Blaqbonez – No Excuses (Deluxe)

‘No Excuses (Deluxe)’ is a 20-track extension of his October 2025 album, released today, adding four new songs: “ACL V2.0”, “Work in the Morning,” “Fine Shyt” (feat. TML Vibez), and “Hustle Kpa $$$” (feat. Artsalghul), pushing the runtime to around 59 minutes. The project stays rooted in Nigerian hip-hop fused with Afrobeats, amapiano, and melodic R&B, with Blaqbonez handling most of the rapping and singing.

The core album already showed Blaqbonez leaning into confident, boastful bars about authenticity, hustle, and versatility while mixing street energy with pop-leaning hooks. The deluxe keeps that formula: opener “Everlasting Taker” sets a self-proclaimed “last real nigga” tone with direct, no-frills rap. “Consistency” (feat. AJ Tracey) and “Aura 4 Aura” (feat. Pa Salieu) highlight cross-Atlantic and UK-Naija chemistry over skittering drums and rhythmic flows.

New additions follow the same lane. “Hustle Kpa $” leans into motivational street rap with kinetic energy. “Fine Shyt” shifts melodic with TML Vibez for a smoother, club-ready vibe. “Work in the Morning” keeps the late-night-to-grind transition feel. “ACL V2.0” is the moment people will pull out. Here, Blaqbonez re-records the version of his October 2025 diss track “ACL” with a new beat and added verse. The beef with ODUMODUBLVCK started with subliminals earlier in 2025, escalated through direct shots, and boiled over on Blaqbonez’s No Excuses album. “ACL” (original) was a two-part response to Odumodublvck’s “2:02PM in London” and “If You Like Gym” disses. Blaqbonez used sharp bars, humor, and threats shown in the visualizer (DMs from Odumodublvck) to paint him as a clout-chasing “failed rapper turned internet gangster”.

Odumodublvck reportedly bought the rights to the original instrumental, claimed it was uncleared, and got the song taken down from Spotify after it had racked up millions of streams. In response, Blaqbonez came back with ACL 2.0 on a fresh beat, doubling down with even more direct shots and brotherly “advice” mixed in.

Tracks like “Bizzy Body”, “Despacito”, “Nati” (with Olamide), and “Go Crazy” deliver bright, danceable production—amapiano pulses, tropical touches, and high-energy Afro rhythms—while cuts like “Just Hustlin$”, “Good Time”, and “California Issues” slow into laid-back, soulful territory. Blaqbonez glides between dense lyricism and catchy singing without forcing transitions.

Production stays functional and lyrics centre on self-belief, women, money, and subtle industry jabs. The deluxe doesn’t overhaul the original; it pads it with more of the same, extending playtime for playlists rather than adding a distinct new chapter. Blaqbonez moves between rapping and singing comfortably. That’s still his strongest asset—he can sit on a hook or a verse without it feeling forced.

The original album already positioned him in the conversation; this deluxe mostly maintains the status quo and somehow elevates it.

Tyla feat. Zara Larsson – She Did It Again

“She Did It Again” is a mid-tempo pop track released today as the second single from Tyla’s upcoming second album A-Pop. It runs short and sticky, built on a bouncy but minimal groove: simple percussion, light synths, and a steady pulse that prioritizes smooth movement over layers or dynamics. It’s clean, mid-tempo, and deliberately unthreatening. The log drum is there, but it’s restrained; the drums don’t swing as much as they loop. 

Tyla leads with her usual cool, sensual delivery across the bulk of the verses and choruses. She plays the irresistible, addictive presence: “I’m addictive, baby, what you want me to do? / Not a quick fix, one hit might ruin you.” Zara Larsson slots in for the second verse with a brighter, more direct pop cadence and the most obvious moment on the record: “Oops, did it again like Britney.” The chorus is a looped “Uh-oh, uh-oh / She did it again” hook with echoing “I know you do” lines underneath, catching and building quickly. Her voice carries more intention—cleaner enunciation, firmer phrasing, and a clearer pop instinct.

Lyrically it’s straightforward seduction-and-obsession fare. Both women portray themselves as dangerous in love: one-night situations that leave the other person hooked and lying to their actual partner. The Britney reference is a cute Y2K nod. Production (Sammy Soso, Believve and others) keeps everything dancefloor functional. The accompanying music video is sleek—desert architecture cutting to waterfalls and both artists dancing in coordinated, quite inventive choreography that matches the song’s polished, low-stakes energy.

“She Did It Again” highlights a chemistry that sees Tyla’s effortless cool meet Zara Larsson’s solid verse with an ease reminiscent of 2010s R&B vibes with competent, hooky, and unforgettable verses that stick.

King Promise & Mr Eazi – See What We’ve Done

‘See What We’ve Done’ is a concise Afrofusion project blending Ghanaian highlife influences, Afrobeats rhythms, and smooth R&B. Production comes primarily from Gideonite and GuiltyBeatz, keeping things light, melodic, and club-ready without heavy experimentation.

King Promise and Mr Eazi lean into familiarity here both sonically and thematically. The two have collaborated for over a decade, with this being their first full joint project. It leans into themes of success, friendship, good living, and romance. King Promise brings expressive, sometimes risqué and emotionally direct vocals. Mr Eazi stays in his wheelhouse: laid-back, cool delivery with effortless flow between English and pidgin/Twi. Tracks switch languages fluidly, using it as rhythmic texture rather than a gimmick.

Standouts include the title track “See What We’ve Done”, a celebratory flex with GuiltyBeatz production; “That Way”, and “Mariana” (soulful, previously released singles with videos). Other cuts like “Where Have You Been?”, “Taste”, “Criminal”, “Baby I’m Jealous”, “No. 1 Fan”, and “Mad Ting” follow the same mid-tempo, feel-good lane—bouncy percussion, warm synths, and sing-along hooks.

King Promise carries most of the weight. His delivery is smooth, controlled, and predictable in the way his best records often are, prioritizing melody. Mr Eazi fits into the record without shifting it. His laid-back phrasing blends into the production and keeps the dynamic alive. 

The title sets the direction: reflection framed as a quiet victory with a writing that circles success, love, growth, and distance from where they started, with a listener getting the idea quickly. Production is polished and consistent, familiar Afrobeats templates that prioritize replayability. Lyrics center on love, jealousy, success reflection, and light flexing. It’s short, front-loaded with the pre-released singles, and designed for streaming rotation across Ghana, Nigeria, and diaspora playlists.

For two artists with a history of shaping this lane, they attempt to make a statement with “See What We’ve Done” — competent, breezy, and functional. It reinforces both as reliable crossover figures in Afrobeats/R&B who play extremely well within their established lanes.

Muyeez ft. Zerrydl, Ayo Maff & Famous Pluto – Bank Alert 

Muyeez’s “Bank Alert”, produced by Medley, sits in the energetic street-pop/Afrobeats lane with rhythmic percussion, lively melodic layers, and a steady groove designed for replay.

Muyeez leads with his soulful, melodic vocals. The featured artists — Zerrydl, Ayo Maff, and Famous Pluto — drop verses that add street flavour and chemistry. The hook plays on “bank alert” as a celebration of money incoming or a flashy lifestyle, mixed with party-ready lines like “party vibes”, “popori”, and “gangster energy”. It’s straightforward flex and fun with a lyrics structure that stays surface-level and hook-driven.

Production is a bouncy but not overly complex, contagious melody curated with danceable percussion. It flows smoothly, prioritizing vibe and immediate catchiness without jarring texture changes. The hook is the anchor. “Bank alert” is one of those phrases that doesn’t need context; it already carries meaning. 

The song leans on that familiarity, turning it into a chant that sticks on first listen, but you can also hear how easily it was assembled. Verses blur into each other. Each artist approaches it from the same angle—cash flow, soft flexes, light street bravado—without much distinction in writing save for delivery. 

“Bank Alert” works the way a lot of current street-pop records do: quick impact. It will move where it needs to move, and with a deserving push hold attention for long.

Fally Ipupa ft. Wizkid – Jam

Jam is a 3:00 track from Fally Ipupa’s album XX, released April 17, 2026 that sits as track 5 on the 20-track project and serves as one of the key cross-regional features. The sound is smooth Afropop/R&B with Congolese rumba undertones: rich guitar melodies, rhythmic percussion, and smooth basslines that create a laid-back, flowing groove. Fally Ipupa handles the main body with his signature melodic, romantic delivery rooted in rumba tradition updated for modern Afro audiences. Wizkid comes in for his verse with the expected effortless glide—light auto-tune touches, pidgin-inflected lines, and a relaxed flow that fits the chilled tempo without pushing hard.

On paper, it’s a strong pairing—two artists known for smooth, melodic control and understated delivery. In practice, “Jam” leans too far into that restraint. The production is soft and polished, sitting somewhere between Afropop and Congolese rumba influences, but it never fully commits to either. It floats in the middle. The groove is steady with light percussion, mellow guitar lines, and a clean mix that keeps everything easy on the ear, with a pull, the kind that passes without demanding consent.

Themes stay firmly in romantic/chilled territory: attraction, bad decisions in the moment, body appreciation, and yearner energy. 

Contextually, this is another West-Central Africa link-up, Wizkid’s second recorded collab with Fally Ipupa after earlier work on “Yakuza”. It lands as expected for both artists’ current lanes: Fally Ipupa expanding his global reach while staying true to his rumba-pop core, Wizkid delivering a high-effort, polished feature that slots into streaming rotation. 

“Jam” is clean, listenable, and technically sound. But for a collaboration of this scale, it plays it too safe.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

The post Blaqbonez, Tyla, King Promise, Muyeez and More on New Music Friday appeared first on Afromixx.

HYBRID – Shoday

Shoday’s long-awaited debut album ‘HYBRID’ arrives as a 14-track manifesto of versatility. Signed to Sony Music UK, the young Nigerian star fuses raw street-pop energy with melodic introspection and international touches. The guest list is stacked: Kizz Daniel, BhadBoi OML, FOLA, Olivetheboy, Pozer, Taves, and Ayo Maff all appear.

Production is a collaborative affair drawing from Nigeria’s top street-pop architects — expect heavy log drum patterns, shimmering amapiano-infused synths, and punchy 808s that hit hard in car speakers. Tracks like “Paparazzi” (feat. FOLA) open with atmospheric keys before exploding into an addictive chorus built for replay. “OBT” with BhadBoi OML rides a gritty, bass-heavy beat that feels like a spiritual successor to Asake’s early sound, with a raw braggadocio over relentless percussion. The Kizz Daniel-assisted “A1” is pure ear candy: glossy, mid-tempo Afrobeats with layered harmonies and a hook that lodges instantly. Lyrically, Shoday balances hustle anthems with vulnerable reflections on fame, loyalty, and growth. The sequencing is smart, a mix of high-energy bangers with smoother, reflective cuts. If you love the current wave of Nigerian street-pop, HYBRID is mandatory — a confident, cohesive debut that announces Shoday as a serious force.

Don’t Love Me – Omah Lay

Omah Lay wastes no time in 2026, dropping the Tempoe-produced “Don’t Love Me” as his first solo offering of the year. ‘Don’t Love Me’ is vintage Omah Lay: moody, minimalist Afrobeats built for 3 a.m. introspection. Tempoe’s production is masterful — sparse percussion, haunting synth pads, subtle guitar licks, and a bassline that pulses like a heartbeat. The beat leaves acres of space for Omah Lay’s breathy, emotive vocals to float. He glides effortlessly between falsetto and his signature low register, layering ad-libs that feel like whispered confessions.

Lyrically, it’s peak emotional detachment: “I’ve been running, running around / I don’t feel nothing, I don’t feel like I am alive.” The chorus is devastatingly simple yet sticky — a plea wrapped in numbness that many will relate to in toxic or post-breakup seasons. It doubles as a dance track and a vibe track, the kind you loop while staring at your phone at night. Like his global hit record “Soso”, ‘Don’t Love Me’ feels like another classic pain song and will compete well with its achievements.

Redemption Valley EP – Kwesi Arthur

Kwesi Arthur’s surprise EP ‘Redemption Valley’ dropped a few weeks ago and sees the Ghanaian rapper return with what he calls “street gospel”—a blend of trap, highlife rhythms, and raw testimony.  Kwesi Arthur’s flow is urgent and confessional, switching between English, Twi, and pidgin as he wrestles with past mistakes, survival, and divine grace. The production leans into moody, cinematic trap with gospel-infused chords, distant choir samples, and hard-hitting drums that feel like a march toward salvation. 

The full EP is cohesive and reflective, with “YAWA” sitting alongside tracks like “Okay Switch” and “Redemption” as standout tracks. On the ‘Redemption Valley’ EP, Kwesi Arthur sounds reborn, turning pain into motivation. Standout tracks like “YAWA (Hosana)” are the perfect entry point for anyone craving substance over pure vibes, serving as the spiritual centrepiece. The “Hosana” hook is anthemic — layered vocals that build into something almost church-like, yet still club-ready.

STINGY – DJ Tunez ft. Daecolm, Khaid, Kemuel

Ahead of his forthcoming EP, ‘IN TUNEZ WE TRUST VOL.1’, Starboy Entertainment’s official DJ, Tunez, assembles a dream team for this pre-Valentine smooth operator. Daecolm and Kemuel handle the silky R&B choruses, while Khaid delivers a scene-stealing verse. The beat is pure luxury — mid-tempo Afrobeats with lush keys, soft percussion, and a bassline that grooves without overwhelming the vocals. It’s the kind of production DJ Tunez excels at: danceable yet intimate, perfect for slow whining or late-night drives. Lyrics flip the “stingy” trope into romantic devotion, promising to spoil a lover emotionally and materially. Daecolm and Kemuel’s harmonies are buttery, while Khaid’s melodic rap adds youthful swagger.

THAT WAY – King Promise ft. Mr Eazi

King Promise and Mr Eazi reignite their proven chemistry on “That Way”, a breezy highlife-Afrobeats hybrid that arrives with an official video. With a full joint project gearing up for release later this year, the duo gives listeners a tip of the iceberg with their new collab single, “That Way”. The production, steered by JAE5 and GuiltyBeatz, is crisp and summery — bright guitar riffs, bouncy log drums, layered percussion, and warm synths that scream sunshine. King Promise’s velvet-smooth vocals carry the romantic verses, while Mr Eazi’s laid-back Banku flow adds effortless cool on the bridge. The hook is pure earworm: declarations of devotion delivered with infectious confidence. It’s feel-good music at its finest, the kind that soundtracks proposals, cruises, or playlist romance sessions.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

The post Shoday, Kwesi Arthur, DJ Tunez, Omah Lay and More on New Music Friday appeared first on Afromixx.

Tems — Love is A Kingdom (EP)

2X Grammy Award winner Tems arrives unannounced, a queen slipping into the room without fanfare with a new surprise a little over a year after her Grammy-nominated debut studio album, ‘Born in the Wild’. Titled ‘Love Is a Kingdom’, the surprise seven-track EP is the hush after, a meditative sanctuary where love’s labyrinths are mapped with unflinching grace. Self-produced, composed, and written almost entirely by Tems (with nods to GuiltyBeatz, AOD, and V-Ron), this 22-minute exhale follows ‘Born in the Wild’s’ Grammy-nominated sprawl, distilling her alté R&B essence into something profoundly intimate: vulnerable steel wrapped in silk, demanding headphones over headlines. 

The EP opens with “First”, a stirring self-love manifesto that sets the tone: over warm, minimal synths and a gentle Afrobeats pulse, Tems croons, “Hanging by myself these days / That’s the way I light it up,” her voice—a textured force that dips and soars, affirming reclaimed identity with quiet ferocity. It’s the sonic equivalent of drawing boundaries, echoing the emotional architecture of her “Free Mind” era but honed sharper and more resolute. Tems approaches the ‘Love is Kingdom’ EP solo with no features and a production favouring stripped-back acoustics, faded R&B sheen and Afrobeats elements that lets every breath land like a vow. The track’s intimacy pulls you in, a prelude to the kingdom’s core: love not as conquest, but as careful construction.

Doubt creeps in on “I’m Not Sure”, where lilting melodies and atmospheric haze cradle romantic indecision—”Is this the fire or just smoke?”—her falsetto weaving vulnerability with her lyrics. It’s a pivot to the heart’s grey zones, blending soulful introspection with subtle Afrobeats flavors. The standout surge hits with “Big Daddy”, a bold, witty reversal of abandonment: energetic bursts of percussion clash with frantic chill, Tems’ soaring vocals calling out betrayal (“You left when the storm hit; now watch me build my own”) in a tone that’s equal parts epiphany and earworm. 

“Lagos Love” grounds the reverie in a sultry hometown pulse, a soulful ode to honest connection over mid-tempo grooves that evoke the city’s chaotic romance—horns faint, bass insistent, Tems affirming alignment like a lover’s pact sealed at dawn. “Mine” flips the script to divine thrall, her voice commanding affection with lover-girl prowess, while the closer “Is There A Reason” (co-created with LA’s V-Ron) strips it bare: heart-tugging acoustics and transcendent introspection probing love’s why’s, leaving echoes of healing in the quiet. Thematically, it’s a non-linear odyssey—self-worth, devotion, spirituality—ruminating on power’s double edge without resolution’s rush, a long-held breath released in soul, R&B, and Afropop shifts. Tems at her most unguarded, trading armor for silk, her royalty intact even in repose.

Victony — Very Stubborn (EP)

Fresh off the critical acclaim of his 2024 debut album ‘Stubborn’ a sprawling, resilient tapestry dubbed a “one-of-one” for its raw Afropop alchemy, Victony drops ‘Very Stubborn’, an 8-track EP that refuses to yield. This project feels like a sharper blade: intimate, unpolished, and laser-focused on the toll of triumph. Victony’s ‘Very Stubborn’ sees features from industry’s heavyweights like Don Jazzy, Olamide, Terry G, and Shorae Moore in tow. 

Clocking in at a taut 24 minutes, ‘Very Stubborn’ opens with “Way Home” ft. Shorae Moore, a piano-drenched confessional that sets the EP’s introspective tone. Victony’s falsetto—that ethereal, sky-scraping wail he’s honed since his ‘Outlaw’ days—hovers over minimal orchestral swells, dissecting the isolation of stardom: “Every step I take feels like I’m losing my way / Lights flash, but the shadows stay.” It’s sombre, almost too raw for a Friday banger, but that’s the point. This is a mirror for the grind, echoing the mental marathons he mapped on ‘Stubborn’.

The EP’s momentum builds with “Ordinary Things”, the Hoodini-produced lead single that snaps into melodic grooves. Here, Victony flips mundane heartbreaks into anthemic hooks: “You make ordinary things feel like the end of the world.” It’s his most radio-ready cut, blending distorted 808s with Afrobeats bounce, and it sticks like glue. But the real fire ignites on the lead release “Tanko” ft. Terry G, a chaotic street-hymn that channels pure Nigerian energy. Terry G’s gravelly veteran bark clashes gloriously with Victony’s controlled croon over raucous percussion. 

 “Skido” ft. Olamide shifts gears into swaggering bravado, with Olamide’s Baddo baritone trading verses on loyalty and betrayal. The production—cinematic strings laced with trap snares—mirrors the EP’s duality: high-energy facades masking private wars. Victony’s sharper lyricism shines here, ditching metaphors for direct jabs at industry snakes (“You smile in my face, but your venom’s in the shade”). It’s pensive yet propulsive, a thematic bridge to the closer, an untitled piano-led lament that jars like a cold splash—highs crashing into lows, public revelry dissolving into quiet pain. Don Jazzy’s touch on production threads it all, favouring sparse, orchestral-leaning beats that let Victony’s voice breathe.

What elevates ‘Very Stubborn’ is its sequencing. It’s meticulously paced, demanding a front-to-back flow that is refined and polished. With ‘Very Stubborn’, Victony plants permanence: themes of perseverance, fame’s double-edged sword, and unyielding identity feel like a “sonic diary of a man who refuses to bend”.

King Promise, Davido — Bad Habits

King Promise and Davido’s “Bad Habits” lands like a velvet rope at an exclusive afterparty: slick, unapologetic, and engineered for instant addiction. This mid-tempo Afrobeats gem, produced by the deft Gideonite (aka Gideon Frempong), clocks in at just over three minutes but packs the luxurious heft of a champagne-fuelled night out. A seamless fusion of King Promise’s honeyed croon and Davido’s gravelly swagger that turns self-sabotage into a seductive anthem. 

The track unfurls with a lush, log drum-laced groove that bounces as warm synth chords swell gently, underpinned by a bassline that’s equal parts inviting and insidious. King Promise owns the hook, his falsetto gliding effortlessly over the melody like silk on skin—”Bad habits, yeah, you got me in your web / Can’t quit you, even when I know I should.” It’s playful yet confessional, channelling the thrill of toxic romance and lavish excess with effortless charm. King Promise layers vulnerability under glossy confidence, his voice a beacon for anyone romanticising their flaws. The production leaves breathing room for the vocals, a smart restraint that amplifies the intimacy without sacrificing dancefloor punch.

Then Davido storms in like the uninvited guest who owns the room, his verse a high-octane injection of bravado: jet-setting boasts, lavish spending sprees, and that signature rasp trading lines about a lover who “brings out the demon in me”. Davido’s verse is energetic, aspirational, and laced with ad-libs that echo like aftershocks, perfectly offsetting King Promise’s smoothness. Their chemistry crackles without overshadowing; it’s a true duet, where Davido’s raw edge sharpens King Promise’s polish into something dangerously replayable. 

On first play, the highs on “Bad Habits” are immediate, the hook burrows deep, the beat’s subtle builds reward headphones, and the runtime zips by without filler. King Promise and Davido’s ‘Bad Habits’ is pure escapism tailor-made for replay loops amid Nigeria’s storm clouds.

Odeal — The Fall That Saved Us (EP)

Odeal’s ‘The Fall That Saved Us’, is a nine-track EP that serves as the moody counterpart to July’s ‘The Summer That Saved Me’, the sun-kissed, 4-million-stream juggernaut of self-rediscovery with standout tracks like “My Heart”, “Patience” and “Monster Boys”. ‘The Fall That Saved Us’ continues a story that began two EP releases ago on ‘Lustropolis’ but aims to trade basking glow for introspective frost, where renewal blooms from release and an attempt at closure.

The British-Nigerian R&B savant, fresh off dual 2025 MOBO sweeps for Best R&B/Soul Act and Best Newcomer, crafts a 23-minute meditation on love’s wreckage and ego’s unravelling: toxic tethers, quiet grief, and the grace in letting go. Odeal’s ‘The Fall That Saved Us’ is a sonic cocoon, warm yet wounding, Afrobeats whispers laced with alté soul and R&B tenets.

The EP unfurls with “Reason” ft. Elijah Fox, a string-swept opener that drapes Odeal’s baritone in velvet haze, pondering a flame’s flicker: “You were the warmth I chased through the cold.” Elijah Fox’s piano adds a confessional shimmer, evoking Frank Ocean’s Blonde-era vulnerability but grounded in Odeal’s signature delivery that rests on subtle log drums pulsing like a hesitant heartbeat. It’s tender, almost too soft for an entry point, yet it hooks with Odeal’s storytelling finesse, humanizing desire as both salvation and snare. The vibe thickens on “Molotov”, a smoldering mid-tempo where smoky synths and restrained percussion mirror emotional volatility: lyrics like “One spark and we burn it all down” capture the thrill of restraint’s edge, his voice dipping into gravelly resolve that feels lived-in, not performed. “Cold World” hits like frostbite, Odeal’s grim croon over sparse acoustics dissecting deprivation: “Girl, you’re deprived, so tired, but you couldn’t trade it for the world if you tried,” a raw gut-punch on love’s addictive toxicity that lingers like smoke. It’s the EP’s emotional nadir, raw and unflinching, bridging to “Blur”‘s bebop bounce: lighter grooves with trap-infused snares inject urgency, exploring temptation’s haze as Odeal trades verses on blurred loyalties (“Options pull, but your shadow stays”). Production nods to P2J and TMXO keep it eclectic, cinematic swells on “Addicted” fold around his pleas, rhythmic grooves underscoring resilience, while “Pretty Girls” (now with a sleek visualiser of dropping city lights and candid gazes) flips bravado into bittersweet reflection, a nod to fleeting connections amid growth’s grind.

The back half ascends toward light: “Wicked” probes inner demons with soulful hooks, and “Children of Yeshua” glows in spiritual affirmation, with glowing harmonies praising a lover’s divinity like a hymn for the healed—before closing on “Nights in the Sun” featuring Wizkid. Wizkid’s effortless falsetto weaves through starry Afrobeats waves, a grand reconciliation: “We fall to rise under these nights,” their chemistry a seamless Naija-UK bridge that elevates the closer to a euphoric exhale. Thematically, it’s seasonal alchemy of summer’s freedom yielding to fall’s reckoning, ego-death birthing renewal—as Odeal’s OVMBR ethos (Our Variances Make Us Bold & Relentless) pulses through, turning the project into one of collective vulnerability.

DJ Tunez, Wizkid, ODUMODUBLVCK — Easy With Me

Tossing in yet another release before the close of the music year, DJ Tunez continues his release streak by teaming up with Wizkid and ODUMODUBLVCK on the three-minute fusion bomb. Marking their second collaboration in 2025 following ‘Big Time’, Wizkid’s effortless ether meets ODUMODUBLVCK’s drill-edged grit, all under DJ Tunez’s curatorial finesse. The track is a velvet-gloved haymaker, preceded by a deceptively chill opener exploding into controlled chaos that screams playlist dominance and club immortality. 

The track ignites with a hypnotic log drum pulse and shimmering synths, Wizkid gliding in with a laid-back delivery that is almost hypnotic, his falsetto a silken thread weaving confidence and allure: “Big Wiz, easy with me / Girl, you know the vibe, no stress, just us.”  The production helmed by Ozedikus is a warm Afro-fusion bounce laced with modern trap restraint sits like a trance, inviting surrender before the switch-up. Then ODUMODUBLVCK crashes the serenity like a raving storm: punchy flows, typical aggressive delivery, and street-pidgin barbs: “No rivals in sight, but I move like a boss, easy with me or get lost”. His gravelly delivery—grime-infused, unyielding—contrasts Wizkid’s poise like silk versus steel, turning romantic ease into a selective manifesto.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

The post Tems, Victony, King Promise, Odeal and More on New Music Friday appeared first on Afromixx.

BigBird Kuti & Vector — Bigbird & Tha Viper

The highly anticipated joint EP ‘Bigbird & Tha Viper’ by Afrobeat saxophonist and vocalist Bigbird Kuti (aka Seun Kuti) and Nigerian rap heavyweight Vector (aka Vector Tha Viper) delivered a bold, genre-blending project that fuses Afrobeat’s pulsating rhythms with hip-hop’s sharp lyricism. This six-track EP, featuring collaborations with artists like Odumodublvck, Talib Kweli, Vic Mensa, and Mádé Kuti, introduces a self-coined genre, “RapFroBeat,” which merges the revolutionary spirit of Afrobeat with the storytelling and punchlines of hip-hop. The result is a politically charged, musically vibrant record that aims to make listeners dance, think, and resist in equal measure.

“Bigbird & Tha Viper” is a seamless marriage of two distinct musical worlds: Vector’s streetwise, razor-sharp rap delivery and Bigbird Kuti’s horn-heavy, Afrobeat-rooted soundscapes. The EP’s production is tight, with militant horns, layered percussion, and infectious grooves that pay homage to the Kuti family’s Afrobeat legacy while pushing into contemporary territory. Tracks like “OPP(S)” and “The Matter” exemplify the “RapFroBeat” ethos, blending protest anthems with club-ready beats. The instrumentation—rich with saxophones, driving drums, and basslines—creates a dynamic backdrop for Vector’s incisive bars and Kuti’s fiery vocal and rap contributions.

The EP’s sonic palette is both traditional and futuristic, drawing from Fela Kuti’s activist-driven Afrobeat while incorporating modern hip-hop and drill influences, particularly in tracks featuring Odumodublvck. The production quality is polished, with contributions from Vector as a recording engineer and GMK as a mixing engineer, ensuring a cohesive sound that balances raw energy with studio finesse.

Iyanya — The Forester’s Son

Iyanya’s fifth studio album, The Forester’s Son is a sonic tapestry that weaves nostalgic Afropop elements with contemporary Afro-fusion, amapiano influences, and R&B undertones. Known for his era-defining hit “Kukere” and a consistent presence in the Afrobeats scene, Iyanya delivers a 10-track project that blends his signature smooth vocals, infectious rhythms, and emotional storytelling with a bold evolution in sound. ‘The Forester’s Son’ arrives as a deeply personal endeavor, drawing inspiration from Iyanya’s Calabar roots and his journey through fame, love, and self-discovery. The title evokes a sense of heritage and introspection, positioning the album as both a return to his origins and a forward-looking statement in Afrobeats. ‘The Forester’s Son’ is concise yet impactful, designed for modern playlists with punchy, repeat-worthy energy. The album features a diverse roster of artists, including veterans like Ice Prince, Reekado Banks, and Kizz Daniel, alongside rising stars like Fido, Shoday, BoySpyce, and Berri-Tiga, as well as international flair from Mia Guisse. This mix underscores Iyanya’s ability to bridge generations and styles within Afrobeats. Tracks like “Bluewaters” and “Sorry” showcase dreamy, reflective production, while “Orobo” and “Business” bring infectious, dancefloor-ready energy. The album’s soundscape feels both intimate and celebratory, reflecting Iyanya’s dual role as a storyteller and hitmaker.

The production team, including contributors like Ubi Franklin and Mikaba Beatz (notably on the lead single “Sorry”), ensures a cohesive yet varied sound. Amapiano influences add a modern edge, particularly on tracks like “Yebo!” and “Badboy,” while traditional Afrobeats rhythms and R&B-infused melodies ground the project in Iyanya’s signature style. The concise tracklist ensures each song feels purposeful, avoiding filler and prioritizing replay value.

King Promise ft. Mr Eazi — See What We’ve Done

“The single “See What We’ve Done” by Ghanaian superstar King Promise featuring Nigerian Afrobeats innovator Mr Eazi is a vibrant, celebratory anthem that blends soulful Afrobeats and highlife influences with a reflective and triumphant narrative. As King Promise’s first single of the year, the track marks another milestone in the duo’s well-established creative partnership, building on previous collaborations like ‘Dabebi’ and ‘Baby I’m Jealous’. 

Produced by Gideonite (known for work with Stonebwoy and Gyakie) and GuiltyBeatz (a frequent collaborator with Tems and Beyoncé), the song clocks in at approximately 3 minutes and 5 seconds. It features vibrant log drum patterns and buoyant melodies, creating an infectious, dancefloor-ready sound. King Promise’s silky, emotive vocals glide effortlessly over the mid-tempo groove, while Mr Eazi’s laid-back, conversational flow adds a layer of cool confidence. The production strikes a balance between uplifting energy and introspective lyricism, making it suitable for both chilled listening and lively settings.

The track’s instrumentation is rich yet uncluttered, with a seamless fusion of Ghanaian highlife elements and Nigerian chord progressions, a hallmark of Mr Eazi’s signature Banku music style. The catchy hooks and rhythmic pulse ensure the song is instantly memorable, with a universal appeal that resonates.

The artists reflect on their journey from humble beginnings to achieving their dreams, emphasizing gratitude and authenticity. Lines like “Spent 200k on a watch, not for flex, motivational purpose” and “Give me the money over the fame” underscore a focus on personal growth, freedom, and staying true to core values. The lyrics also dismiss negativity, with Mr Eazi’s playful / If you bring bad vibes, I go exit chat, Walai” adding a relatable, modern touch.

Directed by Andre Ladon and filmed in Iceland, the black-and-white music video elevates the single’s emotional depth. It interweaves rare footage from Mr Eazi’s wedding at Reykjavik’s iconic Hallgrimskirkja, featuring groomsmen like Broda Shaggi, with scenes of King Promise and Mr Eazi performing. The visuals capture an intimate yet jubilant atmosphere, blending moments of love, friendship, and celebration. The stark, scenic Icelandic backdrop contrasts beautifully with the warmth of the song’s themes, creating a visually striking complement to the track.

ASAPtheDJ ft. Zerrydl — Run Am Asap

Run Am Asap is street-hop wrapped in Amapiano’s pulse, designed for chaos — the kind of record that belongs in sweaty dance floors and late-night Lagos car rides.
Zerrydl, one of street-hop’s most exciting young voices, leans fully into his melodic swagger here, lacing the track with slang and chants that double as instant crowd commands. Producer X keeps the production tight but unruly, letting percussion loops and basslines tumble over each other in controlled mayhem.
For ASAPtheDJ, this marks a bold debut release for the year, a signal that he’s ready to step out from behind the decks and own a bigger space in the game. Run Am Asap isn’t trying to be polished; it’s trying to be felt. And in that, it succeeds.

Morravey — You

Nigerian singer-songwriter Morravey’s single “You”, marks a triumphant return following her viral 2024 hit “Ifineme”. Produced by Killertunes, the Afro-pop track is a soulful, danceable love anthem that showcases Morravey’s signature honeyed vocals and emotive delivery. The mid-tempo track blends Afrobeat rhythms with R&B and highlife influences, creating a soothing yet groove-heavy sound. Morravey’s enchanting vocals glide effortlessly over Killertunes’ polished production, which balances rhythmic energy with tender, heartfelt undertones. The instrumentation is vibrant yet restrained, allowing her voice to take center stage while maintaining a dancefloor-ready pulse. The song’s structure is concise, delivering a cohesive listening experience that feels both intimate and universally appealing. Thematically, “You” is a heartfelt ode to love and companionship, promising eternity in togetherness. Morravey channels raw emotion into lyrics that capture the joy and devotion of a deep romantic connection.

Morravey, signed to Davido’s DMW label, first gained prominence with her feature on “In the Garden” from Davido’s Grammy-nominated ‘Timeless’ album (2023). Her debut EP ‘RAVI’ set a Spotify Nigeria record for the highest Day 1 streams by a female artist, and “Ifineme” became a TikTok sensation with over 2 million video creations and 1.4 billion views. ‘You’ builds on this momentum, and showcases her versatility and ability to merge experimental sounds with commercial appeal.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYIST BELOW

The post Bigbird Kuti, King Promise, Morravey and More on New Music Friday appeared first on Afromixx.

Regarded as one of the most coveted accolades in the Ghanaian music industry, the Ghana Music Awards has long served as a career-defining platform. Winning at the TGMAs often signals a significant turning point in an artist’s journey, and this year’s honourees added their names to that legacy with pride.

Here’s the full list of winners from the 2025 Telecel Ghana Music Awards:

1. Artiste of the Year – King Promise
2. EP/Album of the Year – ‘True To Self‘ by King Promise
3. Telecel Most Popular Song – “Aseda” by King Paluta
4. Record of the Year – “Can I Live” by Ayisi
5. Best Afrobeats/AfroPop Artiste – King Promise
6. Best Reggae/Dancehall Artiste – Stonebwoy
7. Gospel Artiste of the Year – Joe Mettle
8. Best Highlife Artiste – Fameye
9. Best Hiplife/HipHop Artiste – Kweku Smoke
10. Best Highlife Song – “Aseda” by King Paluta
11. Best Hiplife Song – “Bad Feeling” by Tulenkey ft. Beeztrap KOTM
12. Songwriter of the Year – Kofi Kinaata
13. Best Afrobeats Song – “Asylum” by Olivetheboy
14. Best Collaboration – “Lomo Lomo” by KiDi ft. Black Sherif
15. International Collaboration – “The Doing Of The Lord” by Diana Hamilton ft. Mercy Chinwo
16. Best Reggae/Dancehall Song – “Psalm 23” by Stonebwoy
17. Best Rap Performance – “Holy Ghost” by Kweku Smoke
18. Best New Artiste – Beeztrap KOTM
19. Lifetime Achievement Award – Yaw Sarpong
20. Best Traditional Gospel Song – “Watch Me” by Empress Gifty
21. Best Urban/Contemporary Gospel Song – “Defe Defe” by Team Eternity
22. Best HipHop Song – “Holy Ghost” by Kweku Smoke
23. Best AfroPop Song – “Paris” by King Promise
24. Best Male Vocal Performance – Joe Mettle
25. Best Female Vocal Performance – Esther Godwyll
26. Producer of the Year – Khendi Beats & King Paluta
27. Audio Engineer of the Year – P Wizzle (on “Can I Live” by Ayisi)
28. Best Music Video – “Jejereje” by Stonebwoy, directed by Banini
29. Best African Song – “Tshwala Bam” by TitoM & Yuppe ft. Burna Boy
30. Best Group – Team Eternity
31. Music for Good Award – Epixode
32. Unsung Artiste of the Year – Yaw Darling

The post Full List of Winners at the 2024 Telecel Ghana Music Awards appeared first on Afromixx.

C’mon Look! – Sarz ft. Asake  

The long-awaited rollout for Sarz’s stalled project, “Protect Sarz At All Costs (PSAAC)”, finally appears to be underway. Leading the charge is the single “C’mon Look!”, featuring neo-fuji and amapiano sensation Asake. On this track, Sarz flexes his production expertise by blending afrobeats with electronic music, while creatively sampling K1 De Ultimate’s “Won Tun-Nna”. Back in 2023, “Happiness” featuring Gunna gave listeners a glimpse into Sarz and Asake’s seamless synergy, producing a cross-border track that resonated widely. Now, after six more collaborations, “C’mon Look!” feels like a prelude to what “PSAAC” will offer—a masterclass in production, uniquely tailored to each guest artist’s style.

Flow – Runtown  

After a two-year hiatus, Runtown returns with “Flow”, his first single since his underrated 2022 album “Signs” Despite its brilliance, “Signs” suffered from poor promotion both pre- and post-release. Known for his distinct style, Runtown’s latest single may not entirely meet fans’ expectations, acting more like a teaser for what’s to come—perhaps an EP or, hopefully, an album. So, Runtown, the question remains: Where is the album?

MEGA MONEY MEGA – Tiwa Savage  

Tiwa Savage caps off a stellar year with the electrifying single “MEGA MONEY MEGA”. This track follows her recent collaboration with Ruger and showcases her versatility, coming just weeks after her R&B-leaning single “Forgiveness”. Produced by Sarz, Tiwa owns the production with flawless delivery, self expression and celebratory vibes of life and abundance. After such a hardworking year, “MEGA MONEY MEGA” feels like the perfect track to close 2024 on a high note.

Fall In Love – Melvitto ft. Ayo Jay  

Melvitto taps Ayo Jay for “Fall In Love”, a mellow, feel-good track that transports listeners to a romantic escape. In true Melvitto style, the minimalist production—featuring subtle shakes and synths—creates a soothing backdrop for Ayo Jay’s smooth delivery. This track is the perfect lovers’ rhythm, ideal for a romantic slow dance with a glass of red wine in hand.

Eyes Dried Over – King Promise ft. Tom Walker  

King Promise leads Ghana’s charge in afrobeats with “Eyes Dried Over”, an infectious track from his newly released deluxe project. Featuring highlife undertones and rhythms, the song is an ode to resilience amidst life’s challenges. Produced by Cole YoursTruly, the highlight lies in the flawless collaboration with UK artist Tom Walker, who adds depth and emotion to the track.

Old Soldier – Kel-P ft. Wande Coal  

Kel-P enlists the legendary Wande Coal for the energetic single “Old Soldier”. Known for his freestyle brilliance, Wande Coal channels his best Fela Kuti energy on this track, using the metaphor “Old soldier no go die unless e ba darugbo” to affirm his legendary status, emphasizing he’s not on their level and even directly referencing Fela Anikulapo. Think one of Fela’s performances, “Old Soldier” is one to begin and end the weekend with.

The post Sarz, Tiwa Savage, Runtown, Wande Coal and others on New Music Friday appeared first on Afromixx.