And because great music doesn’t always need a leaderboard, this list is not ranked or sequenced. Every song earns its place on its own terms. With plenty more music still to come before the year closes, these are the records that have already made their mark.

Asake — “Forgiveness“

“Forgiveness” sits at the emotional core of his fourth studio album, ‘M$NEY’. It’s the track where Asake’s usual bravado gives way to something closer to confession. Over a restrained arrangement from Magicsticks that leans on mournful brass instead of the log-drum bombast he’s known for, he owns up to the wreckage of fame—the women, the friends, the excess—before settling into a hook that functions more like a vow. It’s a rare instance of an artist this dominant choosing vulnerability, sitting with very human emotions, and the fact that it became one of the album’s biggest moments anyway says something about how hungry listeners love hearing him drop the armor.

Sarz & Bnxn — “Back Outside”

There is something infectious about the intro to “Back Outside” The harmonious voices of the children come in first, then that beautifully played flute settles into the record, and before the song has even properly started, you are already nodding your head and chewing your lips because you are trying to sing along.

It is a gorgeous way to open a song that could easily have relied on the beat alone.

But Bnxn gives it a story too.

We might not know exactly who is waiting for Anjola in Lagos or who is going to sort out her pickup, but we understand the picture. There is a woman somewhere, and somebody is expecting her. Buju doesn’t need to give us every detail. The little pieces are enough for your imagination to do the rest.

At this point, the Sarz and Bnxn combination has become one of those pairings that just makes sense. Sarz knows how much space to give Buju, and Buju knows exactly how to sit inside a Sarz production. There is groove, there is personality, and there is enough detail in the production to keep the song interesting after the first listen.

“Back Outside” feels like a song made for that particular moment when the night is still young and nobody has decided when they are going home.

Blaqbonez ft. Asake — “Chanel“

“Chanel” works because both artists effortlessly find a middle ground, and the result is one of the catchiest Afropop songs of the year. With a friendship that traces back to their OAU days, both artists reconnect on their first single together following the success in their respective careers. It’s a familiar Blaqbonez trait carried into new territory—even as a rapper, he’s always leaned toward singing his own hooks rather than ceding that space to a featured vocalist, and “Chanel” is no exception. His delivery dialed into something smoother, more sing-song, and club-ready than his usual chaotic charisma. Asake meets him halfway, trading his signature melodic runs for a more rap-sing cadence that lets him ride the pocket, floating above it. It’s a genuine swap of instincts rather than two artists doing what they always do, and this chemistry does the heavy lifting, and the song itself stays light, glossy, and unbothered, which is exactly what it’s going for.

Victony — “Slick”

Amma does a very good job of introducing what might already be the song of the summer.

Victony has been on a roll this year, and “Slick” is another reminder that he understands exactly how to make a song feel effortless. Nothing is trying too hard. The melody is easy to catch, the lyrics settle into your head almost immediately, and Victony’s delivery makes it feel like he has been singing it in your ear for years.

There is only one problem.

“Slick” is one minute and 46 seconds too short.

That is not even an exaggeration. You get comfortable, you start enjoying yourself, and suddenly the song is over. The kind of ending that makes you reach for the replay button before you have even processed the fact that it has finished.

“Slick” arrives, does what it came to do, and disappears before you can get tired of it.

Davido ft. Mayorkun & Fola — “B4 B4“

Tucked into the tracklist of Davido’s ‘Oriadé‘, “B4 B4” feels like a small piece of Afrobeats lineage compressed into under three minutes. Originally a Mayorkun and Fola collaboration that found its way onto the album, the track carries that familiar sultry, mid-tempo bounce, with Fresh VDM’s production keeping everything warm, fluid, and slightly tipsy. Davido and Mayorkun, with a track record of hit songs behind them, welcome Fola, whose breakout run has had the mainstream in quite the vice grip; the chemistry feels almost inevitable—a smooth R&B record steeped in African sensibilities. The arrangement is perhaps its greatest strength. All three artists navigate each other with remarkable ease, giving each voice enough room to register. “B4 B4” is tight, hook-driven, and instantly accessible, the kind of song that can pull in even a passive listener before they realize they’re already humming along. It simply works.

Solana — “Okunkun”

Solana sure did a thing with “Okunkun.”

A pop song made predominantly in Yoruba is still unusual enough to make you stop and listen, but being different is not enough. A song can be unconventional and still be terrible.

Thankfully, “Okunkun” is not.

The melody is almost annoyingly good. The lyrics make sense. There is a proper hook, there is replay value, and Solana sounds completely at home inside the world the song creates. It doesn’t feel like somebody decided to make a Yoruba song simply because Yoruba music is having a moment. It feels like a song that knows exactly what it wants to be.

There is also an interesting story behind its timing. “Okunkun” was recorded years ago, but Solana and Killertunes sat on it before finally putting it out this year. 

Naturally, people have opinions.

Some listeners have argued that the production sounds almost too “white” for the Yoruba lyrics, as though the language was placed over a beat that belongs to another musical world. Others might argue that this is precisely why the record works. There is something exciting about hearing familiar language placed inside an unfamiliar sonic environment.

Would “Okunkun” have landed this way if it had been released a few years earlier? Maybe not.

Would we have heard it differently if Nigerian pop wasn’t currently so open to experimentation? Probably.

Maybe Killertunes and Solana got lucky, maybe they simply waited for the right moment.

Anyhoo, be it luck, timing or patience, we are all better for the existence of “Okunkun”

Tiwa Savage ft. Wande Coal & Mavo — “Energy“

Tiwa Savage’s “Energy” is a masterclass in controlled voltage. Teaming with the ever-reliable Wande Coal and rising force Mavo over KrizBeatz’s clean, modern pulse, she turns romantic demand into something almost athletic. “Energy” arrives at an interesting moment for Tiwa Savage, who’s spent much of the year building institutions as much as records—she launched a music foundation with Berklee College of Music not long before this dropped—and the song carries that same forward-motion spirit. Wande Coal’s melodic instincts remain as sharp as ever; Mavo adds a younger, street-pop edge; and Tiwa’s delivery is regal yet playful with that unmistakable golden-era texture.

Tiwa Savage herself sounds fully in command, turning the song into a buoyant Afropop record, reminding the older generation how she made one of those and showing the newer generation how a hit record is made.

Wizkid & Asake — Jogodo

As the lead single off ‘Real, Vol. 1‘, “Jogodo” finds Wizkid and Asake testing each other’s limits with the ease of two artists who trust their ability in making an inviting and instructive mainstream party record. Built on a loose blend of percussion and brass, and sung mostly in pidgin, the song is ostensibly about the pleasant haze of intoxication, but artistic interplay shines more brightly. Magicsticks crafts a log-drum-and-violin hybrid that melds perfectly with Wizkid’s cool restraint and Asake’s kinetic energy, which is exactly what makes the moments they choose to share so worth paying attention to.

Ayra Starr & Fola — “Treat You Right”

“Treat U Right” feels like a little gift for everybody who has been waiting to hear more from Ayra Starr and Fola together.

The first thing that stands out is how comfortable they sound with each other.

There is a lovely back-and-forth between them, with each artist bringing something different without either one trying to overpower the other.

Ayra sounds as bright and assured as ever, while Fola brings that softer, more intimate quality that has become such a big part of his appeal. Put them together, and the contrast works beautifully.

The production understands the assignment too. It doesn’t bury the vocals under unnecessary layers or turn the song into a competition between two artists. Everything feels clean enough for the melodies and lyrics to breathe.

“Treat U Right” sounds like two people enjoying the same musical space rather than two names being placed next to each other because it looks good on a tracklist.

We wanted more Ayra and Fola.

They gave us a reason to ask for more.

Asake — “MCBH”

There is a particular strain of arrogance that only becomes interesting once it has been tempered by genuine reflection. On “MCBH”, the seventh track from his 2026 album M$NEY, Asake has finally found that register. The title is an acronym for “Money Can’t Buy Happiness”, and the song is exactly what that phrase promises when spoken by a man who has already tested the theory at scale. A flex that refuses to stay a flex, a victory lap that keeps glancing upward. Over BlaiseBeatz’s elastic, violin-laced groove, Asake’s signature Yoruba-Pidgin cascade balances ten-billion boasts and untouchable cigars with the quiet insistence that prayer is what saves, turning soft-life luxury into a spiritual inventory. In two and a half minutes the track distills the entire ‘M$NEY’ ethos.

The post The 10 Best Nigerian Songs of 2026 So Far appeared first on Afromixx.

BNXN, Sarz — The Game Needs Us

BNXN & Sarz’s “The Game Needs Us” EP is the smooth, cohesive Afro-fusion statement the game actually needed. BNXN links up with production maestro Sarz for The Game Needs Us, a tight five-track EP that clocks in at just over 15 minutes. This is a deliberate, vibe-first joint that builds on their proven chemistry from “Gwagwalada” and “Pidgin & English”. Sarz handles all production, crafting soundscapes that feel both familiar and freshly polished. BNXN glides over every beat with that signature buttery delivery—Pidgin, Yoruba, English, and even interpolated Bambara. “The Game Needs Us” reminds listeners why they fell in love with this sound in the first place. It delivers on Sarz’s addictive production and BNXN’s rich, gliding vocals, wrapped in chemistry that feels lived-in. “The Game Needs Us” is the sonic equivalent of a perfectly mixed drink: layered, intoxicating, and gone too soon.

Entirely produced by Sarz, the EP leans into the producer’s long-standing reputation for textured, rhythm-forward soundscapes that feel futuristic without abandoning African musicality. Across the project, percussion sits at the center of everything. Even the softer moments have movement hidden underneath them. The drums breathe, the synths glide in and out carefully, and the transitions between moods feel seamless. It is the kind of production that rewards headphones as much as it does late-night car speakers.

The opener, “Rum & Soda”, immediately establishes the EP’s atmosphere. Sarz builds the song around warm percussion, floating chords, and a subtle bounce that gives BNXN enough room to stretch melodically. Lyrically, the track thrives on escapism and romantic intoxication. BNXN sounds relaxed but intentional, slipping between flirtation and emotional vulnerability with the ease that has made him one of the strongest melody writers in Nigerian pop music. His writing is conversational but never lazy. He understands how to make longing sound smooth. “Back Outside”, the lead single, remains one of the project’s defining moments. The interpolation of Amadou & Mariam’s “Ko Neye Mounka Allah La” gives the track a nostalgic undercurrent while Sarz flips it into something sleek and contemporary. BNXN approaches the record with swagger, but there is still emotional tension beneath the surface. The song balances freedom and heartbreak in a way that mirrors modern Afropop’s obsession with emotional detachment disguised as enjoyment. The Bambara chorus translates to pure perseverance (“No matter what happens, we will keep going, don’t worry / Whatever comes our way, we will face it and move forward”). BNXN addresses lay-low periods, distractions (“You were out chasing a rainbow”), and his unbreakable grind (“My gbedu no go finish”). “Already” feels more introspective. Here, BNXN sounds reflective, singing about emotional certainty and romantic commitment without overcomplicating the writing. Sarz strips the production back slightly, allowing airy pads and restrained drums to carry the record. It is one of the moments where the EP feels most intimate. BNXN’s strength has always been his ability to make emotional songs feel effortless instead of overly dramatic, and that quality quietly drives this track. Then comes “Emotional High”, arguably the emotional core of the project. The production is hypnotic — layered synth textures, soft bass pockets, and subtle rhythmic shifts create a floating sensation that mirrors the instability the lyrics describe. BNXN leans fully into emotional vulnerability here, singing about desire, attachment, and the confusion that comes with both. His vocal performance is particularly strong on this record because he over-sings. The closing track “Frank Sinatra” expands the project’s cinematic edge. The title alone suggests luxury and composure, and the song carries that energy throughout. Sarz experiments more boldly here, introducing moody textures and dramatic pauses that make the song feel larger than its runtime. BNXN responds with a performance that is confident, stylish, and emotionally guarded all at once. It is the type of closer that leaves the EP hanging in the air rather than fully resolving it.

What makes ‘The Game Needs Us’ work is restraint. At just five tracks and roughly fifteen minutes long, the EP avoids the excess that often weakens collaborative projects. More importantly, the EP reinforces how valuable Sarz remains to modern African music. His production continues to evolve without losing identity, and BNXN sounds especially comfortable inside that world. Together, they understand how to make emotionally intelligent Afropop that still feels rhythmically alive. It is concise, confident, and deeply aware of what both artists do best.

Johnny Drille — Before The Morning Light

Johnny Drille’s “Before The Morning Light” is a soul-stirring, star-studded ode to love, healing, and dawn after darkness. Five years after ‘Before We Fall Asleep’, the Mavin Records singer-songwriter drops his sophomore album ‘Before The Morning Light’—a 14-track journey of vulnerability, romance, hope, and emotional depth that feels like the musical equivalent of watching the sun rise after the longest night. Clocking in as a rich, introspective body of work, the album blends Johnny’s signature folk-alternative soul with subtle Afropop grooves, live instrumentation, and heartfelt collaborations. Produced largely by Johnny Drille’s hands-on touch, it features heavyweights like Angélique Kidjo, Ayra Starr, Young Jonn, Tiwa Savage, Fireboy DML, Lojay, Nonso Amadi, Jerub, Aqyila, and more.

Across the project, he leans heavily into the emotional storytelling and soft sonic textures that first defined his appeal, but this time with a clearer sense of maturity. There is less urgency to prove himself as an alternative act within Afropop. Instead, the album sounds like an artist finally settled into his identity, making music that prioritizes feeling over spectacle. The title itself evokes patience, faith, and renewal—“before the morning light” as that liminal space of waiting, hurting, loving, and eventually healing. The production is warm and spacious, letting his buttery, emotive vocals breathe while weaving in acoustic guitars, gentle percussion, weeping strings, and soulful keys.

Sonically, Before The Morning Light exists somewhere between folk, soul, R&B, highlife, and acoustic pop. The production is warm and deeply human. Guitars remain central to the album’s emotional architecture, but they are layered with delicate percussion, airy harmonies, restrained piano arrangements, and subtle Afrobeats influences that stop the project from drifting too far into softness. “Colorado” (ft. Ayra Starr & Young Jonn): The pre-release single that set the tone. A smooth, mid-tempo groove with reflective lyrics about love that hits like elevation (“high like Colorado”). Johnny questions sufficiency in the relationship, Ayra Starr adds her signature vulnerability and flair, and Young Jonn brings melodic bounce. Gentle guitars and emotional delivery make it instantly addictive. “Over The Moon” (ft. Tiwa Savage) is buoyant and celebratory. This one captures that euphoric, head-over-heels love high—Johnny Drille and Tiwa Savage trading smooth verses and harmonies over uplifting production. Pure feel-good soul. “Blown Away” is a heartstring-puller with weeping strings. Johnny Drille sings of being utterly captivated beyond the physical—“Something about you, I’m blown away every day.” It’s the kind of vulnerable ballad that defines his appeal. Other highlights include “I’m Available”, “Last Forever”, “Angelina”, “Chokehold”, and “Waste Your Time”—each layering intimacy with groove. Tracks with Fireboy, Lojay, and Nonso Amadi likely lean into chemistry and groove, expanding the sonic palette while staying true to Johnny’s emotional core.

Lyrically, Johnny Drille remains one of the strongest emotional writers in Nigerian music because of how ordinary his language feels. He does not rely on overly poetic abstractions to communicate vulnerability. Instead, he writes like someone documenting real conversations, private fears, and moments of affection exactly as they happen. That simplicity gives the album emotional weight.

The title itself — ‘Before The Morning Light’ — becomes a thematic anchor throughout the record. Much of the album lives in emotional darkness: loneliness, longing, uncertainty, emotional exhaustion, and romantic reflection. But there is always a quiet optimism underneath it all, as though Johnny is searching for emotional clarity before sunrise fully arrives. 

“Before The Morning Light” cements Johnny Drille as one of Nigeria’s most complete artists—the “King of Feels” delivering a zero-skip sophomore album that balances introspection with accessibility.

Tml Vibez, Victony — Hello

There is a certain emotional instinct that has quietly defined Tml Vibez since his emergence under the Dapper Music system. Even when his records lean street-pop or melody-driven, there is usually a softness hidden beneath the delivery—a sense that he is trying to communicate affection, uncertainty, or emotional need through rhythm. On “Hello”, that instinct becomes the centre of the record, and bringing Victony into the mix only deepens its emotional texture.

Built on smooth percussion, dreamy synth layers, and a slow-burning Afropop bounce, “Hello” feels intentionally weightless. The production creates enough space for both artists to glide through melodies without forcing dramatic vocal performances. The instrumental thrives on atmosphere more than complexity. Soft keys drift around the drums, while the bassline remains understated, allowing the emotional tone of the song to stay light and intimate.

Lyrically, the track revolves around romantic longing and emotional availability, but what makes it work is how conversational both artists sound. There is no attempt to overcomplicate the writing with unnecessary metaphors or excessive bravado. “Hello” feels like two people trying to reconnect emotionally, using music as the language for vulnerability. TML Vibez brings the gritty charm and hunger; Victony adds the melodic sheen, and together they cook a record that feels effortless and premium. 

Tml Vibez approaches the song with a calm sincerity that fits the production well. His melodies carry a gentle ache, especially in the way he stretches certain phrases to emphasize emotional hesitation. He understands how to make simple lines feel emotionally loaded without oversinging them. There is also noticeable improvement in his vocal control here. He sounds more settled inside the instrumental, more aware of how silence and restraint can strengthen a performance.

Victony’s appearance shifts the emotional energy slightly. As always, he arrives with melodic precision and a natural sense of fluidity that instantly sharpens the record’s atmosphere. But beyond the technical smoothness, Victony’s strength on “Hello” lies in how emotionally relaxed he sounds. He slips into its emotional world effortlessly, adding texture rather than distraction.

Their chemistry works because both artists understand emotional Afropop from similar angles. Neither performer relies heavily on aggressive vocal moments or oversized hooks. They trust melody enough to carry the record, and that trust gives “Hello” its replay value. 

For Tml Vibez, the record feels like another step towards artistic refinement. For Victony, it is yet another reminder of how effortlessly he can elevate emotionally driven music without disrupting its balance. Together, they deliver a record that feels warm, fluid, and emotionally present from start to finish.

Didi B — RABA

Didi B, the Ivorian rap rockstar pushing Francophone sounds toward Anglophone markets, teams up with Young Jonn, one of Afrobeats’ most reliable melodic weapons. The chemistry between both artists, who know how to make money talk and bodies move, shines especially on “Raba”. “Raba” translates roughly to money. It’s a flex anthem wrapped in celebration, hustle validation, and dancefloor invitation. On paper, “Raba” already sounds like a collision of two very different musical energies. Didi B arrives from the Francophone rap world with sharp delivery, swagger, and a rhythmic aggressiveness rooted in coupé-décalé and trap influences, while Young Jonn thrives in sleek Afropop melodies built for emotional ease. But instead of clashing, both artists find a surprisingly natural balance on this record, creating a song that feels continental in the best way possible.

Produced by Swankii, the beat is bouncy percussion, shimmering synths, and a mid-tempo groove that sits perfectly between street rap energy and radio-ready melodies. It’s not overly cluttered; there’s breathing room for the flows while the log drums and claps keep it moving. Young Jonn’s melodic touch adds that signature smoothness, while Didi B rides the rhythm with rap precision and charisma. The record feels intentionally global while remaining deeply African. The percussion patterns carry strong West African dance influences, but the mix and sonic polish feel built for wider club circulation. The engineering is especially impressive because the song never loses clarity despite its density. Every vocal pocket remains clean, and the instrumental maintains movement without suffocating the performances.

The song’s title and overall mood lean heavily into flirtation, pleasure, confidence, and sensuality. “Raba” is not trying to be emotionally profound, but it succeeds because both artists fully commit to the record’s playful atmosphere. There is charisma in the writing. Even the repetitive phrases feel intentional because they feed directly into the song’s hypnotic bounce.

Didi B controls much of the record’s momentum. His delivery is sharp, stylish, and rhythmically disciplined. He attacks the beat with the confidence of someone fully aware of his star presence, switching flows fluidly while maintaining enough melodic flexibility to keep the song accessible beyond rap audiences. What stands out most is how naturally he moves across the production. Even listeners unfamiliar with Francophone African rap can immediately connect with the energy he brings. Young Jonn enters the record like a release valve. Where Didi B brings intensity, Young Jonn introduces smoothness. His melodic instincts immediately soften the track’s edges without reducing its energy. He slides into the instrumental effortlessly, delivering catchy phrases with the kind of relaxed confidence that has made him one of the most dependable hitmakers in contemporary Afropop.

Didi B and Young Jonn deliver a record built for movement, nightlife, and repeat listens, but underneath the dancefloor appeal is a collaboration that quietly highlights how interconnected African pop music continues to become.

Kunmie’s — Confession

Kunmie’s “Confession” is a raw, soul-baring afro-soul gem that cuts straight to the heart. “Confession”, released today via CiDAR Africa / AltMusic HQ under ONErpm is a deeply personal, emotionally charged single from the Lagos-based Afro-soul singer-songwriter, continuing his streak of vulnerable, love-centred storytelling that made “Arike”, “Solace”, and “Julie” resonate so strongly.

Kunmie has built a reputation as one of the most intentional new voices in Afrobeats/Afro-R&B—blending smooth melodies, Yoruba-infused phrasing, and raw honesty about love, regret, and healing. “Confession”, late-night introspection wrapped in warm production, is perfect for headphones and reflective playlists.

Co-produced with contributions from Firefly, Shorae, Fade Venom, and Puffy, the beat is classic Kunmie territory—intimate and spacious. Soft acoustic elements, gentle percussion, shimmering keys, and subtle Afro-soul grooves create a lush yet minimalist backdrop that lets his voice take center stage. It builds gradually with cinematic swells, evoking that “dawn after darkness” mood. The arrangement prioritizes atmosphere: echoing ad-libs, delicate harmonies, and breathing room that make every emotional peak land harder.

True to the title, “Confession” is Kunmie laying it all bare—imperfections, past mistakes, lingering feelings, and the weight of unspoken truths in love. His songwriting shines with poetic relatability: raw admissions wrapped in tender delivery, mixing English and Yoruba for cultural depth and intimacy. The song’s strongest moments arrive when Kunmie leans into emotional contradictions. That tension gives the track depth beyond simple heartbreak writing. Rather than presenting himself as emotionally in control, he allows uncertainty to shape the record’s identity.

Compared to some of his earlier material, “Confession” feels more intentional in how the melodies evolve. The hooks are subtle but memorable, designed less for instant viral replay and more for emotional resonance over time. It is the kind of song that becomes stronger with repeated listens because of how naturally the melodies settle into memory. With Kunmie on “Confession”, the mood is stripped back to something more exposed, almost uncomfortable in its honesty. The record doesn’t reach for grandeur; it leans instead into stillness, letting emotion sit in its rawest form without distraction. There’s a quiet heaviness in the way it unfolds — like words being said for the first time after sitting too long in the chest — carried by minimal production that gives every lyric space to breathe. Rather than perform vulnerability, Kunmie sits inside it, allowing the song to feel less like a polished statement and more like a moment you’ve accidentally been allowed to overhear.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW:

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C’mon Look! – Sarz ft. Asake  

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

Flow – Runtown  

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

MEGA MONEY MEGA – Tiwa Savage  

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

Fall In Love – Melvitto ft. Ayo Jay  

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

Eyes Dried Over – King Promise ft. Tom Walker  

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

Old Soldier – Kel-P ft. Wande Coal  

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

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