HOPE!! — Angélique Kidjo

‘HOPE!!’ is Angélique Kidjo’s triumphant 16-track return — her first full-length solo album since the Grammy-winning Mother Nature in 2021 — and it lands exactly when the world needs it most. There’s a certain weight that comes with a title like ‘HOPE!!’, especially from an artist like Angélique Kidjo, whose catalogue has always balanced political consciousness with musical exuberance. This album leans fully into that duality: a record built as both emotional refuge and rhythmic insistence. This is a deliberate, five-years-in-the-making manifesto of joy as resistance. Kidjo dedicates the entire project to her late mother, Yvonne, who taught her that “hope for a better future is what makes us human”. The album channels that inherited optimism into a groove-heavy, genre-transcending antidote to despair, proving that in 2026’s turbulent climate, the most radical act can still be unapologetic celebration.

The production (primarily helmed by Pharrell Williams on three tracks recorded in his Paris studio, plus Shizzi, Louddaaa, Philippe Saisse, and others) creates elastic, percussion-rich soundscapes that feel both intimate and stadium-sized. The album was cut across Paris and Los Angeles over three years, with additional sessions in Lagos, Johannesburg, and beyond. It layers West African highlife and Afrobeat rhythms with funk guitars, R&B soul, Brazilian grooves, jazz horns, and even full philharmonic strings.

The production on ‘HOPE!!’ is expansive but never directionless. It operates like a curated convergence of sounds rather than a cluttered one. At its core, the album still breathes through African rhythmic traditions—polyrhythmic percussion, call-and-response structures, and choral layering—but it’s framed through modern polish. Producers like Pharrell Williams and Shizzi inject a contemporary sheen: tighter drum programming, funk-influenced basslines, and subtle electronic textures that make the album sit comfortably in today’s global pop ecosystem.

Angeliue Kidjo’s lyrics, often multilingual, weaving English, French, Yoruba, and Portuguese are direct, anthemic, and deeply personal. The album repeatedly returns to themes of resilience, human connection, kindness as armor, honest communication in conflict, collective action, and the defiant refusal to slow down.

HOPE!! is Angelique Kidjo at her absolute peak, a 16-track double-LP that feels both deeply personal and universally urgent. The production is world-class and borderless without ever feeling scattered. The lyrics are activist-hearted yet they invite you to dance, reflect, and believe in humanity again. Angelique Kidjo’s voice remains a force of nature: tender when needed, commanding when required, and always joyful. In a music landscape often dominated by cynicism or fleeting trends, this record insists on hope with capital letters and two exclamation points.

YIVULE — CIZA

YIVULE by CIZA released as the opening salvo for ‘CIZA’s Palace’ EP marks a confident step forward for the South African star. CIZA associated with his Gen-Z Afro-house/3-step wave continues building on the momentum from his 2025 breakout hit “Isaka (6AM),” delivering a sleek, dancefloor-ready track that blends global appeal with rooted South African energy.

It is a targeted double-single launch, “Yivule” and “Mngani Wam”, teasing the forthcoming EP ‘CIZA’s Palace’, as track 1 and track 8 respectively. “Yivule” serves as the atmospheric, seductive entry point, a statement of arrival heralding a complete project. It positions CIZA as a bridge between local house scenes and international club circuits.

Produced primarily by CIZA himself alongside JAZZWRLD and Bongani Sax with engineering and mastering contributions from Tony Duardo and Robin Kohl, “Yivule” is built on a hypnotic 3-step rhythm. It is bouncy with rolling bass and percussive drive that defines modern South African dance music.

The track layers deep, pulsing synths and warm pads with crisp hi-hats, shakers, and subtle log drum elements. It feels nocturnal and inviting: not overly aggressive like some amapiano derivatives, but smoother, more melodic and hypnotic, like a meld of Afro-house and  contemporary R&B-infused house. The arrangement breathes nicely, giving space for the vocals to sit front and center while the groove builds gradually with layered claps and atmospheric effects. It’s club-ready but also works for late-night drives.

The lyrics primarily in English with Zulu/Sotho-inflected phrases are straightforward, repetitive, and vibe-first, perfect for a dance track. The hook revolves around the title phrase “Yivule”, evoking openness or invitation, possibly playing on “vula” meaning “open” in Zulu contexts paired with celebratory lines about his rising success: “Girl, I know you seen my come up / All over the world, ekse.” It’s a flirtatious, confident anthem,  inviting connection while flexing global traction. Repetitive “Oh, oh, oh” ad-libs and “Aya yaya yaya yeah” create an infectious, chant-like quality that encourages crowd participation. Themes blend personal triumph, romantic invitation, and that universal party spirit. It ultimately radiates positivity, accessibility and feel-good escapism with cultural flavor.

YIVULE is a strong, focused single that does exactly what it needs to: open the doors to ‘CIZA’s Palace’ with undeniable groove and charisma. Production is tight and professional, lyrics are hook-driven and uplifting, and the overall package feels polished for both South African charts and global streaming playlists.

Izinja Zam: Vol. 1 — Zee Nxumalo

IZINJA ZAM: VOL. 1 (EP) is the highly anticipated debut EP from the Swazi-South African amapiano/3-step sensation,  Zee Nxumalo. At just 23, Zee Nxumalo born Zandile Nxumalo cements her status as one of South Africa’s brightest young stars following a massive 2025 where she became the most-streamed female artist in the country.

This 4-track project, crafted primarily in Durban with 3-step heavyweight Dlala Thukzin, serves as a vibrant statement of arrival — blending dancefloor energy, spiritual introspection, and unapologetic celebration. The title “Izinja Zam”, roughly translated to “My Dogs” or “My Pack” evokes loyalty, crew energy, and the wild, pack-like movement of her fanbase and collaborators. It’s short, focused, and designed for maximum impact. A 25 minutes project of hypnotic grooves that invite both club chaos and personal reflection.

The sound is rooted in modern 3-step — rolling percussive, bass-driven subgenre that sits between amapiano and deeper house. Dlala Thukzin handles the bulk of production, bringing his signature bouncy log drums, tight hi-hats, atmospheric pads, and elastic basslines. Additional contributions come from Funky QLA, MK Productions, Shakes & Les, and others, creating a cohesive yet dynamic palette.

Live percussion elements mix with crisp programming; vocal chops, layered harmonies, and subtle piano stabs add emotional depth. It feels premium and club-ready without sacrificing warmth or cultural texture. 

Zee Nxumalo’s lyrics are direct, repetitive for hooks, and emotionally layered. The EP balances celebration, spiritual grounding, and self-assertion. Themes include gratitude, resilience, prayer as strength, romantic/sexual confidence, and loyalty to one’s “pack.” It’s feel-good escapism with substance. Not preachy, but rooted in her journey from Alexandra roots to national stardom. Her voice is versatile: smooth and melodic on verses, powerful and chant-like on hooks, with strong ad-libs that enhance the communal vibe. 

‘IZINJA ZAM: VOL. 1’ is a purposeful debut EP that showcases Zee Nxumalo’s growth as an artist who can command both the clubs and the heart. Production is polished and authentic to the Durban/Johannesburg soundscape, lyrics strike an excellent balance of fun and meaning, and her vocal presence ties everything together with charisma and maturity beyond her years. It doubles down on what she does best: delivering accessible yet culturally rich dance music that moves bodies and spirits. In the crowded amapiano scene, Zee stands out for her star power, strategic collaborations, and genuine connection with listeners.

Fire In Your Eyes — Didi B, Mavo

Francophone rap has been stretching itself into more melodic, globally aware spaces, and ‘Fire In Your Eyes’ sits right in that pocket is a sleek, bilingual Afrobeats/R&B-tinged collaboration that bridges Ivorian and Nigerian urban energy. At 3:35, it’s a concise, club-friendly banger arriving hot on the heels of Didi B’s recent momentum, including his historic stadium show in Abidjan and Nigerian gold certifications.

This is a sharp single drop that capitalizes on cross-border chemistry between two rising-to-established voices in West African music. Produced by Dave Nunes, PD, and Puffy, the track sits in a smooth mid-tempo pocket that blends contemporary Afrobeats percussion with R&B warmth and subtle trap influences. Expect crisp log drums, rolling shakers, warm synth pads, and a prominent saxophone solo in the bridge/outro that adds a melodic, almost sensual lift. The instrumental feels polished, not overly busy, giving plenty of breathing room for the vocals. Dave Nunes’ touch brings that international sheen, while the arrangement builds gradually.

The song is a multilingual seduction anthem with code-switching between English, Nigerian Pidgin, French, and Yoruba-flavored phrases. The central hook, delivered primarily by Mavo, revolves around intense attraction “I see the fire in your eyes, burning / Keep it burning with my love, kilo” mixed with playful relationship dynamics and street philosophy. Key lines like “The devil you know / Is better than the angel you don’t” add a layer of pragmatic wisdom amid the romance. Mavo’s verse flexes hustle “I too dey make money, steady Osama”, fame navigation, and raw desire “I go chop you tomorrow again”, while Didi B brings Francophone flair with confident bars about jungle life, superhero status, and breaking vices. It’s flirtatious, boastful, and relatable — celebrating passion while nodding to real-life complexities like jealousy and loyalty. Themes blend romance, ambition, resilience, and unapologetic sensuality.

The chemistry clicks: Mavo’s melodic accessibility pairs with Didi B’s lyrical sharpness for a balanced, pan-African appeal. “Fire In Your Eyes” is a well-crafted, feel-good single that does what great collabs should: highlight each artist’s strengths while creating something bigger than the sum of its parts. Production is clean and addictive, lyrics mix heat with substance, and the bilingual execution makes it accessible across West Africa and the diaspora.

Fine Ting (Fine $hit) — FOLA

“Fine Ting (Fine $hit)” is Fola’s first official single of 2026, following the buzz-building “When the Party’s Over” earlier in the year. With “Fine Ting Fine $hit’, FOLA leans into a familiar Afropop theme—admiration, desire, and the soft chaos of attraction. At roughly 3 minutes, this is pure, feel-good Afrobeats/Afropop,  a confident, upbeat flex that keeps FOLA’s momentum rolling post his 2025 debut album ‘Catharsis’. Fola has steadily built a reputation as one of Nigeria’s smoother, more emotionally attuned Afrobeats-R&B voices. After breakout collabs and charting singles, plus the well-received ‘Catharsis’, this drop shows him leaning into lighter, celebratory territory while staying true to his melodic strengths.

Produced by Magicsticks, Dave Nunes, and Puffys, “Fine Ting (Fine $hit)” rides a vibrant, mid-to-up-tempo Afrobeats groove with strong Afropop flair. The backbone is a bouncy drum pattern, supported by soft synth chords and light melodic loops that keep the track moving without overcrowding it. It car infectious percussion — shakers, log drums, tight claps — layered over warm synths, bouncing bass, and melodic guitar/piano accents that give it that sunny, danceable lift.

The arrangement is tight: a catchy intro hook pulls a listener in immediately, verses build with layered vocals, and the chorus explodes into anthemic, sing-along energy. The production sparkles with polish and replay value. Dave Nunes’ involvement adds that cross-Atlantic sheen similar to his work on other West African hits, while Magicsticks keeps it rooted in Lagos bounce. The result feels like peak summer playlist material: energetic without being chaotic, melodic without getting too sentimental.

The lyrics are straightforward flirtatious, repetitive, and hook-driven. Classic party/romance Afrobeats fare: it’s flirtatious, boastful, and unapologetically fun, while flexing success, good vibes, and living in the moment. FOLA’s voice is smooth, supple, and versatile. It is passionate yet controlled, with strong harmonies and effortless runs that sit perfectly in the pocket. He glides over the beat with charisma, blending singing and light rap-sung flows.

Back Outside — BNXN, Sarz

“Back Outside” is the smooth, confident return of one of Nigeria’s most consistent melodic voices. For BNXN fka Buju, this marks his first official solo single of 2026 following the well-received 2025 album ‘CAPTAIN’. Sarz, the legendary producer known for his polished, rhythm-forward Afrobeats magic, handles production and co-features, uniting the pair for a laid-back yet assertive Afro-fusion banger.

At around 3 minutes, the track is designed for both introspection and movement — a classic “comeback” statement that says “I was working, now I’m back outside.” Sarz delivers one of his cleanest, most effortless productions in recent memory. The beat sits in a mid-tempo Afrobeats pocket with subtle Afro-fusion elements of crisp percussion, rolling shakers, warm bass, and fluid melodic lines that breathe. Guitar work from Ginton adds a light, sun-kissed touch without overpowering the groove.

The arrangement is minimalist yet rich: layered vocal chops and harmonies create depth, while the instrumental builds just enough in the chorus to feel anthemic. It’s not overly busy or trend-chasing, but stays true to Sarz’s strength of making sophisticated rhythms feel instantly accessible and replayable. The mix, handled by Leandro “Dro” Hidalgo) is pristine, giving BNXN’s voice plenty of space to shine while keeping the low-end punchy. 

BNXN’s pen is introspective yet celebratory. The track balances themes of resilience and return “I was at work, so I laid low / It wasn’t my fault omo, omo” with light-hearted romantic flexing and lifestyle celebration. The repetitive, chant-like chorus in what sounds like a mix of indigenous language adds a hypnotic, communal feel: “Onema dan ka tu meh na ke ta ge, wugoro / Ja du ye mo le ko a la fri a la yi, ye mu doh.”

BNXN sounds refreshed, smooth, melodic singing with effortless rap-sung transitions and rich harmonies. His delivery feels intimate in the verses and expansive in the choruses, perfectly matched to Sarz’s production. The choir-like backing on the hook elevates it from solo flex to collective celebration. 

Bnxn’s “Back Outside” is a strong, no-frills return that reminds everyone why BNXN remains a standout in the Afrobeats scene. Sarz’s production is impeccable, the lyrics strike an excellent balance of personal reflection and fun flexing, and BNXN’s vocals tie it all together with signature melody and charisma. 

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Worship — Asake, DJ Snake

There’s a certain kind of expectation that follows Asake now – not just to make hits but to make moments that feel lived-in, spiritual, and communal. After months of teases from live performances at Red Bull Symphonic events and snippets floating around social media, at midnight, Asake initiated a surprise release of his collaboration, “Worship”, featuring DJ Snake. On “Worship”, that expectation meets a wider, more global ambition, pulling in DJ Snake for a record that stretches beyond the familiar contours of street-pop. The production helmed by Magicsticks and DJ Snake sits in that familiar space—log drum pulses, layered percussion, and some synth flourishes. It’s the kind of sonic blend that merges Afrobeats textures with electronic urgency, a space DJ Snake has long mastered, now reframed through Asake’s distinct cadence. It’s not a full-on DJ Snake festival banger; the drops are restrained, more like subtle builds that let Asake’s delivery stay front and centre.

Asake’s verses lean into his signature relaxed, almost conversational flow, heavy on the Yoruba/English mix, with themes of gratitude, staying close to God no matter the situation, self-belief, and letting things play out. Conveying the typical spiritual/street wisdom flair that permeates his music. The hook, which is now familiar to an Asake fan, remains catchy enough to stick and evoke similar feelings of gratitude that Asake pours into the track.

Asake leans on familiar motifs: faith, hustle, and the quiet insistence that his rise is neither accidental nor purely self-made. There’s a recurring spiritual undertone in his music, and here it feels amplified, almost ceremonial.

That duality is what gives the song its edge. On one hand, it’s deeply rooted in the street — the cadence, the language, and the emotional register all feel local, grounded. On the other hand, the production pushes it outward, positioning the track for global spaces where varying instruments like the violin, synths and percussion marry.

When The Party’s Over — Bees & Honey, Fola

The track “When The Party’s Over” by Berlin/London-based multicultural production/DJ/songwriter group bees & honey, featuring FOLA, who’s been building on softer, expressive Afro-fusion cuts, is a mellow, laid-back record with a European electronic polish that leans into tempo and immediacy. 

The production is sparse — soft keys, light percussion, and ambient textures that stretch the song into something almost weightless. It creates space, one Fola understands. His delivery is measured, almost careful, as though he’s tracing thoughts in real time and performing them accordingly as he glides on a smooth and atmospheric production of subtle Afrobeat rhythms blended with electronic/house-leaning elements typical of bees & honey’s sound. FOLA handles the lead vocals with his signature soft, melodic delivery—expressive but understated, mixing English with some pidgin/Yoruba touches. The lyrics revolve around that “after the party’s over” theme: questioning where people go when the lights come up and the good times end and relationships or connections are tested in the quiet aftermath. Lines like “let me know where you go when the party’s over” repeat in the hook, giving it a contemplative, almost introspective vibe—romantic uncertainty mixed with a touch of melancholy.

“When The Party’s Over” carries a minimalism that gives the track its emotional clarity. It’s sound turned into a feeling — soft, lingering, and deeply familiar, staying in one emotional pocket and a progression that makes the song all the more honest to a listener.

Ain’t Nobody — Shatta Wale, John Legend

Some collaborations announce themselves loudly. Others arrive with a quiet kind of confidence, built on contrast. “Ain’t Nobody” by Shatta Wale featuring John Legend serves as the lead single off Shatta Wale’s upcoming album. It is a cross-continental fusion that works better than expected on paper. Shatta Wale brings his dancehall/reggae energy—patois-infused verses, rhythmic bounce, and that signature boastful delivery he’s known for. John Legend comes in with not the usual smooth, soulful R&B hooks and ad-libs; he rivals Shatta Wale, harnessing a similar reggae delivery. The production by Rob Murat and Sean Kantrowitz blends Afro-dancehall rhythms and reggae grooves, making a mid-tempo beat with live-feeling instrumentation, with a bassline that’s punchy.

“Ain’t Nobody” doesn’t chase complexity or attempt to merge genres; it stays within a controlled range, allowing both artists to meet in the middle rather than compete for space. The chemistry and alignment in the song are as surprising as the result itself.

For a lead single, it holds its ground. It’s smooth, intentional, and emotionally clear. Not a statement record, but a steady reggae groove built on tone, balance, and the quiet confidence of two artists who understand exactly what they’re offering.

Big Energy — Khaliberry

There’s a certain confidence in how emerging artists title their records. “Big Energy” is not subtle — it declares intent before the first note even lands. For Khaliberry (real name Alfa Calistus), it arrives as a follow-up to his November 2025 “Nice to Know”, a record that quietly introduced his tone and sensibility. This time, the framing is bigger, even if the execution takes a more measured route. The record positions itself as a “main character” soundtrack — a phrase that has become shorthand for self-assurance, presence, and a certain cinematic confidence. The production leans into mid-tempo Afrobeats — clean drums, light bounce, and a groove that feels controlled rather than chaotic. There’s a noticeable restraint in how the instrumental is built and how it intersects with Khaliberry’s vocal delivery, which is ultimately where the record finds its identity. There’s a magnetic ease to how he moves across the beat, harnessing the melody of a veteran singer and the cadence of hip-hop storytelling. Lyrically, the song leans into affirmation. It circles around self-worth, visibility, and that feeling of stepping into your own narrative. For a record titled “Big Energy”, the calmness can feel almost contradictory. Unlike the title, framing suggests a high-octane anthem, but the song itself chooses subtlety over spectacle, creating a space that permits Khaliberry to ride its rhythm with quiet certainty. It is music designed to sit with a mood.

TENTOES (Album) — TENTIK 

For an artist like Tentik, the idea of TEN TOES is beyond a theme for a project; it is philosophy. It speaks to stance, to grounding, and to the kind of conviction that doesn’t waver even when the odds do. A statement of resilience and consistency, the album leans fully into that identity, building a body of work that prioritises bars, perspective, and staying power.

From the jump, TEN TOES positions itself as a rap-first project. Across its 10 tracks, Tentik keeps the focus tight — lyricism, lived experience, and a steady refusal to dilute his voice. The album positions Tentik like someone who already knows where they stand.

That intention shows up clearly in records like “Still Dey Rap”, where he frames his journey with blunt clarity: if given another chance, he’d choose the same path, the same grind, the same commitment to rap. The album keeps returning to that idea: persistence as identity.

Sonically, TENTOES operates in a controlled pocket. The production leans toward laid-back, almost meditative beats — spacey enough to let the bars breathe, but grounded enough to carry weight. Tracks like “Urhobo College Freestyle”, which helped build anticipation for the project, already hinted at this balance: calm surfaces with heavy lyrical undercurrents. That same approach carries across the album.

There’s also a noticeable cohesion in structure. The tracklist — from “Take Am Easy” to “Against All Odds” — reads like chapters rather than isolated moments. A listener can trace a throughline: struggle, reflection, faith, defiance. Even the titles suggest a narrative arc, one that moves from survival to assertion without losing its footing.

Tentik isn’t experimenting wildly or stretching across genres. The writing is direct, often conversational, but rooted in experience — street knowledge, personal choices, and the weight of staying true in a space that often rewards compromise.

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Headliner Rema, the Benin-born architect of Afro-rave, delivered a performance that felt like a coronation. Fresh off a year of total chart dominance, Rema’s set was a masterclass in stagecraft. Emerging amidst a haze of pyrotechnics and cinematic visuals, the “Rave Lord” navigated his discography with the precision of a veteran. From the dark, brooding textures of his sophomore album ‘Heis’ to the unavoidable euphoria of “Calm Down”.

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He ignited mass sing-alongs with deeper cuts such as “Charm”, “Why”, and “Soundgasm”, reminding attendees of his deep range as an artist. The energy peaked during collaborations: a raucous “Benin Boys” reunion with Shallipopi, celebrating shared Edo roots, and moments of pure crowd euphoria. Rema’s commitment to excellence elevated the night, creating an atmosphere so thick with vibes, you could slice through it like butter.

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Yet Rhythm Unplugged’s magic lay in its eclectic supporting headliner, a deliberate fusion that mirrored Afrobeats’ boundary-blurring ethos. The night’s narrative was built on a bridge between the UK and Nigeria. Central Cee, arguably the UK’s most potent cultural export right now, brought his “Wild West” energy to the Lagos stage. Clad in his signature streetwear, the West London rapper proved that his flow translates perfectly to a Nigerian crowd, with the room erupting word-for-word for “Sprinter” and “Doja”.

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The undercard pulsed with Naija’s current vanguard: BNXN provided the melodic soul of the evening, offering a smooth counterpoint to the night’s high-octane rap sets; Odumodublvck’s set (highlighted by a generous moment gifting his wristwatch to a fan during “Cast” with Shallipopi) delivered a rugged, high-intensity performance that solidified his position as the bridge between Nigerian rap and the mainstream; and Shallipopi’s Plutomania energy (joined by brothers Zerry DL and Famous Pluto for “Ewo”). Rhythm Unplugged has always been a springboard for the “next up”, and last night showcased the sheer depth of the current scene, including body-moving performances from artists like Moliy, Chella, Fola, Mavo, Shoday, SMADA, and Zerrydl.

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However, for those inside, Flytime Promotions delivered on the promise of luxury. The production value—LED architecture, crystal-clear acoustics, and seamless transitions—set a standard that few other festivals on the continent can match.

Twenty-one years in, Coca-Cola Rhythm Unplugged has evolved from a variety show into a sleek, international-grade festival. While the barrier to entry is higher than ever, the cultural payoff is undeniable. Last night at the Eko Convention Centre was a statement of intent for the rest of the 2025 festive season.

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Amaarae – BLACK STAR (Album)

Amaarae’s third studio album, BLACK STAR, is the sound of an artist in full bloom; playful, liberated, and fearless with her craft. Where 2023’s Fountain Baby carried a sharper, more brooding edge, BLACK STAR feels like a mischievous wink to the listener, drawing deeply from Ghanaian heritage while galloping through the bright, chaotic worlds of hyperpop, baile funk, and highlife.

Recorded partly in Brazil with local baile funk producers and guided by Amaarae’s long-time collaborator Kyu Steed, the album’s 44 minutes are a genre blender of polished pop hooks tumbling into electronic rushes, while flourishes of Ghanaian rhythms keep the centre grounded. The features are equally audacious: PinkPantheress slips into the mix with pastel-tinted vocals, Bree Runway brings her charged swagger, Charlie Wilson adds timeless R&B richness, and—because why not—Naomi Campbell turns up for a cultural curveball that somehow fits.

Lead single “S.M.O.” distils the album’s ethos, rooted in highlife textures but dressed in futuristic pop clothing. It’s the perfect handshake into a project that thrives on contradiction: intimate yet expansive, familiar yet alien. ‘BLACK STAR’ is Amaarae’s declaration that pop can be anything she says it is.

FOLA – You

On “You”, FOLA slows everything down and lets vulnerability take the front seat. Produced by Kel-P, the track borrows the silky glide of classic Afro-R&B with undertones of The Weeknd’s pop single ‘I Feel It Coming’, adding just enough modern shine to keep it fresh. ‘You’ sits on a minimal production but deliberate delivery from FOLA. Every kick, chord, and pause was designed to let FOLA’s voice carry the emotional weight.

Lyrically, “You” plays like a whispered love note; simple in structure but resonant in feeling. The restraint is refreshing; there’s no overproduction, no vocal grandstanding. Instead, the song moves with an understated confidence, the kind that comes from knowing the story is strong enough to stand on its own.

Serving as the second single from his upcoming debut album ‘Catharsis’, “You” suggests the project will be a deeply personal excavation. If this is the tone-setter, we’re in for a work with many emotional layers from FOLA’s world.

Victony ft. Terry G – Tanko

Victony’s “Tanko” is the sort of collaboration you didn’t know you needed until it landed. By pairing with Terry G—one of the most unpredictable and electrifying figures from Afrobeats’ late-2000s era—Victony creates a high-voltage bridge between generations.

The production, courtesy of The Elements, Bantu, and Blaise Beatz, is pure adrenaline: pulsating basslines, hypnotic log drums, and just enough sonic chaos to give Terry G room to unleash his manic charisma. Victony plays the cool foil here, weaving catchy melodies through the chaos, showing exactly how new-school polish and old-school grit can coexist.

“Tanko” doubles as nostalgia bait and proof that the genre’s past and present can collide in a way that inspires not just listeners but other creatives.

Nonso Amadi – Pillow

Nonso Amadi’s “Pillow” is an exercise in atmosphere—warm, spacious, and heavy with late-night intimacy. Built on mellow percussion and airy synths, the production folds around Amadi’s glossy, feather-light delivery, giving the whole track a dreamlike quality.

Lyrically, it’s all about closeness and unguarded moments, and Nonso Amadi leans into that emotional core with a balance of poetic phrasing and conversational ease. The record is soulful without being syrupy, lingering long after the final note fades.

“Pillow” is quintessential Nonso Amadi—delivering songs that feel less like performances and more like spaces you step into.

Kwesi Arthur ft. King Promise – Real Thing

Ghanaian rapper Kwesi Arthur and crooner King Promise have found the sweet spot between grounded storytelling and romantic sweep on “Real Thing”.  Over Hylander’s warm, percussion-heavy production, Arthur delivers verses with unhurried sincerity while King Promise smooths out the edges with a chorus that glides.

It’s a love song, yes, but one that feels lived-in, more quiet devotion than grand spectacle. The production’s organic warmth makes it easy to imagine this track being played at sunset gatherings or in solitary headphone moments.

“Real Thing” marks Kwesi Arthur’s first drop of the year, and if it’s any indicator, his upcoming project will lean into music that feels both personal and timeless.

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Gimme Dat – Ayra Starr ft. Wizkid

Just before the teaser and eventual release of ‘All The Love‘—perfectly timed for 2025’s Valentine season—Ayra Starr had teased what many of her devout fans thought would be her next 2024 release, ‘Gimme Dat’. In the visualizer/teaser, Ayra was seen walking the streets and riding in a golf cart, wearing headphones connected to a mini turntable held by a young man who trailed her. Sadly, due to imperfect timing, it wasn’t released, and Ayra never officially addressed it, until what would become the final audio teaser of “Gimme Dat” featuring the vocals of Afropop global star Wizkid, who croons, “Goddamn, arabirin, goddamn.”

Ayra Starr’s place in the music industry as the reigning Afropop queen is, for now, uncontested. And with the release of “Gimme Dat,” she puts her best foot forward, going two for two with her second release of 2025. Announcing the guest artist was Ayra saving her best card for last, even though she’s already made it clear through several releases that she has many surprises up her sleeve. On the opening notes of “Gimme Dat,” Ayra revisits a familiar past, sampling the acoustic guitar riffs from Wyclef Jean and Mary J. Blige’s 2000 classic “911” and Wyclef Jean’s “Diallo”, layered with bouncy drum rhythms, trumpets, and alternating African riffs.

With the ease of a hot knife through butter, Ayra glides over this mid-tempo rhythm alongside the guest artist, in a sheer display of Afrobeats royalty. With its laid-back energy, ‘Gimme Dat‘ is the perfect soundtrack for a weekend of unwinding.

lost – Fola ft. Kizz Daniel

Fola continues to showcase his talent and dexterity in crafting moving records that leave a lasting impression. 2025 is proving to be a busy one for the rising star, and with each release—whether a feature or solo effort—it’s clear he’s up to the task. Just seven days ago, Fola and his label boss Bella Shmurda dropped what could be considered a record label anthem, “Dangbana Riddim,” where both artists affirm their focus on reaching the good life.

Midweek, Fola shared a video across social media where he’s seen with Wizkid, previewing an unreleased track alongside the caption: “Big Wiz said ‘it sounds like it’s out already.’ Get your speakers ready for Friday.” “Lost” opens like a medley, with unfolding guitar strings before the percussion and slapping heat of the bass crash in, heightening the track’s emotional charge. The pause in heavy percussion allows Fola’s emotion to cut through: “Kowa comfort mi, Le mo body mi, Ko yo burden mi ah, I know you got eyes on money mi, She say not really, Ko te button mi ah.”

Not wanting to chronicle his desires alone, Fola enlists one of Nigeria’s finest mainstream acts, Kizz Daniel, to share in the creation. Kizz continues Fola’s expressive thread with the poise of a veteran and the perspective of a fellow yearner.

Do Me – Runtown

For his first release of 2025, Runtown leans into his inherently calm signature on “Do Me”, with minimalist production reminiscent of the early 2000s. He reflects on his lifestyle, relationships, and situationships that strain his connection with a partner, troubles he attributes to the very lifestyle and wealth that define him. Runtown’s sound here is like a psychedelic breeze, taking the listener on a mellow road trip that relaxes them. The consistent bass guitar and the soulful vocals of the backup songstress add a rich layer, brought together by the craftsmanship of emerging producer FADAH.

Laho II – Shallipopi ft. Burna Boy

Fresh off a viral link-up at Burna Boy’s historic Stade de France show, Shallipopi and the African Giant roll out ‘Laho II’. A remix that feels both calculated and chaotic in the best way. The original Laho already had the streets in a chokehold with its infectious slang and rugged delivery, but Burna’s entry gives it that jet fuel. Producer, Progrex retains the raw bounce of the beat but threads in synths and heavier basslines, transforming a street anthem into a continental crossover. Shallipopi doesn’t switch up his gritty cadence; Burna slides in with a melodic flex, brushing off bad energy: “no take my kindness for weakness.” It’s that classic big bro–lil bro link-up, and it knocks.

Gen Z – Zinoleesky

Zinoleesky finally unpacks his debut album ‘Gen Z’, a 16-track deep dive into the world of a modern-day street-pop star with a global vision. From the jump, Zino’s distinct vocals and range are a standout. The Niphkeys-produced “Most Wanted” set the tone earlier in the month, and now we’re seeing the full scope: gritty, bouncy, and occasionally vulnerable. Tracks like “Suit & Tie” with Toosii and “Abanikanda” with Naira Marley showcase his duality, a blend of local lingua laced with international polish. He dips into trap, dancehall, and sweet boy Afrobeats without losing that Agege tint. It’s bold, even if a little scattered at times.

You4Me – Tiwa Savage

Tiwa Savage enters the summer mood board early with ‘You4Me’, a buttery R&B-Afrobeats fusion that samples Tamia’s 1998 “So Into You“. It’s soft, sultry, and soaked in nostalgia, yet it doesn’t feel dated. Mystro’s production holds it down with a groove made for slow dancing under city lights. Tiwa’s vocals glide over the beat with that seasoned softness—half Brandy, half Mary J., all her. The lyrics hit that sweet spot between poetic and playful: “drive me loco, automatic.” Coming off the Craig David collab and now teasing her next project, ‘This One Is Personal,’ Tiwa’s clearly tapping into a more reflective space, but not without still serving up grown and sexy bops.

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After a run that’s seen him evolve from breakout act to consistent voice in Afrobeats’ new school, the rising star has now confirmed that his debut album is on the horizon. The announcement dropped via a studio teaser shared across his socials, captioned simply: “Album otw…”, a quiet hint that a new chapter is loading.

The past year has been pivotal for Fola. His breakout single “Alone” featuring Badboi OML—along with a smooth BNXN-assisted remix—put him squarely in the spotlight. He followed that with a compact but impressive 6-track EP ‘what A feeling’, building on that initial spark with consistency, range, and sticky melodies that linger long after a listen.

Fola’s latest collaboration with Bella Shmurda on “Dangbana Riddim” is another reminder of what makes him standout: a seamless blend of Yoruba, Pidgin, and English, woven into soundscapes that sit between Afrobeats and soul. Whether he’s floating on a hook or anchoring a verse, Fola delivers emotion with clarity, and it’s working.

With a strong showing on features like Zlatan’s “Get Better” and a growing catalogue of earworms to his name, a debut album feels right on time. Although the album’s title and release date remain undisclosed, it is evident that Fola is not merely a fleeting presence in the industry but a promising talent poised for longevity.

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Bout U – Rema

For this week’s New Music Friday, Rema takes the lead with his new R&B-leaning single “Bout U,” which he teased a week ago across his socials. The release comes less than a month after his first single of 2025, “Baby (Is It A Crime),” which sent fans into an absolute frenzy and held the internet in earnest anticipation. The track, which sampled Sade Adu’s iconic vocals on her song ‘Is It A Crime’, has gone on to accumulate over 34 million streams on Spotify alone. But Rema wasn’t done making a statement about his artistic ambidexterity.

Having just released a polarizing album built heavily on upbeat Afrobeats percussion reminiscent of the 2010s—the previous year’s sophomore project ‘Heis‘—Rema’s second official release of 2025 offers a clearer hint at the direction of his sound. Known for his audacious approach to music and his knack for unconventional sonics—a reputation that has followed him since his 2019 debut—it’s no surprise the Nigerian pop star is switching things up and embracing the lover boy lore and R&B exploration.

“Bout U,” like his first single this year, revisits earlier glimpses of this side of Rema seen on his debut album, except now, they’re refined Afro-R&B offerings distilled for a more inclusive global audience. The track opens with an electric guitar riff that immediately lights up the listener’s ears and sets the tone before a love-consumed Rema serenades his muse with an uncanny delivery of desire and devotion. On a hip-hop-esque production, with guitar riffs adding a romantic tinge, Rema dwells on the physique of his muse with high hopes for what they could share, gliding between singer and rapper with the signature flair his longtime collaborator London brings: “this love affair got me living in the clouds, living in the clouds.”

Unlike the first verse, which comes with a rap flow and rhythmic jabs, the second verse leans more melodic and reassuring, as he makes heartfelt promises to his lover—clearly hoping to make what they share worthwhile—as he croons, “There’s something about you.” Beyond Rema’s braggadocious tracks like the big four-proclaiming “Hehe” his 2025 releases demonstrate artistic superiority among peers, largely through sheer range.

Mukutu – Reekado Banks

The culture of snippets is great for gauging fan reception and getting insights into how well a release might perform. But what’s even better is when those snippets evolve into strong, full-length records—rather than being just another case of a great snippet, terrible song.

A week ago, Nigerian singer and 2015 Headies Next Rated award winner Reekado Banks teased “Mukutu,” a song marking his first release of the year. Its catchy rhyme scheme, infectious chorus, and the masterful improvisation of log drums instantly struck a chord with fans across his social media platforms—culminating in its New Music Friday drop.

“Mukutu” is a product of creative freedom, with Reekado Banks exploring different flows that feel almost detached yet cohesively tied together within the lush ambience of log drums. On this track, he expresses a desire for an easy-going life, hinting at a hedonistic lifestyle while making clear his preference for chasing wealth over chasing trouble.

Police – Kizz Daniel ft Angeliue Kidjo, Johnny Drille

After postponing his ‘Uncle K‘ album originally slated for November 2024 due to undisclosed reasons, Nigerian singer Kizz Daniel has made a comeback. He returned by pulling earlier rollout posts from Instagram and announcing a new release date: May 24. What was initially meant to be a four-track EP featuring Victony, Runtown, and Phyno now appears to be expanding into a full-length studio album.

According to updates from his camp, Kizz Daniel plans to release a new track every week leading up to the ‘Uncle K‘ album drop—roughly seven lead singles—with “Police,” featuring Angélique Kidjo and Johnny Drille, as the first.

Over a dance-inducing, mid-tempo production helmed by M.O.G Beatz, Johnny Drille, and Blaisebeatz, Kizz Daniel and his collaborators explore themes of devotion and love in his signature rhythmic style that resonates effortlessly with mainstream audiences. “Police” is a heartfelt ode to commitment, with “Abena”—an Akan name for females born on Tuesday—symbolizing the love subject across the three verses.

The track opens with a brief choral harmony before Kizz Daniel and Johnny Drille confess how everything else becomes secondary when their lover is around, tapping into the emotions of a hopeless romantic amid layered percussions, shakers, and log drums. Angélique Kidjo’s contribution, though brief, is striking—her powerful vocals add gravitas. As ‘Uncle K‘ approaches, lead singles like “Police” are essential to the storytelling arc, offering glimpses of what’s to come.

Forever Getting It (Album) – Lil Kesh

Bred and nurtured by the streets, Lil Kesh’s rise to fame and success has been due to many things—but above all, his talent and connection to the street. Since his emergence under the YBNL imprint, courtesy of indigenous rap legend Olamide, Lil Kesh has built a reputation for crafting anthems that reflect the raw, sometimes immoral, but always relatable realities of the streets.

With ‘Forever Getting It (FGI)‘—his third studio album and a titular nod to his debut Young and Getting It (YAGI)—Lil Kesh revives familiar elements with the same artistic vibrancy that marked his YBNL days. The seven-track project showcases hunger-fueled rap styles centered around introspection, hustle, fraud, and women—all executed with his decade-old flair for hit-making.

The album kicks off with “More Money More Life,” a reflective track on his journey and rise in class, attributing his wealth to internet fraud: “More money more life, everyday we online.” On the upbeat, dance-commanding “No Disorder”—a lead single—Lil Kesh shines, interpolating “Shele Gan Gan,” which he reprises again on “Lifestyle” as the album progresses.

FGI could mean many things to Lil Kesh, but to the music scene, it’s a reminder that his greatness hasn’t waned. Features include Reekado Banks, Monaky, Fireboy DML, and Ayo Maff.

Dangbana Riddim – Bella Shmurda ft Fola

Is a label project brewing? We certainly wouldn’t mind. For the second time, FOLA and his label boss Bella Shmurda showcase their undeniable chemistry on “Dangbana Riddim.” As the name implies, this lively track is made for both outdoor parties and at-home vibes.

Bella Shmurda and FOLA deliver compelling performances, their vocals standing out as the track’s highlight. They muse about all they’ll do to secure the bag and enjoy life. Beyond the synergy in their delivery, the production arrangement is airtight, featuring synchronized tom-tom drums and melodic guitar lines that make “Dangbana Riddim” the perfect soundtrack to your weekend.

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