Tyla – A*POP (Album)

Tyla’s A*POP arrives as a confident, roots-forward sophomore statement that doubles down on her vision of African pop on a global stage. Released July 24, 2026, the 14-track, roughly 44-minute album follows her self-titled 2024 debut, bolstered by the TYLA+ deluxe and the 2025 WWP EP and arrives after major milestones including Coachella, World Cup performances, and continued chart success with singles.

Tyla has described the project as more intentional than her debut’s whirlwind creation. In interviews, she has spoken about personal growth at 24, feeling more settled and clear on her direction: extending what an African pop star can sound and look like, pushing back against expectations of what is “African enough”. The album’s promotional framing—“African,” “Unapologetic,” “Confident”—aligns with its sonic and thematic core.

The sequence opens with recent singles and moves through a mix of sultry mid-tempos, grooves, and closer moments of reflection:

Key features lean heavily South African (Liquideep’s house-rooted “Fairytale,” MaWhoo, Babalwa M) with Zara Larsson as the main international guest on the dancehall-tinged “She Did It Again.” Production credits include P2J, Sammy Soso, Ian Kirkpatrick, Ari PenSmith, Believve, and others, blending amapiano log drums and grooves with sleek pop, R&B, dancehall, and house elements.

Pre-release singles set the tone: “Chanel” delivered hypnotic, chart-climbing amapiano-pop energy; “She Did It Again” with Zara Larsson brought playful menace and international crossover; “Is It Love” and the earlier “Is It” further established the album’s questioning, sensual vibe.

A*POP builds on the debut’s amapiano-pop-R&B foundation but feels more rooted and self-assured. Tyla’s breathy, playful vocals remain central—sensual yet controlled—over productions that prioritize groove and atmosphere without overstuffing. Collaborations with South African artists reinforce hometown pride, while global polish keeps it playlist-ready for summer.

Lyrically, the album often withholds easy romance. Love demands proof: tears, Chanel bags, presence, or receipts rather than empty compliments. Tracks explore confidence “That Girl,” “Mr. Nonchalant”, desire and hesitation “Kiss,” “Feel Something,” “Right Now”, post-relationship clarity “I Don’t Care”, and self-questioning “Is It”. It’s flirtatious with an edge, Tyla positions herself as someone who sets terms rather than chasing validation.

Early standouts includes the vocally strong openers “Is It Love” and “Is It”; the Rihanna-esque plea of “That Girl”; the hypnotic “Chanel”; the generational house nod “Fairytale”; the confident strut of “Mr. Nonchalant”; and the chemistry-driven “She Did It Again”. Some mid-album cuts “Double Blind,” “Feel Something,” “Right Now” are more transitional or thinner on hooks by certain listeners, creating a slight dip in momentum before stronger closers.

Tyla’s A*Pop carries an effortless cool with a balance of confidence and vulnerability, refined melodies, and natural integration of South African influences with global pop ambitions. It’s a record of intention that strengthens her foundation, with a thematic rigor around proof and agency.

A*POP is not a radical reinvention, it is Tyla stepping more fully into her self-defined lane: an African artist making sleek, sensual, groove-heavy pop that refuses to dilute its origins while chasing broader appeal. The best moments deliver infectious hooks, a confident attitude, and cultural grounding.

Mavo – Business (Album)

Mavo’s ‘Business’ lands as a polished, street-smart Afrobeats mixtape that turns hustle anthems and luxury flexes into a full statement of arrival. The 13-track, roughly 35-minute project dropped on July 24, 2026. It marks a key chapter for the 22-year-old Nigerian artist who has balanced optometry studies at Afe Babalola University with a rapid rise from SoundCloud uploads to mainstream breakthroughs.

Long before the 2025 viral smash “Escaladizzy” with WAVE$TAR thrust him into wider Nigerian and international attention—alongside tracks like “Shakabulizzy,” collaborations with Wizkid, and strong streaming numbers—Mavo was already carving out a distinct lane. He calls his sound “Burbur,” a swaggering hybrid of Afrobeats, street slang, melodic rap, and youthful energy. ‘Business’ feels like the natural escalation: a project centered on the grind, guap, sacrifice, survival, and the spoils that come with it while still making room for romance and reflection.

Collaboration on production comes from names including PsykoWorldwide, Wana SN, Decs, AOD, Mootion, and Sleazy. Features include UK rapper AJ Tracey on “Poison” and frequent collaborator SSSoundgawd on the already-popular “BB Lifestyle.” “Use Me” also ties closely to producer P.Priime. Lead singles and pre-release cuts such as “Use Me,” “Mofe,” “Shy Lover,” and “BB Lifestyle”.

Mavo’s ‘Business’ is a quest for luxury items and liquidity colors Mavo’s worldview. The title track opens with a direct call—“Let’s talk about guap”—setting a tone of ambition that runs through family care and exclusive access on “Jehovah,” romantic vulnerability on the soulful “Letter To My Baby,” and transactional or uncertain desire on “Use Me.” The project balances commercial Afrobeats bounce with street authenticity, mixing uptempo flexes, melodic hooks, and more introspective moments.

Production is sleek and contemporary, leaning into the polished studio sound that has defined his recent singles while retaining the energetic, slang-heavy delivery that made early work resonate. Standouts emerging in early listens include the title track’s motivational drive, the reflective “Jehovah” and “God’s Promise,” the romantic “Letter To My Baby,” the infectious “Ice Cream” and “Superwoman,” the hit-ready “Use Me” and “Mofe,” the smoother “Shy Lover,” and the feature-boosted closers “Poison” and “BB Lifestyle.”

‘Business’ is Mavo doubling down on what works. Hustle narratives, luxury aspirations, melodic hooks, and Burbur swagger dominate a concise, replayable set that feels both of-the-moment and true to his independent roots. The best tracks deliver instant energy and personality; the features add useful variety; and the thematic focus on money, ambition, and relationships gives it cohesion.

Teni – The Wellness Package (EP)

Teni’s The Wellness Package arrives as a concise, feel-good seven-track EP centered on healing, balance, self-expression, and good vibes. Released July 24, 2026, the project marks a colorful new chapter for the Nigerian Afrobeats star. Teni has long stood out for her charismatic delivery, socially conscious or playful lyricism, and genre-blending instincts rooted in Afrobeats but open to pop, R&B, and other flavors. After a period of creative reset and promotional campaigns that included interactive “treasure hunt” challenges tied to the wellness theme, ‘The Wellness Package’ positions itself as “the cure” for normalcy: a personal, reflective, yet celebratory body of work about growth, reflection, and unapologetic living.

The seven-track EP opens introspectively and builds through collaborations before closing on an energetic note. “Zion” with Olamide served as a key pre-release single and cultural centerpiece. Production credits include talents such as Deeyasso and Spotless. The project leans into soulful storytelling, melodic hooks, and Teni’s signature charm, with reported experimentation including reggae-inspired elements on the opener.

Thematically, the EP revolves around wellness in a broad sense; meditation and facing forward, wisdom, emotional or relational dynamics, spiritual or cultural grounding, material success, and forward motion (“HTGT”), balancing reflective moments with feel-good, replayable energy. The features add strong chemistry: Olamide on the previously released “Zion,” Chike’s melodic touch on “Wurumanya,” and The Cavemen’s organic highlife/Afrobeats flavor on “Wise”, all coming together to form a colorful creativity, cohesive listening experience, and Teni’s ability to deliver charm across the short runtime. As a short EP rather than a full album, it prioritizes quality and mood over volume.

‘The Wellness Package’ is Teni delivering exactly what the title promises: a compact, personality-driven set focused on balance, reflection, and uplift. It doesn’t reinvent her sound so much as refine and package it with thoughtful features and thematic cohesion. The best moments—particularly the introspective opener, the Olamide collaboration, and the Cavemen feature—showcase her charisma and willingness to experiment within a feel-good framework.

Taves – Popstar – Side A (EP)

Taves steps firmly into his popstar era with Popstar – Side A, a tight, emotionally sharp eight-track EP that captures the chaos, romance, faith, and ambition of a young man rising in Lagos. Released July 22, 2026 the roughly 19-minute project serves as the first half of a planned two-part body of work. Taves, the Ibadan-raised singer-songwriter, has been steadily building momentum since his earlier work, including the 2024 EP Are You Listening? and the viral “Folake”. He earned recognition as an Apple Music Rising Ambassador, Billboard’s African Rookie of the Month, and a Headies Rookie of the Year nominee. 

Taves “Popstar” opens with the declaration “See my life set to chaos / ’Cause I’m a young man in Lagos” on the title-evoking “Chaos”. The EP explores the dual meaning of “popstar”—fame and pressure on one side, playboy energy and romantic entanglement on the other.

Romance and desire drive several tracks. On “Deliver Me,” a love interest acts as both stimulant and savior who can motivate him back to life. “Isn’t It Beautiful” leans into the moral gray of white lies for peace. “Uche Jumbo” flips the talking-drum motif and energy of Wizkid’s “Don’t Dull” into a celebration of Nigerian beauty standards, complete with the “Awọn eleyi” refrain. “Preaching” turns financial struggle into a grounded prayer for sustenance and a chance rather than excess, with a driving bassline and the line about fighting demons while simply finding a way forward. The project balances upbeat, melodic Afropop and R&B textures with introspective lyricism.

Early standouts frequently mentioned include the opener “Chaos,” the romantic “Deliver Me,” the already-familiar “Uche Jumbo,” and the closer “Take Me Away”.

‘Popstar – Side A’ is a confident, concise statement from one of Nigeria’s sharper rising voices. Taves sharpens his melodic instincts and personal storytelling into a short, immersive set that feels both of-the-moment and rooted in lived Lagos experience. The best tracks deliver instant hooks alongside genuine emotional texture.

Zaylevelten – B4SAVEME (EP)

Zaylevelten’s B4SAVEME is a razor-sharp, eight-minute teaser that doubles as a statement of intent from one of Nigeria’s most interesting underground voices. The four-track EP following its release quickly climbed to No. 2 on Apple Music Nigeria’s Top Albums chart. It functions explicitly as a prelude to his forthcoming full project Save Me or SAVEME.

Zaylevelten is an Ikorodu, Lagos-raised artist with family roots in Ebonyi State. Born in 2002, he self-produces much of his work and has carved a lane blending trap, hip-hop, alté, and Afrobeats into a raw, experimental sound aimed at Gen Z and Gen Alpha listeners. Producers on the project include Thislondon, ELEMEN3, Johnson IP, Oche, and others. “Tease Me” stands out for sampling/interpolating Wizkid’s 2011 classic “Tease Me/Bad Guys,” giving the old hit a modern, darker flip.

B4SAVEME leans into experimental, atmospheric production with hip-hop and trap foundations, Nigerian street energy, and flashes of Afrobeats nostalgia. The dark cover art matches the mood: chaotic, teasing, and slightly unhinged in the best way. It moves through high-energy experimentation, nostalgia, and personal updates without overstaying its welcome.

“Tease Me” opens with the Wizkid sample and immediately generates conversation for how it reworks a Superstar-era classic into something current. “Yeye Talk” benefits from the Thisizlondon feature, while “SuperMega” and “Update” deliver the denser, more signature Tenski production and delivery. The EP feels like a controlled burst rather than a full narrative, exactly what a “before” project should be.

B4SAVEME is short, sharp, and purposeful. Zaylevelten doesn’t waste a second: he samples a classic, locks in a strong feature, and delivers his experimental hip-hop/Afrobeats hybrid with confidence. It works best as a vibe check and appetite-whetter for the full ‘Save Me’ project rather than a standalone epic. The real test will be how ‘Save Me’ expands on this foundation.

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If I were to describe my experience at Our Homecoming 2026 concert, which took place at Harbour Point, Victoria Island, Lagos state, on the 5th of March 2026, in two statements, they would be:

1. Homecoming 2026 owes us nothing
2. Ephemeral

Before going further into this piece, it would interest you to know that I have no clips from the best moments of my night.

I needed to commit the exact moment the beat dropped, and N011 said “roll with me bebebe” for the first time to memory without the blemish of a camera. It might be cheesy, but that’s just me.

Arrival and First Impressions

When I first got into the space, it was just me, a colleague I ran into at the entrance, almost empty drink stands, the DJ, red lights, and white barricades for the VIP sections.

I cannot remember the first artist that took the stage — that is how far gone I was — but judging by the interaction with the crowd, two words kept coming to mind: crowd control.

Something about the genuine love these fans have for the artists stood out to me.

I watched in awe as the energy rose and dropped depending on who was performing and what song was on.

Away from the artists, one thing that stood out to me was the set design. The colors, the different stories displayed on the big screens, the cloudy air, the overhead lights, and the way everything kept switching up caught my attention.

It made me wonder about the strings that had to be pulled and all the people who work in the background to make these events a success.

From the moderators to the sound engineers and gaffers, hats off to the invisible forces behind an unforgettable experience.

The Best And Worst Of Times

Standing there in a flurry of artists — from Mavo, Zaylevelten, and Danpapa GTA to Blnde, Amma, and N011 — amongst others. Media house representatives, content creators, and fans alike, a thought crossed my mind:

This is the easiest time to break out as an Afrobeats artist, and it is also the hardest.

It is easy due to the low barrier to entry and the current fan culture. We are witnessing a generation that is free with their love. It mirrors a “come as you are” energy. In some ways, this is a generation that doesn’t care what the next person thinks about their playlist, but connects with what resonates.

On the flip side, it is harder because that same attention can disappear just as quickly as it came.

Attention is fast and fleeting. People are constantly looking for the next sound, the next name, and the next moment to latch onto. That reality does not always favor the artist.

Back To The Artists

Away from all this, watching these artists sing out their hopes and dreams in front of a crowd that is neither overly kind nor harsh made me develop a newfound respect for them.

Do you know what it takes to compose a song, create visuals, take center stage, and put yourself on display for the masses? I truly commend the bravado.

If anything, nights like these reveal that success in this space is not always about instant dominance, but about consistency, growth, and being understood over time. 

The Future Of Afrobeats

Ultimately, Homecoming 2026 owed us nothing.

Even though people were not immediately excited by the lineup, it was an important event because stages like this are where future favorites are made. Not every name on a stage will draw loud anticipation at first glance, but platforms like Homecoming create the space for those artists to be seen. If we truly care about the culture’s growth, giving emerging voices a stage should be on our agenda.

There is also an unspoken pressure that comes with being seen. The expectation to not only arrive, but remain. Nobody sets out to be a one-hit wonder. The goal is usually recognition and a name that endures beyond a moment.

However, in a space where visibility is volatile, sometimes what we label as fleeting is simply a phase of an artist’s journey rather than a limitation.

Not every artist will enter the scene with permanence, and perhaps they are not meant to. Some will arrive, make an impact, and shift the atmosphere for a time. Others will stay and build over the years. Both realities can coexist.

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Omah Lay – Clarity of Mind

One of the most anticipated Afrobeats projects in recent years has finally landed. Four years after his breakout debut ‘Boy Alone’ (2022), which topped charts in Nigeria, scored a Justin Bieber collab, and helped fuel a Grammy nod via Davido’s “With You”, Omah Lay (Stanley Omah Didia) returns with his ‘Clarity of Mind’. The 12-track, 33-minute sophomore album follows massive pre-release momentum: lead singles “Don’t Love Me”, “Waist”, and “Holy Ghost”, which have over 227 million Spotify streams.

Omah Lay has spoken openly about scrapping earlier versions after a creative betrayal through leaked DMs and go-to producer Tempoe’s insights pointing to a peer lifting his unreleased sound. He started from scratch, and ‘Clarity of Mind’ is the result: a lean, introspective body of work produced heavily by Tempoe (seven tracks), with additional input from Lekaa Beats on standouts like ‘Holy Ghost’ and ‘I Am’. With only one feature—Elmah on the vulnerable “Coping Mechanism”—there is a focus laser-sharp on Omah Lay’s signature half-sung, half-mumbled delivery over mid-tempo Afrobeats grooves laced with R&B warmth and spiritual undercurrents.

Omah Lay’s ‘Clarity of Mind’ is a solid, cohesive return that doubles down on emotional honesty. Raw self-awareness wrapped in the familiar Omah Lay alchemy of hedonism, faith, heartbreak, and quiet defeat. 

The album opens strong with “Artificial Happiness”, where cannabis itself narrates the night—weed-fuelled escapism colliding with “Blood of Jesus” ad-libs, setting a smooth pace for the album listen. Tracks like “Jah Jah Knows” and “Canada Breeze” lean into uncertainty and displacement, while “Water Spirit” turns sensual/spiritual metaphors into an extended and very explicit bedroom scene. The pre-release singles shine brightest in context. “Don’t Love Me” is a brutal inventory of numbness—Hennessy and igbo no longer hit, so he throws money at fleeting connections (nails, rent, rooftops). It’s bleakly funny and uncomfortably honest. “Waist” flips party energy into something sharper: a bouncy ode to derriere that pauses mid-grind for a quick prayer (“Jesu chai o, scatter my enemies”), only to admit Samson’s downfall was the same.

Listening peaks mid-album with “Coping Mechanism” feat. Elmah, the most unguarded moment: she coaxes a smile while he unloads about carrying the world’s weight, touring for belonging, and feeling nothing in his shoulders. “Julia” turns a booked table for 20 into solitary reflection—hallelujahs ringing while he’d rather be alone. “I Am” confronts contradictions head-on.

It closes on “Amen”, a prayer for peace and enough money to buy whatever he wants, Louis Vuitton on his feet. The religious language and earthly temptations never resolve; they coexist in the same breath. 

Omah Lay’s ‘Clarity of Mind’ offers the listener a therapeutic experience with brilliantly crafted music, with a sonic cohesion and vulnerability that permeates the 12-track project. Omah Lay remains the Port Harcourt poet who refuses to separate the sacred from the profane. He sees his flaws clearly – substances, women, and fame’s uniform – and keeps choosing them anyway. The “clarity” here is lands like the quiet defeat of knowing yourself and showing up tomorrow regardless.

Mavo – “Shy Lover”

Mavo continues a now-consistent release streak with a brand new single titled “Shy Lover” via Kilogbede Records / Inner Circle Entertainment. Produced by Wana Sn, “Shy Lover” arrives after consistent single releases and notable features like “Big Bum Bum” with Kidd Carder. 

Mavo has been building steadily since his 2023 debut project, ‘Ukanigbe’, with momentum from EPs like SANKO and ‘Kilometer’, and the buzzy ‘Escaladizzy’, which earned him cosigns and street credibility. He blends melodic Afrobeats with rap-inflected flows, street slang, and relatable youth energy—often tagged as “burbur music” for its cultural storytelling rooted in Esan/Edo vibes.

Mavo’s “Shy Lover” is a soft, addictive melodic bop that flips the “shy guy” trope into something vulnerable yet playful. The production is clean and atmospheric: mid-tempo Afrobeats groove with warm synths, light percussion, and enough space for Mavo’s half-sung, confident-yet-stuttering delivery to breathe. It feels like a grown-up version of a crush song, where money brings boldness but one special person still makes you lose your cool. 

The song opens with repetitive “Kilo, kilo” ad-libs, a signature Mavo slang touch, and the hook that instantly sticks: “When I see her face, I smile / Now I don dey shy / Kilo, ṣe na you be shy lover? / Domitila no dey fear God / This your body make me bankrupt…” Mavo plays with contrasts: he’s the “winner” who gets challenged in conversation (“We se feke to ta, when I talk, you talk back”), the guy who buys Gucci even when shy, yet this woman’s presence (and curves) leaves him “bankrupt” in confidence. There’s a cheeky nod to how money changed the game—“Since I start dey make money, everybody call on me… Since I make money, I no dey shy again”—but her “pim-pim” (playful slang for body/curves) brings the shyness right back. Thematically, it’s about the disarming power of attraction amid newfound success—vulnerability wrapped in swagger. It’s replay-friendly, the kind of track that grows on you after the third or fourth spin, perfect for car rides, chill playlists, or those “quiet confidence” moods. Mavo’s ‘Shy Lover’ is a charming, well-crafted single with strong replay value and emotional honesty.

Camidoh – Phony

Ghana’s smooth Afropop voice Camidoh, aka Derrick Osei, delivers a fresh standalone single titled “Phony”. Released via Rain Labs, the track is produced by Nawtyboi Tattoo alongside Camidoh himself.

Camidoh has been one of Ghana’s most consistent melodic exporters since breaking through with hits like “Sugarcane” and its remix featuring King Promise & Nxtra, “Adoley”, and more recent 2026 drops such as “Ride Solo” and “Jamming”. Known for his silky vocals, Caribbean-tinged Afropop fusions, and heartfelt delivery, he often blends romance, street realism, and feel-good energy. “Phony” arrives as a highly anticipated solo cut, teased since early 2026 and positioned as a potential summer vibe. Camidoh’s “Phony” is a smooth, infectious Afropop bop that leans into playful romance with Camidoh’s signature melodic charm. The production is a meld of polished warm synths, crisp percussion, light guitar accents, and enough bounce to keep it groovy without overpowering the vocals. Camidoh’s voice glides effortlessly, confident, and laced with that Ghanaian lilt that makes his hooks stick.

Camidoh dives into themes of love, admiration, and playful exaggeration: “What is the definition of love? / I’m never leaving you, it’s on God / Say this your booty e be confam / The Ghana Cedi wey go suffer / Most beautiful lady of all…” It’s flirtatious and hyperbolic, praising a woman’s allure in classic Afropop fashion while mixing currency jokes (“Ghana Cedi wey go suffer”) and declarations of loyalty. The title “Phony” appears to play on irony or exaggeration rather than literal fakery; think over-the-top compliments that feel “too good to be true” yet are delivered with genuine affection. There’s swagger, light-hearted flexing, and that signature Camidoh tenderness that delivers “Phony” with unapologetic charm and danceable energy.

The production by Nawtyboi Tattoo (who has worked with Camidoh on previous tracks like “NLF/Breakfast”) keeps things clean and vibrant: layered vocals, subtle ad-libs, and a groove that encourages shoulder rolls. 

Camidoh continues proving why he’s a premier Afropop figure: consistent output, strong melodies, and an ability to deliver both club bangers and heartfelt tunes. “Phony” reinforces Camidoh’s lane as a reliable source of feel-good, high-quality Afropop. For new listeners, it’s an easy entry point into his world of smooth vocals and infectious grooves.

Pappy Kojo ft. Kuami Eugene – Roomie

Ghana’s Hiplife scene gets a fresh dose of chemistry with “Roomie” by Pappy Kojo featuring Kuami Eugene. Pappy Kojo, the “Real No” and Fante-rap pioneer from Takoradi) and Kuami Eugene are no strangers to collaboration. Their previous joint “My Heart” left a mark, and “Roomie” builds on that foundation with a smoother, more intimate vibe. Pappy brings his signature energetic Fante-flavoured rap and street-savvy delivery, while Kuami Eugene layers in his signature melodic highlife/Afropop vocals—passionate, catchy, and emotionally warm. This one leans into domestic intimacy and the “victory of perfect cohabitation”, turning the idea of a “roomie” into a playful celebration of shared space, deep connection, and finding “the one” you want to build a home with.

Pappy Kojo’s “Roomie” is a chemistry-packed Ghanaian bop that blends rap swagger with silky vocals for an easy, replayable love anthem. The production incorporates warm Afrobeat/highlife rhythms, light percussion, and melodic synths that give it that laid-back late-night or weekend-drive energy without losing groove. At under three minutes, it’s concise and hook-driven, making for a clinical masterpiece. 

The track opens with smooth ad-libs and flows into flirtatious, affectionate bars that paints a picture of admiration and playful domesticity: “Baby, baby, be lady, lady / Since the ’80s, you drive me crazy / Mercedes, ’80s, you like me, baby…” Pappy handles the rap verses with his characteristic energy and Fante flair, while Kuami Eugene shines on the melodic hooks and ad-libs, delivering that emotional, sing-along quality fans love from him. The beat stays steady and inviting, allowing both voices to complement each other without clashing.

Pappy Kojo’s light-hearted celebration of a woman who makes everyday life feel special: the one who turns “roomie” status into something deeper, perhaps even wife material. Compared to Pappy Kojo’s broader catalog (often more rap-heavy or street-orientated) and Kuami Eugene’s melodic highlife/Afropop lane, “Roomie” finds a sweet middle ground.

Straffitti, Zlatan & Scottyolorin – TE WO II

“TE WO II”, the high-energy remix/sequel to Straffitti’s 2025 hit “Tẹ Wo”, from his BUR$T EP, features Nigerian rap heavyweight Zlatan and melodic collaborator Scottyolorin. Straffitti, born Olawale Olukolade, a multifaceted Lagos creative, found a viral moment with the original “Tẹ Wo” — a bouncy, body-celebrating Afropop/Amapiano-tinged cut that became a street and party staple. The “II” version amps up the formula with Zlatan’s signature street bounce and ad-lib fire, retaining Scottyolorin’s smooth melodic touches. At roughly 2:30–3 minutes, it’s built for instant replay: lively percussion, infectious grooves, and that signature “press and spend” energy.

“TE WO II” is a certified street banger and party starter that upgrades the original into something even more explosive. The production keeps the catchy rhythm of the original version while layering in fresh lively percussion, club-ready bounce. The core of “Tẹ Wo”, and its sequel revolves around playful, street-flavored admiration: “Kilofe, baby? Kilofe? / This your body na pepenape / Kilowi, baby? Make I press / Anything wey you want, I go tẹ / Ṣe, make I tẹ wo (Tẹ, tẹ)…” “Tẹ wo” is clever Yoruba street slang that doubles as “spend on her” or “send money”. The original had Straffitti and Scottyolorin trading verses on curves, spending, and good vibes. “TE WO II” brings Zlatan in for that raw, ad-lib-heavy street edge and a trademark bounce and hype energy that turns the track into a full squad anthem. The 3 artists attain a chemistry that doesn’t make the remix feel crowded. Straffitti handles the core flow and clever wordplay; Scottyolorin adds melodic sweetness and harmony; and Zlatan injects fiery rap verses and hype ad-libs that make records move. “TE WO II” stands out as one of the more immediate, replayable party records. It fits perfectly into Straffitti’s versatile catalogue (which blends hip-hop, Afropop, and Amapiano) and reinforces his growing reputation as a consistent voice in the Lagos scene.

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Where Do We Go — Ayra Starr

Among the fresh drops hitting playlists today, Ayra Starr’s “Where Do We Go” stands out as a bold opener for her year. The Nigerian-Beninese Afrobeats star, teased the new single back in February with multiple snippets that had built anticipation. 

Right off the bat, the production pulls you into a sultry, pulsating groove. It’s got that signature Ayra polish—think layered synths with a subtle Afrobeat pulse, with an explosive intro that simmers with a nighttime vibe, like racy city streets under neon lights. Her voice slides in smooth and confident, a bit huskier, feeling a little more R&B-infused than her usual high-energy anthems, echoing the vulnerability she hinted at in recent interviews about evolving her sound. “You come and see me, back to Mercedes / You know the spot you want / You’ve been here before”, painting a picture of secretive rendezvous, luxury cars, and familiar temptations. It’s raw, almost confessional, touching on the push-pull of a complicated fling. Production-wise, the bassline throbs just enough to make it danceable, and a club starter. As the record progresses into the pre-chorus—”And there we go / I tell my friends you’re out of town / They don’t need to know / What we doing after hours”—the track layers in ethereal echoes and a faint percussion build. Ayra Starr’s delivery here is playful yet poignant, blending flirtation with a hint of regret. This section is reminiscent of her growth from the youthful energy of her early work to something more mature, exploring uncertainty in relationships. The chorus swells with emotional weight, her vocals soaring over a sparse arrangement that lets the lyrics breathe. Themes of longing, closure, and what-ifs dominate, making it a reflective ballad that lands so powerfully. 

“I’ma need that bad boy / My turn, spin the block / Can I give us a try / All this time that you spend in my mind / Yeah, your love when I’m drunk off the wine / Then I call you out of line.” The bridge ramps up the intensity with faster phrasing, injecting a bit of sass and urgency. It’s empowering in a subtle way as Ayra Starr reclaims agency in the chaos of emotions. 

“Where Do We Go” is a pivot for Ayra Starr with lyrics that are raw, relatable, and that unpacks the limbo of modern relationships with clever wordplay and universal appeal. Production is sleek and her vocals shine on the instant party starter.

HOW FAR (Remix) — NO11, Focalistic, CIZA, Famous Pluto, Ayjay Bobo

Rising Nigerian talent NO11 leads the charge in reimagining his breakout single, now supercharged with South African heavyweights Focalistic, CIZA, and alongside Ayjay Bobo and Famous Pluto.

South Africa and Nigeria meet somewhere in the middle on ‘How Far (Remix)‘, a lively cross-border link-up that leans into groove, charisma, and easygoing bravado. The original already carried a conversational bounce, but the remix expands the canvas—pulling in new voices and giving the record a wider Afropop–Amapiano energy.

From the first seconds, the production settles into a rhythm built for movement. Log drums roll gently beneath airy synths, while the percussion sits in that familiar Amapiano pocket—steady, hypnotic, and unhurried. It’s the kind of instrumental that doesn’t rush its performers; instead, it invites them to glide across it with personality.

NO11 sets the tone with a relaxed but confident delivery, framing the song’s central mood: casual check-ins that double as subtle flexes. The phrase “How far?”—a greeting as common as it is loaded in Nigerian slang—becomes the track’s anchor, turning everyday conversation into a rhythmic hook.

When Focalistic arrives, the song leans further into its Amapiano DNA. His verse carries the swagger and melodic cadence that have made him one of the genre’s most recognizable voices, injecting a distinctly South African bounce that widens the track’s sonic scope without disrupting its laid-back flow.

CIZA follows with a smoother melodic passage, offering a slightly more polished vocal layer that contrasts with the playful energy around him. His contribution adds a melodic lift that briefly softens the groove before the rhythm settles back into its steady stride.

Then Famous Pluto and Ayjay Bobo step in to round out the remix with street-leaning charisma. Their sections feel spontaneous, almost conversational, reinforcing the track’s core identity as a social record—something that thrives in open spaces, loud speakers, and casual gatherings.

What makes How Far (Remix) click on a first listen is its chemistry. With five voices on the record, it could easily feel crowded, but the production keeps everything light and breathable. Each artist gets just enough room to stamp their personality on the groove before the next voice steps in. The song leans into vibe, repetition, and rhythm—the kind of record that spreads through playlists and party rotations because it feels instantly familiar.

‘How Far (Remix)‘ lands as a vibrant Afro-Amapiano link-up: a track less concerned with lyrical depth than with the easy pleasure of rhythm, language, and shared musical space.

FALL ON ME — ANGELIQUE KIDJO, PJ MORTON

The soulful sounds are flowing strong with the lead single from Angélique Kidjo’s upcoming album ‘HOPE!!‘, set for April 24 release. Angelique Kidjo’s “Fall On Me”, featuring PJ Morton, marks a heartfelt collaboration born from a serendipitous studio meet-up after Angelique Kidjo’s New Orleans Jazz Fest performance years ago. The five-time Grammy-winning Beninese icon teams with the Grammy-winning American soul/R&B powerhouse for what feels like a cross-continental prayer of vulnerability, faith, and connection. The trak opens soft and warm—subtle piano chords, light percussion, and a gentle groove that feels like morning light filtering through. Angelique Kidjo’s vocals lands first, rich and textured, carrying that unmistakable West African warmth with a hint of spiritual depth. PJ Morton’s harmonies layer in almost immediately, his smooth, gospel-tinged tone blending seamlessly. The lyrics are poignant: themes of leaning on each other, letting go, and trusting in something greater “Fall on me when the weight gets heavy”. Angelique Kidjo’s delivery is powerful and tender, straddling Afro-soul roots while incorporating subtle rhythmic elements that nod to her Benin heritage. Morton’s response verse adds a soulful counterpoint—his phrasing is effortless, infusing R&B warmth and gospel runs. The interplay is magic: two masters trading lines like old friends in conversation. Production is clean and organic—acoustic touches, light bass, that lets the voices shine.

The hook is repeated with building harmonies, that is simple, repetitive, and profoundly moving. Angelique Kidjo’s soaring ad-libs meet Morton’s rich falsetto, creating layers of emotion that feel communal. There’s a subtle rhythmic pulse underneath, perhaps faint percussion  that evokes African grooves. The song ends on a resolved, hopeful note with a soft landing that leaves a listener reflective and uplifted. 

Angélique Kidjo’s global, Afro-centric spirit meets PJ Morton’s deep Southern soul, creating something transcendent that bridges cultures without forcing it. The lyrics are poetic and sincere, tackling themes of support, resilience, and spiritual surrender with grace.

10 MINUTES — 6UFF, ODUMODUBLVCK

There is an unfiltered urgency that runs through 10 Minutes, the new link-up between 6uff and Odumodublvck. The record leans into the rough-edged intensity that has increasingly defined Nigeria’s alternative rap corner; dark, bass-heavy, and built around attitude as much as lyrical expression.

The production moves with a tense minimalism. Heavy kicks sit beneath a murky sonic atmosphere, leaving just enough space for the artists to stamp their presence across the beat. There is no attempt to soften the edges; the instrumental feels deliberately raw, almost confrontational. 

6uff opens with a controlled but assertive delivery, establishing the tone early. His cadence feels conversational but loaded with intent, threading through the beat with a steady confidence that holds the record together.

When Odumodublvck enters, the track sharpens. His voice—already one of the most commanding in the current Nigerian rap conversation—cuts through the instrumental with a booming, almost theatrical presence. His verse carries the braggadocio and street-rooted commentary that fans have come to expect, but it also reinforces the track’s central energy: momentum, pressure, and a sense that time is constantly ticking.  The title “10 Minutes” subtly frames that urgency. The record feels like a snapshot moment—an intense burst rather than a slow build. It thrives on immediacy, landing its punches quickly before the track can overextend itself.

“10 Minutes” is a sharp, compact street rap entry—another reminder that the gritty edge of Nigeria’s hip-hop scene continues to evolve in real time.

MOFE — MAVO

On “MOFE“, Mavo leans into emotional clarity, delivering a record that sits comfortably within Afropop’s softer, melodic tradition. Where many contemporary singles chase tempo and spectacle, this one slows things down, choosing warmth and sincerity instead.

The production carries a gentle rhythmic pulse of soft percussion layered beneath mellow chords and airy melodies. It’s a restrained instrumental that places the vocal at the centre, allowing the song’s emotional tone to develop naturally.

Mavo’s delivery arrives with an understated tenderness. His voice glides through the beat with a calm steadiness, balancing melody with conversational phrasing. The title ‘MOFE‘—a Yoruba expression loosely tied to desire and longing—shapes the emotional direction of the song. Across the record, affection and vulnerability sit side by side, creating the feeling of a quiet confession rather than a dramatic declaration.

There is a simplicity to the songwriting that works in the track’s favour. Instead of crowding the record with complex lyrical turns, the song leans on mood and repetition, letting the sentiment unfold through melody and rhythm.

By the time the chorus settles in, the record feels comfortably immersive. Nothing about the song pushes aggressively for attention; it draws the listener in gradually. ‘MOFE’ lands as a smooth, emotionally grounded Afropop offering—one that reminds listeners how effective simplicity can be when melody and feeling are allowed to lead.

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The announcement, published in Billboard’s monthly spotlight series, positions Mavo—born Oseremen Marvin Ukanigbe—as one of the continent’s most promising new voices. The feature traces his journey from recording in a university hostel (Afe Babalola University in Ekiti State) while studying optometry to developing an eccentric hybrid of Afrobeats and rap that he calls Burbur Music and Bizzylingua. His blend of street sensibility, slang-heavy delivery and diaristic songwriting is what Billboard describes as “an experimental style anchored in personal truth.”

Mavo’s breakthrough moment arrived earlier this year with “Escaladizzy,” his viral collaboration with WAVE$TAR, which spread across TikTok and X before climbing streaming charts. The song’s momentum pushed him beyond underground recognition, a trajectory now solidified by Billboard’s endorsement.

Across African music media, the reaction has been swift, with many highlighting the significance of the honour for a newcomer who, until recently, balanced class schedules with studio sessions. What stands out is how this recognition folds into a broader shift. Billboard’s Rookie series kicked off earlier this year with acts like Odeal in January and Qing Madi in February, each peeling back layers of the continent’s sound beyond the usual Afrobeats tag. Mavo fits right in, especially after linking with heavyweights like Wizkid on ‘Money Constant’, teased back in September via DJ Tunez.

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For Mavo, the Rookie of the Month nod serves as both acknowledgement and accelerant. With Afrobeats continuing to diversify beyond its mainstream formula, acts like him—rooted in street culture but fluent in hybrid experimentation—represent the next wave of regional sounds gaining international attention. Billboard’s recognition places him squarely on the radar of global tastemakers and industry gatekeepers, signalling that his rise is only beginning.

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Dave – The Boy Who Played the Harp

Since We’re All Alone in This Together dropped in 2021—Dave’s sprawling, Mercury Prize-nominated epic that turned personal trauma into national catharsis—the Streatham storyteller has been a ghost. A record-shattering collab with Central Cee here, a sparse feature there, but no full-length. No arena tours. No social media flexes. Just silence, broken only by cryptic checklists and a trailer that hit like a sermon. Then, today: ‘The Boy Who Played the Harp’. Dave’s third album arrives not with a bang, but a hush, a 10-track meditation on faith, doubt, and the weight of being “the chosen one” in a world that feels increasingly godless.

The title pulls straight from 1 Samuel: young David, harp in hand, soothing King Saul’s tormented spirit. Dave casts himself as that boy—humble shepherd turned giant-slayer—but the harp here is the mic, the beat, the therapy session. It’s a bold pivot from the raw street operas of his past. Muted production from James Blake, Jim Legxacy, and others wraps Dave’s voice in gospel choirs and sparse piano, like a confessional whispered in a Streatham church. ‘The Boy Who Played the Harp’ feels heavier, quieter, more intimate than anything he’s done. It’s not trying to conquer charts; it’s trying to heal.

Opener “History” rolls in, with Blake’s layered harmonies cracking like falsetto prayers, you’re hooked. Dave name-drops his mum decoding his biblical moniker: “My mum told me what my name really means and the powers just kicked in.” It’s peak Dave—lyrical sleight-of-hand turning autobiography into prophecy.  “NO Weapons” sets the tone with divine conviction: “This is God’s plan/He said it to me.” Over a droning bassline, Dave wrestles legacy, growing up in a postcode warzone, now platinum-plated but still haunted by “what if I’m poison?” It’s vulnerable without being maudlin, blending biblical flexes (“Man wanna speak on the scene, but I seen it”) with street scripture. 

The midsection is where the harp truly sings. “Chapter 16” is the heartbeat, a grimy dialogue with Kano (his Top Boy co-star) that feels like passing the torch. Kano’s verse is  veteran wisdom, but Dave matches him bar for bar, flipping the mic-as-harp metaphor into a manifesto: “What if courage looks like a song, not a sword?” It’s the album’s moral core, proving Dave’s still the UK’s sharpest narrator. Then “Fairchild” lands like a gut punch, dissecting male toxicity with surgical calm: why women fear us, the quiet violence of everyday egos. Nicole Blakk’s uncredited guest verse steals it—raw, unflinching, a reminder that Dave’s world-building shines brightest when he steps aside.

Not everything resonates on first spin. “Marvellous” dips into criminal psychology with vivid sketches, but the juvenile Clermont twins brag jars against the prayerful vibe, like a kid sneaking comics into Sunday school. “Selfish” broods on isolation, sampling Saint Harison’s “Ego Talkin'” to question fame’s toll, but it lingers a touch too long in the echo chamber. And while Tems elevates “Raindance” with sultry Afrobeats silk, the chemistry feels polite, not electric. The closer, the title track, circles back with a Beatles sample (“And I Love Her” via Cláudia Telles), Dave’s flow meditative over harp-like strings.

AratheJay – The Odyssey

Ghanaian’s Afrobeats artist, AratheJay he unleashes ‘The Odyssey’, the 17-track full-length that transforms that flicker into a bonfire. Arathejay’s ‘The Odyssey’ is a hero’s voyage through the “Finding Nimo” series, where Nimo Constantine (his alter ego) battles inner demons, divine calls, and the grind of global ambition. Clocking in at a breezy 50 minutes, it’s a tapestry of Afrobeats pulse, highlife horns, and hip-hop grit—produced by heavyweights like GuiltyBeatz, Samsney, and RankingMadeIt—that feels like a road trip from Accra’s dusty streets to some promised Zion.

The opener “Zion” crashes in like a prayer unanswered: swirling synths and Ara’s earnest croon over a GuiltyBeatz beat, pleading for direction amid the chaos. “Cover Me” follows suit, a soul-baring plea laced with gospel echoes, setting the spiritual spine that threads the whole project. By track three, “Talisman” ft. Stonebwoy flips the script—Bhog’s reggae-infused bounce meets Ara’s rapid-fire bars about protection in the trenches, Stonebwoy’s patois-laced hook adding that elder-statesman shine. 

The emotional gut-punch arrives mid-album with “Jesus Christ 2” ft. Black Sherif, the sequel to Arathejay’s viral 2024 single that already had the continent humming. Over a haunting piano loop from Myx Quest, Ara wrestles doubt (“Why the chosen ones dey suffer?”), and Black Sherif’s gravelly verse delivers the raw testimony—loss, redemption, the weight of being young and anointed. It’s the album’s anchor, a confessional that turns personal scars into communal hymns. 

From there, the journey zigzags: “Fire” ft. Bella Shmurda brings Nigerian fire with its amapiano swagger and tales of burning bridges for breakthroughs; “Put Am On God” is a defiant rally cry, sampling highlife legends to affirm faith over fear.

The back half leans into romance and revelry without losing the thread. “Only Fans” is cheeky escapism—Ara’s falsetto gliding over trap snares about digital desires—while “Alhaji Popping” channels pure joy, a bubbly ode to lavish nights with Twi ad-libs that beg for a club remix. Standouts like “Ahoufe” ft. O’Kenneth & Beeztrap KOTM deliver drill-edged bravado on street survival, and “Say I Do” ft. Savara adds Kenyan soul with its R&B sway, a tender vow amid the voyage. Closer “True” fades out on ambient waves, with Ara reflecting on authenticity.

‘The Odyssey‘ turns Arathejay’s solo sketches into a shared epic. It’s the sound of youth grappling with eternity, one talisman at a time. 

Shallipopi, Gunna – Him

Nigerian street-pop firebrand Shallipopi, the self-proclaimed “Pluto Presido” who’s been torching 2025 with hits like “Na So”, links up with Atlanta’s drip king Gunna for “Him”. Produced by a squad of Cole YoursTruly, Geno, Progrexx, and Budee, it’s a hazy, head-nodding hybrid: booming basslines laced with snappy snares, swirling synths that nod to late-night Benin City triumphs, and just enough melodic menace to glue the continents. At its core, “Him” is a cocky manifesto—two kings proclaiming their throne, blending Pidgin swagger with Southern silk. 

The track ignites right out the gate with Shallipopi’s intro chant: “Way, way / Only one Pluto Presido, they call me Shallipopi / I’m him, I’m him, way.”, over a cinematic beat that hums like a mafia flick score (gentle bounce masking the menace), Shallipopi unleashes his verse with raw energy in Pidgin-English bursts about doubters (“Many tell me I’m not qualified, I ball heavily”) and divine glow-ups (“I met the Lord, and you follow, I’m him”). The chorus seals it with sticky lines that’s equal parts prayer and party starter: “I tell you baby, that’s why I’m him / Many people don show me love ’cause I’m here.” Shallipopi’s ‘Him’ is quotable, replayable, the kind of line that turns a single into a movement.

Gunna slides in for the second verse like velvet over gravel, his signature auto-tuned croon elevating the vibe without overshadowing. “Really him, Louis V, my denim, got [ice] on the timbs / When they see my car, yeah, that’s one of them,” he purrs, painting luxury eclipses and starstruck stares. It’s vintage Gunna—effortless boasts about whips, washes, and women who clock the glow-up—layering Atlanta polish onto Shallipopi’s grit. The interplay is seamless, Shallipopi’s bouncy, street-rooted flow crashes against Gunna’s laid-back menace, creating a push-pull that keeps the energy surging. 

Mavo, Davido – Shakabulizzy (Remix)

When a street anthem gets the Davido treatment, you know it’s about to level up—from neighborhood cypher to global takeover. Lagos’ rising street-pop prodigy Mavo (real name Mavoshie Oghenevwevo), who’s been stacking 2025 wins with remixes like “Escaladizzy” ft. Ayra Starr, Shallipopi, and Zlatan, drops the “Shakabulizzy” remix today via Kilogbede Records, teaming with Afrobeats emperor Davido (O.B.O.), produced by the Grammy-nominated Dibs (Seyi Vibez’s go-to). 

The three-and-a-half-minute banger flips the original’s gritty solo flex into a dual-threat manifesto. Clocking infectious percussion, piano stabs that pierce like traffic horns, and a bassline built for owambe parties, it’s pure escapism: hustle hymns laced with luxury drops, all in that signature Pidgin swagger. “Shakabulizzy” explodes from the jump with Mavo’s chorus chant: “Kilo, e don sour, holy water / Give her Cana’ make she update, shakabulizzy.” 

Mavo owns the verses, skating over Dibs’ buoyant beat with eccentric bars: “Follow you again? Me I no dey follow you again,” ditching distractions for paper chases, then flexing Balenciaga bags and ego egos. His flow’s elastic—half-rap, half-melody—capturing that raw Benin City-to-Lagos energy, like a hustler’s diary set to groove.

Davido crashes the party midway, his verse a masterclass in charisma: “We dey focus on Naija, dem dey focus on paper / And if them enter one thing, dem go vanish like NEPA”. He layers humor over grit, escaping poverty with Igbo smoke and turn-up anthems, his auto-tuned purr syncing seamlessly with Mavo’s grit. “Shakabulizzy” is a certified heater, with a vibrant, replayable texture that hijacks your playlist for hours. 

Tyla – Chanel (Single)

23-year-old South African siren, Tyla, fresh off her WWP (We Wanna Party) mixtape in July—packing hits like “Dynamite” ft. Wizkid that racked 50 million streams—has been teasing luxury anthems all year. After an engaging rollout, Tyla unleashes “Chanel”, a three-minute empowerment elixir produced by Ian Kirkpatrick and P2J. I’Chanel’ is a glossy fusion of her signature log drum pulse with R&B silk and pop sheen: buoyant bass that bounces like a Birkin on a strut, shimmering synths evoking haute couture spotlights, and Tyla’s honeyed vocals demanding the upgrade. No features, just her—sultry, assured, turning a designer’s name into a love-language litmus test. Amid pre-drop drama with Yung Miami accusing her of “stealing” the vibe, Tyla drops unbothered, letting the track (and its video) do the flexing.

The hook hooks instantly: “If you say you love them, put them in Chanel,” crooned over a hypnotic groove that’s equal parts club mandate and romantic ultimatum. Tyla’s verses glide in with playful shade: “He said he love me, but he ain’t buy the bag yet,” flipping status symbols into self-worth sermons, her delivery a velvet whip—teasing, triumphant, textured with those breathy ad-libs that make you lean in. The bridge builds to a euphoric drop, amapiano keys swirling like confetti at Fashion Week, before circling back to that inescapable chorus. It’s Tyla at her most evolved: less wide-eyed ingenue, more mogul muse, demanding reciprocity in a world of fast fashion feelings.

The accompanying video is a pure visual feast—black-and-white elegance meeting playful surrealism, directed with nods to Karl Lagerfeld’s archives. Tyla morphs into a quilted handbag (that iconic white hula hoop from SS2013), struts in FW1991 bombers modeled by Evangelista and Turlington, all while dancers vogue in tweed. It’s a love letter to the house that dressed her VMA win (Best Afrobeats for “Push 2 Start,” her second straight), shot with that glossy intimacy that screams “put me on.” Amid the Yung Miami beef—where the City Girls vet claimed Tyla “ran off with my song” after a snippet share—Tyla’s stayed silent, but the video’s wink feels like armor: elegance as the ultimate clapback.

Tyla’s “Chanel” captivates without overwhelming with a polished enough feel for radio rotation and raw enough for late-night scrolls. The production sparkles with log drums thumping like heels on cobblestones, and Tyla’s charisma carrying the lighter lyrics. 

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