The clip currently making the rounds online is not new. In an October 2023 appearance on Ebro in the Morning, Tems was asked whether she considered herself an Afrobeats artist.

She didn’t.

Tems described her music as alternative, or “alté, as they would say,” and elsewhere in the conversation referred to it as “alternative afro soul R&B.” She also pointed out something that has become increasingly obvious as African music has travelled further around the world; music coming out of Nigeria is often automatically labelled Afrobeats simply because it comes from Nigeria.

Her point was that the Afrobeats label does not describe everything.

Tems Says She Is Not an Afrobeats Artist

In a 2021 interview with Billboard, Tems was even more direct.

“I’m not afrobeats. That’s the truth,” she said.

At the time, she explained that people often attached the label to her because she was African. She acknowledged that she could feature on an Afrobeats record without that automatically making her an Afrobeats artist.

It was a distinction worth making then, and it is arguably even more important now.

Because Tems’ career has become one of the clearest examples of how difficult it is for an African artist to exist outside the continent’s most commercially recognisable genre label.

The problem is that “Afrobeats” has become useful shorthand.

For international audiences, it makes African pop easier to understand. For streaming platforms, festivals, award shows and publications, it provides a convenient category. It has helped Nigerian music travel from Lagos to London, New York and everywhere in between.

Nonetheless, convenience has its limits.

At some point, Afrobeats stops describing a particular sound and starts describing a continent.

Why Tems’ “Essence” Feature Complicated the Afrobeats Debate

Of course, Tems’ argument becomes more complicated because one of the songs that introduced her to the world was “Essence.”

Wizkid’s 2020 hit, on which Tems appeared alongside the Nigerian superstar, became one of the defining African pop records of the decade. Its remix with Justin Bieber pushed it even further into the global mainstream, eventually reaching the top 10 of the Billboard Hot 100.

It is also, unsurprisingly, frequently described as Afrobeats.

Tems herself was less interested in putting it in that box.

In that 2021 Billboard interview, she described “Essence” as afrofusion and questioned whether it was necessarily Afrobeats.

A song can exist in the Afrobeats ecosystem without making every artist involved an Afrobeats artist.

Tems’ Music Is Bigger Than One Genre

Listen back to Tems’ catalogue and her resistance to the label becomes easier to understand.

“Mr Rebel” and “Try Me” announced an artist far more interested in atmosphere, vulnerability and introspection than in fitting neatly into the dominant Nigerian pop template.

For Broken Ears pushed that further. “Free Mind” became one of her biggest records and eventually spent 17 weeks at No. 1 on Billboard’s R&B/Hip-Hop Airplay chart.

Then came Born in the Wild, a project that moves between R&B, soul, Afrobeats, gospel influences and other African sounds without seeming particularly interested in announcing where one category ends and another begins.

“Love Me JeJe” is a particularly good example.

The song borrows from Seyi Sodimu’s 1997 Nigerian classic while remaining unmistakably Tems. “Get It Right” brings Asake into the picture. Elsewhere, she leans into the intimacy that has always been central to her music.

There are African influences everywhere.

There is also R&B.

There is soul.

There is alternative music.

There is Tems.

The mistake is assuming those things have to cancel one another out.

Why Tems Chose an Alternative Sound Instead of Following Afrobeats

Tems’ resistance to Afrobeats is not simply a recent branding decision.

In a 2023 conversation with Interview Magazine, she spoke to Kendrick Lamar about her early experiences trying to make music in Nigeria.

At the time, she said many producers around her were working within what she described as “just Afrobeats, the main genre of Nigeria.”

Again, she was not dismissing the genre.

Her frustration was that it was being treated as the only viable route.

She wanted to make something that felt different. She wanted the emotional scale she heard in artists such as Celine Dion. Yet the message she kept receiving was essentially that if she wanted to succeed in Nigeria, she needed to make Afrobeats.

So she found another way.

Tems taught herself production.

That decision eventually became one of the foundations of the career we know today.

It is difficult, then, to interpret her comments as some sudden rejection of Afrobeats now that she has achieved global success. She was making the distinction long before “Essence,” “Wait For U” and Born in the Wild.

The Problem With Calling Every African Artist Afrobeats

This is where Tems’ argument becomes bigger than Tems.

There is nothing wrong with calling an artist Afrobeats when that is what they make.

The problem is assuming that African origin is itself a genre.

That logic would be strange anywhere else.

We do not call every American artist a hip-hop artist because they are American. We do not call every British musician a rock artist because they are British.

Yet African musicians are often placed inside one enormous musical bucket.

Tyla is a South African pop artist whose music is deeply connected to amapiano, yet conversations about African music can quickly drag her into the Afrobeats conversation.

Amaarae moves between alternative music, R&B, pop, rock and electronic sounds, but her Ghanaian identity can become more prominent in descriptions of her music than the music itself.

The problem is not Afrobeats’ popularity.

It is its usefulness becoming its limitation.

The genre became the language through which the world discovered African pop. Now the same language sometimes struggles to describe what African artists are actually doing.

Wizkid and Burna Boy Have Also Questioned the Afrobeats Label

There is an interesting irony here.

Tems is hardly the only major African artist uncomfortable with the idea that Afrobeats should function as an umbrella term for everything.

Wizkid has criticised the tendency to describe all African music as Afrobeats, arguing that doing so would be similar to treating every American artist as a rapper.

Burna Boy has long described his own sound as Afrofusion.

Neither artist is denying the importance of Afrobeats. They are questioning the assumption that every African musical expression must eventually be filed under it.

The world is listening to more African artists than ever before.

It would be a shame if the vocabulary used to describe them remained stuck in one word.

Tems Is Asking Us to Be More Specific

There is a temptation to turn Tems’ comments into a headline; Tems says she isn’t Afrobeats.

That makes for a good social-media argument.

It is also missing the more interesting point.

Tems has never said that she has nothing to do with Afrobeats. She has collaborated with Afrobeats artists. She has appeared on Afrobeats records. Her music sometimes sits comfortably within the sound.

What she has consistently resisted is the idea that Afrobeats should be the final answer to the question of what she makes.

Afrobeats can be a Nigerian musical movement, a global industry, a sound, a commercial category and a cultural force without becoming the name for every African song that finds an international audience.

Tems does not need to escape Afrobeats.

She simply wants enough room to be something else when the music calls for it.

The easiest way to respect that is to stop arguing with the artist about what she calls herself.

Listen to the music.

Then call it what it sounds like.

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

Asake — “Forgiveness“

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

Sarz & Bnxn — “Back Outside”

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

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

But Bnxn gives it a story too.

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

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

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

Blaqbonez ft. Asake — “Chanel“

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

Victony — “Slick”

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

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

There is only one problem.

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

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

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

Davido ft. Mayorkun & Fola — “B4 B4“

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

Solana — “Okunkun”

Solana sure did a thing with “Okunkun.”

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

Thankfully, “Okunkun” is not.

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

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

Naturally, people have opinions.

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

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

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

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

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

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

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

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

Wizkid & Asake — Jogodo

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

Ayra Starr & Fola — “Treat You Right”

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

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

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

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

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

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

We wanted more Ayra and Fola.

They gave us a reason to ask for more.

Asake — “MCBH”

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

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MTV announced its 2026 Video Music Awards nominations on August 18 and simply left Best Afrobeats off the list. The category, introduced in 2023, lasted three years. Rema and Selena Gomez took the first Moon Person for “Calm Down.” Tyla then claimed it twice.

First for “Water” in 2024, then for “Push 2 Start” in 2025. Now it has disappeared, and MTV has offered no public explanation.

African artists are still getting their flowers

African artists still show up, just elsewhere.

Tems lands a Best R&B nomination for “Raindance,” her collaboration with Dave. Burna Boy appears twice for “Dai Dai” with Shakira; Best Collaboration and Best Latin. Those nods place Nigerian artists inside categories that do not carry a regional tag.

Tems competes as an R&B artist while Burna Boy competes alongside Shakira in a Latin category, placing an African artist inside a field traditionally associated with another musical ecosystem. The industry no longer needs a separate door for them to walk through.

So, did the Best Afrobeats category serve as a necessary platform, or has our music already outgrown the box?

Did Afrobeats outgrow its own category?

When MTV added the award in 2023, following the growing recognition of Afrobeats across major international awards platforms, it gave African artists a dedicated spotlight. Audiences who might never scroll past the usual pop and hip-hop nominees could find Rema, Burna Boy, Wizkid, Davido, Asake, Tems, Ayra Starr and Tyla in one place. The category made discovery easier. It also created a clear path to the stage for artists whose global profiles were still rising.

Yet continually parking African music in its own lane can also function as a ceiling. The same institutions that celebrate the genre often keep it cordoned off, as if Afrobeats remains a specialty item rather than a force that already shapes mainstream charts, playlists and collaborations. Tems and Burna Boy moving into broader categories show that African artists with genuine international reach can compete—and be judged—on the same terms as everyone else.

The problem for African artists still coming up

Both ideas hold weight. A dedicated category delivered visibility that pure competition in crowded fields might not. At the same time, the biggest African stars already operate beyond any single label. Afrobeats itself has become an umbrella that covers amapiano, highlife-inflected grooves, street-hop hybrids and sounds that share little beyond geography. International awards shows still struggle to classify that range cleanly.

The harder problem sits with the artists who have not yet reached the altitude of Tems, Burna Boy, et al. When the dedicated category disappears, those rising acts must fight for attention inside Best R&B, Best Collaboration or Best New Artist against far larger marketing machines. Recognition in the broader categories proves inclusion for the few who have already broken through. A dedicated platform once guaranteed space for the many still building their global audiences. Those two outcomes are not the same.

What happens when the dedicated door disappears?

MTV’s decision arrives without commentary, so the industry is left to read the silence. African music has clearly secured a place in the conversation. Whether that place still includes a permanent seat at the table, or only an occasional invitation to the main room, is a question that currently remains unanswered.

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Pyrotechnics lit up the sky, massive LED screens pulsed with visuals, hosts like Shopsydoo (Energy Gawd), Willz Wida Vibez, and others hyped the crowd, and the YAM Food Court served up African and Caribbean flavors. DJs such as P Montana, Spaceship Billy, Shiiva, and the Piano People family kept the energy flowing between sets. What unfolded was a cultural pilgrimage affirming Afrobeats’ global dominance.

Day 1 (Friday, July 3): Burna Boy & Tyla Ignite the Opening Flames

The festival kicked off with high anticipation. Burna Boy (the African Giant) and Tyla headlined, supported by a strong bill blending Afrobeats, Amapiano, and crossover acts. Burna Boy delivered a powerful headline set packed with fan favorites and signature intensity. He commanded the LIT Stage with a deep run through his catalog, including high-energy tracks like “Ye,” “On Form,” “Bundle by Bundle,” “Dem Dey,” “Anybody,” “Yaba Buluku,” and “City Boys.” The Grammy winner waved the Ghanaian flag proudly, drawing massive cheers and celebrating pan-African unity. A standout personal moment came when the crowd serenaded him with “Happy Birthday” mid-set. Attendees described it as electrifying and commanding, with the majority noting it as a defining AfroNation presence he’s delivered multiple times.

Tyla followed or complemented the energy with a stunning, high-octane performance that showcased her vocal clarity, effortless dance moves, and signature fusion of amapiano, Afropop, and global pop. The South African star captivated the beach crowd, who sang and danced along to her hits. She received a special plaque in recognition of her remarkable achievements, adding a celebratory touch to an already magnetic set. Her presence highlighted the rising global wave of South African sounds.

Supporting special acts added flavor: American rapper Gunna brought trap energy and even attempted some Yoruba banter, creating fun crossover moments. Amapiano stars like Uncle Waffles, Bien, Darkoo, DJ Lag, Felo Le Tee, Jazzwrld & Thukuthela, and others delivered rhythmic, bass-heavy sets that had the sand shaking. The day set a triumphant tone with its blend of established giants and rising forces.

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Day 2 (Saturday, July 4): Asake’s Explosive Reign and Olamide’s Street Fire

Asake headlined Day 2 with one of the biggest, most high-octane performances of the weekend. The “Mr. Money with the Vibe” sensation turned the beach into a frenzy. Thousands sang and danced along to fan favorites and materials from his new “M$NEY” album, including “Terminator,” “Sungba,” “Jogodo,” “Amen,” and “Forgiveness.” His stylish stage presence and unorthodox energy lit up the crowd, creating a memorable cross-genre highlight and one of the festival’s standout moments.

Olamide followed with raw Lagos-street energy and crowd interaction. He powered through classics like “Wo!,” “Issa Goal,” and soccer-themed nods (including to Ronaldo), keeping the vibe authentic and celebratory. Dancer Poco Lee added wild energy on stage. Other notable sets included Mariah the Scientist bringing smooth R&B vibes, Awilo Longomba delivering legendary soukous-infused Afrobeats nostalgia, and Wande Coal adding classic Nigerian Y2K flavor. The day balanced new-school dominance with veteran presence.

Day 3 (Sunday, July 5): Wizkid’s Epic Festival-Closing Masterclass

Wizkid closed the festival in spectacular fashion, cementing his status as a global superstar and fan favorite. The Starboy delivered a high-energy headline set in a simple white tank top and chains, commanding the stage with effortless charisma. The crowd sang every word to anthems like “Come Closer,” “Money Constant,” and others from his vast catalog. The crowd raved about the performance, referring to it as one of the best shows of their lives.

The final night felt like a triumphant send-off, with the entire weekend’s momentum peaking under the stars.

Cultural Impact and Lasting Vibes

Afro Nation 2026 reinforced Afrobeats as a global force while showcasing its diversity, with West African dominance alongside South African amapiano waves, francophone touches, and diaspora crossovers. The beach setting amplified the communal, celebratory spirit: dancing in the sand, sunset pyrotechnics, and shared cultural pride. 

As the final fireworks faded and the crowd dispersed into the Algarve night, Afro Nation Portugal 2026 left an indelible mark. It was a living testament to the power, resilience, and infectious joy of African sounds conquering the world. The festival has already announced dates for 2027 (June 9–11). The pilgrimage continues.

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FOLA & Ayra Starr — “TREAT U RIGHT“

There is a noticeable confidence in the way FOLA has approached every release over the past year. Rather than chasing loud moments, he has gradually built a reputation around melody, emotional songwriting and records that feel lived in. “TREAT U RIGHT” continues that trajectory, but with an even bigger statement: his chemistry with Ayra Starr feels two artists naturally finding each other’s musical language. The record arrived shortly after Ayra Starr’s own prior collab with FOLA providing background vocals on “Tornado.” 

From the opening seconds, ‘TREAT U RIGHT’ settles into an easy-going Afropop groove built on soft percussion, warm chords and an understated bounce. The instrumental leaves enough breathing room for both vocalists to glide comfortably through the record. FOLA is the emotional anchor, his songwriting leaning toward reassurance rather than flamboyance, and here he makes simple promises sound believable. Singing partly in Yoruba, Pidgin and English, he frames love as consistency, every melody feeling conversational, almost like he’s thinking aloud.

That restraint which distinguishes his discography becomes one of the song’s greatest strengths.

Ayra Starr glides in straddling the atmosphere. Rather than arriving with an explosive vocal run, she slides effortlessly into the record, matching FOLA’s softness while adding her own unmistakable personality. Her verse carries the confidence listeners have come to associate with her, balancing flirtation with emotional self-awareness. Her delivery carries an elegance in that prevents the collaboration from becoming another predictable Afrobeats love duet. 

Perhaps the most impressive aspect of ‘TREAT U RIGHT‘ is how naturally both artists complement one another. Their voices mesh seamlessly herewith Ayra Starr’s ‘Tornado’ being a sneak peek of the possibilities in their chemistry. FOLA’s tender tone allows Ayra’s slightly sharper vocal texture to shine, their voices meeting somewhere in the middle, creating harmonies that feel organic.

Lyrically, the song revolves around reassurance, emotional availability, and treating a partner with care. These aren’t groundbreaking themes within Afrobeats, but FOLA and Ayra Starr make them engaging through conversational writing and believable performances.

‘TREAT U RIGHT’ succeeds because it sounds intentional. The chemistry is believable, the songwriting remains focused, and neither artist sacrifices their individuality to accommodate the other. It is an easy listen on first play with its replay value lies in the melodic restraint, the conversational songwriting, and the comfort both artists have found within the same sonic space.

Jorja Smith ft. Wizkid — “Alive”

British R&B powerhouse Jorja Smith teams up with Afrobeats superstar Wizkid on “Alive”, the lead single from her highly anticipated third studio album ‘What Are The Odds’. Jorja Smith, known for her soul-stirring vocals and introspective songwriting, brings emotional depth and effortless cool. Wizkid, the global Afrobeats ambassador with undeniable melodic charm, adds his signature smooth flair, and together, they create pure magic.

Produced by P2J with mixing by Sam Harper and mastering by Prash “Engine-Earz” Mistry) “Alive” clocks in at a breezy 3:27. It’s built on hypnotic percussion, warm basslines, subtle Afrobeats rhythms, and lush, atmospheric production that feels both intimate and expansive. Jorja Smith’s velvety vocals lead the way, while Wizkid’s verse injects rhythmic bounce and playful energy—a seamless fusion that highlights their complementary styles.

The song has that late-night, lights-low vibe: sensual but never over-the-top, celebrating the honeymoon phase of attraction with the confident lyrics Jorja opens with: “All night, you make me feel so alive/Don’t stop, oh, you’re doing it right/You make me feel so alive/We be up all night, her verses expressing longing and commitment. Wizkid arrives exactly where the song needs him; his melodic cadence is understated, almost conversational, floating over the production with the effortless calm that has become one of his strongest artistic trademarks, reinforcing the mood the song has already established. Their performances feel collaborative in the truest sense, each creating space for the other. Jorja provides emotional texture while Wizkid brings rhythmic fluidity, resulting in a record that feels cohesive from beginning to end. 

Alive focuses on emotional presence, companionship and finding peace in another person. Those themes are expressed with enough sincerity to feel believable, even if they aren’t particularly groundbreaking. The song understands that not every love record needs high emotional stakes; sometimes comfort itself is compelling. Its minimalist approach leaves plenty of room for silence between melodies, allowing the vocals to breathe naturally. Every element feels intentionally placed, from the soft drum patterns to the understated bassline and ambient textures. Nothing fights for attention, making the listening experience feel immersive.

Reekado Banks — “Worthy Challenger” (EP)

Reekado Banks drops his new 5-track EP ‘Worthy Challenger’. Clocking in at just under 13 minutes, the project serves as a concise, confident return to form for the Afrobeats veteran, packed with catchy melodies, dance-ready grooves, and a clear nod to his chart-dominating prime.

Reekado Banks (Richard Isong) burst onto the scene in the 2010s with massive hits like “Ore Mi,” “Beamer,” and Mavin-era anthems that made him a household name. After a period of relative quiet, ‘Worthy Challenger’ feels like a deliberate reassertion inspired by responding to Burna Boy’s 2020 “not a worthy challenger” comment while delivering music that prioritizes vibes, replay value, and club energy over lengthy introspection.

The EP is short and sweet, leaning into polished Afrobeats with melodic hooks, percussive rhythms, and Reekado Banks’ signature smooth, emotive delivery. The EP opens with “Samankwe”: an energetic opener with infectious rhythms and playful lyrics, “She Is Mine” is a smooth and romantic, while “Mathematician”: carries clever wordplay and rhythmic flow, showcasing Reekado Banks’ lyrical side alongside the grooves. “Mercy” is a mid-tempo plea or celebration, blending emotion with danceability. “Nobody” with Libianca is the emotional closer and standout feature. Libianca’s soulful tones pair beautifully with Reekado Banks for a heartfelt, anthemic finish that elevates the project.

Production keeps things tight with vibrant percussion, warm melodies, and layered vocals that echo Reekado’s golden era while feeling fresh for 2026. It’s purposeful hit-making designed to remind everyone why he was once untouchable on the charts. The title is a direct, cheeky response to past jabs with a humorous hint at a follow-up called “Clout Animal” referencing old Wizkid drama. “Worthy Challenger” is Reekado Banks doing what he does best: delivering polished, hook-heavy Afrobeats that moves bodies and hearts. And at just five tracks, it avoids bloat and focuses on strengths.

Frenna, Odeal & Wizkid — “Coca Body”

On paper, Frenna, Odeal, and Wizkid sound like an effortless combination. All three artists thrive in music that prioritizes melody, groove and understated charisma over excess, making “Coca Body” feel less like a surprise collaboration and more like one that was always waiting to happen. The result is a smooth, late-night record that comfortably blurs the lines between Afrobeats, Afro-R&B and contemporary soul.

Coca Body wastes little time establishing its mood. The production settles into a silky rhythm driven by mellow percussion, rich basslines and soft guitar textures that immediately evoke warmth. Rather than chasing the high-energy bounce that often defines Afrobeats, the instrumental leans into sensuality, creating a laid-back atmosphere where every vocal performance has room to breathe.

Frenna sets the tone with confidence. His delivery carries the relaxed swagger that has long defined his music, approaching romance with effortless charm instead of exaggerated bravado. He glides through the production with melodic ease, making the opening feel inviting without trying to dominate the record. His performance establishes the song’s central mood before handing it over naturally to his collaborators.

Odeal feels right at home. Few artists in the current Afro-R&B space navigate intimacy as comfortably as he does, and “Coca Body” gives him another opportunity to showcase that strength. His voice introduces a gentle vulnerability that balances Frenna’s confidence, adding emotional texture without slowing the momentum. His phrasing is smooth, his melodies feel instinctive, and his presence deepens the song.

Then comes Wizkid. He folds seamlessly into the existing chemistry with his signature melodic cadence, subtle vocal inflections, and understated delivery reinforcing the song’s relaxed energy. There are no attempts to overpower and like his collaborators, he understands that Coca Body works best when every performance serves the atmosphere first.

That collective restraint becomes the song’s greatest strength. All three artists move through the production with remarkable cohesion, passing the record between themselves as though they had been performing together for years. Their contrasting vocal textures complement one another, giving the collaboration enough variety while maintaining a consistent emotional tone.

Lyrically, Coca Body embraces familiar themes of attraction, admiration and romance. The writing succeeds through personality and delivery. The title itself celebrates beauty with warmth while the verses maintain a flirtatious, organic confidence.

For Frenna, “Coca Body” highlights his ability to bridge European Afrobeats with the broader global sound. Odeal continues to cement his reputation as one of the most compelling voices operating between Afrobeats and alternative R&B, while Wizkid once again demonstrates why he remains one of the genre’s most reliable collaborators.

“Coca Body” appeal lies in its atmosphere, polished vocal performances and the effortless chemistry between three artists who understand that sometimes the strongest records are the ones that never try too hard.

Joshua Baraka — “What Do I Know?”

New Music Friday brings emotional depth courtesy of Ugandan talent Joshua Baraka and his new single “What Do I Know?”. The track marks an introspective solo return for the rising star following collaborations and his debut album Juvie. Few artists in East Africa have experienced the kind of upward trajectory Joshua Baraka has enjoyed over the past two years. From Nana to Wrong Places and his debut album Juvie, the Ugandan singer has steadily built a reputation for writing emotionally transparent records that blur Afro-pop, R&B and soul. “What Do I Know?”, his latest release, continues that introspective streak, trading grand statements for quiet self-reflection.

From the opening moments, the record establishes an atmosphere of vulnerability. The production is deliberately restrained, built around warm chords, soft percussion and subtle rhythmic textures that leave plenty of room for Joshua Baraka’s voice. Rather than leaning on infectious hooks from the outset, the instrumental unfolds patiently, inviting listeners into the emotional space before the melody fully settles.

Joshua Baraka sounds remarkably comfortable in that space. His greatest strength has never been vocal acrobatics but emotional honesty, and “What Do I Know?” leans heavily into that quality. His delivery feels conversational, almost as though he’s processing his thoughts in real time. Every line carries a quiet uncertainty that makes the songwriting feel believable. That uncertainty becomes the song’s central theme. Instead of presenting himself as someone with all the answers, Joshua Baraka explores the confusion that often accompanies love, growth and self-discovery. The title itself captures that tension. It’s less a rhetorical question than an admission that not every emotion arrives with clarity.

Melodically, the record is understated but memorable. Joshua Baraka avoids overcrowding the song with unnecessary vocal runs, allowing simple melodies to do the emotional heavy lifting. Every element feels intentionally placed. The percussion remains gentle throughout, while ambient textures and carefully layered harmonies create depth without distracting from the vocal performance. The arrangement gives the song an intimacy that many contemporary Afro-pop releases often sacrifice in pursuit of bigger moments.

More importantly, the single reinforces why Joshua Baraka continues to emerge as one of Africa’s most compelling young songwriters. And while “What Do I Know?” may not be designed for instant viral moments, but it possesses the qualities that often give songs a longer shelf life. It is thoughtful, emotionally grounded and quietly captivating—another reminder that Joshua Baraka’s greatest asset is his ability to make uncertainty sound beautiful.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST

The post Fola, Reekado Banks, Jorja Smith, Joshua Baraka and More on New Music Friday appeared first on Afromixx.

The shift is instantly apparent on the album’s lead single, “Alive.” Reunited with Afrobeats heavyweight Wizkid and helmed by master producer P2J, the track avoids the over-engineered ambition that often plagues cross-continental star pairings. Instead, it feels entirely instinctual. Built on warm instrumentation and a supple, late-night pulse, “Alive” thrives on an effortless vocal chemistry. Jorja Smith and Wizkid don’t compete for space; they slip into each other’s orbits, capturing the specific, dizzying rush of a new connection.

The accompanying visual, directed by Gabriel Trautmann, treats this mood like a vignette of a sweltering Parisian night—all blurred streetlights, hotel room afterparties, and the quiet clarity of a balcony at dawn. It is an aesthetic blueprint for what What Are The Odds promises to be. Rather than a calculated pivot into club music, the 12-track project is born out of spontaneity. Following the success of her 2023 hit “Little Things,” Jorja Smith and P2J casually floated the idea of a dance record. When she walked into his East London studio in September 2025, she found two years of production sketches waiting for her. The spine of the album was tracked in just three sessions—a testament to an artist operating entirely on gut feeling.

Musically, the record is billed as an expansive map of British club culture, pulling from the syncopated buoyancy of UK Garage, 2-Step, UK Funky, and Grime, alongside the deeper textures of Afro House. But true to Jorja Smith’s songwriting DNA, the hedonism is balanced by a striking emotional gravity. This isn’t mindless club pop; it’s an exploration of the heavy truths that hit you long after the lights come up. Tracks like “For Life” reportedly tackle the painful reality of loving a friend through addiction, while “Pretend” sits with the sting of betrayal.

Most intriguing is “This City,” which features Grime icon Devlin interpolating his legendary 2010 verse from “London City.” It’s a full-circle moment that roots Smith’s new, uptempo era in the very subcultures that raised her, allowing her to interrogate her own decade-long relationship with a changing capital and a life spent in the public eye.

Landing the exact same day she co-headlines London’s All Points East festival alongside Tems, What Are The Odds feels less like a traditional campaign and more like a liberation strategy. A decade into her career, having recently ticked off milestones from scoring Riz Ahmed’s Bait to performing on the debut season of Saturday Night Live UK, Jorja Smith seems entirely finished with satisfying external expectations. If “Alive” is any indication, her next chapter is independent, uncompromised, and beautifully alive.

What Are The Odds Tracklist

1. For Life
2. What Are The Odds
3. What’s Done Is Done
4. This City (feat. Devlin)
5. Pretend
6. The Way It Was
7. I Lied, You Lied
8. Dancing
9. Alive (feat. Wizkid)
10. Young Heart
11. Make It Your Home
12. When It Gets Like That

“Alive” featuring Wizkid is available everywhere now. What Are The Odds will be released on Friday, August 21, 2026. 

Watch the music video “Alive” ft. Wizkid

The post Jorja Smith Announces New Album ‘What Are The Odds’ & Shares Wizkid Feature appeared first on Afromixx.

The veterans showed up and reminded us why they have remained at the top for so long. Meanwhile, a new generation of artists stepped into the conversation with enough confidence to hold their own alongside some of the biggest names on the continent.

This week’s releases offered a little bit of everything. There were victory laps, love songs, nostalgic callbacks, talking drums, club-ready records, and moments that made you stop and replay a section just to make sure you heard what you thought you heard.

The result is a rich lineup of songs that could become some of the year’s most replayed releases.

Let’s get into it:

Wande Coal, BNXN & Ruger — “Gbesunmo”

When you put Wande Coal, BNXN, and Ruger on the same record, the expectations become reasonable.

Wande alone has one of the most recognizable voices in Afrobeats. BNXN has spent the last few years proving he can float over almost any production. Ruger, meanwhile, brings enough charisma and swagger to make sure nobody gets too comfortable. On paper, “Gbesunmo” should be a problem.

Thankfully, it mostly is.

Wande opens the record exactly how you’d expect him to; smooth, effortless, and melodic. His voice glides over the beat with the confidence of someone who has spent nearly two decades reminding us why he’s one of Nigeria’s greatest vocalists.

Then the song gets interesting.

At exactly 0:51, the energy shifts. Wande’s soft melodies give way to the repeated “Gbesunmo” chants and suddenly the record feels bigger, louder, and far more urgent. It’s one of those moments that makes you instinctively look up from whatever you’re doing because you can feel the song changing shape in real time.

BNXN slips into the pocket comfortably, delivering the kind of melodies that have become second nature to him. Ruger  arrives with his trademark confidence, adding a little grit and attitude to balance out the smoother edges of the song. It’s a combination that works.

Does “Gbesunmo” completely justify the sky-high expectations that came with three heavyweights sharing a record? That depends on who you ask.

It’s catchy, energetic, and packed with enough memorable moments to earn a place on your weekend rotation. 

Davido, JAZZWRLD & GL_Ceejay — “I Know Who I Be”

From telling his senior colleagues in the game that he’s badder than all of them to proudly crowning himself 001, Davido has never been shy about singing his own praises. “I Know Who I Be” continues that tradition.

It’s a feel-good, chest-out celebration of self-belief that sits firmly within the lane Davido has spent years perfecting. If you’ve been riding with him since the early days, the energy feels familiar in the best way. This is Davido reminding everyone exactly who he thinks he is and daring anybody to disagree.

The production leans heavily into Amapiano territory, with log drums, bouncy percussion, and that unmistakable South African bounce filtered through a Lagos lens.

Then comes the pocket between 2:08 and 2:2 that captures a very specific feeling. 

‘You’re deep in the function, the lights are low, the crowd is loud, the DJ throws on a beat nobody seems to recognize, but everyone is dancing and for a few seconds, life is exactly where it should be.

It’s easily the most exciting moment on the record.

The only issue is that it doesn’t blend seamlessly into this song.

Still, this is Davido doing what Davido does best; loud, confident, celebratory, and completely convinced of his own greatness.

Wande Coal & Wizkid — “Oshe”

“Oshe” feels like the musical equivalent of arriving at a party and immediately finding where the fun people are standing.

Wizkid opens the record in familiar territory: money, enjoyment, good vibes, and absolutely no intention of stressing himself. From “Money come mo gbe mi o” to “Nobody fit do am like me o,” he sounds relaxed, confident, and completely at home over the production.

The chorus is where the song really shines.

“Ó ṣe, oh, ó ṣe / Mo dẹ̀ mọ b’ó ṣe ń ṣe.”

It’s simple, repetitive, and ridiculously catchy.

Wande Coal arrives easily reminds everyone why he’s still one of the smoothest vocalists in Afrobeats. His verse feels playful, flirtatious, and effortlessly charismatic. One minute he’s comparing himself to King Solomon, the next he’s singing about a woman whose body is “like a weapon.” It shouldn’t work as well as it does, but Wande has always had a gift for making even the most outrageous lines sound believable.

The real magic of “Oshe” is how comfortable both artists sound and of course, the talking drums.

They give the song extra bounce and make the final stretch feel richer than what came before. It’s a small detail, but it’s one of the reasons the record sticks. It’s arguably one of the strongest releases from this week’s New Music Friday.

Wizzy and Wande sure did a thing here.

Taves — “Uche Jombo”

Sampling a Wizkid record is one thing.

Sampling one of the most recognizable Wizkid records (Don’t dull)  and naming the song after Nollywood actress Uche Jombo is an entirely different level of confidence.

The moment the beat drops, there’s a brief second where the brain expects to hear Wizkid’s “see you sitting in the corner, don’t dull” Instead, Taves appears, and somehow it works.

Rather than feeling like a tribute trapped in nostalgia, “Uche Jombo” manages to carve out its own identity.

Built around flirtation, admiration, and plenty of swagger, Taves spends most of the record singing the praises of a woman he clearly can’t get enough of. Comparing her beauty to Uche Jombo, Agbani Darego, and even the Mona Lisa might be excessive, but that’s part of the charm. 

Vocally, Taves sounds right at home. His smooth delivery glides over the production effortlessly, carrying the playful energy of lines like “You fine pass Uche Jombo” and “Baby girl, you know your ex-boyfriend wanna be like us.”

The repeated “awọn eleyi” chants give the song an infectious quality, while the production balances nostalgia with enough freshness to keep the record from feeling like a remake.

More importantly, Taves avoids the biggest trap that comes with sampling a beloved song.

He doesn’t try to outdo the original.

He simply has fun with it and that’s exactly why “Uche Jombo” works.

La Soülchyld, Soundlykob & MAUIMØON — “Take Control”

Rwandan artist La Soülchyld joins forces with Soundlykob and MAUIMØON on “Take Control,” a smooth, flirtatious record that feels like the musical equivalent of sustained eye contact.

The song opens with a warning, but not the kind anyone should run from. Instead, it unfolds like the beginning of a late-night conversation between two people who already know where things are headed. From the opening lines, La Soülchyld leans into desire, vulnerability, and attraction with an ease that makes the record feel effortless.

What stands out most is the atmosphere. References to Kampala traffic, coconut scents, blue bubbles, and quiet oases give the song texture and personality. Rather than relying on generic love song tropes, the artists build a world that feels lived in and specific.

The hook is undeniably infectious. The repeated “She want me, she want my body, take control of me” paired with the Luganda refrain “Ayagala Nze” lodges itself in the listener’s head almost immediately. It’s simple, effective, and perfectly suited for repeat listens.

Lyrically, the song captures that space between caution and surrender. One moment there’s hesitation, the next there’s complete abandonment. By the time La Soülchyld admits that he “can’t do the tip” and prefers the deep end, the emotional direction of the song is clear. This isn’t casual attraction. This is the kind of chemistry that makes good decisions difficult.

The production deserves credit too. The beat never overwhelms the vocals. Instead, it creates enough room for the artists to glide across it while maintaining a steady groove that feels equally suited for headphones, car rides, and dance floors.

This Friday proved African music is in a sweet spot right now.

The veterans, especially Wande Coal, showed up like they had something to prove, reminding everyone why they’ve remained relevant for so long. The younger artists swung big too, leaning into bold samples, genre experimentation, and cultural confidence without losing themselves in the process.

We got talking drums that elevated records, Amapiano moments that felt like stepping straight into a Lagos function, and risks that actually paid off. More importantly, we got songs with personality.

Not every record needs to change the world. Sometimes great music simply needs to make you dance, make you feel something, or make your journey home a little more enjoyable.

This week’s releases did all three.

So whether you’re stuck in traffic, heading out for the weekend, or looking for your next obsession, there’s something on this playlist waiting for you.

Hit play and enjoy the ride:

The post Davido, Wizkid, Wande Coal, Taves and More on New Music Friday appeared first on Afromixx.

Leading the African contingent is Tems, who secured three nominations across some of the ceremony’s most competitive fields. She earned a nod in Best Female R&B/Pop Artist alongside names like SZA, Ella Mai, and Coco Jones, while her song “First” landed a nomination in the BET Her category. She also picked up a Viewers’ Choice nomination for “Raindance”, her collaboration with Dave.

Tems’ multiple nominations further reinforce her crossover positioning beyond the confines of Afrobeats. Over the last few years, she has steadily evolved into one of the continent’s most internationally adaptable artists, moving fluidly between R&B, soul, alternative pop, and African rhythms while maintaining a distinct identity. The BET recognition reflects how naturally she now exists within global award conversations rather than appearing as a regional inclusion.

South African star Tyla also continued her international award-show run with nominations that further cement her breakout momentum. Her hit “Chanel” earned a nomination for Video of the Year, placing her beside heavyweight global acts in one of the night’s most visible categories.

Meanwhile, Wizkid and Asake secured a historic nomination in the Best Group category — a rare recognition for Nigerian collaborators within a traditionally U.S.-leaning category. Their nod reflects the growing commercial strength of African collaborative projects and how African acts are increasingly being considered beyond international classifications.

For Burna Boy, the nominations continue a now-familiar streak of global visibility. He earned a Best Collaboration nomination for “WGFT”, his appearance on Gunna’s record. The nod adds another international recognition to Burna Boy’s increasingly expansive catalogue of global collaborations, further highlighting his consistency within American rap and crossover spaces.

One of the most noticeable aspects of this year’s nominations is the absence of several African names who have recently dominated international conversations, including Davido, Ayra Starr and Rema in the major music fields. Instead, the 2026 nominations largely centre on Nigerian and South African artists who have spent the last year making stronger crossover impressions through collaborations, touring, viral moments, and internationally resonant records.

The wider nominations were led by Cardi B with six nods, while Kendrick Lamar and Mariah the Scientist followed closely behind. Yet even within a nomination slate dominated by American rap and R&B heavyweights, African artists maintained a visible imprint across collaboration, video, group, and pop categories.

The post African Nominees at the 2026 BET Awards appeared first on Afromixx.

Somewhere between those discoveries and his own ambitions, Homebase was born.

The single blends Afrobeats with amapiano, but what makes it stand out is the message beneath the rhythm. When asked about the phrase Odikinaka cheta Homebase, which he repeats throughout the song, he explained:

“Odikinaka cheta Homebase is an Igbo adage that means remember home when success starts to come.”

That line makes Homebase more than a song to dance to. It becomes a reminder that growth should not cost you your identity, and distance does not have to mean disconnection.

How Sucrepapito Blends Afrobeats and Amapiano

In recent years, amapiano and Afrobeats have become two of the most exciting sounds within African music’s global expansion. While some artists choose one lane, Sucrepapito leans into both.

On Homebase, Afrobeats brings familiarity and melodic warmth, while Amapiano textures add movement and bounce. The result is a sound that feels like migration translated into music.

Beyond making music, he is also the creator of Afrobeats vs Amapiano Verdict (AAV Show). A structured platform where he explores, discusses, and ranks contemporary African sounds. The project reflects his interest in how genres evolve, overlap, and compete within today’s music ecosystem.

It also positions him as part of a growing wave of UK-based Afro-fusion artists who not only participate in the sound but also actively shape how it is interpreted, compared, and consumed globally.

As African sounds continue to travel across borders, artists like Sucrepapito are proving that identity can travel with them too.

Sucrepapito’s Creative Process and Inspiration

When speaking about his creative process, the artist describes it as intuitive.

“My process often starts with a few lines or a melody in my head, then I work with a producer to develop the full sound.”

He also revealed that one of the strangest places inspiration has found him was in Lagos traffic.

“I got the inspiration for my song ‘The One’ during a bus ride from CMS to Lekki.”

For someone singing about remembering home, it feels fitting that one of his favourite meals is oha soup, and yes, he can cook it too.

The Story Behind Sucrepapito’s Journey

Like many promising Nigerian artists, Sucrepapito’s relationship with performance began early.

There was a church choir, dance competitions, and even a win at the 2010 Global Communications rock and roll dance competition.

Long before Homebase, there were already signs that rhythm and performance would remain close to him.

Later, while other students treated holidays as time to rest, he spent his breaks away from Mass Communication classes at Madonna University, Okija, in the studio. 

After striking a deal with his father, he earned the chance to record two songs every holiday as long as he returned home with good grades.

That arrangement helped shape the artist he is becoming today.

When asked about the artists who have shaped his musical taste, Sucrepapito points to a wide and ambitious range of names.

From the creative boldness of Kanye West to the showmanship of Bruno Mars and the star power of Wizkid, Davido, and Timaya, his influences stretch across genres and generations.

Though he’s currently an independent artist, he remains open to partnerships with labels that value artist development and long-term structure, citing Mavin Records as one example.

What’s Next for Sucrepapito

Beyond the music, Sucre Papito is still in the early stages of building his audience and shaping his artistic identity.

A recent listening party for Homebase saw a strong turnout, hinting at a growing community forming around his sound.

For now, the focus remains on consistency and connection, as he continues to build a fan base that grows with him.

When asked what he hopes to see when he looks back on his career years from now, his answer was simple:

“Greatness.”

If Homebase is any indication, he is already laying the foundation.

Listen to Homebase on all streaming platforms now.

The post Sucrepapito’s Homebase Holds On to Where It All Began 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.

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