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 data underscores Afrobeats’ remarkable growth. The genre is becoming more introspective, with emotionally charged vocals now accounting for 38% of global streams, reflecting a shift toward deeper, more resonant storytelling. Its global reach is accelerating, particularly in Latin America, where listenership has surged by over 180% year-over-year, with Brazil alone witnessing a staggering 500% increase in streams since 2020. This cross-cultural appeal is fueled by shared musical histories, as African rhythms underpin Latin genres like salsa and reggaeton, fostering collaborations like Ayra Starr’s “Woman Commando” with Brazilian artists, which has topped playlists like “Afro Ritmo” with over 3.1 million streams.

Female artists are at the forefront of this global takeover. Nigerian star Tems made history as the first African female artist to surpass one billion Spotify streams for a single track, while Ayra Starr’s streams in Nigeria have skyrocketed by over 3,000% since 2020, cementing their roles as trailblazers.

In Nigeria, the genre’s birthplace, listeners have streamed over 180 million hours of Afrobeats in 2025, with Lagos, Abuja, and Port Harcourt leading as top streaming cities. Gen Z listeners are defining the genre’s vibe, gravitating toward moods like “whiny”, “island vibes”, and “playful,” as seen in playlists like “Hot Hits Naija”, “Gbedu”, and “Street Energy”, which capture the raw pulse of Nigerian youth culture. Hot Hits Naija alone has amassed over 20 million global plays.

Local innovation is thriving with the rise of sub-genres like “Afro-Adura”, which has exploded with over 4,000% growth in streams, and fan-made Afrobeats playlists, which have grown nearly 3,000% worldwide in the past decade. Playlists like ‘Afro Adura’ have seen a 51% jump in average monthly plays, showcasing the genre’s depth and diversity. Beyond Nigeria, Afrobeats is making waves in Asia, with Indonesia seeing a 4,530% surge in streams from 2020 to 2025, followed by India (1,650%), the Philippines (1,492%), and Thailand (1,370%).

For the average music listener, “Afrobeats: Culture in Motion” offers an accessible entry point into the genre’s vibrant world. The documentary highlights next-generation artists like Rema, whose track “Calm Down” with Selena Gomez joined Spotify’s Billions Club, and Tyla, whose “Push 2 Start” remix with Sean Paul topped charts in 2025. The microsite breaks down Afrobeats’ cultural impact through five pillars—music, fashion, dance, visual art, and fan communities—making it easy to grasp how the genre influences global trends. For instance, Afrobeats’ visual language, from colorful music videos to TikTok dance challenges, has driven its popularity, with songs like CKay’s “Love Nwantiti” inspiring over 10 million weekly TikTok videos at its peak.

For those new to Afrobeats, Spotify’s project is a gateway to understanding its cultural and emotional depth. Whether you’re drawn to the playful energy of “Gbedu”, the street-driven beats of “Street Energy”, or the soulful Afro-Adura sound, “Afrobeats: Culture in Motion” invites you to explore a genre that’s not just music but a global movement shaping culture one beat at a time.

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On Friday, July 11, the Main Stage was headlined by Drake and PARTYNEXTDOOR, with performances from guest artists like Summer Walker, Leon Thomas, KWN, Odeal, and DJ AG. The Old Spice Stage was lit up by Roy Woods, Sailor, Karri, Nippa, Swavy, and Kamilla Rose, while Taylor Rae, Naira, Donch, and Jada Kai brought energy elsewhere on the grounds. The Hennessy Stage featured Marcus Blue and DJs Juls, Mercedes Benson, Ace, and Sugar B.

The following day, Saturday, July 12, Drake remained the Main Stage constant, joined this time by Boy Better Know, BigXthaPlug, Lancey Foux, Nemzzz, Sahbabii, and DJ AG. The Old Spice Stage was newly reloaded with Fimiguerrero, LEN, Chy Cartier, YT, and Kenny Allstar. Meanwhile, DJs Supa D, Rampage, Sir Corey, and Twin B kept the decks alive, with Sugar B making a return. The VIP Village buzzed with Travis Presents, Bempah (Scary Things), EJ, Jay Knox, and Cvss.

Sunday brought the festival to a euphoric close with a more global, genre-spanning roster. The Main Stage was led by Drake once again, this time joined by Burna Boy, Vybz Kartel, Popcaan, Spice, Masicka, and DJ AG. The Old Spice Stage featured an electric run from Darkoo, Odumodublvck, Skitty, and Izzy Bossy. The Hennessy Stage wrapped with high-powered sets from resident DJs Suga B and Marcus Blue, Nicky Slimting, and Heartless Crew.

A new wave of African artists was unveiled at this year’s edition, bringing fresh energy to the festival alongside a few familiar faces. Rema, who co-headlined in 2024, was a surprise guest this time, introduced by Drake. Uncle Waffles returned to the decks but was unable to give the crowd a blast on the Hennessy Sage due to claims of poor time management and handling by the festival planners.

Top 5 Afrocentric Moments That Lit Up the Wireless Festival Stage

Drake Bringing Out Rema on Stage
Before Rema came on, Drake vaguely teased the crowd with, “I’m gonna let him do his thing for this show, that’s all. Let’s go.” But as the DJ cued in Rema’s first single of the year, “Baby (Is It a Crime)”, the audience erupted in excitement, quickly catching on to who was about to step out. Rema slowly strutted on stage in an unbuttoned black fur-collared coat, baggy white jeans, a baseball cap, and shades, fully leaning into his mysterious persona. It was a surprise moment no one saw coming, as Rema wasn’t listed on the official Wireless 2025 lineup.

A New Version of Moliy’s ‘Shake It To The Max (Fly)’ with Stefflon Don
Following the rise of her dancehall-inspired hit “Shake It To The Max (Fly)”, the remix featuring Caribbean stars Shenseea and Skillibeng — reportedly facilitated by Jamaican producer Silent Addy — helped the song dominate the Caribbean and push into global charts. During his set, dancehall legend Vybz Kartel invited Moliy on stage for a performance of the song alongside English rapper and singer Stefflon Don, who debuted a new verse live, hinting at a potential remix on the way.

Burna Boy’s Debut Performance
Shortly after his set, clips surfaced online of Burna Boy appearing shocked at the smaller-than-expected crowd, clearly anticipating a turnout more like his headlining tour shows. Still, the Grammy-winning performer didn’t let it dull the moment. He opened with his crowd-favourite feature on Dave’s “Location”, followed by a powerful medley including “Ye”, “City Boys”, “Gbona”, “Update”, “Talibans II”, “Tested, Approved and Trusted”, and “On the Low”. A surprise moment came when he brought out Lauryn Hill and her son, YG Marley, to perform an unreleased version of “Praise Jah in the Moonlight”, which included a Burna Boy verse.

Odumodublvck’s Shirtless Set on the Old Spice Stage
The 2025 Wireless Festival also marked Odumodublvck’s debut on the Old Spice Stage. Known for his rugged energy, the rapper kicked off in a tracksuit, but by the time he performed his 2024 single “NOT ALL THAT”, the layers were coming off. Mid-set, he was down to a T-shirt and track pants, eventually going fully shirtless as he led the crowd through a live rendition of Davido’s “Funds”. The highlight came with “PITY THIS BOY”, closing out a relentless, high-octane set.

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Darkoo Joins Rema, Drake, and Popcaan on the Main Stage.

In 2024, Rema brought out Darkoo during his own set to perform their then-unreleased collaboration “Favourite Girl”. This year, the moment was mirrored as the two reunited — now with Drake and Popcaan on stage — for a full-circle performance. After a quick chat with Drake and Popcaan, Darkoo shared a warm embrace with Rema before delivering the crowd-pleaser.

African Artists Held Their Own
Despite time mismanagement affecting artists like Uncle Waffles, African heritage was deeply embedded throughout the 20th Wireless Festival. From the Main Stage to the Old Spice Stage and even into DJ-heavy sets at the Hennessy, the presence of African voices — new and returning — helped shape the cultural pulse of this year’s celebration.

Watch the full performances of the Wireless Festival 2025.

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LIKE DAT – DARKOO

On her newest single, Darkoo treats fans to a familiar sound reminiscent of previous Y2K-inspired releases like “Focus On Me (All The Sexy Girls In The Club)” and “Favourite Girl”—a formula that now seems to serve as a creative template for her recent musical offerings. With producers Sparbz, Enzo, and French at the helm of the nostalgic production tailored specifically for Darkoo’s unique, refined, and effortless delivery, her latest release “Like Dat” echoes the legendary sound of Afrobeats pop duo P-Square.

It’s becoming increasingly clear that Darkoo is a student of the iconic group. Her frequent nods to their work—both in sound and visuals—are evident, as seen on “Focus On Me“, whose music video draws inspiration from P-Square’s ‘Do Me‘. But with Like Dat, it feels like she’s not just paying homage—she’s actively chasing the sonic success that defined the duo’s golden years.

Darkoo, once again, is love-struck, but this time with a striking sincerity, as she sings, “When are you gonna realize, I’m tryna make you my bride.” Like Dat is an enchanting love anthem rooted in admiration and connection, delivered with her signature blend of playful confidence and seductive edge. It’s the perfect soundtrack for lovers slow dancing in their living rooms.

HEI GOD – WeTalkSound, SGaWD, Fimi

Music collective WeTalkSound teams up with Nigerian underground rap powerhouses SGaWD and Fimi to deliver “Hei God”—an energetic, bass-heavy melodic rap record packed with feminine confidence and braggadocio.

SGaWD opens the track with her British-Nigerian flair: “I’m in the mood right now, Where my shayo? Where my zoot? Bad on the dance floor and bad in the booth,” before diving into the hook that captures the song’s pulsating spirit: “Party dey pop no be only December jor.” What follows is the chant: “Hei God.”

Emerging rapper Fimi delivers a brilliant verse that complements SGaWD’s opening, gliding through multiple flows and dropping boastful, hedonistic lines that elevate the track’s overall punch. Produced by Ekene Nkemena, “Hei God” is a dynamic fusion of hip hop and Afrobeats that feels primed for mainstream success, if given the right push.

WRONG PLACES – JOSHUA BARAKA

Ugandan artist Joshua Baraka blends Afrobeats and R&B beautifully on his latest single “Wrong Places.” Collaborating with superstar producer Jae5, Baraka crafts an emotive piece that speaks to anyone who’s ever tried to love someone wandering away.

On “Wrong Places“, Baraka sings from a space of emotional loss but with a renewed resolve to fight for love. He promises presence, stability, and genuine affection. Jae5’s production—rich in percussions and mellow synths—serves as the perfect vessel for this message, mirroring Baraka’s vulnerability.

Rather than beg, Baraka calmly lays out his case: he is the right choice, unlike the fleeting flings and missteps found in all the wrong places. What sets his music apart isn’t just his melodies but his vocal texture and honest delivery. Wrong Places captures every facet of Joshua Baraka’s artistry and absolutely deserves a spin on this week’s New Music Friday.

EMIKO – KJ SPIO, OXLADE

In collaboration with Oxlade, Ghana’s KJ Spio graces this week’s New Music Friday with “Emiko,” a stirring declaration of gratitude and divine protection in the face of unseen battles. Speaking on the track, KJ Spio shared, “The song is about believing in all things being possible through God. ‘Emiko’ means ‘only God’ – it’s a message for all the believers out there.”

The record, produced by BlaiseBeatz, features one of Oxlade’s most heartfelt performances in recent memory, as he reflects on his journey and gives credit to God: “Emi ko, Olorun ma ni, Emi ko se / Mo ni pe Olorun ma ni / Won fe mo idi abajọ / Won fe mo bi mo sense level.”

The log drums and shakers laid over a mid-tempo rhythm make “Emiko” an introspective groove. Oxlade’s delivery feels both intimate and powerful, a reminder that sometimes, the most moving records come from a place of quiet reflection.

Accompanying the track is a visually arresting music video filmed at Ghana’s historic Cape Coast Castle, a site steeped in the history of the trans-Atlantic slave trade. In a poignant scene, KJ Spio and Oxlade sit atop the castle, reflecting on the journey from past to present.

The video also pays homage to the strength and beauty of Ghanaian women, featuring a female cast styled in IMPARI’s ONT_KOP clothing collection, designed to highlight the divine presence of African women and the growing disconnect between humanity and the Earth.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

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The album’s full tracklist was revealed on Wednesday, alongside the release of its first single, “Lose My Mind” by Don Toliver featuring Doja Cat. Also featured are Mr Eazi, British-Nigerian talents Darkoo and Obongjayar, and international heavyweights like Ed Sheeran, Doja Cat, and Roddy Ricch—signaling an intentional blend of Afropop, hip-hop, and mainstream pop on a cinematic scale.

Directed by Top Gun: Maverick’s Joseph Kosinski, F1: The Movie brings together a starry cast that includes Kerry Condon, Shea Whigham, Simone Ashley, Lewis Hamilton, and Javier Bardem. Produced by Apple Studios and distributed by Warner Bros. Pictures, both the film and its soundtrack are set to premiere globally on June 27, 2025.

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This achievement comes shortly after Darkoo’s previous smash hit, “Favourite Girl,” which together with its remix featuring Rema, has amassed over 37 million Spotify streams. And as her musical streak continues, fans are looking forward to Darkoo’s next musical offering while savouring her delectable releases this year.

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“Right Now” is poised to reach 1.5 million streams on Spotify, in less than two weeks since its release— a confirmation of Darkoo’s impressive run.

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Right Now – Darkoo ft. Davido

Darkoo demonstrates an amazing work ethic as an independent artist when it comes to releasing music—it’s timely, delectable, and has a high repeat value. After enjoying the run of her hit single “Favourite Girl,” which sampled Brick and Lace’s “Love is Wicked, the record’s remix and viral guest verse from “Rema” increased its success even more. In a new release ‘Right Now’, Darkoo displays her talents with a rather mellow record in collaboration with Nigerian Afrobeats superstar Davido. The chemistry on the song is evident in the velvety flow and sync between the production and delivery from both artists.

Malaika – Teni ft. Fridayy

In what could be described as a gospelesque rendition, Teni’s soul-stirring ‘Malaika’ quickly and unsurprisingly connected with listeners, courtesy of its emotive lyrics and delivery. Just as it connected with listeners, it also did with fellow artists, prompting Haitian-American singer ‘Friday’ to provide a guest verse, which he delivers with his unique, smooth, deep tones.

Free Service – Shallipopi

Shallipopi’s first single of the year, “Free Service,” is a dynamic blend of streetwise energy and humorous charisma that meets his usual laid-back yet confident flow, peppered with slang and street references. Perhaps Shallipopi’s “Free Service” arrived a little too soon, but if you want to soundtrack a happy moment as you would on Christmas, press play.

Just My Luck/Tomorrow Man – Obongjayar

Tailored around love, heartbreak, friendship, or life’s musings, Obongjayar’s music is bound to leave you with a message delivered in a most radical way that you certainly won’t find elsewhere. His first release for this year is his highly anticipated 2-pack singles “Just My Luck” and “Tomorrow Man.” “Just My Luck” features a soulful delivery on a disco-funk rhythm and makes for a feel-good, leg-tapping record. “Tomorrow Man,” on the other hand, is Obongjayar mentally stimulating and awakening listeners like he does through his music. You want to be a doctor/ you want to be an actor/ or a fashion designer/ all talk, no action. Think his tracks like “Message in the Hammer,” “Try,” and “Still Sun.”

Tyla Deluxe – Tyla

Seven months after the initial release of her critically acclaimed debut album made waves, achieving an impressive debut at No. 24 on the Billboard 200 and becoming the highest-charting album by a female African solo artist, Tyla releases the deluxe to her debut album Tyla. Featuring three additional tracks: Shake Ah” with Tony Duardo, Optimist, Maestro, “Push 2 Start,” and “Back To You.” Breathing forth new magic into a certified magical album

Temptress – Odeal

Odeal consistently demonstrates that hard work and consistency are qualities that artists should strive for. Three months after his groundbreaking EP ‘Sunday at Zuri’s,’ which spawned tracks like “Soh Soh” and “Free Me,” Odeal embarks on another trip with a new single titled “Temptress.” The new project, ‘Lustropolis’, promises a more sensuous environment while exploring such ideas, as Odeal hinted in an Instagram post.

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