Blaqbonez – No Excuses (Deluxe)

‘No Excuses (Deluxe)’ is a 20-track extension of his October 2025 album, released today, adding four new songs: “ACL V2.0”, “Work in the Morning,” “Fine Shyt” (feat. TML Vibez), and “Hustle Kpa $$$” (feat. Artsalghul), pushing the runtime to around 59 minutes. The project stays rooted in Nigerian hip-hop fused with Afrobeats, amapiano, and melodic R&B, with Blaqbonez handling most of the rapping and singing.

The core album already showed Blaqbonez leaning into confident, boastful bars about authenticity, hustle, and versatility while mixing street energy with pop-leaning hooks. The deluxe keeps that formula: opener “Everlasting Taker” sets a self-proclaimed “last real nigga” tone with direct, no-frills rap. “Consistency” (feat. AJ Tracey) and “Aura 4 Aura” (feat. Pa Salieu) highlight cross-Atlantic and UK-Naija chemistry over skittering drums and rhythmic flows.

New additions follow the same lane. “Hustle Kpa $” leans into motivational street rap with kinetic energy. “Fine Shyt” shifts melodic with TML Vibez for a smoother, club-ready vibe. “Work in the Morning” keeps the late-night-to-grind transition feel. “ACL V2.0” is the moment people will pull out. Here, Blaqbonez re-records the version of his October 2025 diss track “ACL” with a new beat and added verse. The beef with ODUMODUBLVCK started with subliminals earlier in 2025, escalated through direct shots, and boiled over on Blaqbonez’s No Excuses album. “ACL” (original) was a two-part response to Odumodublvck’s “2:02PM in London” and “If You Like Gym” disses. Blaqbonez used sharp bars, humor, and threats shown in the visualizer (DMs from Odumodublvck) to paint him as a clout-chasing “failed rapper turned internet gangster”.

Odumodublvck reportedly bought the rights to the original instrumental, claimed it was uncleared, and got the song taken down from Spotify after it had racked up millions of streams. In response, Blaqbonez came back with ACL 2.0 on a fresh beat, doubling down with even more direct shots and brotherly “advice” mixed in.

Tracks like “Bizzy Body”, “Despacito”, “Nati” (with Olamide), and “Go Crazy” deliver bright, danceable production—amapiano pulses, tropical touches, and high-energy Afro rhythms—while cuts like “Just Hustlin$”, “Good Time”, and “California Issues” slow into laid-back, soulful territory. Blaqbonez glides between dense lyricism and catchy singing without forcing transitions.

Production stays functional and lyrics centre on self-belief, women, money, and subtle industry jabs. The deluxe doesn’t overhaul the original; it pads it with more of the same, extending playtime for playlists rather than adding a distinct new chapter. Blaqbonez moves between rapping and singing comfortably. That’s still his strongest asset—he can sit on a hook or a verse without it feeling forced.

The original album already positioned him in the conversation; this deluxe mostly maintains the status quo and somehow elevates it.

Tyla feat. Zara Larsson – She Did It Again

“She Did It Again” is a mid-tempo pop track released today as the second single from Tyla’s upcoming second album A-Pop. It runs short and sticky, built on a bouncy but minimal groove: simple percussion, light synths, and a steady pulse that prioritizes smooth movement over layers or dynamics. It’s clean, mid-tempo, and deliberately unthreatening. The log drum is there, but it’s restrained; the drums don’t swing as much as they loop. 

Tyla leads with her usual cool, sensual delivery across the bulk of the verses and choruses. She plays the irresistible, addictive presence: “I’m addictive, baby, what you want me to do? / Not a quick fix, one hit might ruin you.” Zara Larsson slots in for the second verse with a brighter, more direct pop cadence and the most obvious moment on the record: “Oops, did it again like Britney.” The chorus is a looped “Uh-oh, uh-oh / She did it again” hook with echoing “I know you do” lines underneath, catching and building quickly. Her voice carries more intention—cleaner enunciation, firmer phrasing, and a clearer pop instinct.

Lyrically it’s straightforward seduction-and-obsession fare. Both women portray themselves as dangerous in love: one-night situations that leave the other person hooked and lying to their actual partner. The Britney reference is a cute Y2K nod. Production (Sammy Soso, Believve and others) keeps everything dancefloor functional. The accompanying music video is sleek—desert architecture cutting to waterfalls and both artists dancing in coordinated, quite inventive choreography that matches the song’s polished, low-stakes energy.

“She Did It Again” highlights a chemistry that sees Tyla’s effortless cool meet Zara Larsson’s solid verse with an ease reminiscent of 2010s R&B vibes with competent, hooky, and unforgettable verses that stick.

King Promise & Mr Eazi – See What We’ve Done

‘See What We’ve Done’ is a concise Afrofusion project blending Ghanaian highlife influences, Afrobeats rhythms, and smooth R&B. Production comes primarily from Gideonite and GuiltyBeatz, keeping things light, melodic, and club-ready without heavy experimentation.

King Promise and Mr Eazi lean into familiarity here both sonically and thematically. The two have collaborated for over a decade, with this being their first full joint project. It leans into themes of success, friendship, good living, and romance. King Promise brings expressive, sometimes risqué and emotionally direct vocals. Mr Eazi stays in his wheelhouse: laid-back, cool delivery with effortless flow between English and pidgin/Twi. Tracks switch languages fluidly, using it as rhythmic texture rather than a gimmick.

Standouts include the title track “See What We’ve Done”, a celebratory flex with GuiltyBeatz production; “That Way”, and “Mariana” (soulful, previously released singles with videos). Other cuts like “Where Have You Been?”, “Taste”, “Criminal”, “Baby I’m Jealous”, “No. 1 Fan”, and “Mad Ting” follow the same mid-tempo, feel-good lane—bouncy percussion, warm synths, and sing-along hooks.

King Promise carries most of the weight. His delivery is smooth, controlled, and predictable in the way his best records often are, prioritizing melody. Mr Eazi fits into the record without shifting it. His laid-back phrasing blends into the production and keeps the dynamic alive. 

The title sets the direction: reflection framed as a quiet victory with a writing that circles success, love, growth, and distance from where they started, with a listener getting the idea quickly. Production is polished and consistent, familiar Afrobeats templates that prioritize replayability. Lyrics center on love, jealousy, success reflection, and light flexing. It’s short, front-loaded with the pre-released singles, and designed for streaming rotation across Ghana, Nigeria, and diaspora playlists.

For two artists with a history of shaping this lane, they attempt to make a statement with “See What We’ve Done” — competent, breezy, and functional. It reinforces both as reliable crossover figures in Afrobeats/R&B who play extremely well within their established lanes.

Muyeez ft. Zerrydl, Ayo Maff & Famous Pluto – Bank Alert 

Muyeez’s “Bank Alert”, produced by Medley, sits in the energetic street-pop/Afrobeats lane with rhythmic percussion, lively melodic layers, and a steady groove designed for replay.

Muyeez leads with his soulful, melodic vocals. The featured artists — Zerrydl, Ayo Maff, and Famous Pluto — drop verses that add street flavour and chemistry. The hook plays on “bank alert” as a celebration of money incoming or a flashy lifestyle, mixed with party-ready lines like “party vibes”, “popori”, and “gangster energy”. It’s straightforward flex and fun with a lyrics structure that stays surface-level and hook-driven.

Production is a bouncy but not overly complex, contagious melody curated with danceable percussion. It flows smoothly, prioritizing vibe and immediate catchiness without jarring texture changes. The hook is the anchor. “Bank alert” is one of those phrases that doesn’t need context; it already carries meaning. 

The song leans on that familiarity, turning it into a chant that sticks on first listen, but you can also hear how easily it was assembled. Verses blur into each other. Each artist approaches it from the same angle—cash flow, soft flexes, light street bravado—without much distinction in writing save for delivery. 

“Bank Alert” works the way a lot of current street-pop records do: quick impact. It will move where it needs to move, and with a deserving push hold attention for long.

Fally Ipupa ft. Wizkid – Jam

Jam is a 3:00 track from Fally Ipupa’s album XX, released April 17, 2026 that sits as track 5 on the 20-track project and serves as one of the key cross-regional features. The sound is smooth Afropop/R&B with Congolese rumba undertones: rich guitar melodies, rhythmic percussion, and smooth basslines that create a laid-back, flowing groove. Fally Ipupa handles the main body with his signature melodic, romantic delivery rooted in rumba tradition updated for modern Afro audiences. Wizkid comes in for his verse with the expected effortless glide—light auto-tune touches, pidgin-inflected lines, and a relaxed flow that fits the chilled tempo without pushing hard.

On paper, it’s a strong pairing—two artists known for smooth, melodic control and understated delivery. In practice, “Jam” leans too far into that restraint. The production is soft and polished, sitting somewhere between Afropop and Congolese rumba influences, but it never fully commits to either. It floats in the middle. The groove is steady with light percussion, mellow guitar lines, and a clean mix that keeps everything easy on the ear, with a pull, the kind that passes without demanding consent.

Themes stay firmly in romantic/chilled territory: attraction, bad decisions in the moment, body appreciation, and yearner energy. 

Contextually, this is another West-Central Africa link-up, Wizkid’s second recorded collab with Fally Ipupa after earlier work on “Yakuza”. It lands as expected for both artists’ current lanes: Fally Ipupa expanding his global reach while staying true to his rumba-pop core, Wizkid delivering a high-effort, polished feature that slots into streaming rotation. 

“Jam” is clean, listenable, and technically sound. But for a collaboration of this scale, it plays it too safe.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

The post Blaqbonez, Tyla, King Promise, Muyeez and More on New Music Friday appeared first on Afromixx.

Coachella 2026 officially kicked off on April 10, but for many African viewers, the show truly started on the 11th.

Davido’s Coachella Debut

On the 11th of April 2026, Davido — one of Afrobeats’ most globally exported stars — walked onto the Gobi stage in a blue suit and gold chain, live band already locked in behind him. He opened his set with “Dami Duro,” stepping straight into the pocket of nostalgia.

The tent was filled wall-to-wall with fans singing the lyrics to songs like “Skelewu,” “Gobe,” “OVER DEM”—bodies already bouncing in place. He carried on with other classical hits, including “Aye,” and “FIA,” then a sudden drop into stillness before “If,” so the crowd could carry the hook alone.

Fire effects flared on the downbeats of “Fall.” Midway, he brought out Adekunle Gold for “HIGH”; the two traded verses center stage while the band stretched the groove, the tent roaring every time the chorus hit.

He closed with “With You” layered over the Thriller bass line, Nigerian flag raised briefly overhead, then walked off as the lights cut. The set ran forty-five minutes, hit after hit, no downtime, no filler. His debut at Coachella has been a long time coming, and as usual, the Afrobeats star did not disappoint.

The “Essence” Moment: Tems and Wizkid

One of Coachella’s most iconic highlights remains the 2024 performance of “Essence.” During Tems’ set, Wizkid joined for their 2020 hit Essence; the first Nigerian song to chart on the Billboard Hot 100 and earn a Grammy nomination.

We had a repeat moment of this as Justin Bieber closed his Saturday headliner on the main stage, joined by Tems and Wizkid.

Tems took the first verse with her voice cutting clean through the night air; Wizkid slid in on the second, his delivery low and precise. Bieber handled the hook, the trio trading lines on the bridge without choreography.

The crowd, already dense from the headline slot, surged forward in waves, phones up with voices louder than the recordings. The song ended with a quick group embrace before the guests exited the stage.

Little Simz – Mojave Stage, April 12

Little Simz opened her 4:10 p.m. Mojave set with “Thief,” voice steady over live drums and bass, pacing the front of the stage in measured steps.

She moved through “Flood,” “Young,” and “I Love You, I Hate You” with the same controlled swagger. Midway, she stepped behind a small mixer and decks, dropping house-electro textures under “Mood Swings” and “Game On.”

She brought out Atlanta rapper JT for the new track “Game On” and a remixed “SOS”; the two traded bars with sharp, synchronised gestures while the crowd jumped in tight clusters near the rail. The set closed with “Gorilla,” Simz centre stage under red lights, band hitting the final stabs as she held the last note.

Year after year, African artists continue to shine at Coachella and it is a beautiful sight to behold.

From early pioneers to current chart-toppers, African artists at Coachella have moved from the margins to the center of global festival culture.

Perhaps one day, the names of African artists will no longer sit in smaller fonts on lineup posters but will take centre stage as headliners.

The post African Artists Who Performed at Coachella 2026 appeared first on Afromixx.

Tyla’s ascent has been nothing short of meteoric. Her 2023 breakout “Water” not only went viral with its infectious dance challenge but also made history by earning her the inaugural Best African Music Performance Grammy in 2024. Her self-titled debut album, released that same year, blended amapiano’s log drum rhythms with sleek R&B and pop sensibilities, charting globally and establishing her as a flagbearer for African music on the world stage. Following a deluxe edition and select singles, 2025 saw her maintain momentum with tracks like “IS IT” and “Push 2 Start”, alongside the release of her ‘We Wanna Party’ EP.

Enter “CHANEL”, the October 2025 single that now serves as the de facto lead for A-POP. This pop anthem, laced with signature amapiano elements, is built around a repetitive, unapologetic hook: “Put her in Chanel / How you say you love me? You ain’t put me in Chanel.” It’s a playful yet assertive demand for luxury and commitment, showcasing Tyla’s sharpened confidence and thematic shift toward empowerment and self-worth. The track’s glossy production and sultry visuals—in which Tyla drips in pearls, chains, and high-fashion edge—signal a more opulent era, one that trades some of her debut’s youthful vulnerability for bold, womanly allure.

If “CHANEL” is any indication, A-POP—widely interpreted as “African Pop” or a nod to amapiano’s global dominance—promises to be Tyla’s most ambitious statement yet. In recent interviews, she’s hinted at a “very fun” record with noticeable sonic evolution, one that captures her at 24: more experienced, more sensual, and unafraid to fuse her Johannesburg roots with universal pop appeal. With tour plans already in motion, this project arrives at a pivotal moment for African music’s mainstream crossover while carving her own lane.

The stakes are high for any sophomore effort, but Tyla appears poised to avoid the dreaded slump. Her Grammy momentum, streaming dominance, and ability to turn cultural sounds into global hits position A-POP as a potential defining album of 2026. In an industry hungry for fresh voices, Tyla isn’t just participating in the African pop wave; she’s steering it toward even brighter, bolder horizons. Summer can’t come soon enough.

The post Tyla’s Bold New Era: ‘A-POP’ and the Luxe Confidence of Lead Single ‘CHANEL’ appeared first on Afromixx.

African Representation: A Defining Force

African artists and those of African descent claimed significant victories and nominations, affirming the continent’s indelible impact on global music.

Best African Music Performance went to South African sensation Tyla for “Push 2 Start”, marking her second consecutive win in the category. She bested a powerhouse lineup:

• “Love” – Burna Boy (Nigeria)
• “With You” – Davido feat. Omah Lay (Nigeria)
• “Gimme Dat” – Ayra Starr feat. Wizkid (Nigeria)
• “Hope & Love” – Eddy Kenzo & Mehran Matin (Uganda)

Tyla’s victory underscores Amapiano’s global ascent and her personal dominance.

In a profoundly historic moment, Nigerian Afrobeat legend Fela Kuti received the Lifetime Achievement Award—the first ever for an African artist. His children accepted on his behalf, paying tribute to his revolutionary legacy.

Nigerian-American breakout Shaboozey won Best Country Duo/Group Performance for “Amen” (with Jelly Roll). His acceptance speech resonated deeply: “Immigrants literally built this country,” a timely statement amid ongoing debates.

Additional nominations highlighted Africa’s breadth:

• Burna Boy – Best Global Music Album (No Sign of Weakness)
• Angélique Kidjo (Benin) – Best Global Music Performance
• Youssou N’Dour (Senegal) – Best Global Music Album

These moments reflect the Recording Academy’s commitment to inclusivity, as African rhythms continue to reshape mainstream genres.

Key Winners in Major Categories

Across 95 categories, the night featured surprises and sweeps. Here are highlights from the General Field and select others:

Notable cross-genre wins included Lady Gaga for “Abracadabra” (multiple categories) and genre-blending recognition like Shaboozey’s country triumph.

Standout Highlights and Performances

The ceremony dazzled with high-energy performances:

• Lady Gaga → Theatrical spectacle for “Abracadabra”
• Justin Bieber → Emotional return to the Grammy stage
• Rosé & Bruno Mars → Infectious duet on “APT.”
• Sabrina Carpenter and others

Emotional peaks included the Fela Kuti tribute and Shaboozey’s speech. The red carpet showcased bold fashion, with African artists infusing cultural flair.

Trevor Noah’s sharp hosting tied the evening together, blending humor with reverence for music’s unifying power.

The 2026 Grammys proved music transcends borders, with African voices not only present but leading the conversation. As the industry evolves, nights like this signal a truly global era ahead.

Below, find out the complete list of Grammys winners for 2026, updated as the awards are announced.

Best Pop/Duo Group Performance

WINNER: Cynthia Erivo & Ariana Grande: “Defying Gravity”
Huntr/x: “Golden”
Katseye: “Gabriela”
Rosé & Bruno Mars: “Apt.”
SZA With Kendrick Lamar: “30 for 30”

Best Music Video

Clipse: “So Be It”
WINNER: Doechii: “Anxiety”
OK Go: “Love”
Sabrina Carpenter: “Manchild”
Sade: “Young Lion”

Best Song Written for Visual Media

Elton John & Brandi Carlile “Never Too Late (From the Film Elton John: Never Too Late)”
WINNER: Huntr/x: “Golden”
Jayme Lawson: “Pale, Pale Moon”
Miles Caton: “I Lied to You”
Nine Inch Nails: “As Alive as You Need Me to Be”
Rod Wave: “Sinners”

Best Traditional Blues Album

WINNER: Buddy Guy: Ain’t Done With the Blues
Charlie Musselwhite: Look Out Highway
Kenny Wayne Shepherd & Bobby Rush: Young Fashioned Ways
Maria Muldaur: One Hour Mama: The Blues of Victoria Spivey
Taj Mahal & Keb’ Mo’: Room on the Porch

Best American Roots Performance

Alison Krauss & Union Station: “Richmond on the James”
I’m With Her: “Ancient Light”
Jason Isbell: “Crimson and Clay”
Jon Batiste Featuring Randy Newman: “Lonely Avenue”
WINNER: Mavis Staples: “Beautiful Strangers”

Best Americana Album

Jesse Welles: Middle
WINNER: Jon Batiste: Big Money
Larkin Poe: Bloom
Molly Tuttle: So Long Little Miss Sunshine
Willie Nelson: Last Leaf on the Tree

Best Americana Roots Song

WINNER: I’m With Her: “Ancient Light”
Jason Isbell: “Foxes in the Snow”
Jesse Welles: “Middle”
Jon Batiste: “Big Money”
Sierra Hull: “Spitfire”

Best Americana Performance

Jesse Welles: “Horses”
Maggie Rose & Grace Potter: “Poison in My Well”
WINNER: Mavis Staples: “Godspeed”
Molly Tuttle: “That’s Gonna Leave a Mark”
Sierra Hull: “Boom”

Best Traditional Country Album

Charley Crockett: Dollar a Day
Lukas Nelson: American Romance
Margo Price: Hard Headed Woman
Willie Nelson: Oh What a Beautiful World
WINNER: Zach Top: Ain’t in It for My Health

Best Contemporary Blues Album

Eric Gales: A Tribute to LJK
Joe Bonamassa: Breakthrough
WINNER: Robert Randolph: Preacher Kids
Samantha Fish: Paper Doll
Southern Avenue: Family

Best Country Song

Lainey Wilson: “Somewhere Over Laredo”
Miranda Lambert & Chris Stapleton: “A Song to Sing”
Shaboozey: “Good News”
WINNER: Tyler Childers: “Bitin’ List”
Zach Top: “I Never Lie”

Best Country Duo/Group Performance

George Strait Featuring Chris Stapleton: “Honky Tonk Hall of Fame”
Margo Price Featuring Tyler Childers: “Love Me Like You Used to Do”
Miranda Lambert & Chris Stapleton: “A Song to Sing”
Reba McEntire, Miranda Lambert & Lainey Wilson: “Trailblazer”
WINNER: Shaboozey & Jelly Roll: “Amen”

Best Country Solo Performance

WINNER: Chris Stapleton: “Bad as I Used to Be”
Lainey Wilson: “Somewhere Over Laredo”
Shaboozey: “Good News”
Tyler Childers: “Nose on the Grindstone”
Zach Top: “I Never Lie”

Best Metal Performance

Dream Theater: “Night Terror”
Ghost: “Lachryma”
Sleep Token: “Emergence”
Spiritbox: “Soft Spine”
WINNER: Turnstile: “Birds”

Best Spoken Word Poetry Album

Marc Marcel: Black Shaman
Omari Hardwick & Anthony Hamilton: Pages
Queen Sheba: A Hurricane in Heels: Healed People Don’t Act Like That (Partially Recorded Live @City Winery & Other Places)
Saul Williams & Carlos Niño & Friends: Saul Williams Meets Carlos Niño & Friends at Treepeople (Live)
WINNER: Skillz: Words for Days, Vol. 1

Best Rap Song

Clipse: “The Birds Don’t Sing” [ft. John Legend, Voices of Fire]
Doechii: “Anxiety”
Glorilla: “TGIF”
WINNER: Kendrick Lamar: “TV Off” [ft. Lefty Gunplay]
Tyler, the Creator: “Sticky” [ft. GloRilla, Sexyy Red & Lil Wayne]

Best Melodic Rap Performance

Fridayy & Meek Mill: “Proud of Me”
JID, Ty Dolla $ign & 6lack: “Wholeheartedly”
WINNER: Kendrick Lamar & SZA: “Luther”
PartyNextDoor & Drake: “Somebody Loves Me”
Terrace Martin & Kenyon Dixon Featuring Rapsody: “WeMaj”

Best Rap Performance

Cardi B: “Outside”
WINNER: Clipse, Kendrick Lamar, Pusha T & Malice: “Chains & Whips”
Doechii: “Anxiety”
Kendrick Lamar: “TV Off” [ft. Lefty Gunplay]
Tyler, the Creator: “Darling, I” [ft. Teezo Touchdown]

Best R&B Album

Coco Jones: Why Not More?
Giveon: Beloved
Ledisi: The Crown
WINNER: Leon Thomas: Mutt
Teyana Taylor: Escape Room

Best Progressive R&B Album

Bilal: Adjust Brightness
Destin Conrad: Love on Digital
WINNER: Durand Bernarr: Bloom
Flo: Access All Areas
Terrace Martin & Kenyon Dixon: Come as You Are

Best R&B Song

Chris Brown Featuring Bryson Tiller: “It Depends”
Durand Bernarr: “Overqualified”
WINNER: Kehlani: “Folded”
Leon Thomas: “Yes It Is”
Summer Walker: “Heart of a Woman”

Best Traditional R&B Performance

Durand Bernarr: “Here We Are”
Lalah Hathaway: “Uptown”
Ledisi: “Love You Too”
WINNER: Leon Thomas: “Vibes Don’t Lie”
SZA: “Crybaby”

Best R&B Performance

Chris Brown Featuring Bryson Tiller: “It Depends”
Justin Bieber: “Yukon”
WINNER: Kehlani: “Folded”
Leon Thomas: “Mutt (Live from NPR’s Tiny Desk)”
Summer Walker: “Heart of a Woman”

Songwriter of the Year, Non-Classical

WINNER: Amy Allen
Edgar Barrera
Jessie Jo Dillon
Laura Veltz
Tobias Jesso Jr.

Producer of the Year, Non-Classical

Blake Mills
WINNER: Cirkut
Dan Auerbach
Dijon
Sounwave

Best Immersive Audio Album

Duckwrth: All American F**k Boy
WINNER: Justin Gray: Immersed
Tearjerkers: Tearjerkers
Trio Mediæval: Yule
Various Artists: An Immersive Tribute to Astor Piazzolla (Live)

Best Engineered Album, Non-Classical

Alison Krauss & Union Station: Arcadia
Cam: All Things Light
Japanese Breakfast: For Melancholy Brunettes (& Sad Women)
WINNER: Pino Palladino & Blake Mills: That Wasn’t a Dream

Best Alternative Music Album

Bon Iver: SABLE, fABLE
WINNER: The Cure: Songs of a Lost World
Hayley Williams: Ego Death at a Bachelorette Party
Tyler, the Creator: Don’t Tap the Glass
Wet Leg: Moisturizer

Best Alternative Music Performance

Bon Iver: “Everything Is Peaceful Love”
WINNER: The Cure: “Alone”
Hayley Williams: “Parachute”
Turnstile: “Seein’ Stars”
Wet Leg: “Mangetout”

Best Rock Album

Deftones: Private Music
Haim: I Quit
Linkin Park: From Zero
WINNER: Turnstile: Never Enough
Yungblud: Idols

Best Rock Performance

Amyl and the Sniffers: “U Should Not Be Doing That”
Hayley Williams: “Mirtazapine”
Linkin Park: “The Emptiness Machine”
Turnstile: “Never Enough”
WINNER: Yungblud, Nuno Bettencourt & Frank Bello Featuring Adam Wakeman & II: Changes (Live From Villa Park / Back to the Beginning)”

Best Rock Song

Hayley Williams: “Glum”
WINNER: Nine Inch Nails: “As Alive as You Need Me to Be”
Sleep Token: “Caramel”
Turnstile: “Never Enough”
Yungblud: “Zombie”

Best Dance Pop Recording

WINNER: Lady Gaga: “Abracadabra”
PinkPantheress: “Illegal”
Selena Gomez & Benny Blanco: “Bluest Flame”
Tate McRae: “Just Keep Watching”
Zara Larsson: “Midnight Sun”

Best Music Film

Devo: Devo
Diane Warren: Relentless
WINNER: John Williams: Music by John Williams
Pharrell Williams: Piece by Piece
Raye: Live at the Royal Albert Hall

Best Score Soundtrack for Video Games and Other Interactive Media

WINNER: Austin Wintory: Sword of the Sea
Gordy Haab: Indiana Jones and the Great Circle
Pinar Toprak: Avatar: Frontiers of Pandora – Secrets of the Spires
Wilbert Roget, II: Helldivers 2
Wilbert Roget, II & Cody Matthew Johnson: Star Wars Outlaws: Wild Card & A Pirate’s Fortune

Best Score Soundtrack for Visual Media (Includes Film and Television)

John Powell: How to Train Your Dragon
John Powell & Stephen Schwartz: Wicked
Kris Bowers: The Wild Robot
WINNER: Ludwig Göransson: Sinners
Theodore Shapiro: Severance: Season 2

Best Compilation Soundtrack for Visual Media

Timothée Chalamet: A Complete Unknown
Various Artists: F1® the Album
Various Artists: KPop Demon Hunters
WINNER: Various Artists: Sinners
Various Artists: Wicked

Best Tropical Latin Album

Alain Pérez: Bingo
Gilberto Santa Rosa: Debut y Segunda Tanda, Vol. 2
WINNER: Gloria Estefan: Raíces
Grupo Niche – Clásicos 1.0
Rubén Blades Featuring Roberto Delgado & Orquesta: Fotografías

Best Música Mexicana Album (Including Tejano)

Bobby Pulido: Bobby Pulido & Friends Una Tuya Y una Mía – Por la Puerta Grande (En Vivo)
WINNER: Carín León: Palabra de To’s (Seca)
Fuerza Regida & Grupo Frontera: Mala Mía
Grupo Frontera: Y Lo Que Viene
Paola Jara: Sin Rodeos

Best Latin Rock or Alternative Album

Aterciopelados: Genes Rebeldes
Bomba Estéreo, Rawayana & Astropical: Astropical
WINNER: Ca7riel & Paco Amoroso: Papota
Fito Páez: Novela
Los Wizzards: Algorhythm

Best Latin Pop Album

Alejandro Sanz: ¿Y Ahora Qué?
Andrés Cepeda: Bogotá (Deluxe)
Karol G: Tropicoqueta
WINNER: Natalia Lafourcade: Cancionera
Rauw Alejandro: Cosa Nuestra

Best Remixed Recording

The Chemical Brothers & Chris Lake: “Galvanize (Chris Lake Remix)”
Huntr/x & David Guetta: “Golden (David Guetta Rem/x)”
WINNER: Lady Gaga & Gesaffelstein: “Abracadabra (Gesaffelstein Remix)”
Mariah Carey & Kaytranada: “Don’t Forget About Us (Kaytranada Remix)”
Soul II Soul: “A Dreams a Dream (Ron Trent Refix)”

Best Dance/Electronic Album

WINNER: FKA twigs: Eusexua
Fred Again..: Ten Days
PinkPantheress: Fancy That
Rüfüs Du Sol: Inhale / Exhale
Skrillex: F*ck U Skrillex You Think Ur Andy Warhol but Ur Not!! <3

Best Dance/Electronic Recording

Disclosure & Anderson .Paak: “No Cap”
Fred Again.., Skepta & PlaqueBoyMax: “Victory Lap”
Kaytranada: “Space Invader”
Skrillex: “Voltage”
WINNER: Tame Impala: “End of Summer”

Best Historical Album

Doc Pomus: You Can’t Hip a Square: The Doc Pomus Songwriting Demos
WINNER: Joni Mitchell: Joni Mitchell Archives, Vol. 4: The Asylum Years (1976-1980)
Nick Drake: The Making of Five Leaves Left
Various Artists: Roots Rocking Zimbabwe – The Modern Sound of Harare’ Townships 1975-1980 (Analog Africa No.41)
Various Artists: Super Disco Pirata – De Tepito Para el Mundo 1965-1980 (Analog Africa No.39)

Best Classical Solo Vocal Album

Allison Charney & Benjamin Loeb: Alike – My Mother’s Dream
WINNER: Amanda Forsythe, Robert Mealy, Paul O’Dette & Stephen Stubbs: Telemann: Ino – Opera Arias for Soprano
Devony Smith, Danny Zelibor & Michael Nicolas: In This Short Life
Sidney Outlaw & Warren Jones: Black Pierrot
Susan Narucki & Curtis Macomber: Kurtág: Kafka Fragments
Theo Hoffman & Steven Blier: Schubert Beatles

Best Classical Instrumental Solo

Adam Tendler: “Inheritances”
Curtis Stewart & Michael Repper: “Coleridge-Taylor: 3 Selections From “24 Negro Melodies””
Mary Dawood Catlin, Jesús David Medina & Raniero Palm: “Hope Orchestrated”
WINNER: Yo-Yo Ma & Andris Nelsons – Shostakovich: The Cello Concertos
Yuja Wang & Andris Nelsons – Shostakovich: The Piano Concertos; Solo Works

Best Audio Book, Narration, and Storytelling Recording

WINNER: Dalai Lama: Meditations: The Reflections of His Holiness the Dalai Lama
Fab Morvan: You Know It’s True: The Real Story of Milli Vanilli
Kathy Garver: Elvis, Rocky & Me: The Carol Connors Story
Ketanji Brown Jackson: Lovely One: A Memoir
Trevor Noah: Into the Uncut Grass

Best Comedy Album

Ali Wong: Single Lady
Bill Burr: Drop Dead Years
Jamie Foxx: What Had Happened Was…
WINNER: Nate Bargatze: Your Friend, Nate Bargatze
Sarah Silverman: PostMortem

Best Children’s Music Album

Flor Bromley: Herstory
WINNER: Fyütch & Aura V: Harmony
Joanie Leeds & Joya: Ageless: 100 Years Young
Mega Ran: Buddy’s Magic Tree House
Tori Amos: The Music of Tori and the Muses

Best Contemporary Instrumental Album

WINNER: Arkai: Brightside
Béla Fleck, Edmar Castañeda & Antonio Sánchez: BEATrio
Bob James & Dave Koz: Just Us
Charu Suri: Shayan
Gerald Clayton: Ones & Twos

Best Chamber Music/Small Ensemble Performance

WINNER: Alan Pierson & Alarm Will Sound: “Donnacha Dennehy: Land of Winter”
Lili Haydn & Paul Cantelon: “Lullabies for the Brokenhearted”
Mak Grgić & Mateusz Kowalski: “Slavic Sessions”
Neave Trio: “La mer: French Piano Trios”
Third Coast Percussion: “Standard Stoppages”

Best Choral Performance

Anne Akiko Meyers, Los Angeles Master Chorale & Grant Gershon: “Billy Childs: In the Arms of the Beloved”
The Clarion Choir & Steven Fox: “Requiem of Light”
Conspirare & Craig Hella Johnson: “Advena: Liturgies for a Broken World”
The Crossing & David Nally: “David Lang: Poor Hymnal”
WINNER: Los Angeles Philharmonic, Gustavo Dudamel & Alisa Weilerstein: “Gabriela Ortiz: Yanga”

Best Opera Recording

Alan Pierson, The Choir of Trinity Wall Street & Silvana Quartet: “Kouyoumdjian: Adoration (Live)”
American Composers Orchestra & Carolyn Kuan: “Huang Ruo: An American Soldier”
Emily D’Angelo, Ellie Dehn, Ben Bliss, Kyle Miller, Greer Grimsley, The Metropolitan Opera Orchestra, The Metropolitan Opera Chorus & Yannick Nézet-Séguin: “Tesori: Grounded (Live)”
WINNER: Houston Grand Opera, Kwamé Ryan, Janai Brugger, Jamie Barton & J’Nai Bridges: “Jake Heggie: Intelligence”
Irish National Opera & Elaine Kelly: “O’Halloran: Trade / Mary Motorhead”

Best Orchestral Performance

WINNER: Andris Nelsons & Boston Symphony Orchestra: “Messiaen: Turangalîla-Symphonie”
Esa-Pekka Salonen – San Francisco Symphony: “Stravinsky: Symphony in Three Movements”
Gustavo Dudamel & Simón Bolívar Symphony Orchestra of Venezuela: “Ravel: Boléro, M. 81”
Michael Repper & National Philharmonic: “Samuel Coleridge-Taylor: Toussaint L’Ouverture, Op. 46 – Ballade Op. 4 – Suites From ’24 Negro Melodies’”
Yannick Nézet-Séguin & The Philadelphia Orchestra: “Still & Bonds: Symphonies & Variations”

Best Arrangement, Instruments and Vocals

Cody Fry: “What a Wonderful World”
Jacob Collier: “Keep an Eye on Summer”
Lawrence: “Something in the Water (Acoustic-ish)”
WINNER: Nate Smith & Säje: “Big Fish”
Seth MacFarlane: “How Did She Look?”

Best Arrangement, Instrumental or A Cappella

Cynthia Erivo: “Be Okay”
Nordkraft Big Band & Remy Le Boeuf: “A Child Is Born”
The Westerlies: “Fight On”
WINNER: The 8-Bit Big Band: “Super Mario Praise Break”

Best Instrumental Composition

John Powell & Stephen Schwartz: “Train to Emerald City”
Ludwig Göransson Featuring Miles Caton: “Why You Here / Before the Sun Went Down (From “Sinners” Score)”
Miho Hazama, Danish Radio Big Band & Danish National Symphony Orchestra: “Live Life This Day: Movement I”
WINNER: Nordkraft Big Band, Remy Le Boeuf & Danielle Wertz: “First Snow”
Sierra Hull: “Lord, That’s a Long Way”
Zain Effendi: “Opening”

Producer of the Year, Classical

Blanton Alspaugh
Dmitriy Lipay
WINNER: Elaine Martone
Morten Lindberg
Sergei Kvitko

Best Engineered Album, Classical

Andris Nelsons, Kristine Opolais, Günther Groissböck, Peter Hoare, Brenden Gunnell & Boston Symphony Orchestra: Shostakovich: Lady Macbeth of Mtsensk District
The Cleveland Orchestra & Franz Welser-Möst: Eastman: Symphony No. 2: Tchaikovsky: Symphony No. 2
WINNER: Sandbox Percussion: Cerrone: Don’t Look Down
Third Coast Percussion: Standard Stoppages
Trio Mediæval: Yule

Best Regional Roots Music Album

Corey Henry & The Treme Funktet: Live at Vaughan’s
Kyle Roussel: Church of New Orleans
Preservation Brass & Preservation Hall Jazz Band: For Fat Man
Trombone Shorty & New Breed Brass Band: Second Line Sunday
WINNER: Various Artists: A Tribute to the King of Zydeco

Best Musical Theater Album

WINNER: Buena Vista Social Club
Death Becomes Her
Gypsy
Just in Time
Maybe Happy Ending

Best Jazz Vocal Album

Dee Dee Bridgewater & Bill Charlap: Elemental
Michael Mayo: Fly
Nicole Zuraitis, Dan Pugach & Tom Scott Featuring Idan Morim, Keyon Harrold, Rachel Eckroth & Sam Weber: Live at Vic’s Las Vegas
WINNER: Samara Joy: Portrait
Terri Lyne Carrington & Christie Dashiell: We Insist 2025!

Best New Age, Ambient, or Chant Album

WINNER: Carla Patullo: Nomadica
Cheryl B. Engelhardt & Gem: According to the Moon
Chris Redding: The Colors in My Mind
Jahnavi Harrison: Into the Forest
Kirsten Agresta-Copely: Kuruvinda

Best Reggae Album

Jesse Royal: No Place Like Home
WINNER: Keznamdi: Blxxd & Fyah
Lila Iké: Treasure Self Love
Mortimer: From Within
Vybz Kartel: Heart & Soul

Best Global Music Album

Anoushka Shankar Featuring Alam Khan & Sarathy Korwar: Chapter III: We Return to Light
Burna Boy: No Sign of Weakness
WINNER: Caetano Veloso & Maria Bethânia: Caetano e Bethânia Ao Vivo
Shakti: Mind Explosion (50th Anniversary Tour Live)
Siddhant Bhatia: Sounds of Kumbha
Youssou N’Dour – Éclairer le monde: Light the World

Best African Music Performance

Ayra Starr & Wizkid: “Gimme Dat”
Burna Boy: “Love”
Davido Featuring Omah Lay: “With You”
Eddy Kenzo & Mehran Matin: “Hope & Love”
WINNER: Tyla: “Push 2 Start”

Best Global Music Performance

Angélique Kidjo: “Jerusalema”
Anoushka Shankar Featuring Alam Khan & Sarathy Korwar: “Daybreak”
WINNER: Bad Bunny: “Eoo”
Ciro Hurtado: “Cantando en el Camino”
Shakti: “Shrini’s Dream (Live)”
Yeisy Rojas: “Inmigrante y Que?”

Best Traditional Pop Vocal Album

Barbra Streisand: The Secret of Life: Partners, Volume 2
Elton John & Brandi Carlile: Who Believes in Angels?
Jennifer Hudson: The Gift of Love
Lady Gaga: Harlequin
Laila Biali: Wintersongs
WINNER: Laufey: A Matter of Time

Best Alternative Jazz Album

Ambrose Akinmusire: Honey From a Winter Stone
Brad Mehldau: Ride into the Sun
Immanuel Wilkins: Blues Blood
WINNER: Nate Smith: Live-Action
Robert Glasper: Keys to the City Volume One

Best Latin Jazz Album

Arturo O’Farrill: The Original Influencers: Dizzy, Chano & Chico (Live at Town Hall)
Arturo O’Farrill & The Afro Latin Jazz Orchestra: Mundoagua – Celebrating Carla Bley
WINNER: Gonzalo Rubalcaba, Yainer Horta & Joey Calveiro: A Tribute to Benny Moré and Nat King Cole
Miguel Zenón Quartet: Vanguardia Subterránea: Live at the Village Vanguard
Paquito D’Rivera – Madrid-New York Connection Band: La Fleur de Cayenne

Best Large Jazz Ensemble Album

WINNER: Christian McBride: Without Further Ado, Vol 1
Danilo Pérez & Bohuslän Big Band: Lumen
Deborah Silver & The Count Basie Orchestra: Basie Rocks!
Kenny Wheeler Legacy Featuring The Royal Academy of Music Jazz Orchestra & Frost Jazz Orchestra: Some Days Are Better: The Lost Scores
Sun Ra Arkestra: Lights on a Satellite
The 8-Bit Big Band: Orchestrator Emulator

Best Jazz Instrumental Album

Branford Marsalis Quartet: Belonging
Chick Corea, Christian McBride & Brian Blade: Trilogy 3 (Live)
John Patitucci Featuring Chris Potter & Brian Blade: Spirit Fall
WINNER: Sullivan Fortner: Southern Nights
Yellowjackets: Fasten Up

Best Jazz Performance

WINNER: Chick Corea, Christian McBride & Brian Blade: “Windows (Live)”
Lakecia Benjamin Featuring Immanuel Wilkins & Mark Whitfield: “Noble Rise”
Michael Mayo: “Four”
Nicole Zuraitis, Dan Pugach & Tom Scott Featuring Idan Morim, Keyon Harrold, Rachel Eckroth & Sam Weber: “All Stars Lead to You (Live)”
Samara Joy: “Peace of Mind / Dreams Come True”

Best Roots Gospel Album

WINNER: The Brooklyn Tabernacle Choir: I Will Not Be Moved (Live)
Candi Staton: Back to My Roots
Gaither Vocal Band: Then Came the Morning
The Isaacs: Praise & Worship: More Than a Hollow Hallelujah
Karen Peck & New River: Good Answers

Best Contemporary Christian Music Album

Brandon Lake: King of Hearts
Forrest Frank: Child of God II
WINNER: Israel & New Breed: Coritos, Vol. 1
Lecrae: Reconstruction
Tauren Wells: Let the Church Sing

Best Gospel Album

WINNER: Darrel Walls & PJ Morton: Heart of Mine
Tamela Mann: Live Breathe Fight
Tasha Cobbs Leonard: Tasha
Tye Tribbett: Only on the Road (Live)
Yolanda Adams: Sunny Days

Best Contemporary Christian Music Performance/Song

WINNER: Brandon Lake & Jelly Roll: “Hard Fought Hallelujah”
Darrel Walls & PJ Morton: “Amazing”
Elevation Worship, Chris Brown & Brandon Lake: “I Know a Name”
Forrest Frank: “Your Way’s Better”
Lecrae, Killer Mike & T.I.: “Headphones”

Best Gospel Performance/Song

WINNER: Cece Winans & Shirley Caesar: “Come Jesus Come”
Jonathan McReynolds & Jamal Roberts: “Still (Live)”
Kirk Franklin: “Do It Again”
Pastor Mike Jr.: “Amen”
Tasha Cobbs Leonard & John Legend: “Church”

Best Folk Album

WINNER: I’m With Her: Wild and Clear and Blue
Jason Isbell: Foxes in the Snow
Jesse Welles: Under the Powerlines (Live April 2024 – September 2024)
Patty Griffin: Crown of Roses
Rhiannon Giddens & Justin Robinson: What Did the Blackbird Say to the Crow

Best Bluegrass Album

Alison Krauss & Union Station: Arcadia
WINNER: Billy Strings: Highway Prayers
Michael Cleveland & Jason Carter: Carter & Cleveland
Sierra Hull: A Tip Toe High Wire
The Steeldrivers: Outrun

The post 2026 Grammy Awards: African Stars Shine as Tyla Repeats Triumph and Fela Kuti Receives Historic Honor appeared first on Afromixx.

Stepping on stage with a bubblegum pink bob wig that stole the show before she even sang a bar. This wig was far from subtle—neon-hued and razor-sharp, the short crop framed her face like a K-pop fever dream, with “TOKYO” emblazoned across the back in glittering script, a cheeky nod to her Japanese takeover. Attendees lost it the moment she tossed it into the crowd mid-set, her natural curls tumbling free in a raw, electric reveal that turned the arena into a frenzy of screams and outstretched arms. Glam artist Ngozi Edeme layered on the luminosity: shimmering highlights for that sun-kissed glow, metallic purple shadow smouldering at the corners of her eyes, and a glossy pink pout that matched the wig’s vibe down to the hue.

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Tyla kicked off her ‘We Wanna Party Asia Tour’ with unapologetic flair, performing a large chunk of her catalogue, remixing Beyoncé’s “Yoncé” and Rihanna’s “Birthday Cake” into a sultry prelude alongside her own chart-climber “Body Go” (featuring Moliy). The night peaked with a masterful mash-up of her Sean Paul-assisted “Push 2 Start”, fresh off a 2026 Grammy nod for Best African Music Performance, and Bey’s 2003 dancehall gem “Baby Boy”.

“Just did a sold-out headline show in Tokyo… Like everyone paid to see ME,” Tyla marvelled in a post-show tweet, a sentiment that resonated deeply with fans, seeing the journey of the Johannesburg native—Edenvale-born, global-bred—who has flipped the script in an industry long dominated by Western and East Asian narratives. Her second Grammy nomination this week only amplifies the moment, positioning her as the category’s first two-time winner and a beacon for the next wave of African exports.

While Tokyo’s arenas have hosted foreign heavyweights like Tyler, The Creator (who doubled down on back-to-back sell-outs earlier this year), Tyla’s triumph arrives as a first for the continent. No prior African headliner has commanded Ariake’s scale here, a venue that demands not just talent but cultural crossover appeal. Tyla, going on tour following 2025 releases like her ‘We Wanna Party’ EP featuring Wizkid and her single ‘Chanel’ still rippling through playlists worldwide, seems to have cracked the code. Her tour—spanning 11 dates from Tokyo to Dubai’s Sole DXB festival in December—marks her first full headline run since her 2024 album, evolving from opener to arena conqueror in under two years.

As Tyla’s tour rolls on, expect Tokyo’s echo to reverberate: more sold-out nights and more remixes that honour the past while charging the future. Tyla’s Ariake Arena stop was a conquest, and if this is the opener for the We Wanna Party tour, the encore promises to be legendary.

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Blaqbonez— No Excuses (Album)

Blaqbonez’s ‘No Excuses’, is a 17-track, 45-minute victory lap that doubles as a defiant middle finger to complacency. Fresh from strutting Paris Fashion Week for Vivienne Westwood, Emeka Akumefule delivers a project that’s equal parts manifesto and masterclass, blending UK drill, Afrobeats, and amapiano with a lyrical edge that’s sharp, witty, and unrelenting. From the opening banger “Everlasting Taker,” Blaq sets the tone with Telz’s trap-laced production and lines like “Last real n***a, I might be am”, owning his grind with zero apologies. It’s a high-octane rush on first listen, demanding replays before the acoustic fade of closer “Stack$$$$” even settles, but its ambition occasionally teeters on overstuffed.

The album’s strength lies in its versatility and stacked roster. Tracks like “Consistency” with AJ Tracey spark cross-Atlantic fire, blending Blaq’s playful jabs (“I no go play you like El Classico”) with AJ Tracey’s gravelly flow, while “Aura 4 Aura” with Pa Salieu dives into glitchy synths and West African percussion for a global rap fever dream. Olamide’s ad-libs on “Star Life II” elevate it to anthemic heights, and Phyno’s Igbo-infused verse (likely on “ACL”) grounds the project in Naija roots. Producers like JAE5 and Magicsticks keep the beats crisp and varied, while features from Zinoleesky, Bella Shmurda, and Young Jonn add melodic heft. Yet, with 15 guest spots, Blaq’s solo shine occasionally gets crowded, and a few experimental swings feel like rough drafts needing polish compared to the laser focus of ‘Emeka Must Shine’.

By the time “Stack$$$$” closes with introspective acoustics, calling out industry snakes and social media fakery, ‘No Excuses’ cements itself as a fearless step forward. Blaqbonez’s ‘No Excuses’ is a bold, cohesive body of work that showcases his evolution from Lagos underdog to Africa’s rap visionary. 

Zlatan — Symbol of Hope (Album)

Zlatan Ibile’s ‘Symbol of Hope’, his third studio album and first proper full-length since 2021’s ‘Resan’. ‘Symbol of Hope’ is a 15-track testament to grit, gratitude, and the grind that turned a kid from Ikorodu’s tough streets into Afrobeats royalty. Clocking in around 45 minutes, this star-packed project—featuring heavyweights like Davido, Olamide, Flavour, Victony, Mayorkun, Shallipopi, Bhadboi OML, Qing Madi, Lojay, Idowest, and FOLA—feels like a coronation lap, blending Zlatan’s signature street-hop bounce with introspective highs and motivational lows. On first spin, it’s a no-skip rush: raw, reflective, and relentlessly uplifting, transforming personal scars into universal anthems that scream, “If I made it, you can too.” Hot off the Billboard-charting single “Get Better” with FOLA, the album pulses with that Zanku energy but dials up the vulnerability, making it less party starter and more perseverance playbook.

The opener “Pay Day” hits like a victory siren, Zlatan’s baritone swagger over booming bass declaring triumphs snatched from the jaws of defeat, setting a tone of unapologetic hustle that carries through the midsection’s bangers. “Gimme Your Love” reunites him with mentor Olamide for a nostalgic heater that nods to their 2017 roots, while Davido’s melodic flair on a standout cut (likely “Better Life”) elevates the aspirational vibes to stadium-ready heights—pure earworm gold with hooks that lodge deep. “Demons” ft. Qing Madi slows it down for a soul-stirring confessional on inner battles and fatherhood, her ethereal vocals weaving through Zlatan’s gritty confessions like a lifeline in the dark. Victony’s collab on “Bebe” showcases growth, blending street charisma with soulful depth in a track that’s equal parts body-mover and heart-tugger, proving Zlatan’s evolution beyond the trenches. Production is crisp and varied—afro-R&B nods to Lagbaja on “Diamond,” highlife infusions with Flavour, and trap edges with Shallipopi—keeping the runtime dynamic without a dull moment. Lyrically, it’s Zlatan at his most unfiltered: tales of skipped meals morphing into blueprints for believers, laced with humor and zero filler.

Yet, for all its fire, the feature density (nearly every track has a guest) occasionally crowds Zlatan’s solo shine, turning what could be intimate memoirs into a family reunion that risks diffusion. Compared to ‘Zanku‘s’ raw establishment or ‘Resan‘s’ bombast, this feels more polished but less laser-focused—bold swings toward vulnerability sometimes land as sketches needing a second coat. Still, the closer “Alpha & Omega” with Bhadboi OML seals it with reflective wisdom, looking back at early hustles while affirming the album’s ethos: hope as a hard-won symbol, not a handout. On first listen, ‘Symbol of Hope’ is a motivational masterpiece that cements Zlatan as Afrobeats’ enduring beacon, bridging eras and inspiring a generation to keep pushing.

Ayra Starr & Rema — Who’s Dat Girl

In the pantheon of Mavin Records’ golden children, Ayra Starr and Rema have long been the yin and yang of Afrobeats’ next wave—her ethereal, genre-bending poise meeting his melodic trap sorcery. Their first true duet, ‘Who’s Dat Girl’, a sultry 3-minute Afro-dancehall confection produced by Ragee and The Elements that feels like the soundtrack to a midnight Lagos rendezvous. Clocking in with a runtime primed for viral loops, it’s no surprise the track’s already clawing up charts, fueled by a rollout that had fans decoding synced X profile pics and that cheeky cover art of airbrushed portraits under lifted shirts. 

On first spin, ‘Who’s Dat Girl’  is a hypnotic blend of R&B silk, dancehall bounce, and Middle Eastern-infused percussion that demands you move, even if it’s just a subtle sway. Coming off Ayra’s summer heater “Hot Body” and Rema’s global flex “FUN,” this collaboration tease the new gen duo global domination we’ve all been waiting for. Ayra’s opening verse slinks in with 2000s pop-girl swagger—”Who’s dat girl, she bad like dat”—her voice a velvet blade cutting through the riddim like sunlight on silk. It’s confident, charismatic, channeling the unapologetic femininity that’s made tracks like “Rush” timeless, but layered here with a playful edge that nods to TikTok’s dance challenges waiting to explode. Rema slides in midway like a snake charmer, his flow wicked and effortless, twisting bars with that signature breathy cadence: “She dey move like she own the night, no cap.” The chemistry is electric—undeniable from their Global Citizen Festival stage sparks last month—trading verses that bounce off each other without stepping on toes, all over a beat that’s equal parts seductive groove and infectious energy. Production-wise, Ragee’s touch is gold: those shimmering synths and percussive snaps evoke a fusion of Caribbean heat and Naija soul, while subtle vocal harmonies weave the duo into a seamless unit. It’s light but loaded with flirty brags on self-love and allure that double as empowerment anthems, with zero filler in sight. First listen leaves you grinning, replaying Rema’s hook just to catch how it hooks you.

That said, in a vacuum, ‘Who’s Dat Girl’ is more of a polished vibe curator, with Ayra’s delivery occasionally predictable in her comfort zone and the runtime so tight it begs for a remix to stretch those vibes. Compared to Ayra’s introspective gems or Rema’s experimental edges, it leans heavy on accessibility, which might make it feel like a teaser for bigger things rather than a standalone statement.

MOLIY & Tyla — Body Go

Ghanaian-American breakout MOLIY and Grammy-winning South African sensation Tyla ignite the Afrobeats fuse with ‘Body Go’, their electrifying debut collab. This 2-minute dancefloor decree, produced by Frnch and DeeMa, fuses amapiano’s hypnotic pulse, Afrobeats’ infectious bounce, and R&B’s sultry sheen into a pan-African party starter that’s already storming Ghana’s Y107.9 FM airwaves. Hot on the heels of MOLIY’s billion-stream juggernaut “Shake It To The Max (FLY) [Remix]”—crowned a Spotify/TikTok Song of the Summer 2025—and Tyla’s genre-redefining ‘TYLA’ era, this feels like a natural heir to their shared throne of feminine fire. On first spin, it’s an instant mood elevator: sultry, commanding, and unapologetically joyful, the kind of track that turns solo commutes into full-body grooves. Born from MOLIY’s gut instinct (“It needed another baddie”) and their instant NYC chemistry, ‘Body Go’ is a manifesto for unfiltered vibes, proving African sounds are the global heartbeat.

The hook lands like a velvet whipcrack: MOLIY’s warm, commanding alto coos “Body go, make it move”, layering breathy ad-libs over shimmering percussion that evokes sun-soaked Accra nights bleeding into Johannesburg sunrises. Tyla slinks in with her signature smoky timbre—”Let your body go, no holding back”—her verse a playful flex of confidence and allure that dovetails seamlessly with MOLIY’s flow, trading lines like old confidantes plotting a takeover. The production is a masterstroke: Frnch’s amapiano log drums thump with restrained urgency, while DeeMa’s pop polish adds glossy hooks primed for festival roars and viral challenges. Lyrically, it’s light but lethal—empowerment wrapped in flirtation, celebrating sisterhood and self-love without a hint of preachiness: “Outside with my girls, not thinking too hard, just living, just moving.” The visualizer amps the allure, with its neon-drenched aesthetics and effortless choreography that scream “replay for the moves.” 

Sure, at just over two minutes, it teases more than it delivers, begging for an extended mix to savor those transitions, and the ultra-accessible sheen might sideline deeper introspection for pure escapism. MOLIY’s ‘Body Go’ cuts through with unadulterated fun, bridging Ghana, SA, and the diaspora into one swaying congregation.

Young Jonn — Full Control

Young Jonn, continues his slick pivot to frontman status with ‘Full Control’, a 2-minute sultry siren. Coming off the global juggernaut “Cash Flow” ft. Wizkid—which racked up 18.7 million streams, topped Spotify and Apple Music charts, and hit No.3 on the UK Afrobeats Chart—this Afro-fusion heater teases his sophomore album ‘Blue Disco’, a 20-track odyssey he confirmed complete on October 2. Produced by Yung Willis, it’s a late-night confession booth of desire and surrender: whispered pleas over pulsing log drums and warm guitar licks that evoke unbuttoned tension in a dimly lit Lagos lounge. ‘Full Control’ is an instant slow-burn ignition with Young Jonn’s delivery smooth as silk sheets, commanding as a lover’s gaze, turning mundane drives into full-body replays. 

The track uncoils with effortless seduction: Young Jonn’s baritone croons open with “I give you full control of my body tonight / Do as you like tonight,” his delivery a flirtatious dare laced with vulnerability—exploring the thrill of yielding power in a charged encounter. It’s got that signature Young Jonn polish: uptempo bounce meets R&B intimacy, with understated percussion syncing bodies to the beat like a whispered invitation to “slip and slide, rough handle me.” Lyrically, it’s light but loaded—flirty brags on trust and lust (“Feel my body, loose my button / Olomi tell me you want me”) that double as nods to emotional maturity, all without dipping into corniness. Compared to the wordplay wizardry of “Cash Flow,” this narrows the lens to visceral connection. 

At under three minutes, “Full Control” flirts with brevity, leaving listeners craving an extended cut to linger in that push-pull energy. “Full Control” along with “Cash Flow” stands as a magnetic bridge to ‘Blue Disco’ that may position Young Jonn as Afrobeats’ smoothest operator, blending hitmaker hustle with storyteller soul.

Niniola — Belle 

Niniola, the undisputed Queen of Afro-House, storms back into the fray with ‘Belle’, a 2-minute euphoric blast. Produced by frequent collaborator Niphkeys, this up-tempo scorcher fuses log drum thumps, shimmering synths, and swinging basslines into a relentless party pulse that’s primed to hijack clubs from Lagos to global festivals. Hot off her 2025 rollout of “Ginger Me (Alum)”—a cheeky anti-pregnancy plea that had fans cackling—and building on the buzz from her faux-baby-bump teaser video (“Lo Condom… Now You Done Get Belle”), the single arrives as a sly narrative sequel: what happens when passion overrides precaution. On first spin, it’s an instant adrenaline hit—sultry, sassy, and excitingly smutty, turning steamy confessions into communal anthems that demand listeners drop everything and dance. On ‘Belle’, Niniola’s solo flex reaffirms her as Afro-House’s boldest storyteller, blending Yoruba flair with universal joy.

The track erupts with Niniola’s magnetic alto gliding over euphoric hooks: “Belle, belle, you done get belle”—her multilingual wordplay in Pidgin and Yoruba spinning a humorous yarn of a lovestruck guy ignoring his girl’s “love me easy” plea, leading to that “sweet trouble” of pregnancy. The song’s playful verses tease the thrill of insatiable desire (“Lo condom, you no hear word”), flipping vulnerability into victory with a wink and a sway. Niphkeys’s production is a masterclass in restraint and release with log drums swinging like a heartbeat on overdrive, while layered synths add a glossy, midnight sheen. No heavy moralizing, just relatable revelry that transforms private escapades into public euphoria. At its core, ‘Belle’ thrives on brevity and bounce, peak Niniola characterized by accessible escapism over deep dives.

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Ayra Starr delivered a electrifying performance, cementing her status as the Voice of African Gen Z. Her set included hits like “Gimme Dat,” “Goodbye (Warm Up),” “Hot Body,” and the Grammy-nominated “Rush,” which had the crowd on its feet. Starr’s stadium-ready anthem “Sability” brought high energy, and she closed her solo segment with a poignant mashup of “All The Love” and Coldplay’s “Strawberry Swing,” dedicating it to the festival’s mission. In a surprise highlight, she brought out fellow Nigerian star Rema for a dynamic performance of “Rush,” followed by Rema’s hits “Calm Down” and “Baby (Is It A Crime)”. Ayra Starr also made a heartfelt gesture, asking the audience to light up their phone torches to highlight the need for energy access in Africa, aligning with the festival’s goals. Her performance was a powerful blend of cultural pride and global advocacy.

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Grammy winner Tyla turned Central Park into an amapiano-fueled dance floor with her 15-minute set. She opened with “Is It” from her recent EP ‘WWP (We Wanna Party)’, followed by “Truth or Dare” and “Dynamite,” her collaboration with Wizkid. Her performance of the Grammy-winning “Water” was a standout, though briefly paused when Tyla compassionately stopped to ensure a fan in distress received help. After restarting the song, she rallied the crowd with, “Now we’re gonna scream,” creating a defining festival moment. Tyla’s viral “Tyla Dance”—featuring rhythmic hip rotations and shoulder rolls—captivated social media, with a choreography and bold stage presence in a fringed, athletic outfit. Her set underscored her rising global influence and commitment to representing African artistry.

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The Global Citizen Festival also saw Shakira headline with a sizzling set, performing hits like “Hips Don’t Lie,” “Whenever, Wherever,” and “Bzrp Music Sessions, Vol. 53,” backed by a vibrant dance crew that electrified the crowd. Cardi B, stepping in as a last-minute headliner after The Weeknd’s cancellation for personal reasons, brought her signature high-energy performance, commanding the stage with her bold presence and hits that kept the audience hyped.

Rosé of BLACKPINK delivered an intimate acoustic set, including her popular track “APT,” earning praise for its raw and breathtaking quality. Mariah the Scientist performed in striking GI Jane-inspired attire, showcasing tracks from her latest album Hearts Sold Separately, adding a soulful vibe to the night. Camilo and Elyanna rounded out the lineup with their unique sounds, contributing to the festival’s global and cultural diversity.

The 2025 Global Citizen Festival was a vibrant celebration of music and purpose, with Ayra Starr and Tyla stealing the show through their electrifying performances and meaningful engagement with the festival’s mission.

WATCH THE FULL PERFORMANCE!!!

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Tyla — WWP (We Wanna Party) [EP]

Tyla’s music journey has witnessed a jaw-dropping meteoric rise, diligently supported by her talents from the start of her career—in the form of smash singles and her 2023 debut album ‘TYLA’, which was followed by a deluxe in 2024. Preceded by two lead singles and a listening party that conveys the essence of her newly released pop EP ‘We Wanna Party‘, Tyla reminds fans with the 4-track project why she’s the globally preferred pop star from Africa, and how long she intends to fill the shoes.
Across four tracks—“Bliss”, “Is It”, “Mr Media”, and “Dynamite”—Tyla blends the sensual leanings of R&B with Amapiano drums and the soft rebellion of pop’s next wave. The production across the EP is bright and bouncy, but still sharp.
Standout “Dynamite”, which, according to Tyla, was recorded in 2022, brings in Wizkid for a flirtatious back-and-forth with an energetic and assured delivery. “Dynamite” showcases a chemistry born from a blend of Wizkid’s punchy energy and Tyla’s mellow glide. “Your body bang like dynamite” might sound like a TikTok hook waiting to happen, but the record carries more sonic weight than gimmick.
On Mr Media, Tyla switches pace and tone, addressing critics with sharp wit and calculated softness. It’s a flex, but one wrapped in clean production and deliberate confidence.
‘WWP’ is exactly what Tyla curated it to be: an upbeat, party groove crafted by the soul of a South African who understands the heritage of her home.

Asake ft. Tiakola — BADMAN GANGSTA

Asake has entered his jet-set global villain arc, and BADMAN GANGSTA is the soundtrack. Teaming up with French-Congolese rapper Tiakola, the track pulls from Amerie’s “1 Thing” for its rhythm bed, but what they build over it is more than just a sample flip.
Asake raps and croons like he’s taking victory laps, blending Yoruba and pidgin with cheeky baritone flair. Tiakola’s French delivery slots in, adding texture like pepper in a sweet stew. Together, they play off each other with a synergy that proves international collabs don’t need to feel manufactured.
Produced by AoD and P.Priime, the beat leans into nostalgia without getting lazy—plenty of bounce, smoky sax notes, and space for both artists to stretch.
The music video, shot in noir-ish black and white, is part documentary, part luxury diary: Paris runways, studio booth confessions, and flexes wrapped in realness.
More than just a one-off, BADMAN GANGSTA feels like a proper marker in Asake’s journey.

Fireboy DML — Dopamine

Fireboy’s pen has always flirted with the poetic, but ‘Dopamine‘ is straight-up chemical seduction. He takes the science of feeling good and wraps it into a sonic experience that’s warm, melancholic, and flirtatious in equal parts.
Produced by Anoop D’Souza and Jonah Christian, the track is lush without being showy—think layered harmonies, slow-rising synths, and subtle reggae pulses anchoring his smooth vocal delivery. It’s Fireboy back in his Afrobeats-meets-R&B bag, but the writing has matured.
Love is a drug, and he’s both the addict and the supplier. ‘Dopamine‘ captures that emotional grey space between obsession and honesty, wrapped in clean arrangements that don’t overpower the message. As the first single off his upcoming project, it sets the tone: Fireboy’s going deeper but still wants to make you sway.

Ayra Starr — Hot Body

Ayra Starr is in her pixie cut era, and she’s not holding back. ‘Hot Body‘ is the follow-up to the grown-and-sexy lane she tapped into on ‘Gimme Dat‘ with Wizkid, but now she’s owning it with a brand-new single following the announcement of a partnership with ROC Nation.
With Ragee and The Elements on co-production, the track leans into dancehall but keeps that polished Afropop core. It’s light, breezy, and playfully bold—a summer anthem made for mirror selfies and girls’ night out clips.
Lyrically, Ayra Starr is in self-love mode, but it’s less preachy, more “You see it, and I know you see it.” With the right push, ‘Hot Body‘ could be one of those records that haunts charts and pool parties well into next year.

Amaarae — Girlie-Pop!

Nobody does alt-hyperfemme like Amaarae, and Girlie-Pop! is peak cyber sugar with an attitude. It blends hyperpop’s glitchy aesthetics with West African bounce, all while Amaarae plays the role of lyrical assassin in baby-pitched vocals.
“Sexual agency” might be the academic term, but this song is pure energy. She sings like she’s rolling her eyes at anyone who doubts her power.
Produced by long-time collaborator Kyu Steed and Maffalda, the track pops, glitches, and shifts in unexpected ways. It’s rebellious with intentional chaos—but also controlled, with a confidence so palpable it excites the listener for her forthcoming project on the horizon. If ‘BLACK STAR‘, her upcoming album, is cut from the same cloth, we’re in for a cultural moment.

Chella — Loyal

Following the release of his smash hit ‘My Darling‘, which made Spotify’s Summer Song and Global Impact lists, Chella rides the wave of global appeal with a similarly energetic groove on Loyal.  On the song, Chella proves he isn’t a one-hit wonder as he crafts a record that holds the listener’s attention while evoking specific emotions. With lyrics like “Every day I’m singing Hosanna”, the track almost feels spiritual, though rooted in romantic devotion.
There’s an honesty in his voice that makes it feel more lived-in than performed. Smooth Afro-R&B production gives it playlist replay value, while his delivery does the emotional heavy lifting.
Like his previous hit, Chella’s ‘Loyal‘ is already picking up on TikTok, and if he keeps this up, he’ll be bumping shoulders with the bigger names sooner than expected.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

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Tyla triumphed over notable nominees including Wizkid, Rema, Tems, and Asake, marking a significant milestone in her burgeoning career. This accolade adds to her impressive list of achievements, including her viral hit “Water”, which dominated global charts and social media platforms.

Her win underscores her individual talent and highlights the growing global recognition of Afrobeats and its diverse artists. Fans and fellow musicians have taken to social media to celebrate her groundbreaking accomplishment, further cementing her status as a trailblazer in the music industry.

As Tyla continues to break barriers and redefine genres, her historic AMA win serves as a win for South Africa and an inspiration for aspiring artists worldwide.

The post Tyla Makes History as First Female to Win Favorite Afrobeats Artist at 2025 AMAs appeared first on Afromixx.

Tyla’s appointment as host simply highlights her global influence in the entertainment industry, with her recent feature on the upcoming Smurfs: The Movie soundtrack with artists like Rihanna being her latest feat. In addition to her hosting duties, she has been nominated in the ‘Favourite Global Music Star’ category, representing Africa.

The 2025 Kids’ Choice Awards will feature 35 categories, with voting open to fans online. Leading the nominations are Ariana Grande, Lady Gaga, and Kendrick Lamar, each with four nods.

Reflecting on last year’s event, the 2024 Kids’ Choice Awards were hosted by virtual characters SpongeBob SquarePants and Patrick Star, celebrating the 25th anniversary of the beloved animated series. The ceremony saw Taylor Swift winning three awards, including Favourite Female Artist, while the film “Barbie” took home four awards, including Favourite Movie.

With Tyla at the helm, the 2025 Kids’ Choice Awards promise an exciting blend of music, entertainment, and fan engagement.

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