Ema Onigah — ITEM VII (EP)

Ema Onigah’s ITEM VII is the confident second chapter that many rising Afrobeats voices dream of delivering. Dropped today, via Gamma Africa, the 7-track EP builds directly on his 2026 “comeback” single ‘With You’. It positions the Cross River State singer-songwriter as a thoughtful, versatile voice in the scene, blending romance, gratitude, street wisdom, and vulnerability with polished Afrobeats sensibilities.

Ema Onigah’s ITEM VII is a tight, cohesive project that feels like a proper introduction for anyone still curious. ITEM VII shines through its restraint and attention to texture rather than chasing maximalist trends. Production leans melodic and groove-forward, with live instrumentation adding organic warmth to digital Afrobeats foundations. Tuzi, who handled the lead single “With You”, brings a smooth, mid-tempo vibe that recurs across the project. Think rolling percussion, subtle log drums, and atmospheric pads that let the vocals breathe.

Standout production moments include the “stabbing piano keys” on “Greatest Lover”, which inject a sharper, almost melancholic edge amid the otherwise sunny soundscape. Tracks like the opener “Natural Highness” feel celebratory and expansive, while closer “Paradise” shifts dynamically from reflective verses to uplifting resolution. Overall, the sound is polished yet rooted, paying homage to classic Afropop resilience and joie de vivre without sounding dated. It’s music for happy people that still carries emotional weight.

Ema Onigah’s own background as a former drummer likely informs the rhythmic precision, as nothing feels cluttered, and every element serves the song.

This is where ITEM VII separates itself. Ema Onigah writes with humour, specificity, and emotional intelligence, fully fluent in contemporary Nigerian slang, euphemisms, and perspectives while keeping things universally relatable. “Natural Highness” opens with gratitude—shouting out fans and supporters in a way that feels genuine, setting a tone of grounded ambition. “With You”, a pre-release highlight, is pure syrupy romance. Playful lines like “Breketekete suffery suffery oh / With this your fele fele body” mix nonsense poetry with calendar-month wordplay “Na you dey MARCH my vibe / No APRIL fool”. The chorus: “I just wanna be with you”, is simple but addictive, evoking calm, floating intimacy. It’s feel-good Afrobeats escapism at its best. “Do Me” dives deeper into fascination and devotion, promising the world and extras to a lover—confident, charming, and direct. “Greatest Lover” flips the script with bitter truth: love’s treachery acknowledged atop those stark pianos. It adds necessary shadow to the project’s light. “Chance” rebukes blockers and haters, turning frustration into fuel with sharp, motivational bars. “Paradise” and “Contented” round it out—disillusion in the first half gives way to certainty and peace in the second, showing growth and self-assurance.

Throughout, Ema Onigah balances street-edge language with poetic tenderness. He’s romantic without being soft, ambitious without being boastful. The come-up narrative feels lived-in, laced with wit that makes replay value high. Ema Onigah delivers something focused, personal, and replayable.

Olamide — Rock Me Gentle

Olamide’s “Rock Me Gentle” is the kind of surprise drop that reminds you why the Lagos don has been running the Nigerian rap and Afrobeats conversation for over 15 years. Released May 6, 2026, as his first solo single of the year, following recent guest spots on tracks by Teni and Shoday, the track arrived with zero fanfare, recording nearly 100k streams in its first full day on Spotify. 

“Rock Me Gentle” is a deliberate pivot into softer, more melodic territory: a lush, amapiano/3-step-infused mid-tempo groove that trades aggression for atmosphere and swagger for seduction. It’s the sound of an artist who’s earned the right to slow down and enjoy the “soft life” without losing his edge. The beat is pure immersion. Built on a rolling log-drum bassline—the heartbeat of modern amapiano—it layers in atmospheric textures that feel almost weightless and subtle highlife-inspired guitar riffs that flicker like sunlight on water. The tempo sits comfortably in that pocket where you can two-step at a beach party or vibe in the passenger seat with the windows down. There’s no over-the-top percussion assault; instead, the production breathes. It gives Olamide space to glide rather than attack.

Olamide’s vocal delivery is the masterstroke here. He keeps things calm, almost whispering at times. It’s a masterclass in restraint and sees Olamide lean into his natural timbre, letting the melody do the heavy lifting. The result is hypnotic: the track feels expensive, lived-in, and effortlessly cool. What makes the production especially effective is how spacious it is. Every bounce in the instrumental leaves room for Olamide’s voice to glide across the beat casually. He doesn’t rap aggressively or chase vocal acrobatics. He sounds relaxed, conversational, almost teasing. The engineering understands that mood too; the vocals sit lightly on the mix instead of overpowering the instrumentation.

Lyrically, “Rock Me Gentle” is classic Olamide in a more refined form. The writing is playful, coded in slang, Yoruba expressions, street lingo, and humorous exaggerations that make his music feel lived-in rather than manufactured. The opening stretch instantly establishes the flirtatious energy: “Se, say calabar / Eh, se calabar / Oṣe calabar / Rocking your calabash…”

“Calabar” and “calabash” recur like a sensual mantra—evoking curves, rhythm, and that iconic Nigerian slang energy without ever spelling it out. It’s playful, almost tongue-in-cheek body worship. “Calabar, calabar, owo lo je kin calabar… The way you dey shimbaraba, baraba / O gbé mi de Canada…” Here Olamide contrasts the grind (“Wetin dey give you blood pressure? Money… Hustle for dollar, hustle for Bitcoin”) with the escape she provides. She’s not just a body; she’s solar energy, the antidote to the hustle. 

“Rock Me Gentle” feels refreshingly self-assured. It’s not trying to be the next global banger; it’s content being the song you play when the lights are low and the vibes are right. The production is immaculate, the lyrics are witty and re-listenable, and Olamide’s delivery proves that maturity just means knowing exactly when to hold back.

But the genius of “Rock Me Gentle” lies in how effortless it sounds. Olamide isn’t trying to prove he can make a smooth record; he’s simply existing inside one. The melodies drift naturally, the slang lands without feeling forced, and the production never competes with him for attention.

At this stage of his career, Olamide understands texture better than most artists in Nigerian music. “Rock Me Gentle” may not be his loudest record, but it’s one of his most comfortable, and that comfort is exactly what gives the song its replay value.

Adekunle Gold — FUJI XTRA (Album)

Adekunle Gold’s FUJI XTRA is the deluxe victory lap that turns a strong 2025 album into a 2026 cultural statement; an expanded edition brings the original Fuji’s 15 tracks to a beefy 20-song package. The five new additions, including heavyweight features from Olamide, Simi, and TML Vibez, deepen the project’s roots-meets-future vision while retaining its identity. 

AG doubles down on his tribute to Fuji, the genre, while proving he can evolve it for modern ears. The original album blended traditional percussion, highlife echoes, and global R&B; XTRA sharpens that edge with street energy and melodic polish. The heartbeat of FUJI XTRA remains the masterful fusion of Fuji’s signature talking drums (dùndún), Sakara, and Apala influences with sleek Afrobeats production. Producers like TMXO, Chillz, Vtek, Seyifunmi, Niphkeys, and Kazez create breathing room for live instrumentation while layering in log drums, subtle synths, and bouncy percussion that feel expensive and rooted.

“Formation” with Olamide is an energetic, dance-floor-ready electro-Fuji bounce. Fast-paced percussion drives call-and-response energy that screams party starter. “Shake Shake” feat. TML Vibez is a playful, rhythmic shake-down with infectious highlife guitar lines and tight drum programming. “Blue Fire” with Simi is a smoother, almost sultry mid-tempo groove that lets vocal harmonies breathe over warm pads and restrained percussion.

The original cuts like “Big Fish”; talking-drum-heavy opener “Don Corleone” mafioso swagger, and “Bobo” retain their shine, now sequenced seamlessly with the new material. The deluxe flows like a complete journey from street ambition to reflective gratitude. AG’s drummer background shines through—the rhythms are precise, never cluttered, and always in service of the song. AG has always been a storyteller, and FUJI XTRA showcases his range.

FUJI XTRA stands out for its intentionality, expanding on Fuji’s percussive soul while delivering hit-worthy hooks and features that elevate it. Whether you’re new to the Fuji universe or already locked in, Adekunle Gold’s FUJI XTRA gives you more reasons to stay.

Naira Marley — Moti High

Naira Marley’s “Moti High” is pure Marlian gasoline dropped right on New Music Friday. The single marks another unapologetic statement from the street-pop provocateur. Following recent label shifts, signee Zinoleesky’s exit, and a string of buzz tracks, Naira Marley delivers a high-octane, feel-good banger that leans hard into his signature carefree, rebellious energy.

This isn’t introspective or conscious-mode Naira Marley. “Moti High” is escapist, celebratory street music designed for loud speakers and zero worries. Niphkeys handles the beat, and he delivers an infectious, dance-floor-ready Afrobeats record with a street edge. The production sits in a lively mid-tempo pocket of bouncy percussion, rolling drums, and melodic synths that create an addictive groove with complimenting vocals.

It has that signature Naira Marley bounce: steady kicks and snares driving the rhythm, layered with bright, almost carnival-like tones and subtle highlife-inspired elements. The arrangement builds smoothly, leaving space for Naira Marley’s flows while keeping the energy high from intro to outro. Hard-hitting yet accessible, reminiscent of his “Soapy”/“Mmmn” era. 

Naira Marley stays in a witty, slang-heavy, and body-positive. “Moti High”, literally “I’m high”, is a celebration of elevation, enjoyment, and living lavishly without stress. Key lines from the hook and verses: “Woju mi mo ti high / Pe mo like e o’wani so walahi / Kosi Igbo ni be mo ba gbe e lor Dubai / Jump in the car Oya let’s take a ride / Baby girl mo ti high…” He mixes Yoruba/Pidgin flexing with flirtation: offering to buy whatever she likes, shifting gears in the car and metaphorically in the bedroom, and commanding dance moves. With lines like “Don’t take it off shift ur pant to the side / Anything you like o girl I go buy” and “Shake that thing ur mama gave u / Shake that take that shake that” 

There’s no deep storytelling here; it’s surface-level fun with street cred. Naira Marley brags lightly about the high life, invites a girl into the ride-or-die vibe, and keeps the energy light and hedonistic in that signature irreverent way. It’s quotable, meme-ready, and true to the Marlians ethos: enjoy the moment, ignore the hate, and stay high on life.

“Moti High” cuts through as the ultimate turn-up record. Naira Marley taps into the state where he once was the trend for a certain demographic. The Niphkeys production is tight and vibrant; the lyrics are unfiltered fun, and while the whole package won’t convert his critics, for Marlians and lovers of raw Nigerian street-pop, this is premium content.

Harmonize’s — Yazoee

Harmonize’s “Yazoee” is classic Konde Boy energy served fresh for New Music Friday — a smooth, heartfelt Bongo Flava anthem that reminds everyone why he remains one of East Africa’s most consistent melodists. “Yazoee” is a beautiful blend of romantic, reflective, and irresistibly danceable elements, produced with that signature Bongo Flava DNA. It is a warm, mid-tempo, and instantly hummable track. Rolling percussion, groovy basslines, melodic synth layers, and subtle Afropop/highlife-tinged guitars create an upbeat yet emotionally grounded pocket.

The arrangement gives Harmonize’s voice centre stage while the rhythm section keeps bodies moving. Think polished studio warmth meets street-ready bounce: log-drum undertones, bright keys, and a chorus that explodes into sing-along territory. It’s the kind of production that sounds expensive on big speakers but still intimate on headphones.

Harmonize stays true to his strengths, blending Swahili storytelling with relatable relationship talk. “Yazoee” sees a playful twist that feels like “Yazoe” or emotional elevation, fleshing out the messy beauty of romance: the highs, the lows, the lessons, and the unapologetic enjoyment of love despite its chaos. “Wanasema mapenzi kitovu cha uzembe / Mkulima usichague jembe ukijikwaa inuka…” 

The writing mixes street wisdom, poetic Swahili wordplay, and light-hearted flexing. Harmonize sings with that signature melodic flow—part crooner, part storyteller—making the track quotable and deeply singable. It’s not just flirtation; there’s growth, accountability, and joy in the imperfection of love. “Yazoee” stands out for its honesty and replay value. The production is infectious without trying too hard; the lyrics are culturally rooted yet universally felt, coupled with an almost effortless delivery from Harmonize.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

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The release comes on the heels of his October 2025 ‘Fuji‘ album, named after the Fuji genre, a Yoruba dance sound deeply rooted in Islamic-influenced delivery and traditional percussion. Announcing the record via his social media pages, Adekunle Gold emphasised that “Formation” is their “first ever” collaboration—a detail that still leaves many wondering why it took this long and why now. However, with “Formation”, the collaboration arrives at a time when both artists occupy a similar creative space, one that naturally aligns with Olamide’s long-standing flirtation with Fuji influences.

Produced by Chillz, “Formation” continues the sonic thread of Adekunle Gold’s Fuji album, which explains its inclusion as part of a pack release alongside select tracks from the project. The record leans fully into that world, carrying a delivery that suggests not just influence but studied familiarity with the genre. It opens on a percussive groove and a pacy cadence, with both artists referencing “electro fuji” within the song—an indication of how they frame the record itself. Adekunle Gold’s delivery is smooth and measured, though a slightly huskier texture might have added more weight to its Fuji leanings. Olamide, however, steps in with a verse that supplies that missing grit, reinforcing the record’s foundation and sharpening its identity.

“Formation” sits comfortably within the growing pocket of neo-Fuji—a space where pop sensibilities are woven into traditional structures, reshaping a decades-old sound into something more contemporary. It’s a feel-good record, but one that remains conscious of its roots, as both artists push at the edges of heritage while still moving like students of it.

What makes “Formation” resonate is the collaboration and the timing of it. After years of parallel evolution, Adekunle Gold and Olamide meet at a point where their artistic languages overlap more naturally than ever. The record builds on history, subtly reinforcing their roles as both interpreters and preservers of a sound that continues to stretch beyond its origins.

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“I get my inspiration from Wizkid, Asake, Olamide, and Seyi Vibez,” TML stated directly, naming the quartet that has undeniably shaped his melodic, introspective sound blended with raw street energy.

This revelation comes against the backdrop of past tensions that still linger in fan circles. TML Vibez rose to prominence under Seyi Vibez’s Vibez Inc. imprint, distributed through Dapper Music, delivering collaborative bangers like “Goated” and “Where I’m From”. However, a messy split in 2025 sparked accusations of betrayal, with Seyi Vibez fans labelling TML a “Judas” for aligning closer with Dapper after the separation. Rumours of contract disputes, revenue splits, and blocked releases fuelled heated online debates, fracturing the once-solid “NSNV” (No Seyi No Vibez) loyalists.

Yet, in this new interview, TML not only includes Seyi Vibez among his top influences but also reportedly clarified his origins, crediting Dapper Music for discovering him first via DMs and facilitating early collaborations. This nuance has reignited discussions, with some fans “crashing out” over the perceived downplaying of Seyi Vibe’s mentorship role, while others praise TML’s balanced perspective.

In an industry often plagued by ego-driven beefs and public fallout, TML Vibez’s approach is refreshingly mature. By publicly honouring Seyi Vibez—the artist who undeniably amplified his breakthrough—alongside established giants like Wizkid, Olamide , and Asake. It’s a subtle masterclass in navigating label politics: acknowledge your roots, credit those who elevated you, and keep creating.

This moment underscores a broader truth in Nigerian music—inspirations transcend contracts and drama. Olamide has long been the blueprint for ghetto-to-global success, Wizkid the symbol of longevity and innovation, Asake the proof of viral authenticity, and Seyi Vibez the voice of raw emotion that TML himself echoes. 

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The GTCO End-of-Year Party, hosted by GTCO Group at Lulu Beach, transformed the waterfront into a festive hub where music, fashion, and celebration collided in the heart of Nigeria’s holiday season.

In a rare and exhilarating convergence, a host of artists, including three of Afrobeats’ most influential artists—Wizkid, Davido, and Olamide—took to the stage, each commanding the crowd with sets that blended their biggest hits with unforgettable live energy.

Wizkid, arguably the night’s anchor and unofficial Detty December starter, kicked off his performance by declaring the festive season officially open, a moment that quickly became one of the event’s defining quotes. His set was a dynamic mix of tracks from his latest work alongside fan favourites that had the crowd waving lights and phones in unison. 

At the event, Wizkid declared Detty December open to the cheering crowd before following up with a rendition of some of his hit singles in a performance that lasted nearly 15 minutes:

“Who else go start Detty December if not Daddy Yo! I officially announce the start of Detty December”.

“Who else go start Detty December if not Daddy Yo?”

— Wizkid at the GTCO End of the Year Party in Lagos last night pic.twitter.com/T91Kcagf6L

— HYPETRIBE (@hypetribeng) December 17, 2025

Wizkid delivered his set while GTCO Group CEO Segun Agbaje was seen in the crowd enjoying the show.

Davido followed with his trademark high-octane delivery, leaving the stage drenched in sweat and adoration after performing crowd favorites like the Grammy-nominated “With You” that turned the beach venue into a sing-along zone as his catalogue of hits echoed across the sand.

Not to be outdone, Olamide brought his own flavour, reinforcing his enduring deep connection with Lagos audiences through a set that blended street anthems with rhythmic cadences that are staples of the city’s live circuit. While Tems captivated with her soulful voice and signature whine on tracks like “Wickedest”, adding a layer of global appeal to the lineup.

Spotted in the mix were other artists like Falz, Young Jonn, Fireboy DML, BNXN, Ruger, Shallipopi, Falz, and DJ Tunez, who linked up with the headliners, adding to the night’s collaborative spirit. The crowd, a glamorous blend of bankers, influencers, and die-hard fans, danced under the lights, creating an atmosphere of pure celebration.

The GTCO party epitomised how corporate-backed celebrations have become integral to Lagos’s year-end culture, offering spaces where major artists, lifestyle moments, and fan experiences intersect without the heavier price tags of commercial concerts.

As Detty December continues to unfold, last night’s spectacle will be remembered not just for its performances, but for how it captured Lagos at its most vibrant, social, and celebratory—a true curtain-raiser to the city’s bustling holiday calendar.

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The spectacle began long before he touched the mic. In a flourish that married Lagos swagger with London theatre, Olamide rolled onto the stage inside a vintage 1958 Jaguar XK150, headlights cutting through the smoke as the crowd roared. Then came the bassline of “Lagos Boys”, thundering through the speakers like a call to order. Clad in a sleek ash ensemble that radiated quiet authority, he dove headfirst into a sprawling catalogue that felt less like a setlist and more like an autobiography—street-hop roots, Fuji-tinted grit, and pop-polished global hits.

 By the time he hit the euphoric drop of “Infinity” and early runs like “Durosoke”, “Konkobility”, and “Motigbana”, the arena was a sea of waving flags and jumping bodies, with no empty seats in sight. It was a reminder of Baddo’s unparalleled hit factory: tracks like “Science Student” recreated its iconic video choreography with laser precision, while “Who You Epp” sparked a call-and-response frenzy that drowned out the sound system.

When he slipped into “Stupid Love”, “Melo Melo”, and “The Money”, the crowd sang like they’d been rehearsing for years. And as the night thickened, he eased into an unreleased love ballad before sliding into “Rock”, a move that confirmed he still has new chapters to unfold.

But the real alchemy was in the transitions. The Fuji segment—“Eleda Mi”, “Jale”, “Fuji House”—was more than a genre pivot but a tribute to the genre that also fully captured Olamide’s immense contribution to the music industry. He wove in nods to legends like Pasuma, K1, and Obesere, earning roars from older fans tucked into the upper tiers. Then came the body-shaking Afrobeats run: “Pawon”, “Update”, and “Owo Tabua”, each sounding bigger, fuller, and almost ceremonial inside the arena. Confetti cannons snapped, lights strobed, and for minutes at a time, Wembley felt like Oshodi on a festive night.

Yet for all the scale, there were moments of intimacy. Midway through, Olamide stopped the music to check on a fan who looked unwell, pausing the show completely until security arrived. It was a small, human gesture in the middle of a giant machine, and the audience responded with a wave of applause. Later, with a sly smile, he threw a jab at online naysayers claiming he’d “fallen off”, smirking before saying, “Won de ni baba iya won oni fans mo…wo ni shorire”, transforming the moment into a communal victory lap for everyone who’s believed in him since his Bariga beginnings.

What elevated this from great to legendary were the guests—a who’s who of Afrobeats’ past, present, and future, handpicked to honour Baddo’s role as the ultimate unifier. First up: Asake, the YBNL protégé turned global sensation, who surprised everyone with a fiery reunion on “99”, their chemistry crackling like and infecting the crowd. The duo’s back-and-forth had fans screaming, a poignant full-circle moment after Asake’s meteoric rise. Seyi Vibez joined them on stage before delivering the gritty “Shaolin” with raw emotion, his baritone cutting through a crowd that was now in uproar.

Bella Shmurda brought the street edge with “Cash App”, his high-energy bounce syncing perfectly with Olamide’s “Loading” for an impromptu cypher that felt organic, not orchestrated.

The surprises kept rolling: Lojay ignited the room with “Monalisa”, his silky vocals layering over Olamide’s ad-libs in a seamless blend of R&B flirtation and trap menace. Lil Kesh, the OG YBNL loyalist, revived “Shoki” nostalgia, jumping onstage for a throwback medley that had aunties in the crowd two-stepping like it was 2014. Pheelz, ever the hitmaker, joined for “Fada Fada”, his production wizardry live-translated into keyboard flourishes that added soulful depth. Joeboy’s smooth performance injected pop polish, and Poco Lee’s dance extravaganza during “Bobo” turned the stage into an even more entertaining show.

Darkoo repped the UK-Naija fusion with a gritty “Gangsta”, her London accent adding gritty authenticity, and Ashidapo closed the guest parade with highlife-tinged vibes on “Goons Mi”, bridging Olamide’s indigenous roots to the arena’s international pulse. Backstage, the energy spilt over: DJ Spinall and Enimoney manned the decks, Adesope and Toki lurked in the wings, and even content creator Peller popped up (despite a brief security dust-up that Olamide graciously addressed with a DM the next morning).

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After the show, Olamide was handed a plaque for selling out the arena. As the lights swirled over the exiting audience, the message was unmistakable. Olamide’s OVO Wembley show was bigger than an artist or an album cycle. It was about him, his legacy.

By the time he closed with the eternal crowd-quake “Wo”, voices were hoarse, feet sore, and hearts full. And as 12,500 people spilt into the cold November night, one truth lingered in the air about how one man’s stubborn commitment to authenticity built an empire that now fills global arenas.

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Following his collaboration with Wizkid on ‘Kai’—which also marked their fifth song together—Olamide enlists Willis’ expertise while bringing together former YBNL members Young Jonn and Asake, alongside Seyi Vibez and Zimbabwean artist Daecolm. “99”, released on 9th of June, contrasts the expectations of many as it sidesteps the implication that a heavy Afrobeats star presence means a party-starter record. And while this is the case for Olamide’s second lead single off his forthcoming album, “99” is still a certified Afro-house masterpiece in how it utilizes each guest’s verse in delivering a laid-back Afro-house groove. 

A closer look at Olamide’s craft reveals that he’s never been a conventional artist when it comes to making music, regardless of how commercial his sound may be. Hence, the existence of albums like the mellow UY Scuti, where he mostly croons, and the pulsating Ikigai, which evokes memories of his early rap days.

And on 99, he shapeshifts again, but not in the way long-term listeners might anticipate. Over the Willis-assisted production, Olamide opens the track with a sing-rap delivery and the exuberance of someone celebrating a newly acquired financial goal, driven by the desire to “party like it’s ’99”—a sentiment Young Jonn drives home with deft, sticky melodies. Asake plays it safest, sticking to the rhythm and delivering his verse with a similar cadence, complementing Olamide and Young Jonn’s contributions with the appropriate messaging for “99”.

Seyi Vibez brings his unconventional apala-fuji–infused delivery, adding flavour and panache to the track, as Young Jonn serenades listeners yet again for the third time:
“Meji, meji, I’m gonna party like ’99, leave all my stressin’ behind tonight”—
but this time layered with the vocalizing of Zimbabwean dance-electronic artist Daecolm, who readies for his bit. His verse is velvety and lightweight, as he takes a more sensual approach, closing the track with a refined dance music tint.

If Olamide’s “99” is anything to go by, it’s that the 17 track album will be a genre-blurring experience, offering fans a vast sonic engagement.

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Olamide was named a 2025 Billboard Global Power Player in recognition of his lasting impact on the industry. As both a prolific artist and founder of YBNL Nation, he has played a pivotal role in championing street-pop and developing stars like Fireboy DML and Asake. From Bariga to Billboard, his decade-long journey reflects a legacy built from the ground up.

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Tems received the Billboard Diamond Award, a nod to her far-reaching artistry and genre-bending presence. Her distinctive voice and songwriting have earned her global acclaim, whether on tracks like Free Mind or through collaborations that continue to expand the boundaries of Afrobeats. In her acceptance speech, she called the moment “a win for every African girl with a dream” and thanked Billboard for spotlighting African voices.

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Teni was also recognised for her bold sound and unmistakable presence in Afropop. Known for her vibrant delivery and genre-fluid style, she continues to bring energy and authenticity to every record.

All three artists expressed gratitude for Billboard’s support in promoting African music and culture, underscoring the platform’s role in elevating the continent’s sound on the global stage.

With these honours, Billboard’s London event celebrated talent that marked a cultural shift and cemented Africa’s place at the heart of the global music conversation.

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‘Kai’ is reported to be the lead single from his forthcoming eponymous 11th studio album. Said to contain 17 tracks, the project carries the lengthiest runtime since his 2017 album “Lagos Nawa”. 

‘Kai’, a product of multiple creators, was produced by Eskeez and Semzi, with background vocals from Olamide’s signee Fireboy DML, alongside Young Legend’s label boss, Joeboy.

On the nearly three-minute track, Olamide sidesteps his rapper image and dons his singer cloak—something we’ve seen countless times, and which he has impressively mastered over the years—over a blend of instruments that result in a laid-back, rich melody. The song opens with guitars, drums, and Olamide’s vocals, layered with a texture that speaks to years of experience. ‘Kai’ is a feel-good song, with Olamide occupying a space of luxury—a carefree life of celebration laced with thoughts of his lover. Wizkid’s verse enters suddenly and leaves an immediate impression, his silky vocals gliding over Eskeez and Semzi’s vibrant production, with wind instruments providing the needed lift.

‘Kai’ is assuredly another classic—one that will resonate deeply with fans who cherish the rare magic of Olamide and Wizkid on a track. It is a standalone Afrobeats brilliance, untethered from the success of its predecessors, and verily on its path to carve its own place in the Olamide-featuring-Wizkid hall of fame.

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Teni — Money

For her first single of the year, Teni teased “Money” a week ago, sporting a cowboy hat and coat on her social media pages. With a stripped-down, intimate, and emotionally raw delivery, Teni expresses her desire for “all the money in the world” and a taste of the good life. During the rollout, Teni declared that this year is about “getting the bank” and that she should be “met at Money Boulevard.” Considering her profession, this could hint at a slew of singles waiting to drop—or even an album. Whatever the case may be, Teni kicks off her music year with solid momentum, releasing the new single alongside its visuals. 

Magixx — Winter & Summer

On January 12th, Magixx kicked off the new year teasing “Winter & Summer,” sporting a new, rockstar-like hairstyle while appearing somewhat desolate, holding a bottle of liquor that evokes memories and confessions. Magixx’s delivery on “Winter & Summer” is exceptionally impressive—a creation of artistic freedom and innovation. In the slightly over three-minute song, it is quite poignant to learn Magixx is in this state due to a muse he has not spoken to in two years. He evokes strong emotions from listeners with his newest release, delivering a rendition with less heavy percussion, accompanied by the consistent strings of a guitar.

Qing Madi — Ali Bomaye

With great anticipation, we await Qing Madi’s debut album, “I Am The Blueprint,” which arrives exactly a week from now. Starting her rollout in late October last year, Qing Madi and her team have done an impressive job creating an engaging experience for fans, particularly this month. From opening the year with a captivating performance of the emotive “Goosebumps” on Colors to releasing weekly singles compiled into an EP, and finally revealing an album tracklist with no guest features, Qing Madi has kept her audience hooked.  What makes Qing Madi’s artistry intriguing is her ability to share stories from every possible phase of a “lovecycle.” Unlike the chaotic “Favorite Psycho,” “Ali Bomaye” introduces a love-struck Qing Madi, referring to her muse as her “peace.” That’s progress for her—and we’re here for it.

Tml Vibez x Young Jonn x 4kerty — Paper

Still signed with Dapper Music, unlike his former label mates Seyi Vibez and Muyeez, Tml Vibez collaborates with Young Jonn and 4kerty on “Paper.” Since joining the Dapper family, with Seyi Vibez playing a pivotal role in his career, Tml Vibez continues to demonstrate why he is one of the preferred new street-hop artists, perhaps due to his ability to create a calm, groovy track like “Paper” while retaining elements of a street-hop song. Young Jonn, with his track record as a stellar collaborator, complements Tml Vibez’s delivery, resulting in an undeniably addictive track.

Olamide – Idan Buruku

“Idan Buruku” feels long overdue, considering Olamide has been teasing this gritty side of himself on tracks like “Synchro System” from Ikigai. Clearly, Olamide couldn’t keep his raw essence locked away forever. Out of nowhere, he surprises the industry with a little over a minute-long freestyle titled “Idan Buruku.”While he certainly doesn’t need to prove anything at this point in his career, moments like this serve as necessary reminders.  On “Idan Buruku,” Olamide, with commanding confidence, reaffirms that he’s still got it and can unleash it at will: “Fuck that top 3 convo shii mosafejo, Always on my demon time jenja tebafegbo, Tobati de di rap iyalayin ema shu sabo, Lyrical Kim Jung-Un o ya werey ju maluuu, Eyin lokan mi wa timba gbo beat ma di evil, Devil mama tremble ama ki igbe eje Jesu, ‘Cause I’m really bloody with it, nobody on my level.”

LISTEN TO THE NEW MUSIC FRIDAY PLAYLIST BELOW

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Pheelz has become a household name in the Nigerian music scene, right from his days as just a producer to his transition to a big time artist. His latest release, “5am in OJO Freestyle,” is a testament to why he has made a name for himself in the industry. The track captures the spirit of hustle and determination, reflecting the realities of life in the streets of Lagos.

What makes “5am in OJO Freestyle” even more exciting is the impressive lineup of featured artists.

Baddo himself, a heavyweight in the Nigerian music scene brings his signature style and lyrical depth to the track. His verse was extremely fire and even has social media users making viral videos from it. Olamide‘s verse add more street credibility, making it a perfect match for Pheelz’s vision of the track.

DJ YK Mule is already known for his infectious beats as well as his catchy mixes and he showed off his ability to create catchy rhythms blends so smoothly with Pheelz production for the track. His addition to the track has listeners hooked the more.

The talented dancer and entertainer, Poco Lee added an energetic flair to the freestyle. His unique style in the intro is sure to grab the attention of listeners every single time.

“5am in OJO Freestyle” is more than just a song; it’s a cultural moment. The track really captures the spirit of Lagos, where the hustle never stops, and dreams are chased relentlessly. Pheelz’s ability to convey this message through his music is what sets him apart as an artist. The freestyle format allows for raw expression, and Pheelz, along with his collaborators, delivers a powerful performance that resonates with listeners.

The production quality is also top-notch, with Pheelz himself taking the reins behind the boards. The blend of Afrobeat rhythms, catchy hooks, and engaging lyrics creates a sound that is both fresh and familiar. It’s a track that invites you to dance while also encouraging reflection on the struggles and triumphs of everyday life.

In a week filled with new music, Pheelz’s “5am in OJO Freestyle” stands out as a major tune that deserves your attention. With the combined talents of Olamide, DJ YK Mule, and Poco Lee, this track is a celebration of collaboration, and the vibrant culture of Nigerian music. Whether you’re a long-time fan or new to Pheelz’s sound, this freestyle is a must-listen that will undoubtedly leave you wanting more.

The post Pheelz’s 5 am In Ojo Freestyle: Street Pop at its Finest. appeared first on Afromixx.