The Official FIFA World Cup 2026 Album was released on the 5th of June and features a wide mix of Afrobeats, hip-hop, Latin, pop, dancehall, and K-pop artists, making it one of the most diverse soundtrack projects in FIFA World Cup history.

African artists once again take centre stage on the project, with several high-profile collaborations spread across the tracklist.

Burna Boy teams up with Shakira on “Dai Dai,” which is also positioned as the tournament’s official theme song.

Tyla appears alongside Future on “Game Time,”

while Rema joins LISA and Anitta on “Goals.”

Davido features on “No Place Like Home” with Major Lazer and Nelly Furtado, and Ayra Starr collaborates with Latto on “Show Me.”

The 2026 World Cup album tracklist highlights FIFA’s continued push toward global musical integration, connecting artists from Africa, the Americas, Europe, and Asia in one unified project tied to the world’s biggest football tournament.

Official FIFA World Cup 2026 Album Tracklist

• Goals – LISA, Anitta and Rema
• Game Time – Future and Tyla
• Illuminate – Jessie Reyez and Elyanna
• Echo – Daddy Yankee and Shenseea
• Por Ella – Los Ángeles Azules and Belinda
• Three Nations – 21 Savage, Nata Cano and French Montana
• No Place Like Home – Major Lazer, Nelly Furtado and Davido
• In the Stars (Remix) – The Rolling Stones
• Show Me – Ayra Starr and Latto
• Mi Mexico Lindo – Alejandro Fernández
• Blessings – Stormzy, Fridayy and Angel
• Energy – Ava Max and BIA
• Lighter – Jelly Roll and Carín León
• Siir Siir – Nora Fatehi, Vegedream and Sanjoy
• Partidazo – Danny Ocean
• Champion – IShowSpeed
• Love Always Wins – Shaggy, Cimafunk and Zema
• Dai Dai – Shakira and Burna Boy

The announcement reinforces how FIFA continues to position its World Cup soundtracks as global cultural moments rather than regional compilations, with Afrobeats acts now firmly embedded in the mainstream international music ecosystem.

With names like Burna Boy, Rema, Davido, Ayra Starr and Tyla all appearing on the 2026 World Cup album tracklist, the project signals the continued global expansion of African music on the world stage.

Listen to the album here:

The post FIFA Unveils Full 2026 World Cup Album Tracklist Featuring Burna Boy, Rema, Davido, Ayra Starr & More appeared first on Afromixx.

It wasn’t just about the album cover reveal. The sculpture, which evolved alongside the album cover, created a sense of anticipation that extended beyond music, drawing audiences from both the art world and Afrobeats culture. It was a visual rollout that unfolded in real time.

Not only was it a visual moment that had everyone talking, but it also quietly reinforced just how important album covers remain in music culture.

Something about a well-known Iranian-Dutch sculptor carving the artwork from prestigious Statuario marble screamed “Money” in every sense of the word.

Over the years, Afrobeats artists have produced some of the most intentional album covers in contemporary African music.

Here are some of our favourites so far:

Mr Eazi — Life is Eazi, Vol. 1: Accra to Lagos

Mr Eazi’s Life is Eazi, Vol. 1: Accra to Lagos houses one of his most celebrated records, “Leg Over.” Beyond the music, the cover captures his identity in transit.

He is seen with his back turned, holding a travel bag, dressed in an agbada made from what is popularly referred to as “Ghana Must Go” material in Nigeria.

It serves as a visual metaphor for movement between the two countries that shaped his sound.

BNXN — Sincerely, Benson

Similar to Asake’s M$ney cover, BNXN’s Sincerely, Benson features a bust portrait of the artist, surrounded by floating flowers and love letters.

The visual language feels deeply personal, almost like a love letter.

That emotional framing mirrors the album’s tone, where vulnerability sits at the centre of the storytelling, especially on “Pidgin & English.”

Burna Boy —Twice as Tall 

Following the success of African Giant, Burna Boy returned with Twice as Tall in 2020. The cover presents a low-angle shot of him with one foot raised, creating an imposing visual stance. 

It coincidentally gives a visual description to the phrase “stepping on their necks”. It’s also very fitting that his song “Way Too Big” resides on that album.

Davido — A Better Time

While most of Davido’s album covers are colorful and busy, A Better Time takes a softer, more intimate approach. 

The monochrome cover shows him cradling and kissing his late son, Ifeanyi Adeleke. 

Whether intentional or not, the cover alongside the title of the album gives the impression that Ifeanyi arrived and made Davido’s life “A Better Time.”

Rema — HEIS

Rema’s HEIS continues his pattern of experimentation.

Unpredictable as the album itself, the cover features a caricature of the artist adorned with a bold gold chain and bat pendant, with matching bats in the background.

It leans into surrealism, reflecting his Benin roots and houses his most pompous tracks like  “March Am,” “HEHEHE,” “Ozeba,” and “Yayo.”

Taken together, these covers show that album art in Afrobeats is not an afterthought but an integral part of storytelling.

In many cases, it is the first chapter that sets the tone, identity, and emotion of the project before a single sound is heard.

The post The Art of Album Covers in Afrobeats appeared first on Afromixx.

Leading the African contingent is Tems, who secured three nominations across some of the ceremony’s most competitive fields. She earned a nod in Best Female R&B/Pop Artist alongside names like SZA, Ella Mai, and Coco Jones, while her song “First” landed a nomination in the BET Her category. She also picked up a Viewers’ Choice nomination for “Raindance”, her collaboration with Dave.

Tems’ multiple nominations further reinforce her crossover positioning beyond the confines of Afrobeats. Over the last few years, she has steadily evolved into one of the continent’s most internationally adaptable artists, moving fluidly between R&B, soul, alternative pop, and African rhythms while maintaining a distinct identity. The BET recognition reflects how naturally she now exists within global award conversations rather than appearing as a regional inclusion.

South African star Tyla also continued her international award-show run with nominations that further cement her breakout momentum. Her hit “Chanel” earned a nomination for Video of the Year, placing her beside heavyweight global acts in one of the night’s most visible categories.

Meanwhile, Wizkid and Asake secured a historic nomination in the Best Group category — a rare recognition for Nigerian collaborators within a traditionally U.S.-leaning category. Their nod reflects the growing commercial strength of African collaborative projects and how African acts are increasingly being considered beyond international classifications.

For Burna Boy, the nominations continue a now-familiar streak of global visibility. He earned a Best Collaboration nomination for “WGFT”, his appearance on Gunna’s record. The nod adds another international recognition to Burna Boy’s increasingly expansive catalogue of global collaborations, further highlighting his consistency within American rap and crossover spaces.

One of the most noticeable aspects of this year’s nominations is the absence of several African names who have recently dominated international conversations, including Davido, Ayra Starr and Rema in the major music fields. Instead, the 2026 nominations largely centre on Nigerian and South African artists who have spent the last year making stronger crossover impressions through collaborations, touring, viral moments, and internationally resonant records.

The wider nominations were led by Cardi B with six nods, while Kendrick Lamar and Mariah the Scientist followed closely behind. Yet even within a nomination slate dominated by American rap and R&B heavyweights, African artists maintained a visible imprint across collaboration, video, group, and pop categories.

The post African Nominees at the 2026 BET Awards appeared first on Afromixx.

Released as one of the standout collaborations from Gunna’s 2025 album ‘The Last Wun’, “WGFT” quickly became a fan favourite for its moody production, melodic bounce, and Burna Boy’s effortless Afro-fusion presence layered into Gunna’s glossy trap world. The record represented another example of Burna Boy’s growing comfort inside international rap spaces without diluting the texture of his own sound.

For Burna Boy, the certification is about consistency at a level no African artist has maintained in the UK market for this long. Over the last few years, he has steadily built one of the strongest commercial catalogues by any African act in Britain, with records like “Location”, “Own It”, “Ye”, “Be Honest”, and “Last Last” all becoming major certified successes. 

What makes Burna Boy’s run particularly remarkable is how fluidly he moves between worlds. On one end, he remains rooted in African rhythm, identity, and storytelling. On the other, he has become a reliable collaborator within global pop and hip-hop ecosystems, appearing beside artists across rap, R&B, dancehall, and alternative music while still sounding unmistakably like himself. “WGFT” sits comfortably within that lineage: a transatlantic collaboration that is naturally stitched together by atmosphere and charisma.

The Gold certification also reflects the continued appetite for Afrobeats-adjacent collaborations within the UK, a market that has historically embraced African music earlier and more aggressively than many Western territories. Burna Boy has arguably become one of the defining figures of that movement, helping push African music from diaspora playlists into mainstream chart culture, arena tours, and award conversations.

At this point, milestones like these no longer arrive as surprises. They arrive as reminders of how durable Burna Boy’s global presence has become. Whether leading his own records or stepping into another artist’s sonic universe, he continues to turn collaborations into cultural moments, and “WGFT” is now the latest addition to a catalogue that keeps rewriting what international success can look like for African artists.

The post Burna Boy Earns 11th UK Certification with Gunna’s “WGFT” appeared first on Afromixx.

1. Fun by Rema

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

2. Disturbing U by Ayra Starr & Darkoo

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

3. We Plenti by Simi & Cobhams Asuquo

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

4. Common Person by Burna Boy

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

5. This Year (Odun Yi) by Jaywon

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

6. Uyo Meyo by Teni

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

7. Sunshine by Asake

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

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

The post Inspirational Nigerian Songs That Hit Different. appeared first on Afromixx.

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

About the MOBO Awards

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

Nigerian Artists Who Have Won Made MOBO Awards

2Baba — Best African Music Act (2007)

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

9ice — Best African Music Act (2008)

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

Nneka — Best African Music Act (2009)

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

Wizkid — Multiple Wins (2011-2026)

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

D’banj — Best African Music Act (2012)

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

Davido — Best African Music Act (2017)

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

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

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

Asake — Best African Music Act (2024)

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

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

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

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

The post Ayra Starr, Wizkid, and Nigerian Artists Who Have Won MOBO Awards appeared first on Afromixx.

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.

The post Spotify Celebrates Five Years in Nigeria, Ghana & Kenya With Streaming Milestone Charts appeared first on Afromixx.

Named after Jamaica’s former Miss World 2019, “Toni-Ann Singh” first ignited global attention upon its release as part of Burna Boy’s critically acclaimed Love, Damini album in July 2022. The song also made significant waves on the Billboard U.S. Afrobeats Songs chart, where it peaked at No. 11, reinforcing its international appeal.

Produced by Andrew “Anju Blaxx” Wright, the track has enjoyed enduring listenership years after its release, buoyed by viral moments and sustained streaming traction across platforms. While neither Burna Boy nor Popcaan has issued an official statement on the certification yet, the industry and fan pages alike have been buzzing with celebrations across social media platforms, marking the achievement as yet another major win for Afro-Caribbean music crossover.

This gold plaque is Burna Boy’s 14th certification in Canada, a tally that reportedly tops the count for any African artist in that market, underscoring his ongoing dominance and the rising commercial clout of Afrobeats beyond its traditional strongholds.

As the genre continues to break barriers globally, “Toni-Ann Singh” stands as a powerful example of how Afrobeats-Dancehall fusion can resonate across continents, years after first hitting the airwaves.

The post Burna Boy’s “Toni-Ann Singh”Featuring Popcaan Achieves Gold Certification in Canada appeared first on Afromixx.

Burna Boy’s global dominance continues to take tangible shape in arenas across the world. The Nigerian superstar delivered a sold-out performance at the State Farm Arena, reaffirming his status as one of Afrobeats’ most bankable live acts on the international stage.

The Atlanta stop formed part of his ongoing world tour in support of his latest body of work, drawing thousands of fans who turned the venue into a sea of flags, sweat and anthems. From the opening moments, the energy inside the arena reflected just how deeply Burna Boy’s sound has travelled beyond borders — a crowd that knew every word, every chant, every drum break.

The arena, often home to NBA legends and hip-hop heavyweights, bowed to Burna Boy’s command from the jump. Attendees and curious locals dipping toes into the genre flooded the floor and tiers alike. No empty seats, no echoes in the rafters—just a sea of raised fists and swaying bodies under a 360-degree light show that pulsed like a heartbeat.

The crowd erupted at an exciting performance of a thrilling setlist, including “Tshwala Bam”, the amapiano-infused banger that had everyone two-stepping in unison, and the tender vulnerability of “Love”, his Grammy-nominated gem that hushed the masses into a collective sway.

Backed by a full live band and cinematic stage production, Burna Boy powered through a career-spanning setlist that fused early street anthems with stadium-sized records from his global run. The performance leaned heavily on movement, call-and-response moments, and raw vocal presence, creating a communal atmosphere that blurred the line between performer and audience.

Celebrities like comedian Lasisi Elenu and his wife even jetted in, linking up backstage with Burna Boy’s powerhouse mom, Bose Ogulu, for that familial vibe that humanises the icon.

In a year where global tours have faced headwinds from economic squeezes and streaming saturation, Burna’s consistency—seven albums deep, with over 10 million equivalent units sold worldwide—feels like a blueprint for sustainability.

More than just another tour date, the packed-out Atlanta show stands as yet another marker of how far Afrobeats has stretched—and how central Burna Boy remains to that expansion. At a time when African music continues to negotiate its place in global pop culture, nights like this underline who is truly carrying the weight of that visibility.

With several more cities still on the tour itinerary, Burna Boy’s world run is shaping up as one of the most defining chapters of his live career yet, not just in scale, but in cultural impact.

Beyond the spectacle, there’s a deeper pulse here. Burna Boy, born Damini Ebunoluwa Ogulu, has long been one of the bridges between African heritage and Western charts. His Atlanta conquest underscores Afrobeats’ grip on the U.S.—a genre once niche now commanding arenas once reserved for pop behemoths. 

As the tour barrels toward Orlando and Newark, then caps in Toronto, one truth rings clear: Burna Boy is conquering. In an industry quick to crown and quicker to dethrone, his Atlanta armageddon is the kind of night that etches legacies.

The post Burna Boy Packs Out Atlanta’s State Farm Arena on ‘No Sign Of Weakness’ World Tour Stop appeared first on Afromixx.

The victims included three children and one adult: Amari Peterson, 14, a Modesto teen with a 3.8 GPA and a football and basketball player; Maya Lumiya; Journey Rose Reotutar Guerroro; and Susano Archuleto.

Stockton Vice Mayor Jason Lee condemned the shooting, stating it is “never gangster to kill kids”. The incident gained national attention after coverage on “The Breakfast Club” radio show.

Nigerian singer-songwriter Burna Boy (Damini Ogulu), 34, learnt of the event through the broadcast. He contacted music executive Wack 100, who connected him to Mayor Lee. Burna Boy offered to cover all funeral costs for the four victims.

In a statement, Burna Boy said, “When I heard about the children murdered in Stockton, my heart broke. After hearing the story on The Breakfast Club, I reached out to Wack 100 and connected with Jason Lee because no family should ever face this kind of pain alone. I wanted to do whatever I could to support these parents as they begin the long process of healing.”

Mayor Lee responded, “Burna didn’t know these families, but when he heard what happened, he stepped up with compassion and offered to cover the funeral costs for all the kids we lost. I want to thank Burna Boy for his support of families and children he has never met but still felt moved to help.”

This act provides direct financial relief to the families amid their grief. The San Joaquin County Sheriff’s Office continues investigating and urges tips via their hotline.

The post Burna Boy Covers Funeral Costs After Stockton Birthday Shooting Tragedy appeared first on Afromixx.