Juls — Roots

British-Ghanaian beat architect Juls dropped “Roots”, the lead single from his forthcoming ‘Jigi Jigi Vol. 1 EP’, slated for January 30, 2026. Unlike his 2024 album’s constellation of eclectic features, “Roots” is a bold creative pivot: scanty vocals, no guests, just Juls’ production genius taking centre stage, and a deliberate choice to spotlight his identity as a producer first and foremost.

At its core, Roots is an instrumental riddim that feels like a sonic embrace from the continent’s ancestors. Layered percussion rattles like conversation between tribes; warm highlife guitar flickers and deep Afrobeat basslines tickle the senses; subtle rhythmic nods to genres across Africa coalesce into one cohesive groove. This isn’t Juls solely making a beat but harnessing musical storytelling rooted in heritage and lineage. The track is essentially a riddim that combines elements of different African genres, and you can hear that intention in every note.

Roots to a listener is soothing yet hypnotic, like sitting by a fireside where every instrument speaks. The production is immaculate: crisp, warm and richly textured in the way only Juls consistently delivers. His decade-plus career, from crafting vibey cuts for Afrobeats heavyweights to introducing global audiences to West African colors, has always balanced rhythm with soul, and this track feels like the distilled essence of that journey.

Dremo — “Man2Man”

Dremo wastes no time in 2026, dropping “Man2Man” as his first single of the year on January 9th. The bold, unfiltered track is a PSA to the Nigerian music industry that feels like a group chat leaked over a moody beat.

Produced by The Kazez, the instrumental is minimalist and brooding: deep bass, subtle synths, and a steady trap-inflected rhythm that keeps the focus squarely on Dremo’s words. Without the flashy hooks, Dremo holds a cadence of a raw rap delivery with that signature confident flow he’s honed since his early days.

“Brother man / If we get issue make we iron am / Whether na artiste to artiste / Or man to man / So if you hear your name don’t take it personal / Just want to say my mind.”

It’s an invitation to clear the air directly, not as subliminals, but in the form f a heart to heart “man2man” conversation. What follows is a roll call of grievances, anecdotes, and olive branches. Dremo name-drops heavily — Olamide (for dodging a verse), Phyno and Phenom (over past misunderstandings), Oxlade (a resolved Miami babe drama), Odumodublvck for not liking him, Ajebo Hustlers, Sarz (that Mortal Kombat bet for a free beat), CKay, BNXN (with a retractable jab about being a “bowling pin”), Davido (a cheeky reminder about promised money), Sarkodie, even touching on the endless Wizkid-Davido saga where he felt unfairly dragged.

On first listen, it’s equal parts cathartic and chaotic, but like a true artist, the vulnerability stands out. Dremo sounds exhausted by rumors and politics, pleading for spiritual cleansing while airing it all publicly. Lines like “Make FC free me na, I don tire” hit with relatable frustration, and there’s humor sprinkled in to keep it from feeling too heavy. His pen is sharp as ever; the storytelling is vivid, the bars land cleanly.

Is it a diss track? Not quite. It’s more reconciliation rap which is quite risky in an industry quick to take offense, but refreshingly honest and vulnerable. For a first release, “Man2Man” is bold, necessary, and undeniably engaging. Dremo reminds us why he’s one of Naija rap’s most underrated technicians.

Choke Boi, Fido, Ruger — “Bend Am”

Choke Boi recruits Fido and Ruger for “Bend Am”, a mid-tempo sultry single that feels like the soundtrack to a prolonged December party, with an imposingly crispy production that tugs at a listener from Choke Boi.

The beat is pure Afrobeats-dancehall fusion with its slightly bouncy log drum basslines, shimmering synths, and that irresistible mid-tempo groove that makes you move before the vocals even kick in. Production is crisp and club-ready; no overthinking, just vibes engineered for instant rotation.

Fido opens the record with his signature melodic flow, smooth and infectious like a veteran, adding that emotional pull and a catchy chorus that makes a listener hum and bop along even on first listen. The floor is quickly open for Ruger as he continues with a charismatic, lady-focused narrative delivered with that effortless swagger. His verse is cheeky, confident, perfectly timed to elevate the energy and perhaps the standout. Choke Boi’s “Bend Am” is repetitive in the best way, the kind that organically turs into a mainstream anthem.

The track is unapologetically hedonistic fun, with the both artists willfully syncing with Choke Boi’s production. Ruger’s feature run continues strong, Fido proves again why he’s underrated, and Choke Boi holds his own as the host.

Jay O feat. Jordan Adetunji — History

On January 8, 2026, North London’s rising R&B heir JayO teamed with buzz-worthy British-Nigerian artist Jordan Adetunji to deliver “History”, a smooth, atmospheric single that feels like the perfect late-night companion for the year’s opening chapter.

From the jump, “History” unfolds as a lush alternative R&B groove built on soft keys, subtle bass, and layered harmonies, a soundscape that doesn’t shout but gently envelops. It’s understated yet immersive, marrying JayO’s emotive warmth with Jordan’s introspective tone in a way that feels effortless and exact. The track’s 2:31 runtime at ~130 BPM knits energy with intimacy, giving both voices the space to shine without over-processing or crowding.

Lyrically, the song sits in that pivotal romantic moment where vulnerability meets possibility. Lines like “We could make history / Or just be another mystery” are emotional fulcrums, delivered in haunting harmonies that stay with you even after the track fades. 

JayO’s melodic leadership on the hook carries a sincerity that feels lived-in, while Jordan Adetunji, fresh off his global breakout and Grammy-buzzy ascension, adds an incisive edge that elevates the narrative.

What’s notable here isn’t bravado, but chemistry, two distinct vocal textures converging in a transatlantic vibe that bridges R&B sensitivity with UK melodic sensibilities. JayO’s smooth delivery complements Jordan Adetunji’s airy, nuanced flair, making “History” feel less like a feature track and more like a genuine musical conversation.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

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With so many African artists already established globally, we also have the new wave of artist showing off what they got and getting attention to themselves, and one of these many rising artists is Lasmid.

Known simply as Lasmid, Lasmid Nathaniel Owusu, is a talented Ghanaian artist who is making waves with his distinctive sound of blending Afropop, highlife, and rap.

Lasmid has been putting in the work to reach the point he is at currently, right from the moment he gained attention after winning MTN Hitmaker in 2019, a popular music talent show in Ghana. This victory launched his music career, earning him attention from industry insiders and fans alike.

One of Lasmid’s musical talent involves being able to fuse modern Afrobeats with traditional Ghanaian highlife, and this unique sound he has created for himself has set him apart from his peers. In addition to this, his lyrical delivery and unique style have gained him an ever-growing fan base.

Despite making the industry notice him in 2019, his breakout moment came in 2022 when he released his hit single, “Friday Night.” A smashing track that quickly climbed to the top of the charts in Ghana. “Friday Night” became a nationwide anthem. It catchy chorus, upbeat tempo, and relatable lyrics made it a favorite at parties, clubs, and on the radio. “Friday Night” firmly established Lasmid as a force in Ghana’s music industry, gaining widespread airplay and solidifying his status as a hitmaker.

Lasmid’s talent doesn’t end with his own performances as he is also known for his versatility as a songwriter, contributing to fire tracks across different musical tastes. His music which combines the richness of Ghanaian highlife with contemporary beats, makes him a favorite among both the younger generation and traditional music lovers.

With his growing discography of hits, Lasmid continues to establish himself as one of Ghana’s most promising music stars, poised for even greater success in the African music scene.

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All of these individuals fused foreign elements into their musical offerings to create a local mix long before the Burna Boys of today knew what “fusion” was all about. Highlife, Soul, Jazz, Pop, Funk, Afro-disco, Afrobeat, and Reggae were all refined foreign musical concepts tinkered for the consumption of locals. Their music was performed via energetic live shows, clubs, and concerts across the country. This was the very golden age of Nigerian classical music.

But the strides and indelible marks of these legends aside, what’s more wholesome to see is their past being revisited, their music being tapped into to explore artistic possibilities, and the reassessment of their journey, which fundamentally highlights how far we have truly come. In the last 10 years or so, the Nigerian music landscape has seen a spike in the revisiting of the past by creatives of all sorts, both home and abroad. In the form of interpolations, samples, and background sounds for content creators since the advent of social media like Instagram and TikTok. We’ve seen Fela Kuti’s music sampled countless times. ‘Sorrow tears and blood’, on Burna Boy’s ‘Ye’ and Skale’s ‘Cool Temper’, Fela’s Lady on Wizkid’s ‘Jaiye Jaiye’, the interpolation of King Wasiu Ayinde Marshal’s “Agogo Ko Ma Ro’ on Davido’s ‘Like Dat’, Bibi Mascel’s 1982 disco song ‘Special Lady’ on Tyler the Creator’s ‘I THINK’, and honestly, the list is endless. Surely this depicts the musical richness of Nigerian music’s precious past.

In 2024 alone, we’ve seen Tems interpolate Seyi Sodimu’s 1997 ‘Love me Jeje’, Ayra Star’s ‘Jazzy Song’ interpolates Wande Coal’s ‘You Bad’, Paul I.K. Dairo’s 2002 ‘Mo Wa Dupe’ on Olamide’s ‘Morowore’, Childish Gambino’s sample of Eddie Okwedy’s ‘Happy Survival’ on his recently released soundtrack album, and so on. Our musical past is not just a past; it’s still very much alive, here with us, and still being revived by creatives who consider it a treasure trove of inspiration. Creatives who are aware that without these individuals who moved to create music even when the incentives were relatively nonexistent, the chain reaction that birthed their aspirations and careers would be nothing but a void. They made music not because it was a profitable business like it is now, but because it was a calling larger than themselves. And it’s saddening to see most of these legends live in a pitiful state. It spells out the lack of structure that plagued and still plagues the music industry to date.

On the 5th of July, Nigerian skit maker Brainjotter posted a hilarious video on his Facebook page, and it blew up. In the viral video, Brainjotter did a dance routine to the captivating Highlife music from over 40 years ago by Folklore Highlife musician Gentleman Mike Ejeagha. Now 95 years old, Gentleman Mike Ejeagha is known for his storytelling music wound up in strings of guitar. Hence, his music is called “Akụkọ na-egwu.”

The song “Ka Esi Le Onye Isi Oche” portrays a story of how the tortoise wanted to marry the king’s daughter. In order for that to happen, a hefty bride price was required by the king, and the tortoise promised the king that he would bring him an elephant. The tortoise already had an elephant friend. So he persuaded the elephant to accompany him to the wedding. Unknown to the elephant, he was the gift that would be given to the king. It was at the ceremony that the elephant found out he had been tricked by his friend, the tortoise. He became angry and chased the tortoise. Hence the “gwo gwo gwon gwor,” which is an old slang in Igbo for elephant running.

His lyrics are often laced with proverbs and folklore, lending his music a didactic style. And that has somehow resonated with people at this time, perhaps because of how catchy the music is. Poignant videos that later circulated the internet showed individuals paying homage to the now-weary musician in his home. A teary Gentleman Mike Ejeagha, is slightly rendered immobile due to old age. A song he released in 1983 is only now getting the attention he must have once craved, in 2024. A big break at 95. 

Thankfully, streaming platforms and social media like TikTok and Instagram have made the discovery of music easily accessible. And it’s beautiful to see because it shatters every geographic, time, and genre constraint. In context, there’s no telling the kind of music you’ll fall in love with and choose to explore. One scroll away, you find yourself sucked into a tune playing in the background of your favourite content creator’s dance or “GRWM” routine. Then you’re compelled to check out the song, and if you’re curious like me, explore the artist’s catalogue. And this could be a song from more than 40 years ago. The timeless resonance of a classic across generations.

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