Blaqbonez – No Excuses (Deluxe)

‘No Excuses (Deluxe)’ is a 20-track extension of his October 2025 album, released today, adding four new songs: “ACL V2.0”, “Work in the Morning,” “Fine Shyt” (feat. TML Vibez), and “Hustle Kpa $$$” (feat. Artsalghul), pushing the runtime to around 59 minutes. The project stays rooted in Nigerian hip-hop fused with Afrobeats, amapiano, and melodic R&B, with Blaqbonez handling most of the rapping and singing.

The core album already showed Blaqbonez leaning into confident, boastful bars about authenticity, hustle, and versatility while mixing street energy with pop-leaning hooks. The deluxe keeps that formula: opener “Everlasting Taker” sets a self-proclaimed “last real nigga” tone with direct, no-frills rap. “Consistency” (feat. AJ Tracey) and “Aura 4 Aura” (feat. Pa Salieu) highlight cross-Atlantic and UK-Naija chemistry over skittering drums and rhythmic flows.

New additions follow the same lane. “Hustle Kpa $” leans into motivational street rap with kinetic energy. “Fine Shyt” shifts melodic with TML Vibez for a smoother, club-ready vibe. “Work in the Morning” keeps the late-night-to-grind transition feel. “ACL V2.0” is the moment people will pull out. Here, Blaqbonez re-records the version of his October 2025 diss track “ACL” with a new beat and added verse. The beef with ODUMODUBLVCK started with subliminals earlier in 2025, escalated through direct shots, and boiled over on Blaqbonez’s No Excuses album. “ACL” (original) was a two-part response to Odumodublvck’s “2:02PM in London” and “If You Like Gym” disses. Blaqbonez used sharp bars, humor, and threats shown in the visualizer (DMs from Odumodublvck) to paint him as a clout-chasing “failed rapper turned internet gangster”.

Odumodublvck reportedly bought the rights to the original instrumental, claimed it was uncleared, and got the song taken down from Spotify after it had racked up millions of streams. In response, Blaqbonez came back with ACL 2.0 on a fresh beat, doubling down with even more direct shots and brotherly “advice” mixed in.

Tracks like “Bizzy Body”, “Despacito”, “Nati” (with Olamide), and “Go Crazy” deliver bright, danceable production—amapiano pulses, tropical touches, and high-energy Afro rhythms—while cuts like “Just Hustlin$”, “Good Time”, and “California Issues” slow into laid-back, soulful territory. Blaqbonez glides between dense lyricism and catchy singing without forcing transitions.

Production stays functional and lyrics centre on self-belief, women, money, and subtle industry jabs. The deluxe doesn’t overhaul the original; it pads it with more of the same, extending playtime for playlists rather than adding a distinct new chapter. Blaqbonez moves between rapping and singing comfortably. That’s still his strongest asset—he can sit on a hook or a verse without it feeling forced.

The original album already positioned him in the conversation; this deluxe mostly maintains the status quo and somehow elevates it.

Tyla feat. Zara Larsson – She Did It Again

“She Did It Again” is a mid-tempo pop track released today as the second single from Tyla’s upcoming second album A-Pop. It runs short and sticky, built on a bouncy but minimal groove: simple percussion, light synths, and a steady pulse that prioritizes smooth movement over layers or dynamics. It’s clean, mid-tempo, and deliberately unthreatening. The log drum is there, but it’s restrained; the drums don’t swing as much as they loop. 

Tyla leads with her usual cool, sensual delivery across the bulk of the verses and choruses. She plays the irresistible, addictive presence: “I’m addictive, baby, what you want me to do? / Not a quick fix, one hit might ruin you.” Zara Larsson slots in for the second verse with a brighter, more direct pop cadence and the most obvious moment on the record: “Oops, did it again like Britney.” The chorus is a looped “Uh-oh, uh-oh / She did it again” hook with echoing “I know you do” lines underneath, catching and building quickly. Her voice carries more intention—cleaner enunciation, firmer phrasing, and a clearer pop instinct.

Lyrically it’s straightforward seduction-and-obsession fare. Both women portray themselves as dangerous in love: one-night situations that leave the other person hooked and lying to their actual partner. The Britney reference is a cute Y2K nod. Production (Sammy Soso, Believve and others) keeps everything dancefloor functional. The accompanying music video is sleek—desert architecture cutting to waterfalls and both artists dancing in coordinated, quite inventive choreography that matches the song’s polished, low-stakes energy.

“She Did It Again” highlights a chemistry that sees Tyla’s effortless cool meet Zara Larsson’s solid verse with an ease reminiscent of 2010s R&B vibes with competent, hooky, and unforgettable verses that stick.

King Promise & Mr Eazi – See What We’ve Done

‘See What We’ve Done’ is a concise Afrofusion project blending Ghanaian highlife influences, Afrobeats rhythms, and smooth R&B. Production comes primarily from Gideonite and GuiltyBeatz, keeping things light, melodic, and club-ready without heavy experimentation.

King Promise and Mr Eazi lean into familiarity here both sonically and thematically. The two have collaborated for over a decade, with this being their first full joint project. It leans into themes of success, friendship, good living, and romance. King Promise brings expressive, sometimes risqué and emotionally direct vocals. Mr Eazi stays in his wheelhouse: laid-back, cool delivery with effortless flow between English and pidgin/Twi. Tracks switch languages fluidly, using it as rhythmic texture rather than a gimmick.

Standouts include the title track “See What We’ve Done”, a celebratory flex with GuiltyBeatz production; “That Way”, and “Mariana” (soulful, previously released singles with videos). Other cuts like “Where Have You Been?”, “Taste”, “Criminal”, “Baby I’m Jealous”, “No. 1 Fan”, and “Mad Ting” follow the same mid-tempo, feel-good lane—bouncy percussion, warm synths, and sing-along hooks.

King Promise carries most of the weight. His delivery is smooth, controlled, and predictable in the way his best records often are, prioritizing melody. Mr Eazi fits into the record without shifting it. His laid-back phrasing blends into the production and keeps the dynamic alive. 

The title sets the direction: reflection framed as a quiet victory with a writing that circles success, love, growth, and distance from where they started, with a listener getting the idea quickly. Production is polished and consistent, familiar Afrobeats templates that prioritize replayability. Lyrics center on love, jealousy, success reflection, and light flexing. It’s short, front-loaded with the pre-released singles, and designed for streaming rotation across Ghana, Nigeria, and diaspora playlists.

For two artists with a history of shaping this lane, they attempt to make a statement with “See What We’ve Done” — competent, breezy, and functional. It reinforces both as reliable crossover figures in Afrobeats/R&B who play extremely well within their established lanes.

Muyeez ft. Zerrydl, Ayo Maff & Famous Pluto – Bank Alert 

Muyeez’s “Bank Alert”, produced by Medley, sits in the energetic street-pop/Afrobeats lane with rhythmic percussion, lively melodic layers, and a steady groove designed for replay.

Muyeez leads with his soulful, melodic vocals. The featured artists — Zerrydl, Ayo Maff, and Famous Pluto — drop verses that add street flavour and chemistry. The hook plays on “bank alert” as a celebration of money incoming or a flashy lifestyle, mixed with party-ready lines like “party vibes”, “popori”, and “gangster energy”. It’s straightforward flex and fun with a lyrics structure that stays surface-level and hook-driven.

Production is a bouncy but not overly complex, contagious melody curated with danceable percussion. It flows smoothly, prioritizing vibe and immediate catchiness without jarring texture changes. The hook is the anchor. “Bank alert” is one of those phrases that doesn’t need context; it already carries meaning. 

The song leans on that familiarity, turning it into a chant that sticks on first listen, but you can also hear how easily it was assembled. Verses blur into each other. Each artist approaches it from the same angle—cash flow, soft flexes, light street bravado—without much distinction in writing save for delivery. 

“Bank Alert” works the way a lot of current street-pop records do: quick impact. It will move where it needs to move, and with a deserving push hold attention for long.

Fally Ipupa ft. Wizkid – Jam

Jam is a 3:00 track from Fally Ipupa’s album XX, released April 17, 2026 that sits as track 5 on the 20-track project and serves as one of the key cross-regional features. The sound is smooth Afropop/R&B with Congolese rumba undertones: rich guitar melodies, rhythmic percussion, and smooth basslines that create a laid-back, flowing groove. Fally Ipupa handles the main body with his signature melodic, romantic delivery rooted in rumba tradition updated for modern Afro audiences. Wizkid comes in for his verse with the expected effortless glide—light auto-tune touches, pidgin-inflected lines, and a relaxed flow that fits the chilled tempo without pushing hard.

On paper, it’s a strong pairing—two artists known for smooth, melodic control and understated delivery. In practice, “Jam” leans too far into that restraint. The production is soft and polished, sitting somewhere between Afropop and Congolese rumba influences, but it never fully commits to either. It floats in the middle. The groove is steady with light percussion, mellow guitar lines, and a clean mix that keeps everything easy on the ear, with a pull, the kind that passes without demanding consent.

Themes stay firmly in romantic/chilled territory: attraction, bad decisions in the moment, body appreciation, and yearner energy. 

Contextually, this is another West-Central Africa link-up, Wizkid’s second recorded collab with Fally Ipupa after earlier work on “Yakuza”. It lands as expected for both artists’ current lanes: Fally Ipupa expanding his global reach while staying true to his rumba-pop core, Wizkid delivering a high-effort, polished feature that slots into streaming rotation. 

“Jam” is clean, listenable, and technically sound. But for a collaboration of this scale, it plays it too safe.

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Many Girls — Thisizlondon & Brume

For a producer stepping further into artist territory, Thisizlondon has shown a clear instinct for vibe construction. Known for his behind-the-boards work with some of Afropop’s biggest voices, his sound often leans toward sleek, nightlife-ready grooves that prioritise mood as much as melody. ‘Many Girls’ fits squarely within that sensibility, arriving as a loose, high-energy record that thrives on rhythm, repetition, and the kind of playful swagger that drives party-leaning Afropop. 

From the opening seconds, the production announces its intent: bright percussion, a lively drum pocket, and a hook structured around chant-like repetition. Instead of chasing complexity, the record builds momentum through a hypnotic refrain — the recurring “many, many girls” chant — which quickly establishes the song’s central motif. The phrase functions as a rhythmic instrument, anchoring the track’s bounce and giving listeners something instantly memorable to latch onto.

Vocally, Brume leans into charisma over technical showmanship. His delivery feels conversational, almost teasing, gliding across the beat with an easy confidence that mirrors the song’s carefree premise. That personality-first approach has become a signature of his music, where braggadocio and humour often shape the storytelling. 

What stands out most on ‘Many Girls’ is the chemistry between production and vocal tone. BRUME brings a soulful edge that complements THISIZLONDON’s beats without overpowering them, creating a synergy that’s effortless. The result is a track designed for movement, the kind of record that thrives in social settings where the chant can bounce off a crowd and instantly become communal.

Structurally, the song doesn’t stretch itself far beyond its central groove. Instead, it doubles down on repetition and rhythmic consistency, a strategy that works well within Afropop’s dance-driven tradition. The approach may not offer dramatic shifts or narrative depth, but it serves the record’s purpose: immediate replay value. By the time the hook cycles through again, it’s already lodged firmly in memory.

On a broader level, ‘Many Girls’ feels like a continuation of London’s gradual transition from producer to curator of his own sonic universe. His recent work has shown an ability to assemble voices and textures that revolve around atmosphere as much as songwriting, an approach that helped earlier collaborations stand out across Afropop releases.

‘Many Girls’ is a lightweight but effective groove that understands the power of a simple, sticky hook. It’s a reminder that sometimes the most durable Afropop records aren’t the ones trying to say the most but the ones that know exactly how to make a room move.

AIMOYE — Kayode

Nigerian rising star Kayode delivers a bold cultural fusion with his new single “AIMOYE”. Fresh off his earlier breakout “Live Forever” and a string of Yoruba-infused drops, Kayode leans hard into “Yoruba Trap” territory here, sampling Fuji legend King Dr. Saheed Osupa’s classic “Reliable Pt. 5”, nodding to the original “Aimoye” phrasing to create something that bridges heritage Fuji rhythms with modern trap energy. The Fuji icon himself gave the green light, adding legitimacy to this ambitious remake that feels both nostalgic and forward-leaning.

From the opening seconds, the track hooks with layered Fuji chants and percussion, Kayode and Osupa’s voices intertwine in the intro: “Aimoye awọn eniyan, toti lo nile aye”, setting a reflective yet street-coded tone. Then the beat drops: heavy 808s, crisp hi-hats, and trap snares that give it that menacing low-end bounce while retaining the unmistakable talking-drum flair and call-and-response essence of Fuji. It’s a seamless hybrid of indigenous Yoruba delivery over contemporary production that could slide right into an international trap set. The production, self-produced is tight and immersive, balancing the sample’s warmth with sharp, modern edges. 

Kayode rides the wave of abundance and life’s hustle, echoing the sample’s theme of “aimoye” (plenty/people overwhelming the world) with his own spin. Street wisdom, resilience, and a touch of boastful introspection. The flow is melodic yet rhythmic, switching cadences effortlessly between sing-rap verses and punchy hooks that make the chorus sticky. It’s not overly complex, but the quotables land hard, especially in how he weaves Yoruba phrasing with English flexes. 

Kayode sounds confident and versatile, smooth on the melodic parts, gritty when he leans into the trap pocket—proving versatility in delivery.

“AIMOYE” stands out as one of the week’s most innovative Afro-fusion drops. It captures that sweet spot where tradition meets the streets, much like recent hybrids pushing Fuji/Apala into new spaces.

HUSTLE KPA $$$ — Blaqbonez, ARTSALGHUL

Blaqbonez kicks off his year with a gritty, unfiltered record: “HUSTLE KPA $$$” featuring emerging talent ARTSALGHUL. This single arrives as Blaq’s first official release of 2026, following teases and his recent collabs (including the prior ARTSALGHUL joint “2 Sl1ck”). Produced by Black Culture, the track is a raw street anthem that channels the relentless Lagos grind with Blaqbonez’s signature witty, self-aware bars and a fresh voice in ARTSALGHUL adding complementary energy.

The track opens with a signature Blaqbonez ad-lib—”Huh (Culture) Yeah”—setting a fitting tone before diving into production that’s hard-hitting and minimalistic: booming 808s, sharp snares, and a menacing trap-infused beat that keeps the momentum relentless. There’s a deliberate low-end focus that makes it feel like it’s built for car speakers and late-night drives through traffic, with subtle melodic elements in the background to prevent it from feeling one-note. Black Culture’s engineering shines—crisp, punchy, and balanced, letting the vocals cut through without clutter.

Blaqbonez blends humorous, introspective, and brutally honest lines about the come-up, making for a delivery that demands multiple relistens. The pre-chorus sets the scene with lines like “I been start this p gospel rapper / Now, I don turn to secular / Hope I go still make heaven sha”, a cheeky nod to his evolution from church kid to secular rap star, delivered with that classic Blaq self-deprecation. The hook drives home the theme: “Make them know say I dey hustle kpa,” referencing the relentless grind and name-dropping real-life markers like “Face-me-I-face-you for Ijesha,” “Nepo’ baby for where?,” and “5 K show for Abeokuta.” 

It’s a boast somewhat wrapped in relatability, celebrating the bottom-to-top journey without sugar-coating the struggle. ARTSALGHUL jumps in on the chorus and verses, bringing a smoother, almost melodic flow that contrasts Blaqbonez’s rapid-fire delivery, adding layers and making the track feel truly collaborative. 

“HUSTLE KPA $$$” is an instant mood-lifter for anyone in grind mode, with its high energy, quotable bars, and replay value that comes from Blaqbonez’s signature humour and authenticity.

JEMBE — Famous Pluto, Mavo

Famous Pluto links up with Mavo on “JEMBE”, a fresh single that’s part of a double-pack release also featuring “14DR” with Zlatan, solely built for the streets and the speakers—raw energy, no frills.

The beat kicks in straight with percussive drive: log drum patterns and shaker rhythms that scream classic Afrobeats bounce, layered with modern street-hop synths and a steady 808 kick that keeps it moving at a club-ready tempo. Production feels grounded in that Warri/Benin sound of infectious, short, punchy head-nodding grooves without over-the-top polish. 

Mavo opens strong on his sections, with a smooth and melodic contrast. His voice glides over the percussion, bringing that cultural Edo flavour while introducing high energy on the record, a chemistry once experienced on their prior “Kilogram” link-up; it’s collaborative without one overshadowing the other, creating a balanced back-and-forth that feels natural.

Famous Pluto handles the other half of the record with his signature delivery, with a melodic, gritty flow over the rhythm with pidgin-heavy bars that hit on hustle, vibes, and that unapologetic street flex. He rides the hook hard with a verse that is straightforward and street anthemic, made up of quotable lines wrapped in catchy repetition that make it stick after one spin. 

Structurally, ‘Jembe’ is straightforward and groove-orientated. The hook is designed as a rhythmic chant that blends seamlessly with the beat. It’s the type of refrain that feels built for communal listening, something that can echo easily across a crowd or a dance floor.

Baami — Crayon

Over the past few years, Crayon has built his reputation on bright, melody-forward Afropop — records that lean toward playful romance and colourful hooks. ‘Baami’ takes a noticeably different emotional route. Instead of the breezy flirtation that often defines his catalogue, the song turns inward, arriving as a reflective tribute shaped by gratitude, memory, and the quiet weight of family legacy.

“Baami,” a Yoruba phrase meaning my father, frames the record as a personal acknowledgement of his heavenly father. Within the song’s narrative, Crayon revisits the journey from modest beginnings to musical success, grounding the story in the figure of a father whose guidance and struggles shaped that path. It’s a perspective that shifts the focus away from celebration and toward appreciation, giving the record a deeper emotional center.

Production-wise, the song sits comfortably between soulful highlife textures and contemporary Afropop polish. The instrumental moves with a gentle groove, layering soft guitars, warm percussion, and understated melodic accents. That sonic choice mirrors the tone of the lyrics: reflective rather than exuberant. The beat leaves space for Crayon’s voice to carry the emotional weight of the song. Instead of the animated delivery heard on some of his more upbeat singles, Crayon sings with a softened tone that emphasizes sincerity. The melodies glide calmly across the instrumentals, allowing the lyrics to feel conversational, almost like a personal letter set to music.

Crayon balances recollections of hardship with moments of triumph, positioning the song as both gratitude and testimony. The message resonates beyond personal biography; it becomes an anthem for listeners navigating similar journeys, where success is often tied to the sacrifices of those who came before.

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The 14-track project, which debuted to critical acclaim for its seamless blend of reggaetón-infused bops, introspective bars, and unapologetic swagger, has solidified Blaqbonez’s status as a shape-shifter in the rap game. Featuring heavy-hitters like Black Sherif on the gritty opener “Road Runners”, Victony’s silky vibes on “Naija Shawty”, and a surprise Ludacris cameo on the summer heater “Cinderella Girl (Where You Dey)”, the album was Blaqbonez’s boldest statement yet on self-celebration. “This album is all about merging every version of me into one unfiltered party”, the artist, born Emeka Akumefule, reflected in a 2023 Apple Music interview, emphasizing themes of resilience and revelry over late-night introspection.

Streaming data reveals the album’s impressive longevity: 80 million Spotify streams to date, bolstered by 55 million on Boomplay, 42 million on Audiomack, and 28 million plays on YouTube Music—pushing total cross-platform figures well beyond 200 million. Standout cuts like “Like Ice Spice” (over 60 million streams), “Nyem Ego” (23 million+), “No Sleep” (22 million+), and the collaborative gem “Dollarz” ft. Odumodublvck (13 million+) continue to dominate playlists, proving the LP’s staying power in a landscape dominated by fleeting viral hits.

Yet, the anniversary’s timing couldn’t be more charged. Just weeks ago, on October 17, Blaqbonez reignited his months-long beef with Odumodublvck via the blistering diss track “ACL” from his freshly dropped LP No Excuses. The song, which has skyrocketed to No. 1 on Apple Music Nigeria and racked up millions of streams in days, accuses Odumodublvck of “stream-farming” and clout-chasing, with lines like “You dey farm streams like e get season” cutting deep into the Anti-World Gangstars founder’s authenticity. 

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The feud, which traces back to subtle jabs in early 2025 tracks like Blaqbonez’s “Haibo Freestyle” and Odumodublvck’s subliminals on ‘The Machine Is Coming’, has evolved from Twitter spats to real-world tension. Highlights include Odumodublvck’s viral middle-finger salute at Blaqbonez during the April Headies Awards, a heated confrontation with Blaqbonez’s female manager at a recent event (captured in a clip that’s amassed millions of views), and Odumodublvck’s public mockery of Blaqbonez’s recent single “Follow Her” ft. Kizz Daniel as “wack music”. What started as brotherly collaborations—think “Dollarz” and “Technician”—has devolved into a high-stakes clash of egos, with Blaqbonez positioning himself as the craft-focused veteran and Odumodublvck as the chaotic, street-certified disruptor.

However, for Blaqbonez, the milestone feels like poetic justice. With ‘Emeka Must Shine’ still charting and ‘No Excuses’ debuting at No. 1, the 29-year-old Chocolate City signee shows no signs of dimming. Whether this feud fizzles into fuel for future collabs or escalates into full-blown war, one thing’s clear: Nigerian hip-hop’s golden era is far from over, and Blaqbonez is shining brighter than ever.

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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.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

The post Blaqbonez, Zlatan, Young Jonn, Niniola and More on New Music Friday appeared first on Afromixx.

BNXN — CAPTAIN (ALBUM)

Following multiple lead singles and official music videos, Bnxn’s long-awaited sophomore studio album ‘CAPTAIN’ has now been released on streaming platforms. ‘CAPTAIN’ is an expansive 16-track body of work that feels like it was plotted on a weathered map, with each song marking a port he’s conquered or a current he’s survived. The album comes two years after the release of his debut LP, ‘Sincerely, Benson’, which, like earlier brief works, introduced listeners to Bnxn’s capabilities as an artist. Although ‘CAPTAIN’ is far from an experimental project in terms of sound for some, it may sound monotonous; it is, however, the perfect project for lovers of Bnxn’s uncomplicated melodies and flow. Production is helmed by a list of talented producers, including Kel‑P, Gemini Major, Vampire Craze, and more, who simply worked with Bnxn’s template. On ‘CAPTAIN’, Bnxn shines not only with his melodies and richly crafted production but also with his songwriting brilliance. The album opens with a slightly upbeat intro titled “I Alone”, which chronicles Bnxn’s mental state, which he largely talks about on the project, with the melodies and groovy production interfering with the emotional weight of some of the tracks.

Tracks like “In Jesus Name” strip everything bare, revealing a man equal parts haunted and hopeful. And the Soweto Gospel Choir doesn’t just lend vocals; they grant ‘CAPTAIN’ its spiritual centre.

What’s most impressive is how BNXN shape-shifts without sounding scattered. With ‘CAPTAIN’, Bnxn weaves a tapestry of Afro-Fusion, Afrobeats, R&B, and pop, proving his ability to transcend genres with effortless flair.

Blaqbonez — Go Crazy

Following a rap beef with his contemporary Odumodublvck, Blaqbonez doubles down on the shots he’s fired at him on AQ’s “Who’s Really Rapping”. On this week’s New Music Friday, Blaqbonez returns with a new, heated single ahead of his 16-track studio album “No Excuses”, which arrives on Friday, August 22. With “Go Crazy”, Blaqbonez fires off at rivals with his lyrical prowess and lethal songwriting. The beat, courtesy of Blaise Beatz, sounds like ambition on steroids—drums that stomp, synths that twist, and arrangements that leave no room for hesitation.

Blaqbonez is in full provocation mode with his ego-laced verses, clearly resulting from his rap feud and a claim for the Nigerian hip hop throne. “Go Crazy” pushes back at perception, at industry expectations, at anyone who ever mistook his confidence for cosplay. It’s a sonic hissy fit in the best way. Blaqbonez’s “Go Crazy” is loud, clever, and impossible to ignore.

While his recent string of releases has hinted at a more refined Blaq, this one feels like the final warning: “No Excuses” is coming, and Blaqbonez is pulling no punches.

Fave — Intentions

Fave remains one of the few new voices who can take emotional chaos and make it sound this graceful. In collaboration with ColorsxStudios, Fave delivers “Intentions” with polished vulnerability. The production is feather-light — bare guitars, warm percussion, delicate strings and writing that cuts deep.

On “Intentions”, Fave questions, pleads, and resists, all within the same breath. Her voice is equal parts confession and caution, floating above the beat without ever losing footing. She peels back heavy emotions in an oddly satisfying way that compels a listener to listen on replay. “Intentions” is the kind of track that grows teeth the more you sit with it. Jonah Little and OTIS’s production fuses gentle guitar with an infectious instrumental, infusing the track with a distinctive flair. The track follows the success of her 2024 EP, Dutty Love.

Zlatan — Happy Day

Zlatan has always known how to make the streets dance, but “Happy Day” proves he also knows how to uplift without losing his bounce. This one’s a mood reset—an Amapiano-tinged sermon disguised as a turn-up.

Chechdaproducer’s work is surgical here. The log drums pop like champagne corks; percussion glides with such ease it almost feels like the beat is dancing too. Zlatan’s delivery? All swagger and soul. On “Happy Day”, Zlatan is not celebrating because he’s arrived; he’s celebrating because he survived.

Between the Yoruba one-liners and melodic chants, “Happy Day” plays like Lagos heat bottled into a three-minute joy capsule. It’s the kind of record you put on when you’ve got nothing left to prove, just a reason to be grateful.

Angélique Kidjo – Nadi Balance

Only Angélique Kidjo could pull off a song that threads Benin, Congo, Nigeria, and the UK into one tight groove. “Nadi Balance” is more than a collaboration and cultural summit that brings together the sonic dialects of heavyweights like Fally Ipupa, The Cavemen, and Sheila Maurice-Grey. The result is highlife like you’ve never heard it: global, spiritual, and impossibly alive. Kidjo is in full celebration mode here. The production bubbles with rhythm, and her vocals—ever agile—move like a dancer through languages and genres. The Cavemen’s guitar licks glide. Ipupa’s Lingala croons sweeten the mix. Maurice-Grey’s trumpet adds cinematic brass that takes the song from jam to journey. “Nadi Balance” is like a love letter to balance between cultures, genres, past and future. The single comes shortly after news of the legendary singer Angelique Kidjo becoming the first African to get a star on the Hollywood Walk of Fame.

Samthing Soweto – Ama Get Down

South African icon Samthing Soweto delivers on his gift for storytelling in “Ama Get Down”, a track that pairs deep longing with rhythmic levity. There’s romance in the structure—Afropop edges softened by soul, amplified by rapper Blxckie’s textured feature.

Christer Kobedi’s production builds subtly, giving Samthing room to stretch. His delivery is part croon, part confession, channelling that late-night, half-smiling heartbreak. Blxckie, meanwhile, brings urgency with verses that remind listeners that love and thrill aren’t always linear.

Samthing Soweto’s “Ama Get Down” arrives on the studio album ‘Touch is a Move (Good Morning)’, and if this is the opening note, then we’re in for something personal, maybe even painful—but undoubtedly resonant.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

The post BNXN, Fave, Blaqbonez, Angelique Kidjo & Others on New Music Friday appeared first on Afromixx.

Towa — Dice Ailes

After taking a breather from the spotlight following his 2024 release ‘Dicey Baba,‘ Dice Ailes is back with new music. His latest single ‘Towa’ is a slow-burning love record that taps into something more personal than flashy: loyalty, gratitude, and the kind of intimacy that doesn’t chase attention but commands it. Wrapped in soothing Afrobeat rhythms and honeyed melodies, Dice leans into vulnerability, laying bare the emotional stakes of being held down by someone who sees you beyond your wins or losses. From the first few lines, you hear an artist not in a rush but in full control, letting the production breathe and the words land. The chorus lingers, subtle but sticky, and his vocal delivery exudes a quiet sincerity that makes “Towa” both a love letter and a reintroduction. For fans who’ve missed his voice, this is a reminder of what Dice brings to the table: a melodic honesty that doesn’t try too hard but still hits home. Whether this signals a full-blown rollout or just a soft reset, it’s clear Dice Ailes is stepping back into the conversation.

Sweet Love — Burna Boy

Fresh off his historic headline show at Stade de France and a cover spot on Billboard France, Burna Boy continues a fairly dominant 2025 run with ‘Sweet Love’ — a track that strays from the bombast of hits like “Last Last” and “City Boys” and opts instead for warmth, restraint, emotional and Carribean texture. The new single, produced by Major Seven, delivers a breezy, reggae-tinged atmosphere fused with Burna’s signature Afrofusion touch, sitting somewhere between romantic yearning and soft declaration. Rather than push a heavy message or anthemic hook, Burna lets the groove guide the narrative. The instrumentation is lush; gentle percussion, soulful basslines, and a relaxed tempo that lets his voice glide smoothly across verses that suggest a craving for love that’s unaffected by fame or fortune. There’s a quiet maturity in his delivery, and even in its simplicity, the record offers depth.

As a piece of the larger puzzle that is ‘No Sign of Weakness‘, “Sweet Love” peels back another layer of Burna Boy, not the global firebrand, but a man smitten by affection. And, if this is a taste of what the album holds, we’re likely in for Burna’s most emotionally layered project yet.

Lazy Baby — Ayo Maff

At just 19, Ayo Maff is already proving himself as a distinct voice in Nigeria’s fast-evolving music scene. His latest single ‘Lazy Baby’ builds on the momentum of his singles and feature run and shows that he’s not just a moment. Produced by godOmarr, “Lazy Baby” blends an upbeat production with sharp, reflective lyrics that swing between cheeky rebellion and introspective musings.

The song, which dropped right after his buzzy appearance at the 17th Headies, feels both carefree and calculated. It embraces the concept of being “lazy” not as a flaw, but as a refusal to conform to hustle culture or expectations. His lyrical snapshots, from dismissing math class to poking fun at societal pressures, feel authentic, lived-in, and unmistakably streetwise. But even in its defiance, “Lazy Baby” rides on a sweet groove that makes the listener hit replay.

As the lead single off his forthcoming debut album ‘Prince of the Street‘, the track positions Ayo Maff as a street poet, philosopher and a new-gen narrator with stories that resonate across age groups and settings. With each release, he continues to balance melody and message, showing growth without losing his youthful edge.

Kaestyle — ROOKIES Don’t Sound This Good (EP)

Following his nomination in the rookie category at the 17th Headies Awards, Kaestlye surprises fans with a new studio project titled ‘ROOKIES Don’t Sound This Good‘. The Port Harcourt-bred artist delivers a tight, three-track EP that wears its title like a declaration. This is music from someone who knows exactly where he’s going and is unbothered by industry labels. On the opening track “Chineke” featuring Starsamm — a playful, affectionate number soaked in warm melodies — Kaestyle sets the tone for a project that balances feel-good energy with lyrical purpose. The title track, “Rookies Don’t Sound This Good,” is where Kaestyle really flexes. It’s both a mission statement and a subtle clapback, suggesting that he’s far beyond starter territory. His blend of Afro-pop, R&B, and street-savvy cadence paints the portrait of an artist not just trying to impress, but to outlast. And on “How Much,” he takes things to the club with swagger and groove, but even that comes with a thoughtful undercurrent that reflects his duality.

This EP follows the success of singles like “Forever” and his 2022 debut project, ‘Kae’s Study‘, and it’s clear the KeyQaad signee is evolving fast. With nods to legends like 2Baba and Wande Coal woven into his sonic DNA, Kaestyle is proving that you don’t need a full album to make a statement, just confidence, craft, and a little finesse. ‘ROOKIES Don’t Sound This Good‘ is more than a clever title; it’s a fitting reminder that some artists don’t wait to be anointed; they simply arrive.

Follow Her — Blaqbonez ft. Kizz Daniel

Blaqbonez and Kizz Daniel have joined forces once again, delivering a vibrant new track titled “Follow Her.” This collaboration showcases their unique styles, blending Blaqbonez’s witty lyricism with Kizz Daniel’s melodic prowess.

In “Follow Her,” the duo explores themes of love, desire, and the complexities of modern relationships. Blaqbonez’s clever wordplay and humorous takes on romantic pursuits are complemented by Kizz Daniel’s smooth vocals, creating a dynamic interplay that keeps listeners engaged. The track’s infectious beat and catchy chorus make it a standout addition to any playlist, reflecting both artists’ abilities to craft hits that resonate with a wide audience.

This release continues the momentum from their previous collaboration, “One Dollar,” and further cements their status as innovative forces in the Nigerian music scene. “Follow Her” is not just a song; it’s a testament to the creative synergy between two of Afrobeats’ most exciting talents.

Ginger Me (Alum) — Niniola

Fresh off the high of ‘Press Play‘ and marking a decade in the game, Niniola is in no mood to coast. With Ginger Me (Alum), the Afro-House queen throws down the gauntlet again; 2025 is for the dancefloor, and she’s commanding it with zero apologies. Backed by Niphkeys’ thumping, layered production, Ginger Me (Alum) is a bold, pulsating entry—equal parts kinetic energy and playful imagination. It’s the kind of track that doesn’t ask for movement; it demands it. From the very first beat, it’s clear that Niniola’s mission is simple: get bodies moving and keep them there.

But beyond the rhythm, there’s intent. She taps into that sweet spot where fantasy meets freedom. The lyrics flirt with desire and tease with imagery, all coated in her signature vocal sass. It’s feel-good music with high-octane flair, and she delivers it with the ease of someone who knows she owns the lane.

In her own words, “This year, we are dancing and nothing else.” And with Ginger Me (Alum), she makes good on that promise. Whether you’re lit under club lights or just vibing through traffic, this track brings heat, bounce, and joy wrapped in pure Afro-House excellence. Ten years deep, and Niniola is still setting the tone. No gimmicks, just groove.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

The post Burna Boy, Ayo Maff, Blaqbonez and Others on New Music Friday appeared first on Afromixx.

Clarity Of Mind (COM) — Omah Lay

Despite his limited digital presence and largely reclusive lifestyle, Omah Lay has maintained a steady output since releasing his critically acclaimed debut album in 2022. From his last single, “Moving (Francis Mercier Remix),” released in 2024, to the deluxe edition of ‘Boy Alone’ in 2023, and the announcement of his sophomore album, ‘Clarity Of Mind’ (COM), in July 2024, Omah Lay has kept his fans engaged. The initial lead single, “Moving,” suggests a shift in his music. While his work is often characterized by heavy, melancholic emotions, “Moving” hints at a newfound ability to manage these feelings, which may ultimately influence the album’s themes, style, and overall execution.

Uncle K — Kizz Daniel

Kizz Daniel‘s highly anticipated ‘Uncle K’, a four-track project featuring collaborations with Runtown, Victony, and Phyno, was slated for release on November 29, 2024, intended as a year-end offering. However, as fans awaited its midnight arrival on digital streaming platforms (DSPs), the project failed to appear. This caused considerable disappointment, especially as Kizz Daniel did not initially issue an official statement explaining the postponement. Instead, he removed all posts about the project, including older ones, from his social media. Approximately five days later, Kizz Daniel shared a video announcing that ‘Uncle K’ had not been scrapped but would be released sometime in 2025. The video was captioned, “Family First, Music Second…BRB—Uncle K.” This delay raises the possibility that Kizz Daniel that he may add further tracks, extending the originally planned four-track project. 

I Am The Blueprint — Qing Madi

Since her impressive entry into the music scene, Qing Madi has consistently demonstrated her intention to establish a lasting presence. As one of the promising stars of the new generation, Qing Madi effortlessly connects with listeners through her undeniable talent and irresistible music. The R&B fusion songstress released her self-titled EP in 2023, significantly boosting her mainstream recognition. The EP, which featured her breakout single “Ole,” also spawned successes like “Vision” and “American Love.” In 2024, Qing Madi released a deluxe version of her debut EP, including a remix of ”Vision” featuring American R&B artist Chloe Bailey—a noteworthy achievement for an emerging artist. In less than three years, Qing Madi’s journey has culminated in her debut album, ‘I Am The Blueprint’, scheduled for release on January 31, 2025, with a rollout that began with her recent emotional drop, “Goosebumps,” in October of the previous year.

No Sign Of Weakness — Burna Boy

Burna Boy has been vocal about his forthcoming album, ‘No Sign Of Weakness’, a title he impressed upon fans only months after the release of his eighth studio album ‘I Told Them’. While Burna Boy has yet to announce a specific release date, there have been moments suggesting an imminent arrival, with snippets of tracks surfacing online. While most of these snippets, such as “Empty Chairs,” “No Fly Zone,” and “Don’t Need You,” are confirmed and have even been performed by Burna Boy himself, an official track list for ‘No Sign Of Weakness’ has not yet been released. However, all indications suggest the album will drop this year, with “Higher” potentially included.

5ive — Davido

‘Timeless’, one of Davido’s finest albums, released in 2023, proved that the artist, not typically known for his knack on albums, can create a cohesive masterpiece. The surprise announcement of Davido’s forthcoming fifth studio album might seem premature, yet it appears thoughtfully planned. This is evident in the album’s title, ‘5ive’, the intended year of release, the cover artwork, and, of course, the fact that it is his fifth studio album. The album announcement coincided with Davido’s second release of 2024, “Funds,” featuring Odumodublvck and Chike, shortly after his first release with YG Marley. The 17-track album is set for release on March 14, 2025.

Viva Lavida — Joeboy

Joeboy‘s significant contribution to the Nigerian Afro-R&B scene will undoubtedly be remembered for years to come. One of Nigeria’s exceptionally talented artists, he has consistently delivered excellent albums and singles that have resonated organically with a wide audience, propelling him to commercial success. While this may be speculative, his commencement of the Lavida World Tour in Perth, Australia, coupled with his tweet “2025 – Viva Lavida Year,” strongly suggests that this tour will culminate in a significant moment for the artist: the release of an album.

Tiwa Savage’s Last Studio Album

Tiwa Savage has undeniably reached a later stage in her career, having seen a shift in her core fanbase, with less of the fervent anticipation that characterized her earlier years. Over the past three years, she has released several projects using varied strategies in hopes of reconnecting with a broader commercial audience, yet without fully recapturing that earlier momentum. While she has been active recently, with chart-topping features and singles, a bittersweet announcement emerged via her Instagram story: her next album may be her last, expressing a sense of exhaustion after her efforts. Though a specific release date has not been communicated, all hints point to 2025.

Lojay’s Impending Debut Album

Among Lojay’s initial tweets in 2024 was a New Year’s Day message: “Album Year. Thank you God.” Subsequent posts consistently suggested an impending album release. However, due to undisclosed reasons, the release of his debut album was postponed. Despite this, 2024 showcased some of Lojay’s most compelling work to date, particularly the two-track single “Falling/Unleash,” released in October. Sometime last year, Lojay revealed the extensive time he has invested in the album, suggesting that its eventual release should be forthcoming, likely within the next year.

Blaqbonez hints at a fifth album

Blaqbonez apparently has no intention of slowing down his musical output, even after his three-track single “Of Many Colors” in October of the previous year. He began the year by teasing new music on January 1st, featuring his signature flossy lines and clever punchlines, with the caption “Consistency, 2025.” The following day, Blaqbonez quoted the now-viral video, hinting at an album on the horizon: “Almost time for the album. Gear up.” While the exact timing remains uncertain, given his last album, ‘Emeka Must Shine’, was released in 2023, it is hoped that the new project will arrive in 2025.

God’s Engineering 3 — A-Q

In a post shared across his social media platforms in October of the previous year, A-Q announced the third and final installment of the ‘God’s Engineering’ series. Inspired by real-life events, the album is scheduled for release in May or June of this year. A-Q is undoubtedly expected to conclude the series with his characteristic lyrical depth and relatable themes.

The post On the Horizon: Upcoming Albums of 2025 (so far) appeared first on Afromixx.

The music scene is already buzzing with fresh beats, catchy lyrics, and rhythms that will have you hitting repeat all weekend. The regular hit-makers such as Davido, Pheelz, and BlaqBonez are back with electrifying vibes as they serve up the hottest tracks you don’t want to miss.

There’s something for everyone to vibe to. So, plug in your headphones, turn up the volume, and let Afromixx point you towards some of the biggest hits.

Davido x Odumodublvck x Chike – Funds

OBO comes through with a hit song, and he titles this one Funds. An exciting tune that features big names Odumodublvck and Chike, Funds is that song to get you moving your body right from the start as it begins with a high energy beat which gets even better when Davido begins with his verse. Odumodublvck didn’t disappoint as he came in with his unique flow for his verse. Chike’s vocals were on point as he brought in a soothing feel to the track, and together, the trio made magic on this one.

Pheelz x Olamide x DJ YK Mule x Poco Lee – 5am In Ojo Freestyle

A proper jam with that street energy and vibes, Pheelz gives music listeners a tune to get them dancing their hearts out. There’s no doubt that the dance moves that will come with this song will be of high energy as he enlists a number of artists with high street credibility. Poco Lee begins with an enticing intro, and then Pheelz begins with his verse and then moves on to chorus. DJ YK Mule does his thing with a short intro in the second verse. Badoo himself comes in with a smooth, calm verse and delivers catchy bars that still gets listeners on their feet dancing.

Khalid x Ayra Starr – Make It Up To You

The romantics, and late-night drive enthusiasts are going to love this one. International R&B star, Khalid releases his latest track, Make It Up To You, and he features Ayra Starr on this one. The track contains a soothing beat which makes the atmosphere seem so calming. Khalid’s vocals blends so well with the beat as he delivers an emotional verse on the matters of love and an even more emotional chorus. Ayra Starr comes in with a sweet verse as her vocal game goes smoothly with the harmonies, and get even better with the beautiful beat drops that comes in as she ends her verse to begin the chorus again. The R&B lovers are going to eat this one up quickly.

BlaqBonez x Ayo Maff x Bella Shmurda – Louder

Nigeria rap act BlaqBonez gives another sweet tune, Louder, featuring Ayo Maff and Bella Shmurda. An infectious blend of hip-hop and Afrobeats, Louder has this catchy hook and vibrant energy about it that makes you want to sing along even when you don’t know the lyrics. Having Ayo Maff and Bella Shmurda on the track adds even more element to the track, increasing its appeal.

DJ Tunez x Wande Coal x Libianca – Promiscuous

Another hit coming from popular Nigerian disc jockey DJ Tunez, Promiscuous features legendary Nigerian vocalist Wande Coal and the beautiful Cameroonian artist Libianca. An upbeat track that has Wande Coal and Libianca going after each other in an exciting flow, the duo make the track so much more exciting with their vocal game and enticing lyrics that makes the song so saucy. A collaboration that certainly seems surprising, Wande Coal and Libianca really were an elite duo as they matches each other’s rhythm.

The post Davido, Ayra Starr, Pheelz, and DJ Tunez Gives Us New Hits on this week’s New Music Friday. appeared first on Afromixx.

What to Expect from “Of Many Colors”

While the tracklist isn’t out yet, it is fair to say that based on Blaq Bonez’s previous works, we can expect “Of Many Colors” to be a fusion of hip-hop, Afrobeats, and soulful melodies. Knowing how versatile BlaqBonez is, this album title suggests he will be experimenting with a range of sounds and themes, which could reflect Blaq Bonez’s growth as an artist and his ability to experiment with different styles.

Blaq Bonez’s Rise to Fame

Blaq Bonez has been making waves in the Nigerian music scene for a while now, with hits like “Haba,” “Commander,” and his last album “Emeka Must Shine”. His unique blend of rap and singing has earned him a loyal fan base, and he’s been praised as a lyrical genius and for his storytelling ability.

What’s Next?

Now that the album has been announced, fans are eagerly waiting for a release date and more information about the tracklist. We can expect Blaq Bonez to drop some singles or teasers in the coming weeks to build up the hype. Stay tuned for more updates on “Of Many Colors”!

The post BlaqBonez Announces a New Album On The Way: ‘Of Many Colors’ appeared first on Afromixx.

Back Outside — Phyno feat. Cheque

On his 5th studio album, “Full Time Job,” Phyno’s outstandingly talented craft of rapping in cascading rhythms and flows has intensified over the years. “Back Outside,” a blend of amapiano and afrobeat elements, Phyno delivers an enjoyable record, with Cheque’s sublimely rendered hook adding a high replay value. Cheque’s ability to not only rap but sing was utilised on “Back Outside,” offering an effective chorus to Phyno’s effortless delivery and the song’s fluid rhythm.

Happy People — Kaestyle

Highlife flavour intersects with hip-hop undertones, and Kaestyle creates a record that underscores his range and solidifies his place as a rising act in the music space. His delivery is evocative of Tekno’s music, as he croons and drags on the lyrics. Having taken the country by storm with the escapism record “My Dealer,” Kaestyle conjures “Happy People,” a song that soundtracks merriment with some good palm wine in circulation.

Haibo Freestyle – Blaqbonez

In anticipation of his forthcoming studio album “Of Many Colours,” Blaqbonez released his second single this year, titled “Haibo Freestyle.” Blaqbonez’s first release of the year took on a theme different from the typical emotionally unavailable persona to a lover boy on fire. True to his freestyle nature, Blaqbonez delivers punchlines in Haibo Freestyle with playful confidence and smooth cadence. His trademark wit and biting humour run through the track as he casually weaves social commentary with flexes about his dominance in the rap game.

Timing — Juls feat. Black Sherif, Projexx

Producer extraordinaire Juls teams up with Black Sherif and Projexx to create a sonically rich track in Timing. Black Sherif’s raspy, emotion-filled vocals give the track depth, while Projexx adds a smooth, dancehall-inflected groove. The production is impeccable, with Juls laying down a beat that’s both chilled shakers and immersive percussions.

Good Feelings — Coldplay feat. Ayra Starr

Coldplay and Ayra Starr come together on Good Feelings, a blend of Coldplay’s soaring anthemic style and Ayra’s ethereal Afropop sound. Ayra’s voice brings warmth and a fresh dimension to Coldplay’s sound, offering a cross-cultural collaboration that feels both authentic and inspiring.

Like — Mavins, Andre Vibes, DanDizzy 

The new Mavins collaboration, Like, combines exuberant energy with seasoned production from Andre Vibez and DanDizzy’s sharp delivery. The song begins with an infectious beat, luring you in with Andre’s production—smooth but full of high-tempo Afrobeats influences. DanDizzy provides a dynamic element by riding the beat with his witty wordplay and charismatic flow.

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