“Doucement” – Fally Ipupa ft Joé Dwèt Filé

“Doucement” is the new single from Fally Ipupa featuring Joé Dwèt Filé, dropped today as a lead-in to Fally’s upcoming album XX. It’s track 7 on the project and marks a clear cross-cultural pairing: Congolese rumba king meets one of Haiti’s biggest current kompa/gouyad voices.

Built on a softened, mid-tempo groove, “Doucement” leans into the kind of restrained sensuality that has long defined Fally’s work. The track opens with a mid-tempo groove that’s unmistakably rooted in classic Congolese rumba—those rolling, melodic guitar lines (seben-style undertones) and Fally Ipupa’s signature smooth, slightly nasal Lingala/French delivery. He comes in confident and romantic right away: calling the woman “Queen du Congo,” saying he’s waited his whole life for someone like her, promising protection in a “matata” world, and suggesting they take it slow (“faisons doucement”). The hook repeats the idea of exclusive, after-midnight connection with simple, repetitive phrasing that sticks: “Eza kaka yo moko… bolingo oyo ekozala ya solo.”

Joé Dwèt Filé jumps in on the second verse and brings the Haitian flavor. His part shifts the imagery to beaches in Haiti, “diri djondjon and mikatés” (nodding to Haitian food/culture), ocean eyes, and a blend of the two worlds. His voice has that lighter, more R&B-inflected kompa croon, which is less gritty than pure traditional compas but very accessible and melodic. The chemistry works because both guys are singing in a similar romantic lane.

The production is clean and unintrusive: light percussion, a steady bounce, and enough melodic space for the vocals and guitars to breathe without competing for attention.

The “juste une fois” bridge and repeated “donne-moi un peu, un peu” pleas lean into teasing sensuality without going explicit. It’s polished, modern rumba with a kompa/R&B seasoning rather than a forced fusion banger.

“More To Life” – 17

“More To Life” EP by 17 aka Alex Iwobi, arrived yesterday as his debut 9-track project. It’s short at about 23-24 minutes, featureing a handful of mostly rising Nigerian/UK Afrobeats and street-pop voices Fido, 24AM/Amadou Onana, Giddi, Teniola Time, SPKS, P17, and carries the theme of growth, freedom, and stepping outside the footballer box. Alex Iwobi records under “17”, his longtime jersey number, and this feels like a personal side project and a creative pivot.

Production stays firmly in the current Afrobeats/street-pop lane: mid-tempo beats, log drums, soft synths, light guitar or piano touches, and clean mixes that prioritize vibe over aggression.

Delivery is clear, relaxed, and conversational. With storytelling that balances fame/football pressure with personal freedom, enjoying success, relationships, and self-reflection. Track 0: Opens with a freestyle energy. Alex Iwobi sounds most confident here — loose, rhythmic, setting the “this is me outside the pitch” tone. Short and direct. Mine (ft. 24AM): smooth collab with his former teammate sees decent chemistry and a melodic hook. Feels like a relaxed flex track. Bussdown E (ft. Teniola Time, 4AM & Giddi): More crowded, tries to add energy with multiple voices. Joanna E (ft. Fido): One of the stronger cuts. Fido brings his melodic touch with a hook that is catchy. Proper (Freestyle) (ft. P17 & SPKS) and the following cluster (Double Double, By My Side, Joga Bonito): These blend into each other. More rap-leaning moments with the features handling verses. “Joga Bonito” nods to his football roots with a light, playful feel. Closer Letter: Feels like the intended emotional endpoint; it is reflective, slower, and more personal. It’s quiet and ends the project on a thoughtful note.

‘More To Life’ is a respectable, low-risk debut from a footballer dipping seriously into music. It is a genuine passion project that delivers exactly the smooth, reflective, success-and-freedom theme the title promises.

It’s a decent 23-minute escape that says “there’s life beyond the pitch”. The first thing that stands out about ‘More To Life’ is the context. 17 is still primarily known as a footballer, and that reality hangs over the entire listen. This is a transition attempt, and on first listen, you can hear the curiosity that comes with that. The 9-track project moves between Afrobeats and Afrowave textures, leaning on familiar, mid-tempo production.

There’s a noticeable reliance on collaborators—Fido, 24AM, Giddi, SPKS—who help carry different moments across the tape. On songs like “Joanna” or “Bussdown,” that support is useful; it fills in gaps where 17’s delivery still feels tentative. 

Lyrically, the EP circles around growth, freedom, and life beyond expectations—themes that clearly mirror his real-life position balancing football and music. The intention is clear. There are moments where the writing feels honest and direct but occasionally slips into generic phrasing that doesn’t leave much behind after the track ends. What works in the EP’s favour is its listenability. It’s easy to play through with a sequencing that is smooth and doesn’t drag. Each track sits comfortably next to the other, which makes it feel cohesive.

This EP feels like groundwork. You can hear the interest, the access, and the willingness to explore coupled with a reasonable urgency that makes a debut stick.

 “Dance 4 Jesus”- Fido, Zlatan, ODUMODUBLVCK

There’s an obvious idea at the centre of “Dance For Jesus”, and the song doesn’t try to hide it or dress it up. It’s right there in the title, and everything else is built around that: energy first, meaning second. “Dance 4 Jesus” is Fido’s first single of 2026 e featuring Zlatan and ODUMODUBLVCK, released as a high-energy street-hop/Afrobeats cut, mixing club-ready percussion with a loose dance concept.

The track jumps straight into a bouncy, mid-to-uptempo groove built on rolling Afrobeat drums, sharp percussive hits, light trap-leaning bass, and layered claps that keep it moving without getting too dense. Production feels current and functional with enough low-end and snap to hit on speakers.

Fido leads with the main hook and verses, delivering in his melodic street style. The chorus revolves around repetitive, chant-like lines: “you go shake body… make you dance for Jesus… you must shake body jerk… I go spray money… you go wine for Jesus.” It’s simple, catchy, and built for sing-alongs.

Zlatan comes in with his signature bouncy flow, ad-libs, and street swagger, adding hype and that familiar gritty flavor that makes his parts instantly recognizable and fun. ODUMODUBLVCK brings an equally gritty, commanding edge with his raw delivery and intensity, giving the track a harder street-hop contrast without derailing the dance vibe. The three complement each other: Fido holds the melodic center, Zlatan adds weight, and Odumodublck lifts the bounce.

Fido’s “Dance For Jesus” is immediately danceable. The hook sticks after one or two listens, and the beat encourages movement. It is straightforward, functional party/street energy, with Fido setting the tone and a hook that leans heavily on chant structure. It’s repetitive, easy to latch onto, and clearly designed for crowd response. The production follows that same logic: hard drums, minimal distractions, and a bounce that doesn’t let up. It’s less about musical layering and more about impact.

The interesting part is how the song handles its “gospel” angle. It’s not reflective or spiritual in the traditional sense; the record frames devotion as celebration, almost like turning a street anthem into a praise session. That blend—faith language over street-hop structure—is what gives the song its identity.

“Colorado” – Johnny Drille, Ayra Starr, Young Jonn

“Colorado” is the new single from Johnny Drille featuring Ayra Starr and Young Jonn. Produced by TeeMode with Young Jonn involved in the polished finish, it’s a mid-tempo Afro-fusion/R&B track that mixes soulful melodies, soft instrumentals, warm chords, and a relaxed groove.

The song opens with Johnny Drille’s layered “no, no, no” ad-libs leading into a pre-chorus where he sounds vulnerable and questioning: “Suddenly, my loving no come dey dey enough / Tell me wetin I do, odo? / Ṣe you get another someone?” The production stays understated with gentle percussion, subtle keys, light Afrobeat swing without heavy log drums or aggressive drops. It’s clean, warm, and designed for laidback listening.

The chorus, led by Ayra Starr with Johnny Drille harmonising, is the hookiest part: “You know nobody perfect, oh / No be by who drive Benz, oh / It’s how you got me high like Colorado / High me like Colos.” It uses the “Colorado” metaphor for getting euphorically high on love (or the relationship high), plus playful lines like “Ruler for my math-set” and “Never play you Nintendo.” Ayra Starr’s delivery here is bright, melodic, and effortless. Her tone cuts through nicely and gives the track its lift.

Young Jonn comes in, his verse smooth and melodic: “Pass me your love, oh / Slay, slay, pass me your love”—adding a bit of street-flavoured plea while keeping the romantic insecurity theme going (“you show me say my love is not enough”). Johnny Drille handles a second verse with more emotional depth: “My heart is pacing… All your flaws cannot blur my view / Do masa-masa, fight me, kung fu / Still, I’m reserving table for two.” The bridge blends their voices with lines about being “all for you” and missing the groove.

Johnny Drille’s ‘Colorado’ rides a consistent, laid-back wave with layered vocals and harmonies filling the space. The outro fades on reflective ad-libs about things happening and “save your head, don’t fall in love” mixed with gratitude.

Johnny Drille anchors it with his signature heartfelt, slightly acoustic-leaning emotional delivery. Ayra Starr adds sparkle and catchiness, and Young Jonn slots in cleanly for melodic contrast, making a competent, pleasant grown-and-sexy Afrobeats/R&B record.

“Colorado” looks like an easy win—Johnny Drille bringing his controlled, soft-edged style into the same room as Ayra Starr and Young Jonn. Three different energies, three different audiences. But on first listen, the song is less about collision and more about compromise.

The production sits in a safe middle. It blends Afropop with light R&B elements—warm, easy, and intentionally unchallenging. It’s the kind of beat that leaves space for vocals to carry heavily, which fits Johnny Drille’s strengths. He opens the record in a familiar tone: calm, slightly pleading, and melodic without trying to stretch range or tempo. The theme is straightforward—love, uncertainty, and the need for reassurance. There’s a recurring idea of not being enough, of trying to hold on while something slips.

Ayra Starr comes in with a lift in tone. Her voice adds brightness and movement, giving the song a bit more texture, but she stays within the same emotional lane. Young Jonn plays the glue role. His contribution leans into rhythm and catchiness, helping the record stay engaging without shifting its structure. He doesn’t disrupt the softness of the song; he smooths it out further. Again, it works, keeping everything in a controlled range.

“MINK SB” (Make I No Kill Somebody) – Jae5, Skepta, Lojay, Skillibeng

JAE5’s “MINK SB” (Make I No Kill Somebody) featuring Skepta, Lojay, and Skillibeng sees a lineup that pulls from varying roots for a deliberate global Afrobeats/UK rap/dancehall fusion.

The track opens with a y and an overall restrained production — rolling Afro-percussion, subtle bass, light synth or guitar touches, and space that lets the voices sit upfront. JAE5’s signature style keeps things smooth and commanding without big builds. It rides one consistent wave with a laid-back summer-ready energy.

‘MINK SB’ leans into lifestyle, confidence, flex, and global influence. Typical braggadocio with international flavour, money talk, and cool detachment. The production is minimal but effective — infectious enough to nod your head, smooth enough for playlists or drives. It sounds expensive and polished without clutter.

The sound sits comfortably in 2026 Afro-fusion territory with a minimal beat that keeps it cool and vibey. It delivers exactly what the stacked lineup promised — a smooth fusion with each artist shining in their lane.

Skepta opens the track with sharp, confident rap verses — his flow is unmistakable, dry and authoritative, adding that gritty London edge and personality. Lojay handles a prominent melodic hook and silky vocal parts that give the track its accessible, singable centre. His tone adds warmth and depth as Skillibeng drops the dancehall flavor with his gritty, rhythmic delivery and ad-libs that inject bounce and menace. The order and chemistry feel natural: Lojay carries the melody, Skepta grounds it in rap confidence, and Skillibeng spices it with Jamaican energy, complementing each other in a four-way pass-around.

With a lineup like this, “MINK SB” already comes with expectations, but JAE5 sublimely curates a space where different scenes meet. The production is the anchor. It’s stripped back but intentional—light bounce, clean percussion, and a groove that sits somewhere between laid-back and assertive. That’s typical of JAE5’s style: he creates room and lets the artists define the movement. Here, that works. The song feels controlled from the start.

Skepta steps in with the most defined presence. His delivery is sharp, measured, and confident in a way that immediately stabilizes the record, making the beat adapts to him. That contrast gives the song its first real edge.

Lojay’s vocals bring melody and texture, but more importantly, they make the record easy to sit with. He doesn’t push the song forward; he smooths it out. It’s effective, but it also lowers the tension that Skepta introduces.

Skillibeng comes in with a dancehall inflection that adds variety, but like the others, he doesn’t try to dominate the record, rather, he fits into the structure.

That’s really what defines “MINK SB.” It’s cohesive, almost to a fault. “MINK SB” feels like a well-executed link-up; smooth, global, and easy to replay, especially in low-pressure settings.

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2Baba — Balling

2Baba returns with “Balling“, a smooth status update from a legend who no longer needs to prove anything. At this point in his career, every release is measured against decades of influence, and this one lands as a quiet, confident flex: wealth without waste, joy without noise, and a reminder that relevance isn’t always about chasing new trends.

BlaiseBeatz anchors the track with a warm, mid-tempo groove that leans into live-feel percussion, supple basslines, and those honeyed guitar licks that instantly signal 2Baba’s soulful centre. It’s deliberate in its calm: no frantic street-pop tempo, no pressure to keep up. Just a veteran settling into his own breeze.

“Balling” is gratitude wrapped in gentle swagger. “Balling”, for 2Baba, isn’t yacht-life excess; it’s comfort, stability, choosing peace, and enjoying life at your own pace. He salutes his circle, shields his energy, and toes that familiar line between humility and soft bragging that has always been his signature. The message is clear: real success is simple, and no shaking.

It’s not trying to go viral; it doesn’t have to. “Balling” is legacy work, a reminder that 2Baba’s voice still cuts through with the same seasoned warmth, and that even in 2025, he can deliver a track that feels both timeless and necessary.

Fido — Chickendo

Fido slides into Detty December with “Chickendo”, a groovy, uplifting track that cements his growing reputation as Afropop’s newest beacon of hope and melody. Off the massive success of “Awolowo” and the chart-dominating ‘Joy Is Coming‘, he builds on his style, the sweet spot between spiritual gratitude and streetwise flex. The production blends familiar log drums and amapiano-leaning percussion with a warm, melodic softness that lets his voice glide. Fido isn’t interested in chaotic bounce; he prefers groove. The hooks land easily, the rhythm flows, and the whole track feels engineered for both club rotation and personal playlists.

“Chickendo” is classic Fido: cultural nuggets, coded slang, mindset bars, and gratitude stitched into every line. He speaks on elevation, dodging “bad belle”, and securing blessings, all delivered with the emotional sincerity that has made him a fan favourite. It’s end-of-year triumph music: Igbo pride, Lagos confidence, and soft-life ambition rolled into one.

While many still want to see him stretch beyond his influences, “Chickendo” proves he’s mastered his lane. The next challenge is innovation, but for now, this one is a surefire December staple.

Khaid — Sorry I’m Not Sorry

The 22-year-old Nigerian prodigy, fresh off his introspective “Rover” collab with Ayo Maff earlier this year, flips the script here: no more brooding over lost loves; this is a pure, unfiltered declaration of independence. Khaid switches gears and stands firm on “Sorry I’m Not Sorry“, a two-minute burst of self-respect and youthful defiance. Known for his emo-Afropop blend — pain wrapped in melody — he flips the script here with a track that feels like closure, confidence, and catharsis rolled into one.

The production is bright and buoyant, almost deceptively cheerful for the lyrical weight underneath it. Vibrant drums, slick synths, and a restless bounce carry his airy falsetto as he shrugs off toxicity and emotional baggage with a cool, almost playful detachment.

It’s a manifesto: no apologies, no overthinking, no returning to old versions of himself. The hook is a sticky chant waiting to explode on timelines, a Gen-Z rallying cry delivered in a style that balances swagger with sensitivity.

Khaid has carved out a lane that merges dancefloor energy with emotional honesty. “Sorry I’m Not Sorry” feels like a sharpening of that identity — punchy, catchy, and primed for both playlists and Instagram captions.

Tekno — Don’t Stop

Tekno taps back into his pop-savant bag with “Don’t Stop“, a flirtatious, high-energy single that proves he hasn’t lost an ounce of his touch. Even after navigating vocal challenges and sonic shifts in the industry, Tekno’s formula remains bulletproof: keep it simple, keep it catchy, keep it groovy.

Self-produced as expected, the track leans on bubbling percussion, crisp synths, and a bassline built to move waistlines. Tekno understands negative space better than most — he leaves room for the beat to breathe while stacking seductive ad-libs and cheeky melodic runs that turn the track into a dancefloor whisper.

Vocally, he sounds playful and mischievous, gliding through lines soaked in Pidgin romance and sly innuendo. It’s classic Tekno territory: sensual without sweat, catchy without clutter, and flirtatious without forcing it.

“Don’t Stop” reinforces why he remains one of Afropop’s most consistent hitmakers. Not every track needs to chase new trends — sometimes the original formula is still the strongest.

TxC, Davido, Shoday, Scotts Maphuma, Zlatan, AI Xapo — Nakupenda

“Nakupenda” is a pan-African house party disguised as a single — a thunderous five-minute celebration where Johannesburg’s bass-heavy Amapiano heartbeat meets Lagos’ melodic swagger. With TxC leading the charge and Davido, Zlatan, Shoday, Scotts Maphuma, and AI Xapo all showing up in peak form, the track is engineered for the global dancefloor.

TxC lays the foundation: thick log drums, hypnotic synth curls, and a deep, rolling bassline that never lets the tempo dip. Davido opens with smooth, melodic assurance, immediately elevating the track’s mainstream appeal. Zlatan follows with the kind of rowdy, percussive delivery that turns any song into a street anthem. Shoday adds sweetness and next-gen emotion, while Maphuma and Xapo weave in additional texture and rap-coded grit.

Despite the star power, nothing feels overcrowded. Every act gets their moment, and the chemistry is the glue. Swahili, Pidgin, English — the languages fold seamlessly into one another, creating a universal love anthem rooted in rhythm, movement, and collaboration.

“Nakupenda” beyond a new music Friday release, shows Amapiano and Afrobeats are no longer cousins; they’re collaborators. And this track is exactly what December needed: love as groove, unity as bassline.

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Rema — KELEBU

Rema is no longer the kid from Benin with something to prove. At this point, every drop is a deliberate statement — and with KELEBU, that statement is clear: Afropop is borderless.

Co-produced by London and Ambezza, “KELEBU” sounds like it was engineered for dancefloors from Abidjan to Kinshasa, built on Coupe Decalé’s backbone but elastic enough to thread Bongo Flava and Soukous into its fabric. There’s an immediate jolt to the system — a raucous, horn-drenched anthem that doesn’t only borrow from pan-African textures but celebrates them. The production doesn’t overcomplicate: synths sizzle, the sax breathes, and percussion moves in polyrhythmic waves, all while Rema delivers in multilingual, melody-first cadence.

But the real power of “KELEBU” lies in its spirit. It feels like Rema dancing back through time, sampling the joy of his childhood soundscape; unfiltered, cross-continental, and full of voltage. It’s also personal. Written by Rema himself and mixed by Leandro “Dro” Hidalgo, “KELEBU” affirms his global reach while keeping one foot rooted in African exuberance. There’s little doubt this one is built to run the summer.

Tiwa Savage ft. Skepta — On The Low

Tiwa Savage and Skepta finally combining forces on the new “On The Low” is every bit the transatlantic rendezvous fans hoped for. On “On The Low”, the Afrobeats queen steps into noir territory, her velvety delivery weaving through Rymez and Mystro’s minimalist bounce while Skepta punctuates with his deadpan, grime-slicked bars.

The rollout has been clinical without being too flashy. “On The Low” and everything it heralds is grown, precise, and low-key seductive. And with “On The Low” as one of the lead singles off her forthcoming album, Tiwa Savage doesn’t shout her ambition; she wears it like perfume: alluring, understated, and unmistakable. The chemistry between her and Skepta is natural, never forced. The beat allows both voices to breathe, to flirt, and to drift between desire and detachment.

With her upcoming album ‘This One Is Personal’ dropping August 29, this single sets the tone: calculated moves, high-level execution, and no sonic compromises. “On The Low” is less about crossover appeal and more about ownership — of her sound, her narrative, and her place in the wider music ecosystem.

Fido — Olayemi (EP)

Emerging artist Fido takes his first big swing at a collection of songs with ‘OLAYEMI’, a debut EP that wears its name like a badge of honour. Named after his government name (Awosika Olayemi Josiah), the project introduces Fido as more than just another promising voice but a conceptual thinker with a grip on storytelling, identity, and market timing.

First listening attempts hint that Fido’s ‘OLAYEMI’ is a slow-burn resonance that eventually envelops a listener. The Kizz Daniel-assisted track anchors the project commercially, but the rest of the EP is where Fido flexes — weaving personal anecdotes into Afropop cadences that avoid the trap of sounding overly polished or derivative. With his debut EP, there’s palpable growth not in sound or delivery alone, but in intent.

In an era where many newcomers chase the algorithm, ‘OLAYEMI’ feels like a refreshing return to craft. It’s sincere, well-sequenced, and makes the case for Fido as one to watch — not just for what he’s doing now, but for what he’s clearly building toward.

D’banj — Tobari

D’banj is not done. He’s not even winding down. If anything, Tobari signals a veteran who’s mastered reinvention without diluting his essence. Teaming up with DJ Maphorisa and DJ Obi, Tobari plunges headfirst into Amapiano, but with a nostalgic twist.

Built around a reimagining of his 2006 hit ‘Why Me’, “Tobari” is part homage, part rebirth. The “to ba ri…” hook hits like a call to arms, while Maphorisa’s log drums and Obi’s percussion give the track its contemporary muscle. D’banj laces it all with his signature charisma — proverb-laced, cheeky, and intentionally larger-than-life.

Coming off The Entertainer: The Sequel and recent collaborations with legends like Awilo Longomba and Youssou N’Dour, “Tobari” is another reminder: D’banj isn’t here just for the nostalgia. He’s here for impact — and if that means remixing his past to fit the now, so be it. He’s still the Kokomaster, and this might just be his most inspired form in years.

Cheque — Bad Boy

After some time off the radar, Cheque returns with “Bad Boy”, a track that leans into his genre-blurring sensibilities. While not as explosive as earlier hits like ‘Zoom’, the single shows a willingness to experiment, both structurally and sonically.

There’s something intentionally restless about Cheque’s new single, and it’s in the refusal to sit still. It doesn’t give you all the answers, but it reasserts Cheque’s presence and may be intended as a lead hint to something bigger on the horizon for Cheque

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https://open.spotify.com/playlist/69meKhAL4kF6loMFtrVl3B?si=_Ls7vocwSFO4d5NRClPGPQ&pi=YUVx9msQTIStm

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Seyi Vibez – “Pressure”

“Pressure” sees Seyi Vibez turning the volume down but dialling up the emotion. Stripped of the streetwise grit that’s defined much of his output, this is Seyi Vibez in silhouette—softer, steadier, but no less gripping. The production is featherlight, floating between alté and highlife elements with muted drums and spacious keys giving the lyrics room to breathe

There’s no heavy flex here; instead, Seyi’s talking about love’s quieter intensities, the kind that builds in silence, in the way someone watches or waits. His voice, still raw but more measured, carries the sentiment without overloading it. The songwriting reflects an artist trying to stretch, not abandon, his comfort zone.

From Billion Dollar Baby to Children of Africa, Seyi’s catalogue has shown range, but this feels like a true pivot. “Pressure” is the kind of track that doesn’t beg for a hit; instead, it sits with the listener.

Burna Boy ft. Travis Scott – “TaTaTa”

Burna Boy continues his global crossover campaign with ‘TaTaTa’, enlisting Houston’s psychedelic hitmaker Travis Scott for a transatlantic club record that hits with both force and flair. The track’s co-production, helmed by Chillz Chilleaux and Onome Ojoboh, is a rhythmic firestarter; percussive in its Afrobeats base but layered with funk carioca bounce and trap-driven textures that give it continental range.

Lyrically, Burna Boy leans into braggadocio, flexing with mythic references (“Badder than Baltasar Engonga”) and playful dominance. There’s a cocky ease in how he rides the beat like he’s smirking through each bar. Travis Scott, as expected, warps the atmosphere. His auto-tuned warble isn’t so much a contrast as it is a spectral lift, letting the track ascend in tone without losing its foot-stomping momentum.

The hook (“ta-ta-ta-ta-ta”) is designed to drill into the skull. A pure call-and-response fuel for dancefloors. With ‘No Sign of Weakness’ on the horizon, this one feels less like a sonic outlier and more like Burna Boy warming up the room for something huge.

Tekno – “Alhaji”

Tekno’s “Alhaji” is a breezy, drum-led flirtation track; slick, sweet, and unmistakably his. Ranson Beatz crafts a production that plays like a dancefloor daydream: thudding percussion, winding synths, and that familiar Tekno bounce that always feels built for a woman’s waist movement.

Lyrically, Tekno’s still the loverboy, caught in the spell of a woman who’s clearly running things (“She hold me for work”). There’s the playful desperation of a man happily losing himself to romance. And it’s that sincerity, masked as mischief, that keeps Tekno charming after all these years.

Tekno’s “Alhaji” is a groove-first record, light on complexity but heavy on replay value. With visuals by Dammy Twitch amplifying the energy, it’s a reminder that Tekno understands the assignment: don’t overthink, just move.

Fido – “Money Moves”

Fido returns with “Money Moves,” a track that trades in aspiration and hustle with a celebratory edge. Producer Tudor Monre laces the beat with crisp hi-hats and bright synth layers, giving the song the feel of a motivational anthem disguised as a party starter.

The lyrics are bold but grounded, “Money, money, money, money moves”  Fido chants on the chorus. There’s a nod to divine intervention too (“Dem become dey wonder as he God he do”), which adds a bit of soul to the sheen. Fido’s delivery is relaxed but focused, gliding across the beat with a mix of ease and intent reminiscent of the iconic Wande Coal, who considers himself an industry blueprint.

If ‘Joy Is Coming’ was his breakout, “Money Moves” is him testing the waters of mainstream longevity. It plays well with the streaming era’s love for catchy affirmations, but there’s enough real hunger in it to avoid sounding hollow.

Gyakie – “Sankofa”

In anticipation of her debut album, ‘After Midnight’, Gyakie has released her first official single for the year titled, “Sankofa.” Rooted in Ghanaian symbolism and spiritual memory, the song leans heavily into introspection, anchored by restrained production and a quietly aching vocal performance.

Co-written with Afrolektra, the lyrics feel handwritten, steeped in nostalgia, faith, and quiet strength. “Sankofa” isn’t about going back but about healing by confronting what’s behind you, getting some sort of closure. The subtle arrangement—bare piano chords, ambient layers—lets her storytelling breathe, creating a heartfelt stillness that feels sacred.

“Sankofa” is assuredly a delicate setup for Gyakie’s debut album ‘After Midnight’, and if this is any indication, it’s that she’s leaning into a late-night, soul-searching palette. Gyakie’s “Sankofa” is not a song you play to turn up but the kind that finds you when you’re alone and honest.

BoyPee – “First Sight”

BoyPee’s “First Sight” is heartbreak with a pulse. Built around tender guitar plucks and ambient textures, the production leaves space for BoyPee’s voice to carry the emotional weight. And he doesn’t waste it.

The lyrics chronicle the descent from promise to pain, capturing that moment when love, once blinding, turns brutal. His delivery is calm, almost resigned, which makes the storytelling hit harder. Coming off the high of ‘Ogechi (Remix)’ and ‘Constantly’, this feels like a reset, less about streaming numbers and more about emotional clarity.

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Lil Kesh ft. Fireboy, Ayo Maff — Vex For U

With the snippet shared a few days ago on social media before its release at midnight today, ‘Vex For U’ showcases an impressive collaboration from three unique artists who, in a little over three minutes, were able to have standout deliveries without outshining each other. And the result of this is a creation with high replay video. With Fireboy at the helm of the hook and transitional verses, Ayo Maff and Lil Kesh compliment each other, neither seeming out of place. 

Fido — Mr. Lover 

Fido continues to prove that he has so much to offer than what he appears to have been given in his fast rise to fame, and in a series of tweets he has vowed to make it known, claiming he is a bag of talent slowly creeping to disrupt the music industry. His latest release, “Mr. Lover,” is said to be a leak and wasn’t entirely a planned official single. But apparently, even an unplanned release is good enough to score Fido another golden track, the kind that gains mainstream success. Fido is aware of his capabilities, and he proves that on Mr. Lover with a flow and cadence you’re probably familiar with, but this is Fido. 

Olamide ft. Russ — Hello Habibi (remix)

Bringing a major twirl to one of the hit songs off his ‘Ikigai’ album, Olamide taps Russ for a transcultural collaboration. And since he linked with Asake on “Reason,” Russ shows he doesn’t discriminate against delivering hard-hitting bars regardless of the disparity in culture for as long as there’s a beat. The highlight of the remix is Olamide’s final verse that closes the song. He goes in unrestrained as a rapper out of retirement and reminiscent of Olamide on “Eyan Mayweather.”

Emo Grae — Be There 

Emo Grae’s talent has never been questioned, but perhaps the typical personal troubles one may stumble on are what plague him and his shot to mainstream acceptance. With a pen that tells tales of romance and heartbreak delivered with a distinct musical voice, Emo Grae makes a comeback with “Be There,” and he’s willing to risk it all for his love interest. 

Kojo Blak ft. Olivetheboy – Rugged 2.0 

Lately, Ghanian pop music is laced with delicious highlife riffs that form the basis for infectious rhythms and ultimately songs with a high replay value. On Rugged 2.0, Kojo Blak and the fast-rising Ghanian pop star deliver such a track that showcases both artists in a relentless pursuit of their love interests. The song shares how the pursuit of love can be a lengthy process, but not a lengthy one enough for these two love-struck boys. 

Fave — Dutty Love (EP)

Following three lead singles, Fave returns with a sophomore EP, and with her relatable storytelling and soul-stirring vocals, she delivers a 7-track EP that makes you return while switching favourites. 

STANDOUT TRACKS:  Complicated, Dutty Love Song, Lose My Mind.

Black Culture, Yimeeka – INÓ

On INÓ, Black Culture’s robust production of African percussions that speak excellence and creativity coupled with Yimeeka’s delicate, ethereal vocals shines through the 14-minute long avant-garde EP. It’s a beautiful blend of the rich tapestries of western African music and art. 

Monaky — Candor

With a mix of upbeat tracks and soulful ballads, Candor positions itself as a versatile body of work that caters to a wide range of listeners while reflecting Monaky’s growth as an artist. Working with three guest artists on his second studio EP, Dessy Carter, Rhedi, and Llona, Monaky infuses elements of hip-hop, R&B, and traditional African rhythms that feel both innovative and familiar.

STANDOUT SONGS: Chandelier, Cerebral, Hi Grade, Gone Rogue.

The post Lil Kesh, Fido, Fave, Kojo Blak and Emo Grae on This Week’s New Music Friday appeared first on Afromixx.