Muzz – Zaylevelten

Zaylevelten, the Nigerian underground rapper and producer who’s built buzz off experimental mixtapes like ‘then 1t g0t crazy‘, drops “Muzz” as his latest single today. “MUZZ” by Zaylevelten lands like a distilled burst of raw emotion and understated swagger — a short, sharp mood that doesn’t waste a single second of its runtime. The production, self-produced, is straightforward trap-leaning Afro-fusion: heavy bass, crisp hi-hats, and minimal melody beyond some atmospheric layers. Right away, you notice how “MUZZ” thrives on tension—rhythmic phrasing that feels both conversational and punchy, wrapped in production that sits somewhere between street-smart trap bounce and nimble Afrobeat soul. “Muzz” doesn’t venture far into the weird, experimental territory he’s known for in past work. Playful rhythms and catchy hooks are there, as promised in early write-ups, but it’s mostly standard fare.

Lyrically, it’s pure flex: counting money in Lekki, shocking old friends with the glow-up, designer fits, partying, and casual sex references. Lines like “Whole lotta money, yeah / Laugh at the bank ’cause it funny” set the tone early, mixed with pidgin flows that feel natural “As e be so, make I dey on my trips, yeah”, with references to Frank Ocean and Rihanna popping up. The chorus—“Anytime you see me, I dey muzz“—repeats endlessly, where “muzz” seems to mean vibing hard or moving in luxury mode, making it an earworm that just sticks.

They Love Me – Odumodublvck

Odumodublvck kicks off 2026 with his first official single of the year, “They Love Me”. Odumodublck’s “They Love Me” is flirtatious and Valentine-timed, with guest vocals from Valentina Rose. Clocking in at just 2:14, it’s a short, punchy drop produced by UCEE.

The beat is standard Odumodu fare: rumbling bass, sparse drums, and minimal melody—built for his gravelly, commanding delivery rather than hooks. It thumps decently, but nothing is innovative; it feels like a variation on his usual drill-tinged okporoko sound. “THEY LOVE ME” feels like a distilled manifesto — unfiltered, unapologetic and wired with the kind of braggadocio that only Odumodublvck can pull off with both swagger and subtlety. It’s all bravado. Core idea: even enemies secretly love and obsess over him “Enemies love me / Everything wey I do omo fancy am / I dey make dem sick of me”. He flips it to women too “She loves me / But she’s too shy”, with lines about girls playing his tracks during sex despite friends’ warnings. Then it ramps up aggressive: “Fuck dem / Whip dem / Jail term / Enslave men / I’m a bad man / From Bendel.” References to shooting first, hot-headedness, and pulling up like Rick Ross. Pidgin flows heavy, authentic to his Abuja roots, but the repetition—verse-chorus structure loops a lot—makes it feel padded for such a short runtime.

“They Love Me” sees Odumodublvck’s raw energy and confidence hit hard. His voice dominates, bars land with that signature menace, and the “they love me but too shy” chorus sticks quick. However, the romantic angle feels forced amid the hostility; it’s more a hate-admiration flex than a love song.

Dearly – Wande Coal ft. Qing Madi

Wande Coal links up with Qing Madi on “Dearly”, a Valentine’s-timed single and a nuanced love song that meets both heart and ear with graceful balance. The collaboration between Wande Coal and rising songstress Qing Madi spots a moment where veteran finesse and fresh emotion merge into something that sounds destined to become a slow-burn favourite.

Right from the instrumental opening, “DEARLY” opts for warmth over flash – a mid-tempo reel of soft Afrobeats and Afro-R&B elements that leaves room for vocals to breathe. There’s a minimalism to the production; it’s not about overt hooks or heavy drops but about letting two voices merge in a conversation of affection, longing, and tender vulnerability. 

Wande Coal brings that timeless silkiness he’s been crafting since the early 2000s, his falsetto gliding effortlessly through the verses like an old friend you trust with deep thoughts. Qing Madi brings emotional depth and higher-range harmonies; her emotive phrasing laces through the track without ever being overshadowed, matching the older head’s sincerity with authenticity and heart.

Lyrically, “DEARLY” doesn’t shout its intentions; it whispers them in lines wrapped in devotion and warmth. It’s flirtatious without being superficial, sentimental without being saccharine—that rare kind of love song that feels intimate even on speakers loud enough to fill a room. The chemistry here doesn’t feel like a trend-engineered duet, it feels like two artists genuinely meeting at the crossroads of love and melody.

In a sea of releases this week, “DEARLY” stands out for its restraint and emotional layering. It’s the kind of song that slides into late-night drives and slow-dance playlists, the kind you come back to not just because it’s catchy but because it feels.

Fire – Smallgod ft. Sarkodie, Joshua Baraka

Smallgod drops “Fire”, his new single featuring Ghana’s Sarkodie and Uganda’s Joshua Baraka, as a cross-regional Afro collab, with an accompanying video. “FIRE” by Smallgod featuring Sarkodie and Joshua Baraka lands as a deliberate blend of swagger, cross-continental flavour and melodic pulse—a track that feels designed to cross borders without losing the soul of each artist’s identity.

Heavy percussion, booming bass, and layered synths build intensity on the track with a minimalist hint, making it club-ready Afrobeats with rap edges—explosive drops and space for the features to shine. Production feels polished and powerful, aimed at turning up rather than introspection. It rides a warm, rhythmic groove that fuses highlife-leaning instrumentation with subtle, punchy percussion, a sonic foundation that gives each performer space to inject personality.

Thematically, it’s about dominance and heat with a boasting presence, success, divine backing, and that untouchable vibe. Enter Sarkodie, whose veteran presence immediately calibrates the track’s momentum. His verse layers deft lyrical confidence over the beat, a reminder of why he’s one of Africa’s most respected emcees — a seasoned navigator on any track he touches. Using his flow as a bridge between punchy rhyme schemes and charismatic delivery, he holds his weight effortlessly.

Then there’s Joshua Baraka, whose contribution adds an intriguing melodic contour. His style — often described by fans as emotive and smooth — gives the song a broader emotional range, grounding it in a warmth that contrasts beautifully with Sarkodie’s grit. This interplay between sharpened bars and honeyed vocals lifts “FIRE” out of generic territory.

“FIRE” is a fusion of seasoned lyricism and melodic charm — a cross-section of styles that feels immediate, radio-ready and genuinely collaborative.

LAST FOREVER — JOHNNY DRILLE

“LAST FOREVER” by Johnny Drille lands like a familiar breath of sincerity, the kind of love song that feels both timeless and intimately now, adding to the singer-songwriter’s thread of heartfelt storytelling and melodic warmth.

From the opening moments, there’s a softness to the arrangement that turns every note into something personal. The production is clean and atmospheric, letting the acoustic guitars and gentle percussion act as a quiet frame for Johnny Drille’s voice rather than a flashy backdrop. 

Vocally, Johnny Drille delivers with that signature sincerity he’s known for. There’s a vulnerability in his tone, a way of singing that feels like he’s confessing to someone directly rather than performing in a room. It creates an intimacy that few artists can pull off without tipping into cliché.

“LAST FOREVER” leans into devotion and lasting connection — a romantic sentiment that lingers. Listeners who’ve followed Johnny’s catalogue know this isn’t new territory for him, yet here it still feels fresh because it’s delivered without artifice. Love as promise and melody as embrace

In a week where big-energy and high-production tracks dominate the surface, “LAST FOREVER” stands as a quiet reminder of why Johnny Drille’s brand of heartfelt songwriting still resonates — precise, contemplative and warm.

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Promoted by Duke Concept in partnership with Native Records and Def Jam, the tour will span multiple major cities, showcasing Odumodublvck’s explosive live performances. Known for hits like “Declan Rice”, “Picanto”, and tracks from his acclaimed projects, the rapper—real name Tochukwu Gbubemi Ojogwu—is expected to deliver high-octane shows featuring his signature gritty lyrics and infectious stage presence.

The tour kicks off on March 20, 2026, in Calgary, AB (Canada), followed by a string of dates across the West Coast and beyond, wrapping up on April 19, 2026, in Columbus, OH.

Key Tour Dates:

• March 20 — Calgary, AB (The Palace Theatre)
• March 22 — Vancouver, BC (Commodore Ballroom)
• March 25 — Seattle, WA (Neptune Theatre)
• March 27 — Oakland, CA (Continental Club)
• March 28 — Phoenix, AZ (Monarch Theatre)
• March 29 — Los Angeles, CA (The Vermont Hollywood)
• April 1 — Dallas, TX (Granada Theater)
• April 2 — Houston, TX (Rich’s Houston)
• April 4 — Atlanta, GA (The Masquerade)
• April 5 — Silver Spring, MD (The Fillmore Silver Spring – DMV area)
• April 8 — Philadelphia, PA (Underground Arts)
• April 9 — Boston, MA (Big Night Live)
• April 10 — Toronto, ON (REBEL)
• April 12 — Brooklyn, NY (Brooklyn Steel)
• April 17 — Minneapolis, MN
• April 18 — Chicago, IL (Concord Music Hall)
• April 19 — Columbus, OH (The Forum)

Tickets are on sale now through various platforms, including Ticketmaster, venue websites, and Duke Concept. Fans are encouraged to secure their spots early, as demand is expected to be high for this breakout artist’s first major North American run.

Odumodublvck’s rise has been meteoric, blending Nigerian street sensibilities with global appeal. This tour promises to solidify his position as one of Africa’s leading voices in hip-hop heading into 2026.

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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.

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The 14-track project, which debuted to critical acclaim for its seamless blend of reggaetón-infused bops, introspective bars, and unapologetic swagger, has solidified Blaqbonez’s status as a shape-shifter in the rap game. Featuring heavy-hitters like Black Sherif on the gritty opener “Road Runners”, Victony’s silky vibes on “Naija Shawty”, and a surprise Ludacris cameo on the summer heater “Cinderella Girl (Where You Dey)”, the album was Blaqbonez’s boldest statement yet on self-celebration. “This album is all about merging every version of me into one unfiltered party”, the artist, born Emeka Akumefule, reflected in a 2023 Apple Music interview, emphasizing themes of resilience and revelry over late-night introspection.

Streaming data reveals the album’s impressive longevity: 80 million Spotify streams to date, bolstered by 55 million on Boomplay, 42 million on Audiomack, and 28 million plays on YouTube Music—pushing total cross-platform figures well beyond 200 million. Standout cuts like “Like Ice Spice” (over 60 million streams), “Nyem Ego” (23 million+), “No Sleep” (22 million+), and the collaborative gem “Dollarz” ft. Odumodublvck (13 million+) continue to dominate playlists, proving the LP’s staying power in a landscape dominated by fleeting viral hits.

Yet, the anniversary’s timing couldn’t be more charged. Just weeks ago, on October 17, Blaqbonez reignited his months-long beef with Odumodublvck via the blistering diss track “ACL” from his freshly dropped LP No Excuses. The song, which has skyrocketed to No. 1 on Apple Music Nigeria and racked up millions of streams in days, accuses Odumodublvck of “stream-farming” and clout-chasing, with lines like “You dey farm streams like e get season” cutting deep into the Anti-World Gangstars founder’s authenticity. 

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The feud, which traces back to subtle jabs in early 2025 tracks like Blaqbonez’s “Haibo Freestyle” and Odumodublvck’s subliminals on ‘The Machine Is Coming’, has evolved from Twitter spats to real-world tension. Highlights include Odumodublvck’s viral middle-finger salute at Blaqbonez during the April Headies Awards, a heated confrontation with Blaqbonez’s female manager at a recent event (captured in a clip that’s amassed millions of views), and Odumodublvck’s public mockery of Blaqbonez’s recent single “Follow Her” ft. Kizz Daniel as “wack music”. What started as brotherly collaborations—think “Dollarz” and “Technician”—has devolved into a high-stakes clash of egos, with Blaqbonez positioning himself as the craft-focused veteran and Odumodublvck as the chaotic, street-certified disruptor.

However, for Blaqbonez, the milestone feels like poetic justice. With ‘Emeka Must Shine’ still charting and ‘No Excuses’ debuting at No. 1, the 29-year-old Chocolate City signee shows no signs of dimming. Whether this feud fizzles into fuel for future collabs or escalates into full-blown war, one thing’s clear: Nigerian hip-hop’s golden era is far from over, and Blaqbonez is shining brighter than ever.

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ODUMODUBLVCK – INDUSTRY MACHINE

ODUMODUBLVCK arrives like a piston firing on all cylinders with ‘INDUSTRY MACHINE’, a 23-track behemoth that clocks in as his most audacious swing yet. On first spin, starting from the top: “INDUSTRY MACHINE” into “HALLELUJAH” featuring Tobe Nwigwe, Jeriq and Phyno, the album roars to life with raw propulsion, only to occasionally sputter under its own weight.

The opener “INDUSTRY MACHINE” sets the industrial, unyielding tone—ODUMODUBLVCK’s gravelly flow over booming 808s and Okporoko-infused hooks feels like a manifesto for the hustle, priming the pump for the album’s churn right out the gate. By the time we hit “HALLELUJAH,” it shifts into a divine, almost confessional gear: sparse, echoing production underscoring a street sermon of gratitude amid the chaos. Standouts emerge quick—”Layi Wasabi” featuring Reminisce flexes with viral replay value, its trap bounce and sly wordplay demanding an instant rewind, while “Ejor” pulses with unfiltered bravado, ODUMODUBLVCK trading verses like ammunition in a cypher gone nuclear.

A reunion with Davido on one cut injects Afrobeats shimmer amid the drill haze, and spots with Pa Salieu, Giggs, Cash Cobain, Tobe Nwigwe and even global heavyweights like Skepta and Wizkid add melodic detours that keep the energy from flatlining. Production shines in bursts—expansive, genre-fluid beats that nod to drill, trap, and highlife—but the sheer volume exposes cracks. Midway, dynamism dips; tracks blur into a haze of bombast, with weaker flows “Bombastic Element” borders on self-parody and sequencing that prioritizes shock over cohesion, leaving the back half feeling like filler in a magician’s overstuffed hat.

At 65 minutes, ‘INDUSTRY MACHINE’ dazzles with ODUMODUBLVCK’s raw, revolutionary, and unapologetically Nigerian energy, yet betrays hints of burnout in its sprawl. It’s not flawless, but it does rev the engine for rap’s next lap.

Lojay – XOXO

In the velvet haze of Afrobeats’ romantic underbelly, Lojay unfurls his debut album ‘XOXO’ like a late-night confession slipped under the door—a 14-track exhale of yearning, seduction, and quiet vulnerability that lands after the long wait. Clocking in at a breezy 35 minutes, it’s a far cry from the sprawling epics dominating the scene, blending Afro-R&B silk with global flirtations. Lojay’s ‘XOXO’ envelops a listener like a warm embrace, though its brevity sometimes leaves craving one more stolen glance.

Kicking off with the soulful “Sale”, Lojay dives headfirst into lush, guitar-drenched production that sets a somber, critical tone—his vocals gliding over the percolating and crescedoing harmony of string instruments like a text you reread at 2 a.m. The momentum builds seamlessly into “Tenner”, and the Odeal featured “Mwah”—a spirited ode to magnetic pull that fuses UK garage bounce with Lagos swagger, its hook burrowing in like an earworm you can’t shake. Standouts flicker like fireflies: “Body” ft. Feid is a bilingual simmer that’s equal parts sultry and replayable; “Memories” with Tyla layers amapiano glow over nostalgic ache, their voices intertwining in a haze of what-ifs that demands volume up. Solo cuts like “Shiver” steal breaths too—smoky electro-synth waves carrying Lojay’s raw admiration for fleeting thrills, while “Jericho” pulses with hip-hop introspection, walls tumbling under bass that hits like emotional release.

Features elevate without overshadowing: Victony on “Sawa” adds melodic camaraderie to tales of loyalty tested, and Odeal’s vibe syncs effortlessly on the erotic “Mwah!,” keeping the global-Nigerian thread taut. Production, helmed by P.Priime and Rexxie among others, gleams with polish—ambient swells, highlife echoes, and trap-tinged traps that nod to Lojay’s evolution from “Gangster Romantic‘s” grit to this polished yearning. Yet, in its rush to resolution, “Alright” wraps loose ends with hip-hop resolve, “Suru” confesses hidden pressures over amapiano sway. ‘XOXO’ captivates as Lojay’s most cohesive statement yet. The work of art is messy-hearted, sexy-souled, and unapologetically Afro-fusion, proving the Grammy-nodded crooner is ready for the big leagues.

Peruzzi – SABALI

Peruzzi resurfaces from a self-imposed exile with ‘SABALI’, a 17-track testament to the art of waiting—titled after the Hausa word for “patience,” it’s a fourth studio swing that dropped October 10, 2025, like a long-simmered stew finally served hot. At a reflective 52 minutes, it sidesteps the bombast of his DMW heyday for something more introspective, weaving Afro-soul confessions with highlife flourishes and R&B confessions that echo vulnerability with matured grit. Peruzzi’s fourth studio album is smooth, soul-stirring, occasionally meandering, but always pulling you deeper into its heartfelt lanes.

The title track “SABALI” eases in with a mid-tempo groove of shimmering guitars and Peruzzi’s buttery falsetto, a meditative opener on love’s slow burn that sets a tone of quiet endurance, his pen game sharp as ever in dissecting relational chess. Momentum simmers into “One Thing,” a warm R&B gem that blooms with intimate lyrics over airy percussion—it’s the kind of earworm that lingers like a half-remembered dream, Peruzzi crooning about that singular fixation with disarming sincerity. Standouts ignite sporadically: “Apala Drill” ft. Davido flips traditional apala into a drill-tinged banger, their chemistry crackling with label-family fire and infectious replay hooks; “Cooking Pot” with Jeriq simmers Igbo rap edge into streetwise romance, a pot of flavors that boils over with swagger and substance.

Features form the album’s backbone without stealing the spotlight. Double doses with Davido (the second on “Perfect Situation” ft. Mayorkun and Dremo reunites the squad in harmonious hustle anthems), Zlatan and The Flowolf on the gritty “El Sucio Guapo” inject street menace, while The Cavemen’s highlife horns elevate “Mad Oh” to euphoric highs. Timaya’s elder-statesman vibe on “ANTR (A Night To Remember)” adds nostalgic glow, and Jesse Jagz’s bars on “Nuff Respect” deliver lyrical gravitas amid the melodic tide. Production—courtesy of in-house wizards like fresh and Speroach—gleams with subtlety: layered percussion nods to heritage, synth swells carry emotional weight, blending Afrobeats bounce with Afro-soul introspection for a cohesive yet versatile ride. Yet, the sprawl reveals seams; later cuts like “Time Of My Life” ft. Esoterica flirt with filler territory, their vibes diffuse in the rearview, and the pacing occasionally prioritizes polish over punch, leaving some tracks whispering when they could roar.

‘SABALI’ reaffirms Peruzzi as Afrobeats’ premier romantic architect—a gentle giant of a record, heavy on heart, light on flash.

JOEBOY, SHODAY – Ring

In the playful tug-of-war between Afrobeats’ eternal romance and the cheeky realities of adulting, Joeboy links with street-pop firebrand Shoday on “Ring,” a 3-minute gem that dropped October 10 like a proposal you didn’t see coming. Fresh off the hype of his Viva Lavida era, it’s Joeboy’s first major single since, teasing matrimonial mischief with a wink. From the shimmering intro to its lingering fade, it hooks like a velvet noose: infectious, intimate, and primed for every “when you settling down?” family roast.

Echo The Guru’s production slinks in with warm guitar plucks and percolating percussion, building a breezy Afro-fusion groove that’s equal parts seductive sway and subtle urgency—lush harmonies swelling just enough to cradle the vulnerability without tipping into sap. Joeboy leads with his trademark silky vocals, gliding through verses that unpack the jitters of commitment “Mama dey ask when you go marry” hits like a universal gut-punch, poetic yet painfully relatable, his emotive delivery flipping pressure into poetic yearning. Shoday crashes the party midway, his gritty ad-libs and soulful baritone injecting raw charisma—a seamless duet dynamic where street-rooted energy grounds Joeboy’s polish, their voices blending in flirtatious call-and-response that feels like eavesdropping on a late-night heart-to-heart.

No overproduction here; the stripped-back charm lets the chemistry breathe, with subtle synth shimmers and percussive flair nodding to highlife roots. The hook—”Put a ring on it, baby, make it official”—loops like destiny, humorous yet heartfelt, transforming the “marriage crusade” into a victory lap for love’s next chapter. 

“Ring” cements Joeboy as Afrobeats’ rom-com kingpin, with Shoday elevating the collab to viral alchemy: vulnerable, victorious, and unapologetically feel-good. It’s the settle-down bop we didn’t know we needed. 

JOSHUA BARAKA, JAE5 – Dive In

Joshua Baraka teams with Grammy-winning producer JAE5 on “Dive In,” a 3:15 immersion into love’s intoxicating depths. From the hazy intro to its euphoric crest, it pulls a listener under like a tide you don’t want to fight: mesmerizing, magnetic, and made for midnight replays.

JAE5’s production unfurls with a sultry swirl of ambient keys and percolating Afrobeat percussion, layering in subtle R&B ripples and highlife-tinged guitars that evoke a laid back evening with shimmering sunset—lush yet lean, with Jonathan Mensah’s engineering ensuring every vocal nuance gleams like polished obsidian. Joshua Baraka’s tenor takes the helm, his smooth, emotive croon slicing through the haze on verses that map the thrill of emotional freefall “Dive in, let the waves take control” lands with poetic precision, blending heartfelt ache and hopeful abandon. No guest verses here, the track Joshua Baraka’s solo swim, his layered harmonies building to a chorus that blooms into anthemic release—soulful ad-libs cascading like echoes in an underwater cathedral, transforming personal confession into universal yearning.

The track’s brevity is its superpower. Subtle percussive flourishes nod to Joshua Baraka’s Ugandan roots while JAE5’s global gloss elevates it to playlist catnip—radio-smooth yet raw enough for the purists. The bridge teases a climactic drop that arrives gently, opting for intimacy over explosion, but in this case, the whisper hits harder than a shout.

“Dive In” sees Baraka and JAE5’s magical touch turn confession into captivation: vulnerable, vibrant, and vividly alive. It’s the slow-burn serenade for souls ready to submerge. 

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On Friday, July 11, the Main Stage was headlined by Drake and PARTYNEXTDOOR, with performances from guest artists like Summer Walker, Leon Thomas, KWN, Odeal, and DJ AG. The Old Spice Stage was lit up by Roy Woods, Sailor, Karri, Nippa, Swavy, and Kamilla Rose, while Taylor Rae, Naira, Donch, and Jada Kai brought energy elsewhere on the grounds. The Hennessy Stage featured Marcus Blue and DJs Juls, Mercedes Benson, Ace, and Sugar B.

The following day, Saturday, July 12, Drake remained the Main Stage constant, joined this time by Boy Better Know, BigXthaPlug, Lancey Foux, Nemzzz, Sahbabii, and DJ AG. The Old Spice Stage was newly reloaded with Fimiguerrero, LEN, Chy Cartier, YT, and Kenny Allstar. Meanwhile, DJs Supa D, Rampage, Sir Corey, and Twin B kept the decks alive, with Sugar B making a return. The VIP Village buzzed with Travis Presents, Bempah (Scary Things), EJ, Jay Knox, and Cvss.

Sunday brought the festival to a euphoric close with a more global, genre-spanning roster. The Main Stage was led by Drake once again, this time joined by Burna Boy, Vybz Kartel, Popcaan, Spice, Masicka, and DJ AG. The Old Spice Stage featured an electric run from Darkoo, Odumodublvck, Skitty, and Izzy Bossy. The Hennessy Stage wrapped with high-powered sets from resident DJs Suga B and Marcus Blue, Nicky Slimting, and Heartless Crew.

A new wave of African artists was unveiled at this year’s edition, bringing fresh energy to the festival alongside a few familiar faces. Rema, who co-headlined in 2024, was a surprise guest this time, introduced by Drake. Uncle Waffles returned to the decks but was unable to give the crowd a blast on the Hennessy Sage due to claims of poor time management and handling by the festival planners.

Top 5 Afrocentric Moments That Lit Up the Wireless Festival Stage

Drake Bringing Out Rema on Stage
Before Rema came on, Drake vaguely teased the crowd with, “I’m gonna let him do his thing for this show, that’s all. Let’s go.” But as the DJ cued in Rema’s first single of the year, “Baby (Is It a Crime)”, the audience erupted in excitement, quickly catching on to who was about to step out. Rema slowly strutted on stage in an unbuttoned black fur-collared coat, baggy white jeans, a baseball cap, and shades, fully leaning into his mysterious persona. It was a surprise moment no one saw coming, as Rema wasn’t listed on the official Wireless 2025 lineup.

A New Version of Moliy’s ‘Shake It To The Max (Fly)’ with Stefflon Don
Following the rise of her dancehall-inspired hit “Shake It To The Max (Fly)”, the remix featuring Caribbean stars Shenseea and Skillibeng — reportedly facilitated by Jamaican producer Silent Addy — helped the song dominate the Caribbean and push into global charts. During his set, dancehall legend Vybz Kartel invited Moliy on stage for a performance of the song alongside English rapper and singer Stefflon Don, who debuted a new verse live, hinting at a potential remix on the way.

Burna Boy’s Debut Performance
Shortly after his set, clips surfaced online of Burna Boy appearing shocked at the smaller-than-expected crowd, clearly anticipating a turnout more like his headlining tour shows. Still, the Grammy-winning performer didn’t let it dull the moment. He opened with his crowd-favourite feature on Dave’s “Location”, followed by a powerful medley including “Ye”, “City Boys”, “Gbona”, “Update”, “Talibans II”, “Tested, Approved and Trusted”, and “On the Low”. A surprise moment came when he brought out Lauryn Hill and her son, YG Marley, to perform an unreleased version of “Praise Jah in the Moonlight”, which included a Burna Boy verse.

Odumodublvck’s Shirtless Set on the Old Spice Stage
The 2025 Wireless Festival also marked Odumodublvck’s debut on the Old Spice Stage. Known for his rugged energy, the rapper kicked off in a tracksuit, but by the time he performed his 2024 single “NOT ALL THAT”, the layers were coming off. Mid-set, he was down to a T-shirt and track pants, eventually going fully shirtless as he led the crowd through a live rendition of Davido’s “Funds”. The highlight came with “PITY THIS BOY”, closing out a relentless, high-octane set.

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Darkoo Joins Rema, Drake, and Popcaan on the Main Stage.

In 2024, Rema brought out Darkoo during his own set to perform their then-unreleased collaboration “Favourite Girl”. This year, the moment was mirrored as the two reunited — now with Drake and Popcaan on stage — for a full-circle performance. After a quick chat with Drake and Popcaan, Darkoo shared a warm embrace with Rema before delivering the crowd-pleaser.

African Artists Held Their Own
Despite time mismanagement affecting artists like Uncle Waffles, African heritage was deeply embedded throughout the 20th Wireless Festival. From the Main Stage to the Old Spice Stage and even into DJ-heavy sets at the Hennessy, the presence of African voices — new and returning — helped shape the cultural pulse of this year’s celebration.

Watch the full performances of the Wireless Festival 2025.

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In an interview with radiojusmen 105.7, Odumodublvck shared that global star and colleague Rema randomly hit him up to cover the cost of the official music video for “PITY THIS BOY”, which has now been added to Odumodublvck’s visual repertoire. The futuristic video, directed by visual creative “The Alien”, is expressed in a most unconventional way that may or may not tie accurately into the song’s central idea. “PITY THIS BOY” in the grounded Nigerian context is a song that addresses the incessant financial requests (billing) that come with being a man. And in the song, Odumodublvck is done being encumbered by them all.

He makes it clear that all he wants is to spend money and have a good, alone time with his woman (shima). And while the official music video doesn’t strongly reinforce this idea, it portrays the smitten relationship between Odumodublvck and his personally developed droid.

The expression begins with Odumodublvck wearing a lab coat and his signature Okpu-Agu hat, accompanied by a co-scientist and a female droid sprawled on a lab table. After tweaking a few things, the droid comes to life, and Odumodublvck—alongside his lab assistant—is exhilarated by the pleasant outcome. It pans to new slides of Odumodublvck enjoying quality time with the droid, as inaudible soliloquies like “See Machine” occasionally pop up on screen.

As the song progresses into Victony’s thematically strong verse, the video doesn’t quite follow suit or highlight the collaborative nature of “PITY THIS BOY”. It continues in its storyline, and eventually, the droid malfunctions—or, in the song’s context, misbehaves—to the point of severing ties (forcing a shutdown). The video ends with both acts in celebration alongside producer Niphkeys in a bluish room.

The official music video for “PITY THIS BOY”, much like the song’s message, is a playful take on a serious dilemma of the Nigerian man. It might resonate with most, while a few may long for a more accurate portrayal.

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Rema emerged as the night’s biggest winner, securing multiple awards for his acclaimed album HEIS, including Album of the Year and Afrobeats Album of the Year.

A major highlight came with OdumoduBlvck’s emotional win for Next Rated Artist. He graced the stage accompanied by his mother and his Anti World Gangster crew, marking one of the evening’s most talked-about moments.

The 17th Headies Awards Full Winners List 2025

Next Rated Award
Qing Madi
Shallipopi
OdumoduBlvck — WINNER
Ayo Maff
Nasboi

Rookie of the Year Award
Zerrydl — WINNER
Taves
Kaestyle
Llona

Soundtrack of the Year
Eledumare
Lose to Gain
Kill Boro
Orissa
Emotions
Tribe Called Judah Soundtrack — WINNER

Best Recording of the Year
Tems — Burning — WINNER
Seyi Vibez — Different Pattern
Burna Boy — Higher
Ayra Starr & Giveon — Last Heartbreak Song
Sarz & Lojay — Billions

Best Vocal Performance (Male)
Lojay — Billions — WINNER
Omah Lay — Moving
Anendlessocean — Gratitude
Johnny Drille — For You
Timi Dakolo — Ke Na Ke So

Best Rap Single
Shallipopi & OdumoduBlvck — Cast — WINNER
OdumoduBlvck, Bloody Civilian & Wale — Blood on the Dance Floor
Ladipoe ft. Rozzz & Morrell — Hallelujah
Magnito — Canada
Jeriq — Ije Nwoke

Viewers’ Choice
Young Jonn, Kizz Daniel & Seyi Vibez — Big Big Things
Hyce, Boypee, Brown Joel & Davido — Ogechi Remix
Chike & Mohbad — Egwu — WINNER
Kizz Daniel — Showa
Seyi Vibez — Different Pattern
Rema — Ozeba
Tems — Love Me Jeje
Shallipopi & OdumoduBlvck — Cast
Ayo Maff & Fireboy DML — Dealer
Flavour — Big Baller

Producer of the Year
Sarz — Happiness
London — Ozeba — WINNER
Rema/Producer X/Cubeatz/Deatz/Klimperboy — Hehehe
Magicsticks — Basquiat
Dibs — Different Pattern

Digital Artiste of the Year
Ayra Starr
Rema
Shallipopi
Tems
Davido — WINNER
Kizz Daniel
Asake

Song of the Year
Kizz Daniel — Showa
Ayra Starr — Commas
Chike & Mohbad — Egwu
Asake — Lonely at the Top — WINNER
Rema — Ozeba
Flavour — Big Baller

Songwriter of the Year
Simi — Stranger
Qing Madi — Vision — WINNER
Llona — Can’t Breathe
Bloody Civilian — Family Meeting
Wizard Chan — Stages of Life

Music Video of the Year
Rema — Charm
Olamide — Metaverse
Blaqbonez — Like Ice Spice
Kcee — Ojapiano
Chike & Mohbad — Egwu — WINNER
Kizz Daniel — Showa
Davido, The Cavemen & Angelique Kidjo — Na Money

Best Street Hop Artiste
Seyi Vibez — Different Patterns
Ayo Maff & Fireboy DML — Dealer
Shallipopi & OdumoduBlvck — Cast
Zhus JDO — Johnbull
Mohbad — Ask About Me — WINNER

Afrobeats Single of the Year
Young Jonn, Kizz Daniel & Seyi Vibez — Big Big Things
Kizz Daniel & Davido — Twe Twe Remix
Chike & Mohbad — Egwu
Asake — Remember
Hyce, Boypee & Brown Joel ft. Davido — Ogechi Remix
Flavour — Big Baller — WINNER

Afrobeats Album of the Year
Victony — Stubborn
Asake — Work of Art
Ayra Starr — The Year I Turned 21
Rema — Heis — WINNER
Young Jonn — Jiggy Forever

Best East African Artiste of the Year
Bien
Diamond Platnumz
Juma Jux — WINNER
Bruce Melodie
Azawi

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Nigerian rapper Odumodublvck has been awarded the 2024 Leadership ‘Artiste of the Year’ title. He accepted the honor accompanied by his mother, highlighting the familial support behind his musical journey

In March 2023, Odumodublvck released “Declan Rice,” a track that catapulted him into the limelight. The song resonated widely, earning the Best Rap Single award at the 16th Headies in September 2023. Its popularity was further cemented when Spotify ranked it as the second biggest global rap song of 2023. The track gained even more attention when Premier League club Arsenal used it to unveil their signing of English midfielder Declan Rice, making it a cultural crossover moment.

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Building on his momentum, Odumodublvck unveiled the “EZIOKWU” mixtape, an album that explored themes of identity and personal experiences. In December 2023, he expanded this narrative with “EZIOKWU (UNCUT),” a deluxe edition featuring seven additional tracks and collaborations with artists like Black Sherif, Nasty C, and Teni.

Throughout 2024, Odumodublvck became a sought-after collaborator, contributing to numerous projects across the industry. Amidst these features, he released “Not All That,” a solo single addressing his Headies win and endorsements from industry peers. The track’s confrontational tone served as a response to critics, asserting his position in the music scene.

Odumodublvck’s journey from “Declan Rice” to his recent accolades underscores his significant impact on the Nigerian music landscape.

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THE MACHINE IS COMING – ODUMODUBLVCK

Nigerian rap sensation ODUMODUBLVCK has unleashed a surprise mixtape, ‘THE MACHINE IS COMING‘ —a 16-track project that further showcases his dynamic artistry and reinforces his reputation as one of the most innovative voices in Nigeria’s rap scene. Arriving just in time for his scheduled performance at The Headies, Nigeria’s premier music awards, the mixtape marks a defining moment in his fast-rising career.

THE MACHINE IS COMING thrives on sonic unpredictability. ODUMODUBLVCK effortlessly blends Afro-fusion, hip-hop, and his signature Okporoko Rhythms—a unique fusion of highlife melodies with drill and grime elements. Across its 41-minute runtime, the mixtape moves seamlessly between gritty street anthems and introspective reflections, ensuring a compelling listening experience with each play.

The 16-track project boasts a heavyweight lineup of guest appearances, featuring some of today’s most relevant artists, including Victony, Shallipopi, BOJ, Rondodasosa, Vector, Falz, Ajebo Hustlers, and Afroselecta-BBK, among others. These collaborations amplify the project’s expansive vision, with each artist adding their own flair. Tracks like Pity This Boy featuring Victony, which had already gained traction prior to the tape’s release, showcase ODUMODUBLVCK’s ability to craft emotionally charged anthems. Other standout collaborations include Juju with Smur Lee and Shallipopi, as well as the Ramadan Remix featuring Tolibian and BOJ, both of which were fan favorites even before finding a home on this project.

Meanwhile, solo cuts like “Wage War”, “Go Report”, and “Kylian” underline ODUMODUBLVCK’s commanding presence, proving he doesn’t need features to deliver hard-hitting verses over pulsating beats.

Beyond its immediate impact, ‘THE MACHINE IS COMING’ serves as a prelude to his forthcoming album, ‘INDUSTRY MACHINE‘, which he has been teasing since the start of 2025. Described as an “appetizer,” the mixtape offers a glimpse of the raw energy and boundary-pushing sound that fans can expect from his full-length project.

IRON BOY – BLACK SHERIF

Ghanaian powerhouse Black Sherif returns with his deeply personal sophomore album, ‘Iron Boy‘—a 15-track odyssey that balances raw intensity with profound introspection. Fusing elements of hip-hop and Afrobeats, the album features standout collaborations with Nigerian heavyweights Fireboy DML and Seyi Vibez, adding layers of sonic depth to his already compelling storytelling.

At its core, ‘Iron Boy’ is an exploration of resilience—an anthem for those navigating life’s hardships and emerging stronger. Tracks like “The Victory Song” and “So It Goes” echo themes of perseverance, capturing the spirit of overcoming adversity through sheer determination.

Speaking on the album’s essence, Black Sherif describes it as a soundtrack for “anyone carving their own path, embracing their truth, and defying the odds.” He reinforced this message in a post on his X (formerly Twitter) account, writing: “Do you know what it means to be a Gospel Artist with a Popstar Destiny?”—a statement that hints at the album’s deeply spiritual undertones.

With Iron Boy, Black Sherif once again proves that his music is more than just sound—it’s an experience, a movement, and a testimony of survival against all odds.

REFLECTION STATION – TAY IWAR

Tay Iwar’s first single of the year, “Bad Belle,” released three New Music Fridays ago, came alongside the announcement of an EP titled ‘Reflection Station’, which arrived today, April 4th. The five-track EP is deeply introspective, consciously revisiting the past and drawing from its influence to craft melodies that resonate with profound musings on healing, resilience, mercy, and love. According to Tay Iwar via Instagram, ‘Reflection Station’ is “a checkpoint for motion, memory, mercy. One borrowed spirit from Zule Zoo, and turned resistance into rhythm. This is what healing sounds like when it doesn’t ask for permission. Each track holds a mirror—to feel, to remember, to float, to rise, to survive. A reminder to move with purpose. I hope you let it find you.”

In Tay Iwar’s world of alternative R&B and soul music, his five-track EP soothes the listener, starting with the opener and title track, ‘Reflection Station‘, where he speaks on resilience and the need to keep going until the desired result is actualised. On the song, he interpolates 2Baba’s ‘4 Instance’, borrowing its rhythm: “For instance, say I be the one them no give chance / Say I be the one wey dey make plans / I still dey maintain my own stance.” The 14-minute EP takes the listener through a relatable journey of struggle and triumph, drawing inspiration from Zule Zoo’s “Bad Belle“ and closing with the poignant Survival, where he reflects on his coming-of-age experiences. With Tay Iwar himself steering the production, the EP is refined in sound and texture, making for a 14-minute listening session worth looping.

OFA: DELUXE EDITION – OXLADE

In an exciting turn of events, Oxlade announced the deluxe edition of his debut album, Oxlade From Africa (OFA), released in September 2024, through a short, creative video on his socials. In the video, Oxlade is seen having a conversation with himself about why a deluxe version was necessary instead of saving the songs for another project, which would typically be a wise decision. However, his other self insists that these songs belong to this era—an era about Oxlade. OFA, which has seen significant commercial success, particularly with “OLOLUFE“ featuring Ghanaian rap legend Sarkodie, now includes four additional tracks—”DOINGZ“, “OMALICHA“, “SHO MI“, and “VANITI“—bringing ‘OFA: Deluxe Edition‘ to life with no guest features.

The deluxe opens with the masterfully crafted shakes and groovy log drums of “DOINGZ“, where Oxlade desperately seeks the love and attention of his muse, offering financial and material excesses in return. It flows into “OMALICHA“, enriched by vibrant highlife-inspired guitar riffs on a mid-tempo production. Here, Oxlade flexes his silky vocals, pleading for love and expressing how her absence might drive him to the brink. “SHO MI” takes a more sober and philosophical approach, with Oxlade reflecting on life’s musings and his gratitude for divine intervention. Wrapping up the now 20-track album with “VANITI“, produced by Magicsticks, Oxlade closes on an introspective note, sharing wisdom passed down from his grandmother: “Asan lasan laye.”

MOST WANTED – ZINOLEESKY

In a scene filled with numerous talents, Zinoleesky’s distinct voice and technical delivery set him apart. At the start of the year, Zinoleesky positioned himself in a more active mode following a controversial incident involving his former, now deceased, labelmate Mohbad and his record label boss, Naira Marley. He announced his debut album, Gen Z, with a short trailer video, set for release on an undisclosed date in April. In anticipation of his forthcoming studio album, Zinoleesky has now released his first single of 2025, ‘Most Wanted’, produced by frequent collaborator Niphkeys.

On the track, Zinoleesky’s vocals and execution shine as the highlight. Niphkeys employs log drums in a calm and steady manner, allowing Zinoleesky’s cadence to glide smoothly over the production. The song reaffirms his ability to blend melody and introspection while maintaining his signature street-savvy edge.

REASON 2 JAPA – MAYORKUN

With the announcement of his third studio album, ‘Still The Mayor’, set to drop in 27 days, Mayorkun has released a new single ahead of the pivotal moment. ‘Reason 2 Japa’ follows his last single, “Innocent“, released in November 2024 and featuring Fireboy DML—both serving as lead singles for the forthcoming album.

With ‘Still The Mayor‘ approaching, Mayorkun takes a more retrospective approach to ‘Reason 2 Japa‘, blending log drums with a contemporary feel that immerses listeners in both nostalgia and modern-day Afrobeats. On the track, Mayorkun reaffirms why he is still indeed “The Mayor of Lagos (TMOL)“, boasting an impressive track record of hits and number-one records. Despite its groovy nature, ‘Reason 2 Japa‘ touches on serious themes, including the state of the economy and how it has driven not just him but many of his compatriots to seek a better standard of living. He also references the few things he keeps his mind off as he navigates these realities, making for a track that is both engaging and reflective.

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