Shallipopi – Auracle

Nigerian superstar Shallipopi returns with his third studio album—22 tracks, over an hour long, and stacked with both local and international heavyweights. Arriving after his 2023 debut, “Presido Pluto”, and 2024’s “Shakespopi”, ‘Auracle’ marks the moment he shrugs off the “Benin boy who blew up with two chaotic, meme-first projects” tag. This time, he’s aiming for permanence. “Auracle”—a playful twist on “Oracle”—leans into the internet slang “aura”, that shorthand for a distinctive, effortlessly cool, enigmatic presence.

Sixty-five minutes long, you know the album won’t outclass his earlier projects. It sometimes feels like he made it over a long weekend, but still, ‘Auracle’ is a convincing contender.

The album opens with “Ant,” a groove-laced, highlife-infused mood-setter that taps into the indigenous pockets Shallipopi has always handled well. It works. Then comes “Laho,” the familiar lead single, snapping the project into full gear. From there, it’s classic Shallipopi: half-sung street sermons, Benin–Pidgin flexes, easy-rhyme hooks, and enough log drums to power a December rave. “Gbefun,” “Opuehh,” and “Like That (Bomboclat)” are pure dancefloor artillery. Production-wise, Auracle offers a more polished and expensive sound than his previous lo-fi hits. While the core elements of the “Pluto” sound remain, the heavy basslines and repetitive, trance-inducing hooks, there is a noticeable upgrade in the mixing and mastering.

The features carry the project whenever the formula starts to sag. Gunna on “Him” gives him his sleekest transatlantic moment yet; Pa Salieu injects bite into “Pull Up”; Burna Boy transforms “Laho II” into an obvious radio behemoth; and Rauw Alejandro slips into “Laho III,” giving the third iteration surprising freshness. Shallipopi sticks to what works—his lazy drawl, his amapiano pocket, and those sticky sing-song hooks remain hypnotically effective.

Where Auracle really surprises is in the quieter moments. “Stay” (with Swae Lee) and “Searching 4 Me” finally let the beat breathe, dial down the bravado, and reveal a 22-year-old trying to steady himself in real time. Those two tracks alone make the album feel less disposable than ‘Shakespopi’.

Auracle is Shallipopi growing up—just not too much. It’s tighter than his earlier tapes, more ambitious in its sound choices, but still defiantly simple at its core. If you already like Pluto, you’ll find six immediate playlist picks. If you never understood the hype, this won’t convert you. 

Where his two preceding albums, 2023’s Presido La Pluto and Shakespopi, were built around a gritty hip-hop framework and groovy native samples, Auracle pulls influences from soul, R&B and amapiano to centre Shallipopi’s messaging. There’s a dedication to the rungs of the ladder he’s ascended on “Igho”, but Shallipopi is still about soundtracking a good time. He’s having the time of his life on “Like That (bomboclatt” with Wizkid and detailing his financial liquidity on “Ballingo”

Kizz Daniel – Holy Romance

On the first Friday of December, Kizz Daniel drops ‘Holy Romance’ like he’s been timing it for peak Detty December playlists. The intro eases in with soft, pacy highlife percussion—no heavy 808s, no log-drum chaos. Just gentle rhythms and a swaying bassline. Then Kizz Daniel glides in, voice rich and smooth, singing about a love that’s “holy” but dripping with signature mischief. The opening lines flip religious metaphors into bedroom confessions: devotion dressed in desire, sacred vows whispered under dim lights. The chorus is one of his stickiest in a minute—melodic, featherlight, the kind that loops in your head long after the music ends. His falsetto floats without effort, untouched by autotune. The bridge dips into a soft reggae bounce, polished but intimate. It’s built for slow wines, rooftop evenings, and the kind of road trip you wish would never end.

Lyrically, he does what he always does: simple lines that land harder than they look. Love as grace, love as alignment, not preachy, just honest. If you’re allergic to sweetness, the sincerity may feel excessive, but in a December packed with street anthems and holiday bangers, ‘Holy Romance’ holds its lane: tender Afrobeats for listeners who want rhythm with their reverence. Kizz Daniel closes the year the way he knows how—consistent, catchy, and quietly elite.

ID Cabasa – Unfinished Business

Legendary producer ID Cabasa—the architect behind half of early Afrobeats through the Coded Tunes era, the man who launched Olamide and 9ice—steps out once again with his third studio album, ‘Unfinished Business’. It’s a meeting point between eras: reimagined classics intertwined with new cuts, old guards sparring with the next wave.

The project kicks off with “Bere Mi (Reimagined)” featuring T.I Blaze and Zlatan: pure street-hop energy built on highlife swagger. It’s the generational handshake the album promises—ID Cabasa’s DNA distilled for younger ears without abandoning its roots.

“Photocopy (Reimagined)” revives the iconic 2008 9ice record. 9ice’s soulful croon anchors the nostalgia, while Vector sharpens it with clean, 2025-ready bars. Crisp hi-hats and the familiar guitar shimmer pull the track between eras, perfectly suspended. Then comes “Olufunmi (Reimagined)” featuring Fireboy DML, Odumodublvck, Boj, and Joeboy—a loaded lineup that turns Styl-Plus’ classic romance into something urgent and glowing. Fireboy’s falsetto soars, Odumodublvck brings grit, Boj smooths the edges, and Joeboy warms the hook. ID Cabasa keeps the percussion tight and intentional, updating the nostalgia without overwhelming it. “Anytime (Reimagined)” brings 9ice back again, alongside Bella Shmurda, Ayo Maff, and Ajebo Hustlers. The 9ice classic morphs into a street-hop rally—Bella’s raw emotion, Ayo Maff’s fire, and Ajebo Hustlers’ bounce all melding seamlessly under Cabasa’s immaculate production.

‘Unfinished Business’ delivers exactly what it sets out to: nostalgia without gimmicks. The reimagined tracks are the heart of the project—vibrant, respectful, and recharged. Some new songs blend in a bit too safely, but the overall project stands tall as a reminder that Afrobeats didn’t sprout overnight; its lineage was built in rooms like ID Cabasa’s. By revisiting and reimagining the classics through a contemporary lens, he nudges the culture forward—just like he’s been doing for nearly two decades.

BOJ – Duplicity

Alté pioneer BOJ returns with Duplicity, his sixth studio album, arriving a year after 2024’s 12 Summers. True to its name, it leans into themes of duality—light and dark, lover and rebel. “Contraband” with Olamide follows, rooted in Afro-pop grit. Olamide’s groovy, laid-back delivery slices through Boj’s equally laid-back cadence; luxury, vice, and caution all in one tight package. “Diamonds”, with Mavo, softens the edges with sparkling synths, warm harmonies, and a tender, unfussy hook. “Ijo” shifts gears into a kinetic groove built for dancefloors—minimal lyrics, maximum sway. Then “Cana” with Pa Salieu kicks in, an earworm loaded with energy; Pa Salieu’s UK grit meshes beautifully with Boj’s calm centre. Sonically, Duplicity is rich, warm, and textured, largely thanks to the production work of Genio and Blaise Beats. The album moves away from the standard Afrobeats shakers and leans into jazzier chords, muted trumpets, and rolling basslines. “Shana” (with Show Dem Camp and Joey B) carries that confident alté bounce, with SDC weaving silk and Joey B adding Ghanaian spice. It’s one of the stickiest hooks on the album. “After Hours” with Anaïs Cardot, melting into a smoky R&B haze of muted horns, jazzy keys, and soft shadows everywhere. Their vocals trade in whispers, intimate and low-lit, like overhearing two people talk too close on a rooftop. Genio’s production is warm, uncluttered, and textured. “Imposter Syndrome” with Obongjayar is an immediate standout—Afropop pulses under jittery synths as both artists dissect fame’s false smiles, landing like a therapy session you can still two-step to. “Italawa”, featuring Odumodublvck and SGaWD, delivers gritty duality, hard vs. soft, and street vs. soul. Sharp, experimental, and replay-heavy. “Command” strips things back with bare percussion, introspection, and a quiet clarity. “Choke” leans into darker electronica, shadowy and atmospheric. “Paranoia” is short and vulnerable, like a diary confession set to a groove. “Coming for Me” closes the album with a slow exhale—acknowledging the paranoia but choosing defiance. Horns fade gently, completing the circle. ‘Duplicity’ is Boj at his most balanced—cohesive without being rigid, dual-toned without feeling divided. It’s intimate and gritty in equal measure.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

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Dave – The Boy Who Played the Harp

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

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

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

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

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

AratheJay – The Odyssey

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

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

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

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

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

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

Shallipopi, Gunna – Him

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

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

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

Mavo, Davido – Shakabulizzy (Remix)

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

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

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

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

Tyla – Chanel (Single)

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

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

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

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

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

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However, the official music video for ‘Na So’ does more than serve as a visual aid for Shallipopi’s message, craft, and brand. It also shines a spotlight on the talents of UK-born Canadian video director Lawraines and his sharp editing skills. In the video, Lawraines stays in sync with the production beyond the song’s message or theme. Its bass, reverb, and every high point in the production are conveyed with entertaining, creative effects.

Cannabis, whips, chains, and a gang of friends; Shallipopi leans into the hip-hop stereotype, captured across multiple locations, from a gas station to his silhouette masterfully placed in a mansion. Lawraines doesn’t just direct the narrative of ‘Na So’, he beautifies it into a near-perfect, ideal world. And e hether the message passed on in the song and its music video is morally right or wrong becomes secondary to the unintentional creative agreement in delivery between Shallipopi, Producer X, and Director Lawraines.

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Nigerian sensation Ayra Starr has emerged as the most nominated African artist, securing three nods: Best New Artist, Best International Act, and Best Female R&B/Pop Artist. Joining Ayra is Tems who continues her international acclaim following a second Grammy Award win, with two nominations in the BET her category for the soulful tracks “Burning” and “Hold On.”

The Best International Act category features a strong African presence, including Rema (Nigeria), Tyla (South Africa), Uncle Waffles (Swaziland), and Black Sherif (Ghana). Additionally, Nigerian artists Shallipopi and Odeal have been nominated for ‘Best New International Act’, placing a torch on the continent’s burgeoning talent.

Global superstar Burna Boy adds to his accolades with a nomination for ‘Best Male Hip Hop Artist’, reflecting his continued contribution to the genre.

The 2025 ceremony will also pay tribute to the 25th anniversary of BET’s iconic show “106 & Park,” featuring reunions of former hosts AJ Calloway, Free, Julissa Bermudez, Keshia Chanté, Rocsi Diaz, and Terrence J. Performances by Bow Wow, Amerie, B2K, Jim Jones, Mya, and T.I. will honour the show’s legacy.

The BET Awards 2025 will air live on June 9 from the Peacock Theatre, Los Angeles, promising a night of celebration for Black culture and music.

Here are the nominees for the 2025 BET Awards:

Best Female R&B/Pop Artist

Ari Lennox
Ayra Starr
Coco Jones
Kehlani
Muni Long
Summer Walker
SZA
Victoria Monét

Album of the Year

$ome $exy $ongs 4 U – Drake & Partynextdoor
11:11 Deluxe – Chris Brown
Alligator Bites Never Heal – Doechii
Cowboy Carter – Beyoncé
Glorious – GloRilla
GNX – Kendrick Lamar
Hurry Up Tomorrow – The Weeknd
We Don’t Trust You – Future & Metro Boomin

Best Male R&B/Pop Artist

Bruno Mars
Chris Brown
Drake
Fridayy
Leon Thomas
Teddy Swims
The Weeknd
Usher

Best Group
Common & Pete Rock
Drake & Partynextdoor
FLO
Future & Metro Boomin
Jacquees & Dej Loaf
Larry June, 2 Chainz, The Alchemist
Maverick City Music

Best Collaboration

“30 For 30” – SZA feat. Kendrick Lamar“
Alter Ego” – Doechii feat. JT
“Are You Even Real” – Teddy Swims feat. Givēon
“Beckham” – Dee Billz feat. Kyle Richh, Kai Swervo, KJ Swervo
“Bless” – Lil Wayne, Wheezy & Young Thug
“Like That” – Future & Metro Boomin & Kendrick Lamar
“Luther” – Kendrick Lamar & SZA
“Sticky” – Tyler, The Creator feat. GloRilla, Sexyy Red & Lil Wayne
“Timeless” – The Weeknd feat. Playboi Carti

Best Female Hip Hop Artist

Cardi B
Doechii
Doja Cat
GloRilla
Latto
Megan Thee Stallion
Nicki Minaj
Rapsody
Sexyy Red

Best Male Hip Hop Artist

BigXthaPlug
Bossman DLow
Burna Boy
Drake
Future
Kendrick Lamar
Key Glock
Lil Wayne
Tyler, The Creator

Video of the Year

“3AM in Tokeyo” – Key Glock
“A Bar Song (Tipsy)” – Shaboozey
“After Hours” – Kehlani
“Denial Is a River” – Doechii
“Family Matters” – Drake
“Not Like Us” – Kendrick Lamar
“Timeless” – The Weeknd feat. Playboi Carti
“Type Shit” – Future, Metro Boomin, Travis Scott & Playboi Carti

Video Director of the Year

Anderson .Paak
B Pace Productions & Jacquees
Benny Boom
Cactus Jack
Cole Bennett
Dave Free & Kendrick Lamar
Dave Meyers
Foggieraw
Tyler, The Creator

Best New Artist
Ayra Starr
BigXthaPlug
Bossman DLow
Dee Billz
Leon Thomas
October London
Shaboozey
Teddy Swims
Dr. Bobby Jones

Best Gospel/Inspirational Award

“A God (There Is)” – Common & Pete Rock feat. Jennifer Hudson
“Amen” – Pastor Mike Jr.
“Better Days” – Fridayy
“Church Doors” – Yolanda Adams feat. Sir The Baptist & Donald Lawrence (Terry Hunter Remix)
“Constant” – Maverick City Music, Jordin Sparks, Chandler Moore & Anthony Gargiula
“Deserve to Win” – Tamela Mann
“Faith” – Rapsody
“Rain Down on Me” – GloRilla feat. Kirk Franklin, Maverick City Music

Viewer’s Choice Award

“Residuals” – Chris Brown
“Denial Is a River” – Doechii
“Nokia” – Drake
“Like That” – Future & Metro Boomin feat. Kendrick Lamar
“TGIF” – GloRilla
“Not Like Us” – Kendrick Lamar
“Luther” – Kendrick Lamar & SZA
“Brokey” – Latto

Best International Act
Any Gabrielly (Brazil)
Ayra Starr (Nigeria)
Basky (UK)
Black Sherif (Ghana)
Ezra Collective (UK)
Joé Dwèt Filé (France)
MC Luanna (Brazil)
Rema (Nigeria)
SDM (France)
Tyla (South Africa)
Uncle Waffles (Swaziland)

Best New International Act
Abigail Chams (Tanzania)
Ajulicosta (Brazil)
Amabbi (Brazil)
Dlala Thukzin (South Africa)
Dr Yaro (France)
KWN (UK)
Maglera Doe Boy (South Africa)
Merveille (France)
Odeal (UK)
Shallipopi (Nigeria)
TxC (South Africa)

BET Her
“Beautiful People” – Mary J. Blige
“Blackbiird” – Beyoncé feat. Tanner Adell, Brittney Spencer, Tiera Kennedy & Reyna Roberts
“Bloom” – Doechii
“Burning” – Tems
“Defying Gravity” – Cynthia Erivo feat. Ariana Grande
“Heart of a Woman” – Summer Walker
“Hold On” – Tems
“In My Bag” – FLO & GloRilla

Best Movie
Bad Boys: Ride or Die
Beverly Hills Cop: Axel F
Luther: Never Too Much
Mufasa: The Lion King
One of Them Days
Rebel Ridge
The Piano Lesson
The Six Triple Eight

Best Actor

Aaron Pierce
Aldis Hodge
Anthony Mackie
Colman Domingo
Denzel Washington
Jamie Foxx
Joey Bada$$
Kevin Hart
Sterling K. Brown
Will Smith
Best Actress
Andra Day
Angela Bassett
Coco Jones
Cynthia Erivo
Keke Palmer
Kerry Washington
Quinta Brunson
Viola Davis
Zendaya
Young Stars Award
Akira Akbar
Blue Ivy Carter
Graceyn “Gracie” Hollingsworth
Heiress Harris
Melody Hurd
Thaddeus J. Mixson
Tyrik Johnson
VanVan

Sportswoman of the Year
A’ja Wilson
Angel Reese
Claressa Shields
Coco Gauff
Dawn Staley
Flau’jae Johnson
Juju Watkins
Sha’Carri Richardson
Simone Biles

Sportsman of the Year

Aaron Judge
Anthony Edwards
Deion Sanders
Jalen Hurts
Jayson Tatum
LeBron James
Saquon Barkley
Stephen Curry

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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

The post The 17th Headies Awards Full Winners List 2025 appeared first on Afromixx.

Gimme Dat – Ayra Starr ft. Wizkid

Just before the teaser and eventual release of ‘All The Love‘—perfectly timed for 2025’s Valentine season—Ayra Starr had teased what many of her devout fans thought would be her next 2024 release, ‘Gimme Dat’. In the visualizer/teaser, Ayra was seen walking the streets and riding in a golf cart, wearing headphones connected to a mini turntable held by a young man who trailed her. Sadly, due to imperfect timing, it wasn’t released, and Ayra never officially addressed it, until what would become the final audio teaser of “Gimme Dat” featuring the vocals of Afropop global star Wizkid, who croons, “Goddamn, arabirin, goddamn.”

Ayra Starr’s place in the music industry as the reigning Afropop queen is, for now, uncontested. And with the release of “Gimme Dat,” she puts her best foot forward, going two for two with her second release of 2025. Announcing the guest artist was Ayra saving her best card for last, even though she’s already made it clear through several releases that she has many surprises up her sleeve. On the opening notes of “Gimme Dat,” Ayra revisits a familiar past, sampling the acoustic guitar riffs from Wyclef Jean and Mary J. Blige’s 2000 classic “911” and Wyclef Jean’s “Diallo”, layered with bouncy drum rhythms, trumpets, and alternating African riffs.

With the ease of a hot knife through butter, Ayra glides over this mid-tempo rhythm alongside the guest artist, in a sheer display of Afrobeats royalty. With its laid-back energy, ‘Gimme Dat‘ is the perfect soundtrack for a weekend of unwinding.

lost – Fola ft. Kizz Daniel

Fola continues to showcase his talent and dexterity in crafting moving records that leave a lasting impression. 2025 is proving to be a busy one for the rising star, and with each release—whether a feature or solo effort—it’s clear he’s up to the task. Just seven days ago, Fola and his label boss Bella Shmurda dropped what could be considered a record label anthem, “Dangbana Riddim,” where both artists affirm their focus on reaching the good life.

Midweek, Fola shared a video across social media where he’s seen with Wizkid, previewing an unreleased track alongside the caption: “Big Wiz said ‘it sounds like it’s out already.’ Get your speakers ready for Friday.” “Lost” opens like a medley, with unfolding guitar strings before the percussion and slapping heat of the bass crash in, heightening the track’s emotional charge. The pause in heavy percussion allows Fola’s emotion to cut through: “Kowa comfort mi, Le mo body mi, Ko yo burden mi ah, I know you got eyes on money mi, She say not really, Ko te button mi ah.”

Not wanting to chronicle his desires alone, Fola enlists one of Nigeria’s finest mainstream acts, Kizz Daniel, to share in the creation. Kizz continues Fola’s expressive thread with the poise of a veteran and the perspective of a fellow yearner.

Do Me – Runtown

For his first release of 2025, Runtown leans into his inherently calm signature on “Do Me”, with minimalist production reminiscent of the early 2000s. He reflects on his lifestyle, relationships, and situationships that strain his connection with a partner, troubles he attributes to the very lifestyle and wealth that define him. Runtown’s sound here is like a psychedelic breeze, taking the listener on a mellow road trip that relaxes them. The consistent bass guitar and the soulful vocals of the backup songstress add a rich layer, brought together by the craftsmanship of emerging producer FADAH.

Laho II – Shallipopi ft. Burna Boy

Fresh off a viral link-up at Burna Boy’s historic Stade de France show, Shallipopi and the African Giant roll out ‘Laho II’. A remix that feels both calculated and chaotic in the best way. The original Laho already had the streets in a chokehold with its infectious slang and rugged delivery, but Burna’s entry gives it that jet fuel. Producer, Progrex retains the raw bounce of the beat but threads in synths and heavier basslines, transforming a street anthem into a continental crossover. Shallipopi doesn’t switch up his gritty cadence; Burna slides in with a melodic flex, brushing off bad energy: “no take my kindness for weakness.” It’s that classic big bro–lil bro link-up, and it knocks.

Gen Z – Zinoleesky

Zinoleesky finally unpacks his debut album ‘Gen Z’, a 16-track deep dive into the world of a modern-day street-pop star with a global vision. From the jump, Zino’s distinct vocals and range are a standout. The Niphkeys-produced “Most Wanted” set the tone earlier in the month, and now we’re seeing the full scope: gritty, bouncy, and occasionally vulnerable. Tracks like “Suit & Tie” with Toosii and “Abanikanda” with Naira Marley showcase his duality, a blend of local lingua laced with international polish. He dips into trap, dancehall, and sweet boy Afrobeats without losing that Agege tint. It’s bold, even if a little scattered at times.

You4Me – Tiwa Savage

Tiwa Savage enters the summer mood board early with ‘You4Me’, a buttery R&B-Afrobeats fusion that samples Tamia’s 1998 “So Into You“. It’s soft, sultry, and soaked in nostalgia, yet it doesn’t feel dated. Mystro’s production holds it down with a groove made for slow dancing under city lights. Tiwa’s vocals glide over the beat with that seasoned softness—half Brandy, half Mary J., all her. The lyrics hit that sweet spot between poetic and playful: “drive me loco, automatic.” Coming off the Craig David collab and now teasing her next project, ‘This One Is Personal,’ Tiwa’s clearly tapping into a more reflective space, but not without still serving up grown and sexy bops.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

The post Ayra Starr, Fola, Runtown, Zinoleesky and Others on New Music Friday appeared first on Afromixx.

Chike, no stranger to the Headies stage and already a recipient of past wins, returns this year with four nominations, including a shout for Song of the Year. The soulful crooner adds weight to a performance roster that balances new energy with seasoned artistry.

Adding more heritage to the night is Flavour, highlife heavyweight and confirmed recipient of the Headies Lifetime Achievement Award. His inclusion brings a rich cultural anchor to an evening themed “Back to Base”, a nod to the awards’ return to Nigerian soil after two years of U.S.-based editions.

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This year’s ceremony is the first of two scheduled for 2025 as the Headies attempts to close its now-infamous gap year, an issue that’s plagued the award’s consistency and industry relevance. The nominations list, which includes heavyweights like Rema, Tems, Ayra Starr, and OdumoduBlvck, has already stirred conversation, with critics pointing out a few eyebrow-raising omissions and questions about the eligibility of certain entries.

Still, in spite of the noise, the stage is set for what might be a much-needed renaissance for the long-running awards. In a recent interview, Headies founder Ayo Animashaun admitted the Grammys are now more celebrated locally than the Headies themselves. An honest critique, and perhaps a call to arms.

Whether this edition marks a true reset or just another highlight reel remains to be seen. But for now, the lights are back on at home.

See the full 17th Headies Awards nominees here

The post Shallipopi, Chike, Nasboi and more tapped to perform at 17th Headies Awards appeared first on Afromixx.

Update — Burna Boy

This week, Burna Boy has intensified the rollout of his forthcoming album ‘No Sign of Weakness’ (NSW) by changing his profile picture across social media to a throbber image and removing images of himself from the cover art of his past albums. The rollout also came with a new release, ‘Update’—possibly a lead single from the upcoming ‘NSW’.

The song, which samples British R&B band Soul II Soul’s 1989 classic ‘Back to Life’, opens with Caron Wheeler’s iconic vocals: “Back to life, back to reality.” However, Burna Boy’s choice of sample holds more depth than his freestyle-like delivery over the backdrop refrain “However do you want me, however do you need me.” With a heavy groove crafted by P2J, ‘Update’ is bound to put listeners in a swaying mood. However, deciphering Burna Boy’s intended message in this track remains elusive. It’s not entirely surprising to witness a slight dip in overt creativity after such a prolific six-year run of high-quality output. If you’re a fan of ‘Bundle By Bundle,’ ‘Update’ evokes a similar vibe, like an extended second verse.

Somebody Like You — Lojay

Lojay’s debut album stands as one of the most anticipated upcoming projects of 2025. Originally slated for a 2024 release, the album’s debut was postponed for undisclosed reasons, with a TBA date still pending. Since the initial announcement, Lojay has released a two-track single, ‘Falling/Unleash,’ where he vividly portrays a world of lavish provision for his muse. Building further anticipation, Lojay unveiled a deeply confessional and emotionally resonant track titled “Somebody Like You” on Thursday. Rife with Lojay’s palpable despair, yet interwoven with vibrant and expertly played guitars, the song culminates in a heartbreak-infused, yet subtly rhythmic melody. “Somebody Like You” showcases Lojay’s genuinely rich sonic artistry and could easily dominate your weekend playlist.

Children Of Africa — Seyi Vibez

Amidst ongoing label disputes with his former record label head, Dapper, Seyi Vibez has, under his NSNV INC imprint, unexpectedly released an EP precisely at midnight today, February 21st. Also partnering with new distributor Empire, Seyi Vibez has delivered his tenth project in just four years, “Children Of Africa.” Seyi Vibez’s new EP, ‘Children of Africa,’ has swiftly ascended to the pinnacle of the Apple Music Nigeria Top Albums Chart, equalling Davido’s ‘Timeless’ record by reaching number one within a mere six hours. This concise four-track, nine-minute EP boasts phenomenal production and an impressive, innovative display of Seyi Vibez’s unique artistic talents. Featuring a single collaboration with US rapper NLE Choppa on “Macho,” this unexpected pairing adds to the surprise element of Seyi Vibez’s unannounced release, uniting artists from distinct cultural and musical landscapes to create something undeniably appealing to his audience. Every track on the EP is a standout, showcasing explosive production, particularly from Semzi, and notably Larrylanes on “Shaolin.”

Verily — Bella Shmurda

Bella Shmurda kicks off his musical year with a new single titled “Verily,” a track that explores his interpretation of Afro-R&B and underscores his vocal prowess as an artist. Bella

Shmurda adopts a vulnerable stance on ‘Verily,’ and the inclusion of themes of longing feels notably fresh within his discography. This is particularly true given his compelling performance on this, his first single of 2025. Employing a drum pattern reminiscent of Sade’s ‘Sweetest Taboo,’ Bella Shmurda effectively conveys his yearning for his muse on ‘Verily.’ He subtly hints at potentially turning to harmful substances for solace if this muse remains elusive—adding a raw emotional edge to the song.

Shake It To The Max (Fly) — Moliy ft Skillibeng, Shenseea

Ghanaian artist Moliy, known for her delicate vocals, enlists Skillibeng and Shenseea for the remix of her dancehall single ‘Shake It To The Max (Fly)’. On this track, Moliy adopts a rap-like flow with her childlike vocals, seamlessly blending into the dancehall production by Disco Neil. The original song, nearing a milestone of 2 million Spotify streams, has garnered widespread acclaim in Ghana and was a dominant hit upon its release last December. For the remix, Jamaican DJ and rapper Skillibeng leads, laying a robust foundation before Shenseea enters, rap-singing her verse and adding a rich layer to Moliy’s already captivating record. This strategic collaboration is sure to solidify the track’s prominence within the dancehall music scene.

Lockdown — L.A.X

L.A.X has announced the impending release of his album ‘NOBODY LIKE ZAZA,’ scheduled for April 10th. This album announcement coincided with the unveiling of ‘Lockdown,’ the lead single from the 13-track project. On ‘Lockdown,’ L.A.X vulnerably serenades his muse, expressing how she has placed his heart under “lockdown” and declaring his willingness to fend off any rivals for her affection. ‘Lockdown’ arrives just months after L.A.X’s previous hit song ‘Let Me Know,’ featuring Ayo Maff and Taves.

Laho — Shallipopi

Like calculated spontaneity, Shallipopi, much like his former labelmate Seyi Vibez, has released his highly anticipated track ‘Laho.’ The song, which rapidly gained traction online after Shallipopi teased it weeks prior, continues to flourish across social media platforms, particularly TikTok. Shallipopi’s consistent ability to craft instantly engaging tracks with catchy lyrics and infectious rhythms continues to strengthen his reputation as a serial hitmaker with each new release. Notably, Shallipopi now employs a strategy of teasing snippets of his music before official releases, effectively generating buzz for songs that become hits even before they fully drop. ‘Laho’s’ full release reveals a terrific second verse that complements the already popular first verse and chorus teased earlier, ensuring the song’s overall grooviness will be excellent weekend listening.

BURNA BOY,SEYI VIBES, MOLIY AND LOJAY ON NEW MUSIC FRIDAY

The post Burna Boy, Seyi Vibez, Moliy and Lojay on New Music Friday appeared first on Afromixx.

This week, the music world has a lot to celebrate with exciting releases from some of Africa’s biggest stars. Davido is back with a new track with his unmatched style and energy. Shallipopi and Olamide also joins the lineup, delivering a track that with an exciting street vibe with innovative sounds. We also have the Queen of Afrobeats, Tiwa Savage who got featured on Fido’s hit track Awolowo.

Let’s dive into these new tracks and know a bit more about them.

Davido x YG Marley – Awuke

OBO is back with another hit track and he enlists YG Marley on this one titled Awuke. There has been so much buzz around the track way before it was even released. Fans have been anticipating it such a collaboration as it was not a collab anyone saw coming. Mainly a fusion of both Afrobeats & Amapiano genres, Awuke touches on the matters of love, and desire, which was evident right from Davido‘s first verse at the begnining of the song. YG Marley came in strong in the second verse with his vibes and different flows, giving the song a different rhythm and angle of love.

Shallipopi x Olamide – Order

Pluto presido drops another one for the streets, and who knows the street better and gives them what they want better than YBNL boss, Olamide?

Shallipopi teams up with Baddo to give us Order, a high-intensity street vibe that brings the energy right from the start of the song. Shallipopi starts this tun with strong lyrics on his hustle, how far he has come and basically how he is “The Man” now. Trust Olamide to come with the memorable lyrics, catchy rhythms and bars that he is known to dish out. Definitely a party anthem, the internet would really love this jam as they can create a unique choreography to go with it.

Fido x Tiwa Savage – Awolowo Remix

Following the huge success of his single Awolowo, Fido comes with the remix of the single, and this time, he brings the Queen of Afrobeat, Tiwa Savage to grace the song with her soothing voice and style.

Still a banger no matter how many times you listen, Awolowo brings so much relatable issues especially on living on your terms, getting the money, and living life on an easy mode by prioritizing peace.

Mr. Eazi x Mugeez x D Jay – For My Head

Mr. Eazi enlists Mugeez of R2Bees and D Jay for this one, and they title it For My Head. A tune that infuses the sounds of Ghana highlife with Afrobeats, For My Head perfectly blends these genres into one high-energy love ballad. Speaking on how far they all would go for the woman they love, the trio bring in their personal style and flow into the song which also doubles as a potential party tune.

Crayon x Young Jonn – You

Crayon x Young Jonn – You

When it comes to matters of love, Crayon, and Young Jonn are already known to be two of the biggest lover boys in the music scene, and they both go hard for love on this one they call “You” as they speak on matters of heartbreak and other aspects of love. Romantics are going to enjoy this tune as it is relatable and can be used for their special persons.

The post Davido, Olamide, Tiwa Savage, and More on Our New Music Friday List. appeared first on Afromixx.

Right Now – Darkoo ft. Davido

Darkoo demonstrates an amazing work ethic as an independent artist when it comes to releasing music—it’s timely, delectable, and has a high repeat value. After enjoying the run of her hit single “Favourite Girl,” which sampled Brick and Lace’s “Love is Wicked, the record’s remix and viral guest verse from “Rema” increased its success even more. In a new release ‘Right Now’, Darkoo displays her talents with a rather mellow record in collaboration with Nigerian Afrobeats superstar Davido. The chemistry on the song is evident in the velvety flow and sync between the production and delivery from both artists.

Malaika – Teni ft. Fridayy

In what could be described as a gospelesque rendition, Teni’s soul-stirring ‘Malaika’ quickly and unsurprisingly connected with listeners, courtesy of its emotive lyrics and delivery. Just as it connected with listeners, it also did with fellow artists, prompting Haitian-American singer ‘Friday’ to provide a guest verse, which he delivers with his unique, smooth, deep tones.

Free Service – Shallipopi

Shallipopi’s first single of the year, “Free Service,” is a dynamic blend of streetwise energy and humorous charisma that meets his usual laid-back yet confident flow, peppered with slang and street references. Perhaps Shallipopi’s “Free Service” arrived a little too soon, but if you want to soundtrack a happy moment as you would on Christmas, press play.

Just My Luck/Tomorrow Man – Obongjayar

Tailored around love, heartbreak, friendship, or life’s musings, Obongjayar’s music is bound to leave you with a message delivered in a most radical way that you certainly won’t find elsewhere. His first release for this year is his highly anticipated 2-pack singles “Just My Luck” and “Tomorrow Man.” “Just My Luck” features a soulful delivery on a disco-funk rhythm and makes for a feel-good, leg-tapping record. “Tomorrow Man,” on the other hand, is Obongjayar mentally stimulating and awakening listeners like he does through his music. You want to be a doctor/ you want to be an actor/ or a fashion designer/ all talk, no action. Think his tracks like “Message in the Hammer,” “Try,” and “Still Sun.”

Tyla Deluxe – Tyla

Seven months after the initial release of her critically acclaimed debut album made waves, achieving an impressive debut at No. 24 on the Billboard 200 and becoming the highest-charting album by a female African solo artist, Tyla releases the deluxe to her debut album Tyla. Featuring three additional tracks: Shake Ah” with Tony Duardo, Optimist, Maestro, “Push 2 Start,” and “Back To You.” Breathing forth new magic into a certified magical album

Temptress – Odeal

Odeal consistently demonstrates that hard work and consistency are qualities that artists should strive for. Three months after his groundbreaking EP ‘Sunday at Zuri’s,’ which spawned tracks like “Soh Soh” and “Free Me,” Odeal embarks on another trip with a new single titled “Temptress.” The new project, ‘Lustropolis’, promises a more sensuous environment while exploring such ideas, as Odeal hinted in an Instagram post.

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