Aye Kan (Are You Coming Back?) — Angélique Kidjo feat. Ayra Starr

Angélique Kidjo feat. Ayra Starr is the lead single from Angelique Kidjo’s upcoming album ‘Hope!!’ due for release on April 24. It’s a three-minute Afrobeats-tinged pop track produced by Louddaaa, with guitar from Femi Leye, saxophone from Bishop Sax, mixing by Johnny Drille, and a clean, professional polish that screams “playlist-ready single”.

The song is built around a repetitive, seductive hook that Ayra Starr and Angelique Kidjo trade: “My body now… Egovina… Fire killer, pretty like Sabina / Are you coming back or what?” It’s straightforward lover’s plea territory—missing someone, offering love “like you never had,” mixing English pidgin with Yoruba slang (“acha kiser,” “achika wey don karashika”). Angelique Kidjo handles the refrain in Yoruba: “Awon kan jaiye, awon kan ti ma jawaya / Awon kan b’owo, awon kan ti ma jafafa / Aye kan lowa o.” That last line—“Aye kan”—is the title’s core. In Yoruba it roughly means “life is one” or “one life”, a blunt reminder that some people enjoy, some suffer, some stack money, some blow it. Live fully because there are no do-overs.

That philosophical layer is the only part that rises above generic romance. The rest is the usual Afrobeats formula: rubber-band money talk, “mad vibe when we link up,” lover-and-fighter duality. Nothing wrong with it, but nothing that feels urgent or new. Ayra Starr’s verses are smooth and contemporary—her signature breathy, slightly husky delivery fits the mid-tempo groove. Angelique Kidjo’s voice still carries weight and texture that no 25-year-old can match, but here it’s mostly used for colour and harmony rather than commanding the track the way she does on her heavier material.

Production-wise it’s competent but safe. Live guitar and sax give it a bit of organic warmth. Louddaaa’s programming keeps the beat bouncy without clutter, and the mix is radio-clean. It sounds exactly like what you’d expect from a cross-generational collab marketed as “legend meets Gen-Z star”: bright, danceable, culturally respectful enough to feel elevated, and commercial enough to chart. 

Context matters. Angelique Kidjo, five-time Grammy winner and one of Africa’s most respected voices for decades, has spent her career fusing Beninese traditions with jazz, funk, and global sounds while actually saying something about politics, women’s rights, and the continent. Ayra Starr is the current it-girl—polished, photogenic, streaming numbers through the roof—with a sound that sits comfortably between Afrobeats and international pop. They share Yoruba roots and Benin connections, so the pairing makes biographical sense.

“Aye Kan” exists within the emotional architecture of ‘Hope!!’, a deeply personal body of work from Kidjo, shaped by themes of resilience, memory, optimism and dedicated to her late mother.

Solar — Darkoo, Ruger

The “2026 summer” positioned anthem, ‘Solar’ by Darkoo featuring Ruger, is a breezy, mid-tempo Afrobeats cut clearly aimed at summer playlists. It blends Darkoo’s smoother UK-inflected delivery with Ruger’s more energetic, dancehall-tinged Afro-pop style.

The track opens with light, sunny production—bouncy percussion, warm synths or guitar lines that keep things floating without getting too dense. It stays in that comfortable club-ready zone: not too aggressive, not too slow, designed for dancing or background vibes at a party. The beat has a gentle bounce that feels like a lighter version of current Afrobeats trends, mixing in subtle trap or drill-adjacent edges from Darkoo’s side without fully committing to either.

Lyrically, it explores romantic/sexual flexing. Lines like “Uh baby oooo / Baby hello / Bring it to the owner / Tonight in I one dey sober / Body shape like…” set the tone—compliments on the girl’s looks, promises to be there when called (“When you need me, call me / Just tell me when you want me / I’ll be right there shawty”), and that repeated “Go shawty” hook. It’s playful, confident, a bit boastful, with pidgin and English sliding together. 

Ruger brings his usual swagger and melodic flow; Darkoo keeps it smooth and laid-back. The chemistry is decent—they trade verses and ad-libs without clashing, sparking something electric and deeply memorable. His verse is unapologetically about attraction, availability, and turning up the heat. The title “Solar” probably nods to the sunny, radiant energy they’re going for, hot girl, hot vibes, and summer heat, which intersects with a feel-good branding.

Production is clean and functional. It has that polished, radio/streaming-ready sound with enough groove to move that makes it stand out from dozens of today’s releases. The mix is tight, and the hook is repetitive and sticky enough to lodge in a listener’s head after a couple listens.

With ‘Solar’, the pairing makes sense for cross-appeal—UK/Nigerian energy meeting mainline Afro-pop. In practice, it delivers exactly what you’d expect from the names and the promo photos: stylish, flirtatious, playlist fodder. This is a competent, harmless summer single. The hook works, the beat is pleasant and both artists find a chemistry that works.

Popstar — Black Sherif

Black Sherif’s “Popstar” arrives as his first single of the year, marking the official close of the ‘Iron Boy’ chapter and the start of something he’s framing as a new era. Produced by his long-time collaborator Joker Nharnah, it runs in that familiar Black Sherif lane: melodic rap-singing over melancholic production that blends Afrobeats grooves with subtle hip-hop edges and Ghanaian highlife inflection. “Popstar” sees Black Sherif mix introspection and bravado—talking grind, charisma, ambition, and stepping into a “popstar” persona he says he envisioned before blowing up and moving to Accra. This one feels like a deliberate reset, with tinges  of the heavy street-sad-boy weight that defined early hits

With Black Sherif, the story is never just the music. It’s the tension beneath it—the push between who he was, who he is, and what the world now expects him to be. “Popstar” sits right in the middle of that conflict. The record opens with a tone that feels reflective but not defeated. There’s a quiet urgency to it, like someone thinking out loud but aware that the world is listening. Sonically, it leans into a stripped, emotive palette—nothing overly embellished, just enough to carry the weight of his voice. That voice remains the anchor: raw, slightly strained, and deeply human.

“Popstar” as a concept is loaded. It suggests arrival, status, and visibility. But in Black Sherif’s hands, it feels both like a question and a declaration. What does it mean to be seen this much? What does it cost to carry that image? He doesn’t romanticise it. If anything, he pokes at the edges, revealing the pressure that sits beneath the surface. Lyrically it stays autobiographical and motivational in his style—personal reset, evolution, and owning the spotlight, digging as deep into the pain, loss, or raw vulnerability reminiscent of tracks from an album like “The Villain I Never Was”. 

The hook and delivery have replay value; his voice still has that distinctive husky, emotive texture that switches between rap flow and melodic singing without losing grit. Production is clean, functional and matches his soulful delivery. There’s a familiarity in how he approaches this—fans of his earlier work will recognize the introspection, the blurred line between vulnerability and defiance. But here, it feels more refined.

Cinema — Fally Ipupa

There’s a certain elegance Fally Ipupa brings to music that feels almost effortless, like he understands exactly how much to give and when to pull back. “Cinema” by Fally Ipupa arrives as the latest single ahead of his album ‘XX’, set ofr release on April 17. The album is positioned as a romantic, sophisticated ballad that leans into classic Congolese rumba DNA with modern polish—smooth melodies, emotional delivery, and that signature Fally Ipupa croon that has carried him through two decades as one of the biggest voices in Central African music.

The record leans into love, but not in a way that feels overstated. It is measured, intentional, and styled with the kind of finesse that has long defined his artistry. The core idea is straightforward: love as cinema. The relationship plays out like a movie—dramatic scenes, intense emotions, highs and lows that feel scripted yet deeply real. The production is lush, controlled, and built on smooth rhythms that carry a gentle sway, allowing the song to breathe with a sensual undercurrent running through it. “Cinema” carries a “beautiful melody” with cinematic flair, using the metaphor to paint a passionate, almost theatrical love affair. Vocally, Fally Ipupa remains as assured as ever. His delivery glides, never forcing emotion but letting it sit naturally within the melody. There’s a storytelling quality to it, like each line is part of a larger frame. Production stays in that refined, mid-tempo rumba lane—gentle guitars, subtle percussion that nods to traditional Congolese soukous/rhumba, layered harmonies, and a clean mix that feels expensive. 

Fally Ipupa is in victory-lap mode. XX marks 20 years of his solo career, he’s headlining Stade de France in May, and he’s consistently one of the most streamed Francophone African artists. He’s evolved from rawer rumba roots into a global-facing star who can still deliver the emotional core that built his fanbase in the DRC and across the diaspora. “Cinema” feels like a safe, classy choice to whet appetites for the full album—romantic, accessible, and true to the “El Mara”/king-of-rumba image without alienating the core audience that wants melody. Instead, it settles into a soft groove that mirrors the intimacy the song is trying to capture. “Cinema” sits in that pocket of records that prioritize mood and longevity over immediate noise, by drawing in a listener slowly, frame by frame.

I Believe in Better — Libianca

“I Believe in Better” by Libianca drops today as a straightforward, faith-tinged Afropop / Afro-soul anthem. It’s positioned as motivational encouragement for anyone in a tough season, trusting that brighter days are ahead and holding onto resilience and faith when life feels heavy. There’s a softness to Libianca’s music that often carries more weight than louder expressions ever could. On “I Believe in Better”, she leans fully into that space, where vulnerability is fragile, steady, loud, and intentional.

The song leans into positive affirmation territory: lines about walking into a better season, believing even when things don’t make sense, faith over fear, and not giving up because “better is coming”. It draws from her own history of mental health struggles (cyclothymia) but flips it toward hope and forward movement rather than sitting in the pain. The chorus hits with that repeated, sing-along declaration—“I believe in better”—simple, repetitive, and built for communal sing-alongs. The production is stripped to its emotional core, built on delicate progressions that give her voice room to exist without distraction. Each note lingers just enough to settle, allowing the message to land with a mood that feels familiar in her catalogue. Libianca stays in her wheelhouse: warm, soulful tone with gentle runs and emotional texture that feels intimate.

On the “I Believe In Better”, Libianca remains controlled, almost meditative. She leans into clarity, allowing the simplicity of her delivery to carry the depth of the message. It’s that balance—between softness and strength—that continues to define her artistry.

For New Music Friday, this is one of those records that meets you where you are, inviting listeners attention. And in that invitation, “I Believe in Better” becomes a quiet affirmation, one that understands that sometimes, choosing hope is its own kind of resistance.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

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The official announcement, shared via Spotify’s Africa-focused social channels, carried a simple but telling caption: “Celebrating 5 years of Spotify in Kenya, Nigeria, and Ghana, powered by you. Swipe through and let the data do the talking.”

And the data does speak — loudly.

A Listener-Powered Expansion

Five years in, the growth is listener-driven and unmistakable. Users across the three countries have collectively created over 38.2 million playlists:

• Nigeria leads with approximately 25 million playlists
• Kenya follows with about 9.5 million
• Ghana records roughly 3.7 million

In Nigeria, the average listener age sits at 26 years old, reinforcing what industry observers already know: streaming culture in the region is powered by a young, digitally native audience shaping trends in real time.

Listening has climbed steadily year-on-year. Kenya alone has recorded an average 68% annual growth through 2025, while the number of Kenyan artists distributing music on Spotify has risen by 112% since 2021 – a sign that the platform is influencing not just consumption but creation.

Afrobeats at the Centre of the Story

At the heart of Spotify’s five-year data is the continued ascent of Afrobeats. The genre’s dominance is especially visible in Nigeria and Ghana, where local stars consistently top both artist and song charts. The numbers affirm what global charts have hinted at for years: Afrobeats is no longer emerging — it is embedded.

Nigeria: Asake’s Streaming Era

In Nigeria, Asake tops the list as the most-streamed artist of all time since Spotify’s 2021 launch — a defining achievement for the Afrobeats star. He is followed by:

• Wizkid
• Seyi Vibez
• Burna Boy
• Davido

Asake also dominates the songs chart, with tracks like ‘Remember’ and ‘Lonely at the Top’ ranking among the most-streamed. Meanwhile, Wizkid holds a notable peak daily streaming record of 21.6 million streams among Nigerian artists — a benchmark that underscores his enduring pull.

Ghana: Local Hero, Global Blend

In Ghana, Black Sherif leads as the top Ghanaian artist on the all-time chart. The broader top five reflects both regional strength and international crossover:

• Black Sherif
• Asake
• Burna Boy
• Sarkodie
• Drake

The list captures Ghana’s position as both a contributor to — and consumer of — the broader Afrobeats and global rap ecosystem.

Kenya: International Heavyweights, Regional Energy

Kenya’s most-streamed artists list leans more international, highlighting the country’s diverse listening habits:

• Drake
• Chris Brown
• Future
• Burna Boy
• Travis Scott

Still, regional hits have carved strong positions on Kenyan song charts. Tracks such as “Asiwaju” by Ruger, “Rush” by Ayra Starr, and multiple Asake collaborations demonstrate how East African listeners are deeply plugged into West Africa’s sonic exports.

More Than Metrics

Beyond headline numbers, Spotify’s five-year celebration signals something broader: a platform increasingly shaped by African listeners rather than merely operating in Africa. Over half a decade, fan behaviour — playlisting, streaming spikes, and daily records — has powered both artist visibility and cross-border discovery.

From Lagos to Accra to Nairobi, the data reflects sustained momentum. Afrobeats continues to travel. Local artists are uploading more music. Young listeners are curating culture in public playlists.

Five years in, Spotify’s presence in Nigeria, Ghana, and Kenya reads less like market entry and more like integration — a half-decade defined by streaming growth, global amplification, and a generation pressing play.

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THE MACHINE IS COMING – ODUMODUBLVCK

Nigerian rap sensation ODUMODUBLVCK has unleashed a surprise mixtape, ‘THE MACHINE IS COMING‘ —a 16-track project that further showcases his dynamic artistry and reinforces his reputation as one of the most innovative voices in Nigeria’s rap scene. Arriving just in time for his scheduled performance at The Headies, Nigeria’s premier music awards, the mixtape marks a defining moment in his fast-rising career.

THE MACHINE IS COMING thrives on sonic unpredictability. ODUMODUBLVCK effortlessly blends Afro-fusion, hip-hop, and his signature Okporoko Rhythms—a unique fusion of highlife melodies with drill and grime elements. Across its 41-minute runtime, the mixtape moves seamlessly between gritty street anthems and introspective reflections, ensuring a compelling listening experience with each play.

The 16-track project boasts a heavyweight lineup of guest appearances, featuring some of today’s most relevant artists, including Victony, Shallipopi, BOJ, Rondodasosa, Vector, Falz, Ajebo Hustlers, and Afroselecta-BBK, among others. These collaborations amplify the project’s expansive vision, with each artist adding their own flair. Tracks like Pity This Boy featuring Victony, which had already gained traction prior to the tape’s release, showcase ODUMODUBLVCK’s ability to craft emotionally charged anthems. Other standout collaborations include Juju with Smur Lee and Shallipopi, as well as the Ramadan Remix featuring Tolibian and BOJ, both of which were fan favorites even before finding a home on this project.

Meanwhile, solo cuts like “Wage War”, “Go Report”, and “Kylian” underline ODUMODUBLVCK’s commanding presence, proving he doesn’t need features to deliver hard-hitting verses over pulsating beats.

Beyond its immediate impact, ‘THE MACHINE IS COMING’ serves as a prelude to his forthcoming album, ‘INDUSTRY MACHINE‘, which he has been teasing since the start of 2025. Described as an “appetizer,” the mixtape offers a glimpse of the raw energy and boundary-pushing sound that fans can expect from his full-length project.

IRON BOY – BLACK SHERIF

Ghanaian powerhouse Black Sherif returns with his deeply personal sophomore album, ‘Iron Boy‘—a 15-track odyssey that balances raw intensity with profound introspection. Fusing elements of hip-hop and Afrobeats, the album features standout collaborations with Nigerian heavyweights Fireboy DML and Seyi Vibez, adding layers of sonic depth to his already compelling storytelling.

At its core, ‘Iron Boy’ is an exploration of resilience—an anthem for those navigating life’s hardships and emerging stronger. Tracks like “The Victory Song” and “So It Goes” echo themes of perseverance, capturing the spirit of overcoming adversity through sheer determination.

Speaking on the album’s essence, Black Sherif describes it as a soundtrack for “anyone carving their own path, embracing their truth, and defying the odds.” He reinforced this message in a post on his X (formerly Twitter) account, writing: “Do you know what it means to be a Gospel Artist with a Popstar Destiny?”—a statement that hints at the album’s deeply spiritual undertones.

With Iron Boy, Black Sherif once again proves that his music is more than just sound—it’s an experience, a movement, and a testimony of survival against all odds.

REFLECTION STATION – TAY IWAR

Tay Iwar’s first single of the year, “Bad Belle,” released three New Music Fridays ago, came alongside the announcement of an EP titled ‘Reflection Station’, which arrived today, April 4th. The five-track EP is deeply introspective, consciously revisiting the past and drawing from its influence to craft melodies that resonate with profound musings on healing, resilience, mercy, and love. According to Tay Iwar via Instagram, ‘Reflection Station’ is “a checkpoint for motion, memory, mercy. One borrowed spirit from Zule Zoo, and turned resistance into rhythm. This is what healing sounds like when it doesn’t ask for permission. Each track holds a mirror—to feel, to remember, to float, to rise, to survive. A reminder to move with purpose. I hope you let it find you.”

In Tay Iwar’s world of alternative R&B and soul music, his five-track EP soothes the listener, starting with the opener and title track, ‘Reflection Station‘, where he speaks on resilience and the need to keep going until the desired result is actualised. On the song, he interpolates 2Baba’s ‘4 Instance’, borrowing its rhythm: “For instance, say I be the one them no give chance / Say I be the one wey dey make plans / I still dey maintain my own stance.” The 14-minute EP takes the listener through a relatable journey of struggle and triumph, drawing inspiration from Zule Zoo’s “Bad Belle“ and closing with the poignant Survival, where he reflects on his coming-of-age experiences. With Tay Iwar himself steering the production, the EP is refined in sound and texture, making for a 14-minute listening session worth looping.

OFA: DELUXE EDITION – OXLADE

In an exciting turn of events, Oxlade announced the deluxe edition of his debut album, Oxlade From Africa (OFA), released in September 2024, through a short, creative video on his socials. In the video, Oxlade is seen having a conversation with himself about why a deluxe version was necessary instead of saving the songs for another project, which would typically be a wise decision. However, his other self insists that these songs belong to this era—an era about Oxlade. OFA, which has seen significant commercial success, particularly with “OLOLUFE“ featuring Ghanaian rap legend Sarkodie, now includes four additional tracks—”DOINGZ“, “OMALICHA“, “SHO MI“, and “VANITI“—bringing ‘OFA: Deluxe Edition‘ to life with no guest features.

The deluxe opens with the masterfully crafted shakes and groovy log drums of “DOINGZ“, where Oxlade desperately seeks the love and attention of his muse, offering financial and material excesses in return. It flows into “OMALICHA“, enriched by vibrant highlife-inspired guitar riffs on a mid-tempo production. Here, Oxlade flexes his silky vocals, pleading for love and expressing how her absence might drive him to the brink. “SHO MI” takes a more sober and philosophical approach, with Oxlade reflecting on life’s musings and his gratitude for divine intervention. Wrapping up the now 20-track album with “VANITI“, produced by Magicsticks, Oxlade closes on an introspective note, sharing wisdom passed down from his grandmother: “Asan lasan laye.”

MOST WANTED – ZINOLEESKY

In a scene filled with numerous talents, Zinoleesky’s distinct voice and technical delivery set him apart. At the start of the year, Zinoleesky positioned himself in a more active mode following a controversial incident involving his former, now deceased, labelmate Mohbad and his record label boss, Naira Marley. He announced his debut album, Gen Z, with a short trailer video, set for release on an undisclosed date in April. In anticipation of his forthcoming studio album, Zinoleesky has now released his first single of 2025, ‘Most Wanted’, produced by frequent collaborator Niphkeys.

On the track, Zinoleesky’s vocals and execution shine as the highlight. Niphkeys employs log drums in a calm and steady manner, allowing Zinoleesky’s cadence to glide smoothly over the production. The song reaffirms his ability to blend melody and introspection while maintaining his signature street-savvy edge.

REASON 2 JAPA – MAYORKUN

With the announcement of his third studio album, ‘Still The Mayor’, set to drop in 27 days, Mayorkun has released a new single ahead of the pivotal moment. ‘Reason 2 Japa’ follows his last single, “Innocent“, released in November 2024 and featuring Fireboy DML—both serving as lead singles for the forthcoming album.

With ‘Still The Mayor‘ approaching, Mayorkun takes a more retrospective approach to ‘Reason 2 Japa‘, blending log drums with a contemporary feel that immerses listeners in both nostalgia and modern-day Afrobeats. On the track, Mayorkun reaffirms why he is still indeed “The Mayor of Lagos (TMOL)“, boasting an impressive track record of hits and number-one records. Despite its groovy nature, ‘Reason 2 Japa‘ touches on serious themes, including the state of the economy and how it has driven not just him but many of his compatriots to seek a better standard of living. He also references the few things he keeps his mind off as he navigates these realities, making for a track that is both engaging and reflective.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

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1. First Sermon

2. Second Sermon

3. Second Sermon (Remix)

4. Soja

5. Kwaku The Traveler

6. The Homeless Song

7. Yaya

8. Simmer Down

9. Oh No

10. Wotowoto Seasoning

11. Shut Up

12. Kilos Milos

13. Fallen Angel

14. January 9th

15. Zero

16. Lomo Lomo

17. Jesus Christ 2

18. Rebel Music

19. Lord I’m Amazed

20. So It Goes

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Notably, “Kwaku The Traveler” made history as the first Ghanaian song to top both the Nigerian and Ghanaian Apple Music charts upon its release.

Additionally, his collaboration with OdumoduBlvck on “Wotowoto Seasoning” was the most streamed song in Ghana for 2024.

This unprecedented accomplishment not only highlights Black Sherif’s exceptional talent but also the profound connection his music has established with audiences.

The post Black Sherif Sets Record with 20 No. 1 Songs on Apple Music appeared first on Afromixx.

Panic — Ayo Maff

A painter of stories with words, communicated through melodies, fast-rising star Ayo Maff has released his first single of the year. Teasing ‘Panic‘ in previous weeks via his social media accounts, Ayo Maff reflects on his musical journey, unpacking how his experiences have shaped his life. While he makes it clear that he’s deeply in love with his craft, the weight of his personal experiences fuels a lingering anxiety—one he copes with through temporary escapes. For Ayo Maff, the only true solace amid the struggle is the happiness of a loved one, a happiness he wouldn’t hesitate to sacrifice his own for. 

I Am The Blueprint — Qing Madi

Finally, it arrives! The rollout journey, which began in October 2024, now reaches a major milestone as Qing Madi releases her debut album, ‘I Am The Blueprint’. For fans, this has been a thrilling ride, with the 19-year-old rising star offering more than just a glimpse of what’s to come by dropping four lead singles ahead of the 13-track album. Making a bold statement, Qing Madi revealed a guest-free tracklist—an uncommon move in the Nigerian music scene for a debut project. ‘I Am The Blueprint’ stands as a unique vault of love ballads, arguably one of the best from the new generation of artists.  

STANDOUT TRACKS: Feeling Alright, Pressure, Gimme Your Love, Favorite Girl.

So It Goes — Black Sherif ft. Fireboy

Ahead of his sophomore album ‘Iron Boy’, set to drop in April, Black Sherif releases another potential lead single featuring Nigerian superstar Fireboy DML. Like many of his records, ‘So It Goes’ is a testament to persistence and an unshakable, laser-focused pursuit of success. Over an upbeat, grime-influenced hip-hop beat, he details the highs and lows of both his personal and love life. His choice of collaboration proves to be a masterstroke, as Fireboy DML stays well within Black Sherif’s sonic universe, effortlessly aligning with the song’s emotive depth. 

Management — Smur Lee ft. BIGKHALID

Building on the success of her previous smash hit ‘Juju’ featuring Odumodublvck—which organically took off on TikTok—Smur Lee sticks to the formula that earned her initial success: a dense, intricate production that pairs well with her freewheeling pen. ‘Management’ carries the same groove-driven appeal as ‘Juju’, once again immersing listeners in the world of fraud and its spoils—a reality that resonates deeply with many youths in the country. Given its theme and sonic appeal, ‘Management’ is poised to connect with a wide audience, potentially replicating the chart success of ‘Juju’. 

Lose My Mind — Brown Joel

Brown Joel, a core member of the “Ogechi Boys” collective, takes center stage on Colors Studios, delivering a raw, passionate performance of his new single, ‘Lose My Mind’. The groovy Afro-R&B record sees Brown Joel crafting an impassioned love ballad, embodying the spirit of a hopeless romantic. On ‘Lose My Mind’, he finds himself utterly consumed, lost in an intoxicating love that feels inescapable—yet strangely welcome. “For you I don loose my mind, For you I don loose my sense, For you I don mara.”

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW:

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