Naviyah is a non-explicit British Jamaican Nigerian rapper, singer, and songwriter with a uniquely nurtured sound of hip-hop, rap, and pop, slowly expanding to reggae, dancehall, and Afrobeats. Embracing her Caribbean and African cultural roots, Naviyah’s work comes from a passion to spread positivity through her flows, from a state where she strongly expresses her faith and past life experiences.

As a UK rap artist with a deep urban rap sound, Naviyah released her first EP, Change, in July 2018. The project, characterised by its brevity, featured three songs which more or less heralded her music journey. Even in its short runtime, there were early signs of an artist interested in more than just fitting into the moment—there was intention, and more importantly, direction.

Naviyah’s rap delivery leaves the aftertaste of an artist who grew up on reggae and modern UK rap music—a delivery that permeates her growing catalogue. There is a certain ease in how she navigates rhythm and tone, in a way that is rooted in familiarity and lived influence.

Her newest single, ‘Sippin on Dat’, explores personal struggles and moments of reflection, ultimately capturing a sense of growth and emotional clarity. On “Sipping on Dat“, Naviyah flips the coin, inversely celebrating new morals as opposed to the typical hip-hop record where the culture is largely shaped by violence and vices.

The song, produced by 1995, opens with a foreboding production reminiscent of Y2K cypher sets, setting the stage for Naviyah’s somewhat drawly delivery. She reflects on a past phase in her life and the clarity she’s gained since, as heard in the lyrics: “Bun all the spliffs yeah and the weed / you don’t need that turn into theen / I deaded dat once yeah now I’m free / it took all my money just to get lean”. There is a rawness in how she revisits that phase—not overly dramatic, but clear enough to register its weight.

Naviyah ultimately testifies that her days of getting drunk and high are over, and now she sips on still water which is her favourite drink. The hook, coined around this transformation, is as energetic as any club-ready hip-hop song. While much of the lyrics are saturated with the filler word “yeah”, Naviyah keeps the best for a third and last verse, where her pen game shines most. It is in that final stretch that the message lands with more conviction, less repetition, and a clearer sense of purpose.

In a space where excess often defines the narrative, “Sippin on Dat” feels like a quiet resistance. Naviyah doesn’t attempt to moralize as much as she documents a shift, one that feels personal before it becomes instructive. And in doing so, she continues to position herself as another voice in the mix and an artist willing to stand slightly apart, guided by something deeper than the moment.

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We’re here because sometimes you stumble on a voice that feels like something you’ve been missing without knowing. For me, that voice sounds a lot like Reiinn.

From the moment you press play, there’s something disarming about her. Reiinn’s music sounds like a prayer, carrying a softness that makes you want to listen again and again.

Born Oluwatimileyin Lawrence, Reiinn takes us into a world that feels expressive, intentional, and very much her own.

Growing up, she would follow her brother to the studio, writing songs over YouTube beats and instrumentals he produced. According to her, music has always felt tied to her existence.

When she eventually chose to step into music professionally in December 2024, it wasn’t because everything was perfectly lined up. It was because music became the one thing she could create, even in the absence of resources.

Reiinn describes her music as soul music that feels like a prayer, and that description becomes clearer the more you listen. In many ways, Reiinn’s music sounds like a prayer because of how personal, honest, and unforced it feels.

Her world also extends beyond sound into visuals and aesthetics. She leans into a reindeer-inspired identity, with bold eyeshadow, expressive styling, and statement pieces that feel like extensions of her personality. I was pleasantly surprised when Reiinn confessed to not knowing how to apply makeup. It’s all a bet every time, she says, and I hope all my bets are as successful as her attempts.

Unlike the vibe you might get from her visuals, Reiinn doesn’t see the studio as a playground. Instead, she treats it as a space for focus and creation, working intentionally across whatever comes to her. She also shared plans to incorporate her drawing abilities into her music in the future.

Her sound sits somewhere between alt-pop and Afro-soul, but even those labels are loose references rather than definitions. Her debut EP, Deer She Is, is introspective, reflective, and emotionally layered. Reiinn’s music sounds like a prayer here in the way each track feels like a moment of stillness rather than performance.

On the second part of her recent drop, “Don’t Know,” she delivers a contrast that defines much of her music. It carries a groovy rhythm paired with heavy emotional weight. It’s easy to move to, but beneath that ease lies burnout, emotional exhaustion, and the struggle of trying to meet expectations while feeling disconnected inside. The honesty in lines like, “these days I don’t feel nothing, there’s a void in my heart I just can’t explain,” lingers long after the track ends.

With “Beautiful,” Reiinn shifts into a softer space. The tone becomes reassuring, almost like a gentle reminder directed at someone who needs to hear it most. It’s a song that feels like affirmation, and each time she says, “if you forget, I’m your reminder, you’re just so fire,” I smile a little.

Her spirituality also runs through her work. On “Nobody,” she brings her faith forward in a way that feels personal rather than performative, asking for peace and guidance in a tone that mirrors dependence.

That thread continues in “Lullaby for you,” where she revisits a familiar childhood comfort song and reframes it as a promise to her inner child that things will eventually be okay.

When asked what inspires her, Reiinn described something broader than just individual artists. She finds inspiration in life itself. In the world, in people, in experiences, and in the idea of being able to share those moments with others. While she acknowledges influences like Ye, her inspiration isn’t limited to names or categories. It’s rooted in everything around her, and in the endless possibilities that come with creation.

Her session on Cool FM with Charly Boy offered a glimpse into her mindset. What stood out to her was that people will always be opinionated, so it’s up to you to be yourself and remain madly in love with the person you are.

Honestly, if you haven’t listened to her yet, this is your sign to tap in. When asked what she hopes people take away from her music, she emphasized that it’s okay to feel everything as a human being. She hopes her music leaves listeners feeling as if their soul has been hugged and listened to — with a big kiss on the forehead — while they dance freely in their own space. As a frequent listener, I’m here to say: mission accomplished.

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From Streets to Sound: Who Is Danpapa GTA?

Born Akinlemibola Omotoyosi Daniel in Lagos State and raised in Ikotun, Danpapa GTA is not your typical breakout story. He’s a singer, rapper, producer, and sound experimenter whose music resists neat categorisation — a hallmark of the underground’s deepest thinkers. Growing up absorbing the chaotic rhythms and textures of Lagos, from early comfort to sudden financial hardship after his parents committed fully to evangelism, he blends Afropop’s cadence with trap-inflected rhythms and alternative sensibilities that feel simultaneously familiar and refreshingly alien.

His aesthetic from silver-blonde hair to a lithe, grunge-meets-alte presence — reflects a generation of creatives drawing on eclectic influences without being beholden to one lane or sound. He channels socio-cultural realities with lyricism as sharp as his production choices, grounding his work in everyday politics and street vernacular often drawn from lived childhood isolation, silence, and later self-expression through rap and drawing.

Musical DNA: Style, Experimentation, and Sonic Identity

Danpapa GTA’s music occupies the liminal zone between Afrobeats, hip-hop, and experimental electronic production, a space that defies genre purity. Where mainstream Afrobeats often leans polished and universal, his sound revels in texture, mood, and structural unpredictability — long intros, odd beat switches, and intentionally unpolished pacing. Tracks from his ‘Genz Kuti’ era, following earlier releases like the Chanel EP and Pressure in 2024 and Balenciaga Kuti in 2025, display a willingness to fuse danceable rhythms with introspective lyricism and raw sonic palettes.

In particular, “Suffering & Smiling” showcases Danpapa’s ability to marry commentary with contagious energy, narrating societal frustrations over vibrant yet introspective production, a recurring theme across his catalogue.

What makes his approach distinct isn’t just genre blending; it’s how he uses sound as context. Trap-leaning beats become vessels for Lagos street humour; minimalist synths channel tension, and rhythmic play invokes both physical movement and emotional complexity. It’s music for hustlers, thinkers, internet natives, and city wanderers — a generation that doesn’t draw boundaries between global influences and local truth.

Breakout Single: “Ikeja (No Go Thief)”

Earlier this year, Danpapa GTA dropped what might be his defining moment so far: “Ikeja (No Go Thief)”, a song that refuses to be just a viral moment and instead stakes a claim as a cultural one. The hook, an earnest, cheeky, and utterly memorable refrain warning, “No go thief for Ikeja”, encapsulates Lagos’ sprawling contradictions: joviality, tension, hustle, and humour — a playful but pointed warning rooted in everyday street reality.

First teased in late December 2025, snippets of the track spiralled across TikTok, catalysed by creator use and early co-signs from figures across Nigeria’s creative spectrum including Odunsi, Lady Donli, and Dandizzy. That snowball effect turned the track into one of 2026’s earliest underground anthems, and its release, distributed by WeTalkSound, has sent ripples far beyond internet virality, including a strong debut on Spotify Nigeria’s viral charts.

Built on dynamic production, where Afrofusion meets spirited experimentation, “Ikeja” captures the everyday pulse of urban life while flipping it into art. 

Danpapa GTA and the Future of Nigerian Underground Music

There’s a larger context to his rise: the Nigerian underground is reshaping the musical conversation. Artists like Danpapa GTA, Zaylevelten, and others are blurring borders between Afrobeats, trap aesthetics, and internet-shaped listening habits. Listener priorities have shifted from strict genre loyalty to energy, authenticity, and feeling.

Danpapa GTA’s vision, one that channels street vernacular, internet culture, and incessant experimentation while carrying the quiet pressure of not wanting to fade after a viral moment places him at the forefront of this evolving wave. The mainstream may still chase Afrobeats formulas, but the underground is quietly building spaces where sonic innovation and cultural commentary cohere. That’s where the next big ideas in Nigerian music might just emerge.

Closing: The Pulse Beneath the Surface

Danpapa GTA represents a new kind of creative urgency: music as reflection, friction, and possibility. He absorbs his environment, Lagos, internet culture, and global rhythms and spits it back as art that feels raw, unfiltered, and undeniably now—often produced entirely by himself, driven by the fear of returning to silence.

Whether Danpapa GTA’s “Ikeja (No Go Thief)” becomes a commercial chart-topper is only part of the story. More compelling is how it signals a broader shift: Nigerian music’s next frontier will be dictated and shaped by voices who are unafraid to disrupt it. That’s where Danpapa GTA lives, right at the threshold of impact — a “Genuine Type of Artist” by name and intent.

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From South Africa’s chart-dominating dance floors to Kenya’s alternative underground, from Nigeria’s melody-driven storytelling to Congo and Ghana’s genre-bending voices, these are the Afromixx Big 7.

Ciza (South Africa)

Ciza’s rise feels inevitable in hindsight, but his 2025 run was the kind that redraws the map in real time. Born Nkululeko Nciza in Benoni, South Africa, Ciza grew up immersed in music, his mother a member of Mafikizolo, his father a former record executive. That foundation shows in his work: instinctive and polished.

His sound lives at the crossroads of Afrobeats, house, amapiano, and DJ culture, engineered for movement and atmosphere. While earlier releases like “Come Alive” and “Adje” hinted at his potential, it was “Isaka (6am)” that turned promise into dominance. The Jazzworx and Thukuthela-assisted single became one of 2025’s biggest African records, topping Spotify South Africa’s most-streamed songs list, driving viral dance trends, and soundtracking clubs well beyond the country’s borders.

The success of “Isaka (6am)” extended well beyond the digital space. Ciza followed it with high-profile performances, awards recognition, and a remix run that pushed him deeper, even into West African consciousness. By the end of 2025, Ciza was now more than a South African breakout; he was a continental fixture.

As 2026 unfolds, Ciza stands at the edge of something larger: a debut album moment and a shift from hitmaker to defining voice in Africa’s club-forward soundscape.

Zee Nxumalo (South Africa)

Zee Nxumalo’s ascent is rooted in precision, knowing exactly when to lean into vulnerability and when to let rhythm lead. A Swazi–South African singer with a growing reputation for emotional clarity, Zee has spent the last few years threading amapiano, Afropop, and soulful vocal textures into a sound that feels both intimate and expansive.

Her breakthrough arrived decisively in 2025 with “Ngisakuthanda” featuring TBO. The record resonated instantly, topping Apple Music South Africa and Shazam charts, while amassing millions of streams across platforms. More than a hit, it became a cultural moment, finding space on radio, in clubs, and in the emotional vocabulary of its listeners.

Beyond the numbers, 2025 positioned Zee Nxumalo as a serious contender: award nominations, increased brand visibility, and a growing international listener base. What sets her apart is control and her ability to balance mainstream appeal with musical restraint.

In 2026, Zee Nxumalo will be solidifying her place with a sound that travels easily and a growing audience already tuned in, representing South Africa’s next wave of export-ready voices.

Shoday (Nigeria)

Shoday’s journey reflects a modern Nigerian artist’s arc: internet-native, culture-aware, and rooted in storytelling. Born Shodade Solomon Segun in Lagos, he initially gained attention through online content before music became his primary language, a background that still informs his work: conversational, observant, and emotionally direct.

Musically, Shoday operates within Afro-fusion and contemporary Afrobeats, but with a focus on melody and reflection. Early songs like “Dey 4 You” introduced him to a growing audience, while “Caution” and its remix with Skiibii expanded his reach across Nigeria’s mainstream corridors.

In 2025, Shoday sharpened his profile with consistent releases, live performances, and a steady rise in streaming traction. Tracks like “Gaddem” reinforced his ability to sit comfortably between pop accessibility and personal narrative, earning him attention as one of Lagos’ quietly dependable new voices.

As Afrobeats continues to globalize, artists like Shoday – grounded, melodic, and emotionally fluent – are increasingly valuable. 2026 could be the year his consistency translates into a defining continental breakout, a journey he has kickstarted with a fresh release, “Paparazzi”, featuring Fola.

Rebo Tchulo (Democratic Republic of the Congo)

Rebo Tchulo’s presence is a refreshing one that carries musical and cultural weight. Born Deborah Tshimpaka Mulanga, the Congolese singer and performer emerged from gospel roots before finding her voice in a blend of Ndombolo, rumba, R&B, and hip-hop-influenced pop. Her music is expressive, confident, and deeply connected to Congolese rhythm traditions.

Before 2025, Rebo had already built recognition with songs like “Cœur Fragile” and “Pepele”. But last year marked a pivotal shift: her signing to Def Jam Africa signaled a broader continental and global intent. The release of “Antidote” introduced her to new audiences while reinforcing her ability to modernize Congolese sounds without diluting their essence.

Rebo Tchulo’s appeal lies in a balance of tradition and modernity, performance and vulnerability, local identity and global ambition. With label backing and growing visibility, 2026 presents an opportunity for her to redefine how Central African pop music travels beyond its borders.

tg.blk (Kenya)

Emerging from Nairobi’s underground scene, tg.blk operates in the space between alternative hip-hop, R&B, and experimental soul, prioritizing texture, mood, and lyrical depth over formula. She represents a different kind of momentum, one driven less by charts and more by cultural gravity. 

tg.blk spent 2025 building critical buzz through carefully curated releases, playlist features, and word-of-mouth acclaim. Her work resonates with listeners seeking something outside the dominant Afro-pop framework, music that feels personal, introspective, and intentionally unpolished.

Kenya’s alternative scene has been quietly expanding, and tg.blk sits at its core. As global audiences grow more receptive to African artists who don’t fit neat genre boxes, 2026 could be her year to step from cult favourite to continental conversation.

Mavo (Nigeria)

Mavo’s rise in 2025 was one of the most electric and fast-breaking narratives in contemporary Afrobeats. Born Oseremen Marvin Ukanigbe in Ekpoma, Edo State, Nigeria, the 22-year-old artist has balanced dual worlds, pursuing a degree in optometry at Afe Babalola University while igniting the Afrobeats scene with a style he calls “Burbur Music” — a bold fusion of Afrobeats, rap, street slang and melodic instinct that feels both rooted in Nigerian streets and primed for global stages.

What began with viral energy soon became chart dominance. Mavo occupied the top three spots on the Apple Music Nigeria Top Songs chart with “Money Constant” (featuring DJ Maphorisa, DJ Tunez and Wizkid), “BODY (danz)” (with CKay), and the remix of his breakout hit Shakabulizzy featuring Davido.

His signature track ‘Escaladizzy’ defined his year: a fast-tempo anthem that became a cultural phrase online and dominated TikTok, eventually inspiring the star-studded Escaladizzy II remix with Ayra Starr, Shallipopi and Zlatan.

2025 also delivered a major career milestone with Billboard naming Mavo its African Rookie of the Month, a recognition reserved for the continent’s most compelling breakout talents. What sets Mavo apart is not just his effortless charm on hook-driven tracks, but the culture he builds around his music: slang-heavy, playful, and immediate, creating a language and identity embraced by a generation hungry for fresh expression. As 2026 unfolds, Mavo is poised to transform buzz into staying power as a young voice who’s already shaping how Afrobeats sounds, talks, and moves.

Gonaboy (Ghana)

Gonaboy’s music is grounded in identity. Born Abdul-Razak Muniru, the Ghanaian rapper blends hip-hop, trap, and African rhythmic sensibilities, delivering lyrics shaped by resilience, ambition, and lived experience. His breakout street record, “Abele”, introduced him as an artist unafraid to speak plainly and powerfully.

In 2025, Gonaboy expanded that foundation with the MUNIRU EP and singles like “Same Timbs”, refining his sound while broadening his audience. His feature on Apple Music’s Rap Life Radio marked a significant moment, situating him within a global hip-hop ecosystem beyond Ghana’s borders.

What makes Gonaboy compelling is his adaptability, one that is street-rooted but globally minded. As Ghana’s hip-hop scene continues to evolve, he stands out as one of its most promising bridges to wider markets in 2026.

The Afromixx Big 7 are unified by trajectory, each bringing distinct regional flavours and global potential to the table. Their 2025 breakthroughs are not isolated sparks but foundation stones for 2026 growth, spanning chart dominance, strategic signings, media visibility, and genre innovation. Together, they reflect where African music is headed.

The post The Afromixx Big 7: Artists to Watch in 2026 appeared first on Afromixx.

This year in music has delivered a restless mix of moments, especially in the quality of releases. Stakeholders have held wildly polarizing opinions on almost everything: singles, albums, collaborations, even the number of crossover records breaking out of the continent. Some insist it’s a sign of declining quality in West African music, that Afrobeats is losing its essence.

But in the midst of the proclaimed gloom from consumers and critics — and the excessive glut of low-quality drops every New Music Friday across Afrobeats’ sprawling subgenres — a few rays of light have cut through. Here and there, new shrubs of genius have sprung from the now desert-like sonic soil, offering work that feels novel yet deeply resonant. Some of these new acts have, knowingly or not, birthed a new genre in the process of experimenting. One of the most striking of them is Zaylevelten.

Zaylevelten, born Chisom Lucky Okoro, has carved out a niche sound that could only have mutated from sheer instinct, a spark of curiosity, and countless iterations. The result is a level of execution in production, pen, and performance that feels almost clinical. A producer (under the alias “Tenski”) and a rapper rolled into one, his sound is an impossible leap that somehow works. It feels thrilling, borderline unreal, like an idea that should only make sense on paper but somehow exists, fully formed, in the real world.

It’s this novelty, originality, and odd relatability that fuels the mass adoption of his music. For an independent, underground act to funnel so quickly into mainstream visibility is as awe-inspiring as it is improbable.

Zaylevelten’s rise is more than a breath of fresh air; it’s a spotlight on the quiet revolution brewing in the underground. Like him, these artists are alchemists, patiently distilling ideas into experiments that eventually find pockets of devoted communities. When Zaylevelten debuted in 2024 with “No Gree”, a cloud-rap-leaning record clearly influenced by the likes of Playboi Carti and Travis Scott, he bent a subgenre of hip-hop into a fine blend of his own “unique offering of escapism” inviting listeners to live vicariously through semi-relatable tales of reckless vice and hedonistic lenses that many young Nigerians understand intimately. It’s impossible to pinpoint the singular element that converts casual listeners into fans: the quotable lyrics? The high-end, self-steered production? The world-building? The branding? Probably a constellation of all those things.

Across his discography, one thing is clear: Zaylevelten knows the sound he wants to make. He’s never watered it down. His sonic DNA sits confidently at the core of each release, only evolving into what now feels like an eerily predestined tale of mass adoption. His progression from project to project reads prophetic: from the ‘l0cked 1n’ EP in July 2024, to his debut LP ‘bef0re 1t g0t crazy’ that October, to its deluxe a month later. By the time he doubled down with his second studio album, ‘then 1t g0t crazy’ in October 2025 infused with more native textures, bold experimentation, but an even finer execution — it felt like he’d been sitting on a fully matured sound waiting for the world to catch up. The project didn’t just win him overdue attention; it birthed the deluxe ‘then 1t g0t crazier’. And if all this seems too perfectly timed to be accidental, that’s because very little about Zaylevelten’s ascent feels unplanned.

From the very first listens, ‘then 1t g0t crazy’ doesn’t hide how much of an experimental work it is; it is messy in a carefully crafted, intentional way. The production is dusty, glitchy, alté-inflected, trap-tinged, and sometimes disorienting: you get synths that wobble, percussion that lurches unexpectedly, bass that hits like a punch, melodies that float and don’t settle. That uneasy, restless energy makes the project feel more like a psychedelic experience than an album.

Zaylevelten’s “then 1t g0t crazy” rawness is its greatest strength. The unpredictability keeps a listener on edge, demanding that they surrender to the lore and lean in. That ambivalent nature specifically in delivery makes listening to the full tape an immersive, slightly disorienting ride.

Moreover, his cadence and flow feel like they’re carved to match the beat—jittery when the beat jitters, smooth when the beat lets go. There’s aggression when needed, melancholic haze when the mood shifts, and that sense of an artist refusing to conform to preexisting standards. What makes ‘then 1t g0t crazy’ stand out is that Tenski, his alter-ego/producer tag doesn’t just perform on pre-built instrumentals — he builds many of them, with tracks like “Pawon”, “Bali”, and “Fly” being self-produced. That level of control, writing, producing, and engineering means the project feels like a singular vision, a sonic world built from the ground up. The result is a sense of intimacy and rawness: you hear choices and textures that coalesce into mood.

Because the project is so textured linguistically, sonically, emotionally — each listen unearths a new detail. What might sound chaotic the first time slowly reveals patterns: a lingering melody here, a subtle ad-lib there, an unexpected language switch, a shift in energy. The tension between familiarity and alienness becomes its charm that a listener never outgrows, because every time they return, they find something else.

In many ways, Zaylevelten is both the artist and the architect of his rise, building the world he performs in, brick by brick, under his producer alter ego, Tenski. That duality is part of the lore: the rapper who also sculpts his own soundscape, the hitmaker who whispers his own calling card into the music. And as his producer tag, that now-famous “Tenski save me”, continues to echo across clubs, cars, and TikTok edits, it increasingly feels less like mere words and more like a prophecy. And, if there’s any saving to be done, it’s Zaylevelten saving the rest of us from the monotony of the current soundscape, one chaotic, brilliant iteration at a time.

The post Zaylevelten: The Underground Alchemist Redefining Nigeria’s Sonic Future appeared first on Afromixx.

Born and raised in the southern state of Rivers in Nigeria, Kemuel’s music testifies to the greatness of the African nation. His musical journey began at 17 when he joined the church choir, learning to play the piano, bass guitar, and drums. Kemuel’s love for the arts also led him to study Fine Art and Design at the University of Port Harcourt.

His debut project, ‘Escape (EP)’, released in October 2022, set the tone for what was to come. Spanning six tracks with a runtime of 16 minutes, the EP showcases Kemuel’s capabilities as a vocalist, songwriter, and creator of that otherworldly soothing after-effect once the play button is hit. Together with his primary producer, Wondah, they craft soulful tracks shaped around varying productions from slow to mid-tempo that collectively tie into the project’s central mood of escape. Yet, Kemuel’s idea of escape on this six-track offering feels like both sides of a romance coin, likely inspired by a number of muses through whom he finds this freedom.

Shortly after the release of his debut project, he got drafted by producer Ozedikus for “Bunda” by Spinall featuring Olamide. He then followed up with the eccentric Afro-pop singles “Alone” and “POLO”. Once again collaborating with his trusted producer Wondah, whose progressions perfectly complement Kemuel’s melodies. Together on “POLO”, the duo craft a foot-stomping, head-moving song whose chorus evokes the harmonies of a Sunday service, a reflection of his early beginnings in the church choir.

Interestingly, with every new release came a sonic evolution for Kemuel. He approached novel productions with daring penmanship and vocal delivery, opening a path to a bolder and more expressive version of himself; one that fully blossoms on his Afrobeats, R&B, and Pop-inspired sophomore EP ‘CLOUDS’.

A REVIEW OF HIS SOPHOMORE EP “CLOUD”

The seven-track project opens with the bubbly and expressive “Alone”, where Kemuel offers listeners a peek into what unrestrained desire might sound like in song form, enlisting Wondah to bring that vision to life. The Alt-pop record immediately pulls listeners in for a sonic ride filled with relatable lyrics, catchy melodies, and sticky beats. “234” follows the Alt-pop blueprint laid down on “Alone”, but with a clear tilt towards Alt-R&B leanings, before transitioning into the log drum-laden “POLO”, a groove curated specially for the dance floor. Whether the title ‘CLOUDS’ is a personalized rhetoric or an open invitation to listeners remains unclear, but by the time “GLNT” plays midway, everyone’s already floating among the clouds.

The other half of the project catches Kemuel squarely in his comfort zone. On “Water”, an emotive Afro-R&B record, his compelling delivery and dreamlike vocals make for a standout moment. Here, Kemuel is smitten, lost in a love that feels both irrational and inevitable as he communicates the logic and fear of such vulnerability over tender guitar plucks: “Love is very wicked I know, you and me we dey like snow.”

“FIND” underscores Kemuel’s range and how precisely he approaches his records. It follows the global template of a North American Pop record, echoing the influence of artists like Justin Bieber. On this track, Kemuel is heartbroken, sober from the highs of affection heard earlier on ‘CLOUDS’—and struggles to let go, expressing heartbreak as articulately as he does love. The 17-minute record closes with “FOCUS”, a mid-tempo, motivational reflection built on minimal percussion, that grounds the project in clarity.

A year and six months after ‘CLOUDS‘, Kemuel’s ingenuity burns even brighter on “Fini” where he and Wondah reunite on an unconventional funk-inspired production. His recent contribution to “You” off Peruzzi’s third studio album also reinforces his sonic distinctiveness: his delicate vocals and effortless verse glide seamlessly over the soulful production crafted by his long-time collaborator.

In earnest, Kemuel’s artistry is like a whisper, that somehow echoes loud. With each release, he sharpens the duality that defines him—soft-spoken yet piercing, calm yet deeply affecting. His music thrives in its balance of vulnerability and precision, of emotion and control. And as he continues to chart his course, one soulful record at a time, it’s clear that Kemuel is past finding his sound. He’s now defining what tenderness sounds like in modern Afropop.

The post Kemuel Makes Music That Feels Like Memory appeared first on Afromixx.

Born in Durban and now based in Johannesburg, Phiwo’s road to music wasn’t a straight one. She was initially drawn to acting after high school, enrolling at AFDA with dreams of the stage. But by the end of her first year, the pull of music had become irresistible. After graduating in 2021, she dived fully into recording and performance, finding kindred collaborators in Sipho the Gift, Mark Akol, DJ Clen, Jamapelle James, Tyson Sybateli, and others who matched her knack for textured, soul-baring soundscapes.

Her debut project, ‘Letters‘, was both a statement and a confession. Peaking at No. 11 on Apple Music’s R&B/Soul charts, it moved with the intimacy of unsent notes — opening with a breakup letter that carried more clarity than bitterness. “Keep That/Bring That” paired her with MILES, whose verse shaded in the partner’s side of the story, while “Call Me” found Phiwo dismantling her own self-sabotage over a love she craved but couldn’t hold. Co-written and produced by Dooushii, who also offered his own vibrant vocals, the EP painted love as a cycle of longing, disillusion, and reluctant acceptance.

Two years later, she returned with ‘Things We Feel‘ (2023), a compact four-track suite that deepened her emotional palette. With Dooushii still in the fold alongside fresh production voices, Phiwo leaned into the rawness that has become her signature, letting songs like the title track with Saul Madiope hum with intimate resonance.

By the close of 2024, she had not only fronted Spotify’s BlueZA playlist but also carved a presence on live stages from Johannesburg to Pretoria, playing The Weekly Touch Up, NarowBi, and Escaping The City. Her collaborative spirit stretched further, teaming with 2AM, Novl., Taykatrip, and more, and her turn as a standout contestant on MTN Pulse Virals brought her to TV screens nationwide.

Now in 2025, Phiwo unveils “Falling” — a tender, soulful single that hints at a new chapter. It’s a quieter kind of confidence, one built on the assurance that her music doesn’t need to shout to be heard.

With a voice that effortlessly balances vulnerability and strength, and a catalogue that already reflects emotional depth and artistic intent, Phiwo is poised not just to be a fixture in South Africa’s R&B landscape but to carry her sound far beyond its borders. Her ability to translate personal truths into universally resonant stories positions her not just as an artist to watch but one destined to define the sound of her generation.

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The first chapter of her journey into the music scene presents a naturally gifted yet emotionally wounded youth peeling back layers of bottled-up emotions—like in a therapy session or the pages of a personal diary—on her debut EP, ‘PHOENIX RISING: The EP’.

To a listener, ‘PHOENIX RISING: The EP’ paints a vivid portrait of MOSES’ emotionally distressing episodes while offering a glimpse of the strength she summoned during those moments, narrated through vulnerable melodies.

In this interview with Afromixx, she shares just how deeply she holds music to heart, not just as a means of escape but as a bridge to the divine. And how tints of spirituality, which shaped her formative years, richly spill into the five-track debut project—from the production to her delivery.

Let’s start from the roots. What was growing up in PH City like for you?

Yes, I grew up in PH City, but not in the posh areas. I grew up in Woji. The name may sound posh, but it wasn’t, not at the time.

When and how did music first enter your life? Was there a specific moment or memory that made you choose to do music?

Music came into my life at a relatively young age. I would come home stressed after a long day, and music became my outlet to let out all the pent-up emotions. I would just play beats and vibe.

MOSES is quite an unusual stage name, especially in today’s scene. Is there a symbolic or layered reason why you chose it as your professional identity?

Yes, there’s a reason. My great-grandfather was a very respected man; he brought the first Anglican church to Anambra State. His name was Moses, and so is my surname. I grew up in a Christian home, knowing the stories of Moses in the Bible, so I decided to keep the name. It’s prophetic to me.

What kind of music did you grow up listening to? Were there any artists or sounds that shaped the person you are today?

I grew up in a very Christian home, to the point where if I was caught listening to worldly music, I’d be made to read Psalms. But once I got a phone that I could browse with, I was able to download songs like Burna Boy’s and Omah Lay’s.

Congratulations again on your debut project ‘PHOENIX RISING: The EP’. The title alone evokes rebirth and transformation. Is there a specific story or period in your life that inspired that title?

Yes, ‘PHOENIX RISING: The EP’ is like a personal diary centred on past experiences and being reborn from them. Thanks to the gift of music, I’m no longer tethered to the pain.

Your debut project feels deeply personal. On “STORY O.M.L.” you sound like you’re shedding a lot of pain. Did you go through something intense during the writing of that song, and are we going to keep getting this level of vulnerability in your music?

I was, in fact, shedding a lot of pain, and the vulnerability in “STORY O.M.L.” is a narration of my struggles and bottled-up emotions from my teenage years up until now.

There are undertones of reggae throughout the project, especially on “HIGHLY SPIRITUAL”. Was that intentional, or just a natural extension of your influences?

I wouldn’t say it was intentional. I had written down the song before heading to the studio. Once I got there, I just delivered it how I felt.

When people press play on your music, what are some of the emotions or experiences you want them to leave with?

I want them to feel much better. I want them to listen to my music and know someone (me) relates to what they’re going through. I want people to think of my music when they’re in need of something that brings them relief.

‘PHOENIX RISING feels like an introduction into your world. Now that you’ve opened that door, what else should we expect from MOSES?

You can expect a lot more good songs. More good vibes too.

As a new artist with such an expressive first offering, how do you plan to grow your sound or stretch beyond it?

I intend to explore more genres with my sound and see how I can fit into as many as possible.

If you could collaborate with any artist, home or abroad, who’s on your radar?

Can I name more than one? Bloody Civilian, Burna Boy, Omah Lay.

Finally, what would success look like to you, not just career-wise, but personally and artistically?

Artistically, it’s when someone presses play and feels like I just told their story—like I reached into their silence and gave it sound. Personally, success would be peace and seeing the people I love happy and stress-free.

Stream Phoenix Rising: The EP and share your thoughts.

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The 26-year-old Ghanaian-Filipino artist, born Anabel Rose in Accra, discovered music as early as the age of 8, with her professional musical journey kickstarting in 2018. Anabel began as a member of Black Girls Glow before eventually joining 99 PHACES—a creative collective based in Ghana spanning music, digital and fine arts, and fashion. However, in 2023, she began her independent music career with an R&B, alt-pop, gut-punching single, “Love Me Or Die”, where a distressed Anabel Rose clings to unreciprocated love.

“Love Me Or Die” not only heralded her arrival in the music scene but also immediately showcased her ability to compete as an artist on a global scale. Ever since her debut single, Anabel Rose has towed the alt-pop, R&B path, shapeshifting through even more daring sonic explorations—with a natural pull to a contemporary global pop and R&B crowd.

Following an eventful 2024—off the back of a successful second year in her career, including her debut project Something About A Rose, which has garnered over 500,000 streams across platforms—Anabel opens the year with her new single and one of many 2025 releases, ‘How I Want It‘. Produced by Insane Auggie, the record is a sultry yet vibrant alt-R&B track with a mid-tempo bounce that rides the line between flirtation and full-blown intention. On ‘How I Want It’, gone is the hesitant yearning narrative found in songs like “Lungs”. In its place, velvety vocals, clarity, and a bold declaration of desire take form.

“Hardly breathing. You’re on my mind boy lately,” she opens, revealing a lover who craves connection but also refuses to chase. “I wanna know bad you want it… Is it bad how I want it?” she asks — not from a place of doubt, but assurance. This is not a game of guessing; it’s a call for emotional transparency.

As the track unfolds, Anabel leans into the daring, addictive nature of intimacy. Lines like “My chocolate… You’re so sweet to me… I need a fix… No counterfeit… I’ll never quit,” and “Dive in my river… Let it rain when I’m tingling… Steady the rhythm… Locking eyes” reflects a love that’s consuming and immersive. The fading echoes of “so addictive” say it all.

‘How I Want It’ follows the release of the Too Friendly music video off her tape, co-signs from Amaarae and Moliy, and singles like “Lungs”, which was tagged as one of OkayAfrica’s Best Afrobeats Songs of 2024.

Since her debut in 2023, Anabel Rose has shown incredible pace in her trajectory toward global dominance and perhaps a Grammy Award. With ‘How I Want It’, she is positioned to welcome the next phase of her career in sound and imagery.

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On SSS (E Go Pay), the Lagos-born-and-bred artist opens up about personal struggles, particularly those tied to her music career. Rather than brushing them aside, she confronts these challenges head-on and transforms them, through the gift of music, into an anthem of resilience and optimism.

The pulsating beat, anchored by robust log drums, delivers a feel-good energy that mirrors the song’s hopeful message. It also highlights Debra Can’s knack for crafting emotive songs that strike a chord with the everyday listener.

SSS (E Go Pay) sees Debra Can dive in with a vulnerability that few artists dare to channel in their art: “I dedicate my time to my music, And I know it’s gon be fine, Blood and sweat I’m not relenting,” she croons in the opening lines before bursting into the chorus with a wave of positive energy: “Cause someday, sometimes, somehow e go pay.”

The track is a radiant blend of Amapiano, soul, and Afrobeats—a reflection of Debra Can’s life experiences, her unshaken hope, and her artistic vision.

With SSS (E Go Pay), Debra Can not only shares a personal journey but also invites listeners into a shared space of perseverance and belief. It’s a bold, feel-good declaration that no matter the odds, staying true to one’s path will eventually pay off.

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