems such as “Dorobucci”; her trailblazing awards haul—including the first MTV Europe Music Award for Best African Act by a woman—cemented Mavin’s early prestige and Nigerian dominance. Her enduring influence as a role model for African female pop stars and her pivotal role in establishing the label’s brand give her unmatched label-specific value, even as streaming metrics favour later signees.

1. Rema

Rema stands unchallenged at the pinnacle of Mavin Records’ legacy, his dominance forged in the streaming era, where pure commercial metrics reign supreme. With over 5.9 billion total Spotify streams—including lead streams exceeding 5 billion—and “Calm Down” (featuring Selena Gomez) becoming the first African-led track to surpass one billion streams while peaking at No. 3 on the Billboard Hot 100, he delivered the label’s single greatest global breakthrough. That record-shattering run, coupled with his RIAA Gold-certified album Rave & Roses, a sold-out O2 Arena headline, and recent AFRIMA sweeps, including Artiste of the Year, cements his unmatched cultural impact as the artist who propelled Afrobeats into mainstream American consciousness; his label-specific value is incalculable, as Mavin’s UMG majority investment and worldwide expansion were built on the foundation he laid since signing in 2019.

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Released on March 6, 2026, the song arrives as Ayra Starr’s first solo release of the year, pairing sleek Afrobeats production with reflective songwriting that sits in the emotional grey area between romance and clarity.

Speaking in recent interviews, including appearances on ‘Way Up With Angela Yee‘ and Africa Now Radio on Apple Music, Ayra Starr described the inspiration behind the song as a “very funny” but, ultimately, unhealthy personal situation.

The relationship, she explained, unfolded largely in secret. A dynamic built around late-night visits, quiet meetups, and emotional moments that rarely extended beyond private spaces. While the connection carried genuine feelings, it also came with the frustrating ambiguity of a partner who kept the relationship undefined.

For Ayra Starr, that lack of clarity eventually became the emotional centre of the song. She described it as a familiar modern dating scenario: a situationship where affection and intimacy exist, but commitment never fully arrives.

On “Where Do We Go”, Ayra Starr captures the push-and-pull of that experience. The track explores the emotional loop of a relationship that feels real in the moment but never quite moves forward.

The lyrics circle around the same lingering question that often hangs over undefined relationships: where exactly is this going? That uncertainty, the feeling of being led on while hoping for clarity, became the narrative thread running through the song.

Musically, the record leans into smooth Afrobeats rhythms layered with introspective melodies, creating a soundscape that mirrors the emotional tension of the story: warm, inviting, but quietly unsettled.

The revelation has added another personal dimension to the single, with fans quickly connecting to its themes of love, confusion, and emotional self-reflection.

Situationships have become a defining feature of modern dating culture, and Ayra Starr’s willingness to unpack that experience openly has resonated with listeners who recognise the emotional push-and-pull the song describes.

As one of Afrobeats’ most compelling young voices, Ayra Starr has steadily built a catalogue that balances confidence with vulnerability.

With “Where Do We Go“, she continues that pattern of transforming personal uncertainty into a song that feels both intimate and widely relatable.

And as the singer continues her global rise and prepares for more music and, perhaps, an album in 2026, the single serves as another reminder of the quality that has made her stand out. The ability to turn messy, complicated emotions into melodies that travel far beyond the moment they were written in.

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Where Do We Go — Ayra Starr

Among the fresh drops hitting playlists today, Ayra Starr’s “Where Do We Go” stands out as a bold opener for her year. The Nigerian-Beninese Afrobeats star, teased the new single back in February with multiple snippets that had built anticipation. 

Right off the bat, the production pulls you into a sultry, pulsating groove. It’s got that signature Ayra polish—think layered synths with a subtle Afrobeat pulse, with an explosive intro that simmers with a nighttime vibe, like racy city streets under neon lights. Her voice slides in smooth and confident, a bit huskier, feeling a little more R&B-infused than her usual high-energy anthems, echoing the vulnerability she hinted at in recent interviews about evolving her sound. “You come and see me, back to Mercedes / You know the spot you want / You’ve been here before”, painting a picture of secretive rendezvous, luxury cars, and familiar temptations. It’s raw, almost confessional, touching on the push-pull of a complicated fling. Production-wise, the bassline throbs just enough to make it danceable, and a club starter. As the record progresses into the pre-chorus—”And there we go / I tell my friends you’re out of town / They don’t need to know / What we doing after hours”—the track layers in ethereal echoes and a faint percussion build. Ayra Starr’s delivery here is playful yet poignant, blending flirtation with a hint of regret. This section is reminiscent of her growth from the youthful energy of her early work to something more mature, exploring uncertainty in relationships. The chorus swells with emotional weight, her vocals soaring over a sparse arrangement that lets the lyrics breathe. Themes of longing, closure, and what-ifs dominate, making it a reflective ballad that lands so powerfully. 

“I’ma need that bad boy / My turn, spin the block / Can I give us a try / All this time that you spend in my mind / Yeah, your love when I’m drunk off the wine / Then I call you out of line.” The bridge ramps up the intensity with faster phrasing, injecting a bit of sass and urgency. It’s empowering in a subtle way as Ayra Starr reclaims agency in the chaos of emotions. 

“Where Do We Go” is a pivot for Ayra Starr with lyrics that are raw, relatable, and that unpacks the limbo of modern relationships with clever wordplay and universal appeal. Production is sleek and her vocals shine on the instant party starter.

HOW FAR (Remix) — NO11, Focalistic, CIZA, Famous Pluto, Ayjay Bobo

Rising Nigerian talent NO11 leads the charge in reimagining his breakout single, now supercharged with South African heavyweights Focalistic, CIZA, and alongside Ayjay Bobo and Famous Pluto.

South Africa and Nigeria meet somewhere in the middle on ‘How Far (Remix)‘, a lively cross-border link-up that leans into groove, charisma, and easygoing bravado. The original already carried a conversational bounce, but the remix expands the canvas—pulling in new voices and giving the record a wider Afropop–Amapiano energy.

From the first seconds, the production settles into a rhythm built for movement. Log drums roll gently beneath airy synths, while the percussion sits in that familiar Amapiano pocket—steady, hypnotic, and unhurried. It’s the kind of instrumental that doesn’t rush its performers; instead, it invites them to glide across it with personality.

NO11 sets the tone with a relaxed but confident delivery, framing the song’s central mood: casual check-ins that double as subtle flexes. The phrase “How far?”—a greeting as common as it is loaded in Nigerian slang—becomes the track’s anchor, turning everyday conversation into a rhythmic hook.

When Focalistic arrives, the song leans further into its Amapiano DNA. His verse carries the swagger and melodic cadence that have made him one of the genre’s most recognizable voices, injecting a distinctly South African bounce that widens the track’s sonic scope without disrupting its laid-back flow.

CIZA follows with a smoother melodic passage, offering a slightly more polished vocal layer that contrasts with the playful energy around him. His contribution adds a melodic lift that briefly softens the groove before the rhythm settles back into its steady stride.

Then Famous Pluto and Ayjay Bobo step in to round out the remix with street-leaning charisma. Their sections feel spontaneous, almost conversational, reinforcing the track’s core identity as a social record—something that thrives in open spaces, loud speakers, and casual gatherings.

What makes How Far (Remix) click on a first listen is its chemistry. With five voices on the record, it could easily feel crowded, but the production keeps everything light and breathable. Each artist gets just enough room to stamp their personality on the groove before the next voice steps in. The song leans into vibe, repetition, and rhythm—the kind of record that spreads through playlists and party rotations because it feels instantly familiar.

‘How Far (Remix)‘ lands as a vibrant Afro-Amapiano link-up: a track less concerned with lyrical depth than with the easy pleasure of rhythm, language, and shared musical space.

FALL ON ME — ANGELIQUE KIDJO, PJ MORTON

The soulful sounds are flowing strong with the lead single from Angélique Kidjo’s upcoming album ‘HOPE!!‘, set for April 24 release. Angelique Kidjo’s “Fall On Me”, featuring PJ Morton, marks a heartfelt collaboration born from a serendipitous studio meet-up after Angelique Kidjo’s New Orleans Jazz Fest performance years ago. The five-time Grammy-winning Beninese icon teams with the Grammy-winning American soul/R&B powerhouse for what feels like a cross-continental prayer of vulnerability, faith, and connection. The trak opens soft and warm—subtle piano chords, light percussion, and a gentle groove that feels like morning light filtering through. Angelique Kidjo’s vocals lands first, rich and textured, carrying that unmistakable West African warmth with a hint of spiritual depth. PJ Morton’s harmonies layer in almost immediately, his smooth, gospel-tinged tone blending seamlessly. The lyrics are poignant: themes of leaning on each other, letting go, and trusting in something greater “Fall on me when the weight gets heavy”. Angelique Kidjo’s delivery is powerful and tender, straddling Afro-soul roots while incorporating subtle rhythmic elements that nod to her Benin heritage. Morton’s response verse adds a soulful counterpoint—his phrasing is effortless, infusing R&B warmth and gospel runs. The interplay is magic: two masters trading lines like old friends in conversation. Production is clean and organic—acoustic touches, light bass, that lets the voices shine.

The hook is repeated with building harmonies, that is simple, repetitive, and profoundly moving. Angelique Kidjo’s soaring ad-libs meet Morton’s rich falsetto, creating layers of emotion that feel communal. There’s a subtle rhythmic pulse underneath, perhaps faint percussion  that evokes African grooves. The song ends on a resolved, hopeful note with a soft landing that leaves a listener reflective and uplifted. 

Angélique Kidjo’s global, Afro-centric spirit meets PJ Morton’s deep Southern soul, creating something transcendent that bridges cultures without forcing it. The lyrics are poetic and sincere, tackling themes of support, resilience, and spiritual surrender with grace.

10 MINUTES — 6UFF, ODUMODUBLVCK

There is an unfiltered urgency that runs through 10 Minutes, the new link-up between 6uff and Odumodublvck. The record leans into the rough-edged intensity that has increasingly defined Nigeria’s alternative rap corner; dark, bass-heavy, and built around attitude as much as lyrical expression.

The production moves with a tense minimalism. Heavy kicks sit beneath a murky sonic atmosphere, leaving just enough space for the artists to stamp their presence across the beat. There is no attempt to soften the edges; the instrumental feels deliberately raw, almost confrontational. 

6uff opens with a controlled but assertive delivery, establishing the tone early. His cadence feels conversational but loaded with intent, threading through the beat with a steady confidence that holds the record together.

When Odumodublvck enters, the track sharpens. His voice—already one of the most commanding in the current Nigerian rap conversation—cuts through the instrumental with a booming, almost theatrical presence. His verse carries the braggadocio and street-rooted commentary that fans have come to expect, but it also reinforces the track’s central energy: momentum, pressure, and a sense that time is constantly ticking.  The title “10 Minutes” subtly frames that urgency. The record feels like a snapshot moment—an intense burst rather than a slow build. It thrives on immediacy, landing its punches quickly before the track can overextend itself.

“10 Minutes” is a sharp, compact street rap entry—another reminder that the gritty edge of Nigeria’s hip-hop scene continues to evolve in real time.

MOFE — MAVO

On “MOFE“, Mavo leans into emotional clarity, delivering a record that sits comfortably within Afropop’s softer, melodic tradition. Where many contemporary singles chase tempo and spectacle, this one slows things down, choosing warmth and sincerity instead.

The production carries a gentle rhythmic pulse of soft percussion layered beneath mellow chords and airy melodies. It’s a restrained instrumental that places the vocal at the centre, allowing the song’s emotional tone to develop naturally.

Mavo’s delivery arrives with an understated tenderness. His voice glides through the beat with a calm steadiness, balancing melody with conversational phrasing. The title ‘MOFE‘—a Yoruba expression loosely tied to desire and longing—shapes the emotional direction of the song. Across the record, affection and vulnerability sit side by side, creating the feeling of a quiet confession rather than a dramatic declaration.

There is a simplicity to the songwriting that works in the track’s favour. Instead of crowding the record with complex lyrical turns, the song leans on mood and repetition, letting the sentiment unfold through melody and rhythm.

By the time the chorus settles in, the record feels comfortably immersive. Nothing about the song pushes aggressively for attention; it draws the listener in gradually. ‘MOFE’ lands as a smooth, emotionally grounded Afropop offering—one that reminds listeners how effective simplicity can be when melody and feeling are allowed to lead.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

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She was the centre of attention at the special Grammy Museum event in New York, where the Grammy-nominated singer offered fans an intimate look into her artistry, growth, and global ascent. The evening, hosted as a sit-down conversation and live showcase, celebrated her recent Grammy recognition while spotlighting her expanding creative range.

At the event on December 16, 2025, Ayra Starr took fans and music lovers behind the scenes of her creative journey, revealing what she’s learnt from working with Afrobeats icon Wizkid. In a candid segment of the discussion, she described Wizkid as a “living legend”, emphasising how his calm confidence and grounded presence taught her that “confidence isn’t noise”, a lesson she says reshaped how she approaches her own artistry and stage presence.

“It’s one thing to collaborate with a legend,” Ayra Starr said—referencing her work with Wizkid on ‘Gimme Dat’—“and another to leave the room changed by them”. Her reflections weren’t just about industry clout but about creative humility and artistic evolution.

Beyond the conversation, Ayra delivered a stripped-back acoustic performance that highlighted her vocal control and emotional depth. She performed her Grammy-nominated song “Gimme Dat”, alongside her latest release, “Who’s Dat Girl”, featuring Rema, as well as “Orun” and a selection of other fan-favourite records, reimagined in a softer, more personal setting.

The event also drew notable industry figures and fellow artists, with Justin Skye among those in attendance, further underlining the cultural weight of the evening.

The Grammy Museum evening also featured Starr in conversation about her music process, her international ambitions, and her career trajectory, which has seen her expand beyond Afrobeats into a global pop voice with a permanent base in New York City.

This appearance further underscores Ayra Starr’s rise as a cross-continental star, blending introspective commentary with her growing musical impact while closing out 2025 on a high note ahead of the 2026 Grammy Awards.

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Predominantly a rap artist, her name change initially sparked speculation that she was pivoting toward Afropop for a broader share of the Nigerian listening market. But that wasn’t the case. Whatever informed the rebrand, none of it obstructs the warmth and grit of her delivery. She continues to rap-sing with the same essence she introduced to day-one fans, just sharpened with experience. And on this new release with Nigeria’s finest pop star, Ayra Starr, Elestee coats her rap-sing flair over Ayra’s radiant pop sheen, offering listeners a crisp, satisfying taste of what happens when a rising talent collaborates with a superstar.

“On A Low”, produced by Sparq, opens with vibrant, cuddly guitar harmonies softened by tender percussion. Elestee sketches the story of a steamy, secret romance she hopes to fully explore with her muse. Throughout the track, she and Ayra Starr trade verses like a clean rally in a tennis match—each pass deepening the layers of their clandestine connection.

The song’s groove leans heavily into Elestee’s duality. She spotlights her melodic strengths in the opening verse, then slips back into her rap roots on the second:

“Hi, I just wanna know, tell me
Know you wanna keep the ring on my celly
Know you wanna put a ring on my finger
Yh, your little spawn inside of my belly…”

Her verse snaps into place with Ayra Starr’s commanding presence in the pre-chorus. Ayra delivers a smooth, assertive pop flow that blends seamlessly with Elestee’s cadence, especially in the final stretch of the chorus, where Elestee’s ad-libs feather in as Ayra takes full charge.

“On A Low” ultimately works because it doesn’t force either artist outside their zone. Instead, it lets their strengths brush against each other until something warm, slick, and replay-ready forms. Elestee stands firm in her rap-sing identity, Ayra Starr elevates the track with her polished pop firepower, and together they create a record that feels like a quiet declaration: Elestee may be rising, but she’s doing so on her own terms, with enough confidence to match one of Africa’s biggest pop stars beat for beat.

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Blaqbonez— No Excuses (Album)

Blaqbonez’s ‘No Excuses’, is a 17-track, 45-minute victory lap that doubles as a defiant middle finger to complacency. Fresh from strutting Paris Fashion Week for Vivienne Westwood, Emeka Akumefule delivers a project that’s equal parts manifesto and masterclass, blending UK drill, Afrobeats, and amapiano with a lyrical edge that’s sharp, witty, and unrelenting. From the opening banger “Everlasting Taker,” Blaq sets the tone with Telz’s trap-laced production and lines like “Last real n***a, I might be am”, owning his grind with zero apologies. It’s a high-octane rush on first listen, demanding replays before the acoustic fade of closer “Stack$$$$” even settles, but its ambition occasionally teeters on overstuffed.

The album’s strength lies in its versatility and stacked roster. Tracks like “Consistency” with AJ Tracey spark cross-Atlantic fire, blending Blaq’s playful jabs (“I no go play you like El Classico”) with AJ Tracey’s gravelly flow, while “Aura 4 Aura” with Pa Salieu dives into glitchy synths and West African percussion for a global rap fever dream. Olamide’s ad-libs on “Star Life II” elevate it to anthemic heights, and Phyno’s Igbo-infused verse (likely on “ACL”) grounds the project in Naija roots. Producers like JAE5 and Magicsticks keep the beats crisp and varied, while features from Zinoleesky, Bella Shmurda, and Young Jonn add melodic heft. Yet, with 15 guest spots, Blaq’s solo shine occasionally gets crowded, and a few experimental swings feel like rough drafts needing polish compared to the laser focus of ‘Emeka Must Shine’.

By the time “Stack$$$$” closes with introspective acoustics, calling out industry snakes and social media fakery, ‘No Excuses’ cements itself as a fearless step forward. Blaqbonez’s ‘No Excuses’ is a bold, cohesive body of work that showcases his evolution from Lagos underdog to Africa’s rap visionary. 

Zlatan — Symbol of Hope (Album)

Zlatan Ibile’s ‘Symbol of Hope’, his third studio album and first proper full-length since 2021’s ‘Resan’. ‘Symbol of Hope’ is a 15-track testament to grit, gratitude, and the grind that turned a kid from Ikorodu’s tough streets into Afrobeats royalty. Clocking in around 45 minutes, this star-packed project—featuring heavyweights like Davido, Olamide, Flavour, Victony, Mayorkun, Shallipopi, Bhadboi OML, Qing Madi, Lojay, Idowest, and FOLA—feels like a coronation lap, blending Zlatan’s signature street-hop bounce with introspective highs and motivational lows. On first spin, it’s a no-skip rush: raw, reflective, and relentlessly uplifting, transforming personal scars into universal anthems that scream, “If I made it, you can too.” Hot off the Billboard-charting single “Get Better” with FOLA, the album pulses with that Zanku energy but dials up the vulnerability, making it less party starter and more perseverance playbook.

The opener “Pay Day” hits like a victory siren, Zlatan’s baritone swagger over booming bass declaring triumphs snatched from the jaws of defeat, setting a tone of unapologetic hustle that carries through the midsection’s bangers. “Gimme Your Love” reunites him with mentor Olamide for a nostalgic heater that nods to their 2017 roots, while Davido’s melodic flair on a standout cut (likely “Better Life”) elevates the aspirational vibes to stadium-ready heights—pure earworm gold with hooks that lodge deep. “Demons” ft. Qing Madi slows it down for a soul-stirring confessional on inner battles and fatherhood, her ethereal vocals weaving through Zlatan’s gritty confessions like a lifeline in the dark. Victony’s collab on “Bebe” showcases growth, blending street charisma with soulful depth in a track that’s equal parts body-mover and heart-tugger, proving Zlatan’s evolution beyond the trenches. Production is crisp and varied—afro-R&B nods to Lagbaja on “Diamond,” highlife infusions with Flavour, and trap edges with Shallipopi—keeping the runtime dynamic without a dull moment. Lyrically, it’s Zlatan at his most unfiltered: tales of skipped meals morphing into blueprints for believers, laced with humor and zero filler.

Yet, for all its fire, the feature density (nearly every track has a guest) occasionally crowds Zlatan’s solo shine, turning what could be intimate memoirs into a family reunion that risks diffusion. Compared to ‘Zanku‘s’ raw establishment or ‘Resan‘s’ bombast, this feels more polished but less laser-focused—bold swings toward vulnerability sometimes land as sketches needing a second coat. Still, the closer “Alpha & Omega” with Bhadboi OML seals it with reflective wisdom, looking back at early hustles while affirming the album’s ethos: hope as a hard-won symbol, not a handout. On first listen, ‘Symbol of Hope’ is a motivational masterpiece that cements Zlatan as Afrobeats’ enduring beacon, bridging eras and inspiring a generation to keep pushing.

Ayra Starr & Rema — Who’s Dat Girl

In the pantheon of Mavin Records’ golden children, Ayra Starr and Rema have long been the yin and yang of Afrobeats’ next wave—her ethereal, genre-bending poise meeting his melodic trap sorcery. Their first true duet, ‘Who’s Dat Girl’, a sultry 3-minute Afro-dancehall confection produced by Ragee and The Elements that feels like the soundtrack to a midnight Lagos rendezvous. Clocking in with a runtime primed for viral loops, it’s no surprise the track’s already clawing up charts, fueled by a rollout that had fans decoding synced X profile pics and that cheeky cover art of airbrushed portraits under lifted shirts. 

On first spin, ‘Who’s Dat Girl’  is a hypnotic blend of R&B silk, dancehall bounce, and Middle Eastern-infused percussion that demands you move, even if it’s just a subtle sway. Coming off Ayra’s summer heater “Hot Body” and Rema’s global flex “FUN,” this collaboration tease the new gen duo global domination we’ve all been waiting for. Ayra’s opening verse slinks in with 2000s pop-girl swagger—”Who’s dat girl, she bad like dat”—her voice a velvet blade cutting through the riddim like sunlight on silk. It’s confident, charismatic, channeling the unapologetic femininity that’s made tracks like “Rush” timeless, but layered here with a playful edge that nods to TikTok’s dance challenges waiting to explode. Rema slides in midway like a snake charmer, his flow wicked and effortless, twisting bars with that signature breathy cadence: “She dey move like she own the night, no cap.” The chemistry is electric—undeniable from their Global Citizen Festival stage sparks last month—trading verses that bounce off each other without stepping on toes, all over a beat that’s equal parts seductive groove and infectious energy. Production-wise, Ragee’s touch is gold: those shimmering synths and percussive snaps evoke a fusion of Caribbean heat and Naija soul, while subtle vocal harmonies weave the duo into a seamless unit. It’s light but loaded with flirty brags on self-love and allure that double as empowerment anthems, with zero filler in sight. First listen leaves you grinning, replaying Rema’s hook just to catch how it hooks you.

That said, in a vacuum, ‘Who’s Dat Girl’ is more of a polished vibe curator, with Ayra’s delivery occasionally predictable in her comfort zone and the runtime so tight it begs for a remix to stretch those vibes. Compared to Ayra’s introspective gems or Rema’s experimental edges, it leans heavy on accessibility, which might make it feel like a teaser for bigger things rather than a standalone statement.

MOLIY & Tyla — Body Go

Ghanaian-American breakout MOLIY and Grammy-winning South African sensation Tyla ignite the Afrobeats fuse with ‘Body Go’, their electrifying debut collab. This 2-minute dancefloor decree, produced by Frnch and DeeMa, fuses amapiano’s hypnotic pulse, Afrobeats’ infectious bounce, and R&B’s sultry sheen into a pan-African party starter that’s already storming Ghana’s Y107.9 FM airwaves. Hot on the heels of MOLIY’s billion-stream juggernaut “Shake It To The Max (FLY) [Remix]”—crowned a Spotify/TikTok Song of the Summer 2025—and Tyla’s genre-redefining ‘TYLA’ era, this feels like a natural heir to their shared throne of feminine fire. On first spin, it’s an instant mood elevator: sultry, commanding, and unapologetically joyful, the kind of track that turns solo commutes into full-body grooves. Born from MOLIY’s gut instinct (“It needed another baddie”) and their instant NYC chemistry, ‘Body Go’ is a manifesto for unfiltered vibes, proving African sounds are the global heartbeat.

The hook lands like a velvet whipcrack: MOLIY’s warm, commanding alto coos “Body go, make it move”, layering breathy ad-libs over shimmering percussion that evokes sun-soaked Accra nights bleeding into Johannesburg sunrises. Tyla slinks in with her signature smoky timbre—”Let your body go, no holding back”—her verse a playful flex of confidence and allure that dovetails seamlessly with MOLIY’s flow, trading lines like old confidantes plotting a takeover. The production is a masterstroke: Frnch’s amapiano log drums thump with restrained urgency, while DeeMa’s pop polish adds glossy hooks primed for festival roars and viral challenges. Lyrically, it’s light but lethal—empowerment wrapped in flirtation, celebrating sisterhood and self-love without a hint of preachiness: “Outside with my girls, not thinking too hard, just living, just moving.” The visualizer amps the allure, with its neon-drenched aesthetics and effortless choreography that scream “replay for the moves.” 

Sure, at just over two minutes, it teases more than it delivers, begging for an extended mix to savor those transitions, and the ultra-accessible sheen might sideline deeper introspection for pure escapism. MOLIY’s ‘Body Go’ cuts through with unadulterated fun, bridging Ghana, SA, and the diaspora into one swaying congregation.

Young Jonn — Full Control

Young Jonn, continues his slick pivot to frontman status with ‘Full Control’, a 2-minute sultry siren. Coming off the global juggernaut “Cash Flow” ft. Wizkid—which racked up 18.7 million streams, topped Spotify and Apple Music charts, and hit No.3 on the UK Afrobeats Chart—this Afro-fusion heater teases his sophomore album ‘Blue Disco’, a 20-track odyssey he confirmed complete on October 2. Produced by Yung Willis, it’s a late-night confession booth of desire and surrender: whispered pleas over pulsing log drums and warm guitar licks that evoke unbuttoned tension in a dimly lit Lagos lounge. ‘Full Control’ is an instant slow-burn ignition with Young Jonn’s delivery smooth as silk sheets, commanding as a lover’s gaze, turning mundane drives into full-body replays. 

The track uncoils with effortless seduction: Young Jonn’s baritone croons open with “I give you full control of my body tonight / Do as you like tonight,” his delivery a flirtatious dare laced with vulnerability—exploring the thrill of yielding power in a charged encounter. It’s got that signature Young Jonn polish: uptempo bounce meets R&B intimacy, with understated percussion syncing bodies to the beat like a whispered invitation to “slip and slide, rough handle me.” Lyrically, it’s light but loaded—flirty brags on trust and lust (“Feel my body, loose my button / Olomi tell me you want me”) that double as nods to emotional maturity, all without dipping into corniness. Compared to the wordplay wizardry of “Cash Flow,” this narrows the lens to visceral connection. 

At under three minutes, “Full Control” flirts with brevity, leaving listeners craving an extended cut to linger in that push-pull energy. “Full Control” along with “Cash Flow” stands as a magnetic bridge to ‘Blue Disco’ that may position Young Jonn as Afrobeats’ smoothest operator, blending hitmaker hustle with storyteller soul.

Niniola — Belle 

Niniola, the undisputed Queen of Afro-House, storms back into the fray with ‘Belle’, a 2-minute euphoric blast. Produced by frequent collaborator Niphkeys, this up-tempo scorcher fuses log drum thumps, shimmering synths, and swinging basslines into a relentless party pulse that’s primed to hijack clubs from Lagos to global festivals. Hot off her 2025 rollout of “Ginger Me (Alum)”—a cheeky anti-pregnancy plea that had fans cackling—and building on the buzz from her faux-baby-bump teaser video (“Lo Condom… Now You Done Get Belle”), the single arrives as a sly narrative sequel: what happens when passion overrides precaution. On first spin, it’s an instant adrenaline hit—sultry, sassy, and excitingly smutty, turning steamy confessions into communal anthems that demand listeners drop everything and dance. On ‘Belle’, Niniola’s solo flex reaffirms her as Afro-House’s boldest storyteller, blending Yoruba flair with universal joy.

The track erupts with Niniola’s magnetic alto gliding over euphoric hooks: “Belle, belle, you done get belle”—her multilingual wordplay in Pidgin and Yoruba spinning a humorous yarn of a lovestruck guy ignoring his girl’s “love me easy” plea, leading to that “sweet trouble” of pregnancy. The song’s playful verses tease the thrill of insatiable desire (“Lo condom, you no hear word”), flipping vulnerability into victory with a wink and a sway. Niphkeys’s production is a masterclass in restraint and release with log drums swinging like a heartbeat on overdrive, while layered synths add a glossy, midnight sheen. No heavy moralizing, just relatable revelry that transforms private escapades into public euphoria. At its core, ‘Belle’ thrives on brevity and bounce, peak Niniola characterized by accessible escapism over deep dives.

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Ayra Starr delivered a electrifying performance, cementing her status as the Voice of African Gen Z. Her set included hits like “Gimme Dat,” “Goodbye (Warm Up),” “Hot Body,” and the Grammy-nominated “Rush,” which had the crowd on its feet. Starr’s stadium-ready anthem “Sability” brought high energy, and she closed her solo segment with a poignant mashup of “All The Love” and Coldplay’s “Strawberry Swing,” dedicating it to the festival’s mission. In a surprise highlight, she brought out fellow Nigerian star Rema for a dynamic performance of “Rush,” followed by Rema’s hits “Calm Down” and “Baby (Is It A Crime)”. Ayra Starr also made a heartfelt gesture, asking the audience to light up their phone torches to highlight the need for energy access in Africa, aligning with the festival’s goals. Her performance was a powerful blend of cultural pride and global advocacy.

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Grammy winner Tyla turned Central Park into an amapiano-fueled dance floor with her 15-minute set. She opened with “Is It” from her recent EP ‘WWP (We Wanna Party)’, followed by “Truth or Dare” and “Dynamite,” her collaboration with Wizkid. Her performance of the Grammy-winning “Water” was a standout, though briefly paused when Tyla compassionately stopped to ensure a fan in distress received help. After restarting the song, she rallied the crowd with, “Now we’re gonna scream,” creating a defining festival moment. Tyla’s viral “Tyla Dance”—featuring rhythmic hip rotations and shoulder rolls—captivated social media, with a choreography and bold stage presence in a fringed, athletic outfit. Her set underscored her rising global influence and commitment to representing African artistry.

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The Global Citizen Festival also saw Shakira headline with a sizzling set, performing hits like “Hips Don’t Lie,” “Whenever, Wherever,” and “Bzrp Music Sessions, Vol. 53,” backed by a vibrant dance crew that electrified the crowd. Cardi B, stepping in as a last-minute headliner after The Weeknd’s cancellation for personal reasons, brought her signature high-energy performance, commanding the stage with her bold presence and hits that kept the audience hyped.

Rosé of BLACKPINK delivered an intimate acoustic set, including her popular track “APT,” earning praise for its raw and breathtaking quality. Mariah the Scientist performed in striking GI Jane-inspired attire, showcasing tracks from her latest album Hearts Sold Separately, adding a soulful vibe to the night. Camilo and Elyanna rounded out the lineup with their unique sounds, contributing to the festival’s global and cultural diversity.

The 2025 Global Citizen Festival was a vibrant celebration of music and purpose, with Ayra Starr and Tyla stealing the show through their electrifying performances and meaningful engagement with the festival’s mission.

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