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.

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

Her historic win continues a remarkable tradition of Nigerian talent being recognised on the global stage.

About the MOBO Awards

The MOBO Awards — short for Music of Black Origin — were founded in 1996 in the United Kingdom. It aims to recognize achievements in music genres rooted in Black culture. This includes hip‑hop, R&B, reggae, gospel, jazz, Afrobeats, and others. Over the years, the ceremony has become a key platform for showcasing African talent to a global audience.

Nigerian Artists Who Have Won Made MOBO Awards

2Baba — Best African Music Act (2007)

In 2007, 2Baba (popularly known as 2Face Idibia) became the first Nigerian artist to win a MOBO Award. This win marked a milestone for Nigerian pop music on the international stage.

9ice — Best African Music Act (2008)

In 2008, 9ice won Best African Music Act. It added to the success of his album Gongo Aso and affirmed Nigeria’s growing influence in African music.

Nneka — Best African Music Act (2009)

In 2009, Nneka Egbuna claimed Best African Music Act. This showcased the depth and diversity of Nigerian talent early in the MOBO Awards’ African category.

Wizkid — Multiple Wins (2011-2026)

Wizkid has been one of Nigeria’s most celebrated MOBO winners. He took home the Best African Music Act in 2011, 2016, 2020, 2021, and 2026. He also won Best International Act in 2017 and 2021, cementing his international influence.

D’banj — Best African Music Act (2012)

In 2012, D’banj won Best African Music Act, helping bring Afrobeats further into global consciousness.

Davido — Best African Music Act (2017)

In 2017, Davido won Best African Music Act at the MOBO Awards, a defining moment that reinforced Nigeria’s dominance in the category. His win came during a landmark year that also saw Wizkid take home Best International Act.

Burna Boy — Best African Music Act & Best International Act (2022)

Grammy-winning Burna Boy earned both Best African Music Act and Best International Act in 2022.

Asake — Best African Music Act (2024)

In 2024, Asake’s win for Best African Music Act reflected his creative breakout and the continent-wide appetite for his music.

Ayra Starr — Best African Music Act & Best International Act (2025, 2026)

Ayra Starr’s victories at the MOBO Awards highlight her versatility and influence. In 2025, she won both Best African Music Act and Best International Act. Making history as the first female artist to claim both titles in the same year. Her 2026 MOBO win for Best International Act reinforces her place as one of Afrobeats’ leading voices globally.

Across nearly two decades, Nigerian artists have consistently been recognised at the MOBO Awards. From 2Baba’s first breakthrough win to Wizkid and Ayra Starr’s recent streak, these wins reflect the growth of Nigerian music. They also show the world’s hunger for Nigerian storytelling through song.

The post Ayra Starr, Wizkid, and Nigerian Artists Who Have Won MOBO Awards appeared first on Afromixx.

Stacked between scratched discs and handwritten lyrics, sealed in plastic cases that don’t exist anymore.

That version of my life sounds like music playing in the background of a house that was always full of overlapping voices, generators humming, and someone shouting from the kitchen.

Beyond the memories, music has always held context.

Nigerian Music as a Reflection of Reality

If you pay attention long enough, you start to notice something: Nigerian music has never just been about vibes. It has always been a reflection of where we are, what we are going through, and what we are trying to escape.

When things were hard, Fela Kuti made songs you could ignore. Tracks like “Zombie” and “Sorrow, Tears and Blood” asked questions people were afraid to ask. His sound carried anger, truth, and a refusal to look away.

That same energy carried into the next generation.

African China’s “Mr. President” didn’t hide behind metaphors. It was direct, urgent, and almost desperate in its honesty.  

Even outside overt protest music, there was a certain grit to the sound. Street pop, in its earliest forms, wasn’t aesthetic. It wasn’t curated for virality or crossover appeal.

It was documentation.

In a recent interview with Taymesan, Qing Madi, a nineteen-year-old music star, said that money from music is not normal and affirmed that music is an emotional escape for Nigerians. It is the primary language for people who cannot afford therapy. 

She isn’t wrong. 

How else can we describe what happened in the 2010’s?

From Survival to Aspiration: The 2010s

It was a peak period for Afrobeats, money was in circulation, and you could tell from the music videos and lyrics alike.

Nigeria didn’t suddenly become easier, but the music began to look outward. The tone changed from survival to aspiration.

Artists like D’banj, alongside Don Jazzy, helped usher in a new era. The sound became more polished, more confident, more intentional about reaching beyond Nigerian borders.

Cue in Wizkid, Davido, and Burna Boy, who didn’t just make hits but expanded the scope of what Afrobeats could be.

There were stories of rise and visibility. Of movement from local recognition to global stages. The music started to travel, and for the first time, it felt like Nigerian artists weren’t just participating in global culture, they were shaping it.

Afrobeats stopped knocking on the door.

It entered the room.

A Return to Street-Hop and Reinvention

Things are hard again. Not in the same ways, but in ways that are just as present, and once again, the music is responding.

There is a noticeable return to street-hop. The rawness is creeping back in. The energy feels less filtered, more immediate, more grounded in the realities people are living through.

Where Memory Meets Innovation

This time, though, things are a bit different. 

Today’s sound sits at the intersection of memory and reinvention. Older sounds are being sampled and reimagined. Familiar rhythms are being dressed in new productions. There is a constant conversation between what was and what is.

Artists are not choosing between the streets and the global stage; they are navigating both. There is even a sprinkle of bravado in these emergent artists, Nepopiano if you will.

They understand where they come from, but they are also fully aware of where the music can go.

So the sound becomes a mix of everything: nostalgia, reality, and aspiration.

Afrobeats has evolved, yes, but there is nothing random about it.

Every shift in sound has mirrored a shift in reality.

From the urgency of earlier years, to the polish of global ambition, and now to a complex blend of reflection and response, Nigerian music has remained what it has always been: a living record of the times.

The post The Evolution of Afrobeats in Nigeria Through Different Eras appeared first on Afromixx.

The official announcement, shared via Spotify’s Africa-focused social channels, carried a simple but telling caption: “Celebrating 5 years of Spotify in Kenya, Nigeria, and Ghana, powered by you. Swipe through and let the data do the talking.”

And the data does speak — loudly.

A Listener-Powered Expansion

Five years in, the growth is listener-driven and unmistakable. Users across the three countries have collectively created over 38.2 million playlists:

• Nigeria leads with approximately 25 million playlists
• Kenya follows with about 9.5 million
• Ghana records roughly 3.7 million

In Nigeria, the average listener age sits at 26 years old, reinforcing what industry observers already know: streaming culture in the region is powered by a young, digitally native audience shaping trends in real time.

Listening has climbed steadily year-on-year. Kenya alone has recorded an average 68% annual growth through 2025, while the number of Kenyan artists distributing music on Spotify has risen by 112% since 2021 – a sign that the platform is influencing not just consumption but creation.

Afrobeats at the Centre of the Story

At the heart of Spotify’s five-year data is the continued ascent of Afrobeats. The genre’s dominance is especially visible in Nigeria and Ghana, where local stars consistently top both artist and song charts. The numbers affirm what global charts have hinted at for years: Afrobeats is no longer emerging — it is embedded.

Nigeria: Asake’s Streaming Era

In Nigeria, Asake tops the list as the most-streamed artist of all time since Spotify’s 2021 launch — a defining achievement for the Afrobeats star. He is followed by:

• Wizkid
• Seyi Vibez
• Burna Boy
• Davido

Asake also dominates the songs chart, with tracks like ‘Remember’ and ‘Lonely at the Top’ ranking among the most-streamed. Meanwhile, Wizkid holds a notable peak daily streaming record of 21.6 million streams among Nigerian artists — a benchmark that underscores his enduring pull.

Ghana: Local Hero, Global Blend

In Ghana, Black Sherif leads as the top Ghanaian artist on the all-time chart. The broader top five reflects both regional strength and international crossover:

• Black Sherif
• Asake
• Burna Boy
• Sarkodie
• Drake

The list captures Ghana’s position as both a contributor to — and consumer of — the broader Afrobeats and global rap ecosystem.

Kenya: International Heavyweights, Regional Energy

Kenya’s most-streamed artists list leans more international, highlighting the country’s diverse listening habits:

• Drake
• Chris Brown
• Future
• Burna Boy
• Travis Scott

Still, regional hits have carved strong positions on Kenyan song charts. Tracks such as “Asiwaju” by Ruger, “Rush” by Ayra Starr, and multiple Asake collaborations demonstrate how East African listeners are deeply plugged into West Africa’s sonic exports.

More Than Metrics

Beyond headline numbers, Spotify’s five-year celebration signals something broader: a platform increasingly shaped by African listeners rather than merely operating in Africa. Over half a decade, fan behaviour — playlisting, streaming spikes, and daily records — has powered both artist visibility and cross-border discovery.

From Lagos to Accra to Nairobi, the data reflects sustained momentum. Afrobeats continues to travel. Local artists are uploading more music. Young listeners are curating culture in public playlists.

Five years in, Spotify’s presence in Nigeria, Ghana, and Kenya reads less like market entry and more like integration — a half-decade defined by streaming growth, global amplification, and a generation pressing play.

The post Spotify Celebrates Five Years in Nigeria, Ghana & Kenya With Streaming Milestone Charts appeared first on Afromixx.

After years outside of mainstream conversation—following a run of celebrated early albums and hits—the Port Harcourt first son re-entered the spotlight through powerful collaborations and unforgettable verses that reminded the music world of his sonic prowess

What made this comeback so refreshing was its substance over strategies. Rather than relying on artificial media stunts or fleeting social media moments, Duncan Mighty returned with voice, lyrical depth, and a commanding presence that cut across generational tastes and industry silos.

A Hiatus, Then a Renaissance

Before 2018, Duncan Mighty enjoyed early acclaim with critically loved albums like ‘Fully Loaded (Koliwater)’ in 2009 and ‘Legacy (Ahamefuna)’ in 2010 — the latter fuelling tracks such as “Obianuju” and “Port Harcourt Son”, staples in Nigerian music history. After that peak, his national visibility waned as newer acts rose and the industry shifted toward faster-paced pon-pon beats. By 2017, many considered him a regional favourite rather than a mainstream force. 

Then came 2018.

Then, in 2018, an unexpected wave of high-profile features catapulted him back into the spotlight, earning him praise as one of Afrobeats’ greatest comeback stories. With the release of “Fake Love” featuring Wizkid, Duncan Mighty exploded back into relevance. Wizkid’s melodic prowess perfectly met Duncan Mighty’s raw, emotive verse, creating a track that dominated airwaves and reaffirmed Mighty’s relevance. That single kickstarted what many media outlets would later call a career renaissance.

In interviews following the track’s success, Duncan Mighty himself credited Wizkid for helping rekindle his broader appeal, by showcasing his enduring talent to a wider audience. Once the momentum began, Duncan Mighty became one of the most sought-after featured artists in Nigeria. His voice, lyrical flair, and distinct blend of Ikwerre-infused melodies made his verses not just welcome but coveted on records across the industry. 

Here are some of the key songs that defined Duncan Mighty’s collaboration surge in 2018:

 Standout Collaborations

“Fake Love” – Wizkid feat. Duncan Mighty

This track ignited everything. Produced by Killertunes, it pairs Wizkid’s smooth R&B vibes with Duncan Mighty’s heartfelt chorus and verse. Duncan’s lines about loyalty and fake relationships resonate deeply, and his melodic ad-libs elevate the song into an anthem. “Fake Love” topped charts, racked up millions of streams, and became the blueprint for the resurgence. Duncan himself credited it as the spark. Without this surprise Wizkid collaboration, the 2018 wave might never have happened. It’s the standout—soulful, replayable, and the perfect reintroduction.

“Aza” – DMW feat. Davido, Peruzzi & Duncan Mighty

Davido assembled his DMW crew, Peruzzi and himself with Duncan Mighty for this boastful money anthem. Produced by Fresh VDM, Duncan Mighty’s melodic bridge ties it together amid the energetic verses. It became a street favourite, proving his versatility beyond romance into braggadocio.

“Flenjo” – Lil Kesh feat. Duncan Mighty

Lil Kesh closed the wave with this laid-back, enjoyment-focused track, produced by Rexxie. “Flenjo” means “enjoy yourself”, and Duncan’s relaxed verse embodies that vibe perfectly. A fan favourite for its beer-parlour appeal, it capped Duncan Mighty’s run on a high note.

“Lova Lova” – Tiwa Savage feat. Duncan Mighty

Tiwa Savage’s sultry vocals meet Duncan Mighty’s charming response in this highlife-tinged duet. Lines like comparing love to “oil spillage” showcase playful chemistry. A massive hit blending Afrobeat and highlife, it dominated radio and clubs. Duncan Mighty holds his own against Nigeria’s leading lady, making it a resurgence highlight.

“Bio Bio” – Reekado Banks feat. Duncan Mighty

Reekado Banks tapped Duncan for this upbeat, dance-ready cut shortly after “Fake Love”. Duncan’s opening hook and playful verse add infectious energy, turning a solid track into a party staple.

The chemistry shines: Reekado’s youthfulness meets Duncan’s maturity. It kept the momentum going, showing his feature wasn’t a fluke.

“Gimme Love” – DJ Xclusive feat. Duncan Mighty

DJ Xclusive delivered a groovy, mid-tempo lover’s plea here. Duncan’s passionate delivery on the chorus—“Gimme love, make I feel alright” makes it irresistible. Self-produced with masterful mixing, it highlights Duncan’s ability to enhance romantic tracks. A solid entry that reinforced his hot streak.

“Uju (Remix)” – B-Red feat. Duncan Mighty

B-Red remixed his earlier single “Uju” by adding Duncan Mighty, transforming it into a bigger hit. Duncan Mighty’s verse and backing vocals bring emotional weight and cultural flair. This under-the-radar gem exemplifies how his presence upgraded good songs to great ones, especially in love-themed Afrobeats.

Overall Impact

What made this resurgence surprising? Duncan Mighty hadn’t released a major solo hit in years, yet starting in mid-2018, top artists sought his signature touch—his emotive hooks, cultural depth from the Niger Delta, and effortless blend of romance and street wisdom. His collaborations injected freshness into a scene growing formulaic, proving his style remained timeless.

Duncan Mighty’s 2018 resurgence was surprising because it felt organic yet explosive—driven by one viral collaboration that snowballed into a movement. In an era when many artists revive careers with contrived narratives or overexposure tactics, Duncan Mighty’s 2018 resurgence is a testament to artistry and respect — and a reminder that a powerful verse still speaks louder than any marketing ploy.  The “Port Harcourt First Son” reminded everyone why he was mighty in the first place. Many of these remain classics, and his comeback stands as a testament to talent enduring beyond trends.

The post Duncan Mighty’s Surprising 2018 Resurgence appeared first on Afromixx.

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

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

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

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

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

The post TML Vibez Names Wizkid, Asake, Olamide, and Seyi Vibez as Key Inspirations On Yanga FM appeared first on Afromixx.

 Jogodo — Wizkid & Asake

Surprise drops are the best kind of chaos, and Wizkid and Asake just delivered one. “Jogodo”, the lead single from their upcoming joint EP REAL, Vol. 1 (out January 23), landed quietly yesterday and is already climbing charts. If Afrobeats had its own gravitational pull, “Jogodo” would be the collider on this week’s New Music Friday release. Wizkid and Asake finally bless the weekend with a groove that already feels timeless. Jogodo is a mash of laid-back swagger and kinetic energy that seduces both body and spirit. It’s the lead single off their forthcoming Real (Vol. 1) EP, and right from the pulsing percussion to the call-and-response vocal synergy, the track is a project and vibe manifesto. Asake sets the tone early with his infectious street energy, weaving playful Pidgin and Yoruba lines about tipping back ogogoro, bodies moving “pololo” and “tongolo”, and chasing that carefree, heady high. Wizkid’s effortless cool interlocks beautifully with Asake’s textured Fuji-infused delivery, all wrapped in a lyrical embrace of nightlife, celebration, and cultural cadence that feels at once deep and infectious.

Sounds of the Diaspora — NSG (Album)

East London’s finest, NSG, are back and kicking off 2026 with a bang. NSG’s new 9-track project Sounds of the Diaspora, clocking in at just under 30 minutes, arrives as a compact yet wide-ranging statement on identity and energy. This is the UK Afroswing collective at their most focused, celebrating roots and movement by bridging UK street sensibilities with African rhythmic DNA, featuring heavyweight collaborators that include Nasty C, King Promise and fast-rising acts like Ayo Maff and Mavo, among others.

NSG leans fully into their signature blend: infectious Afrobeats rhythms, dancehall swagger, UK rap grit, and those smooth, layered harmonies that make them stand out in a crowded scene. The album is equal parts club-ready and culture-deep, a soundscape that refuses genre constraints while staying warm at the core of Afrobeat’s infectious rhythms. 

The production, largely helmed by 4Play, is crisp and vibrant; log drums bounce, guitars shimmer, and brass hits land just right. It’s summery even in January, built for cruising, parties, or late-night vibes.

Standouts come early and often. The features elevate everything: King Promise brings that Ghanaian melody magic, Nasty C adds sharp hip hop flair, Bien (from Sauti Sol) delivers effortless cool, Ayo Maff injects raw street energy, and Mavo rounds it out with fresh vibes. 

Tracks swing between high-energy bangers (perfect for the function) and smoother, reflective cuts about identity, hustle, and good living. The group chemistry shines—Kruddz, Papii, Mojo, Dope, Mxjib, and OGD trade bars and hooks seamlessly, their accents and flows weaving that true diaspora tapestry.

NSG’s Sounds of the Diaspora is a concise, confident statement that reaffirms NSG’s spot at the top table. Essential for any Afrobeats/Afroswing playlist this year.

EVERYDAY — Magixx

Magixx taps into something both universal and intimate with “EVERYDAY”. One of Mavin Records’ smoothest voices, Magixx, opens 2026 strong with a brand new single that feels like his most heartfelt release yet, turning gratitude and everyday love into pure melody. The track leans into themes of gratitude, resilience, and self-belief, framed with a smooth, uplifting melody that underscores his evolution as an artist whose words mirror the breath of the moment. It’s a reflective groove that sits perfectly in playlists that cross from morning motivation to evening introspection, a quiet yet powerful reset that demands repeated listens.

The beat comes in soft and warm, mid-tempo Afrobeats with gentle log drums, subtle trumpets, shimmering keys, and subtle guitar licks that feel like sunlight filtering through. Production gives Magixx all the room to do what he does best: he opens reflectively, singing about appreciating the little things, waking up to the same person, the daily wins, and the quiet blessings. Lines about loving “every day, every night” and giving thanks hit gently but deeply. 

The chorus, layered harmonies, and production all sync in a way that forces a listener to hum without realising, that signature Magixx tenderness effortlessly shining through.

Boss A Di Whole Place — Shatta Wale

The African Dancehall King, Shatta Wale, wastes no time in 2026 as he kicks off with “Boss A Di Whole Place”, the explosive opener from his freshly dropped EP ‘Echoes Of The Ghetto’, and it’s already taking over the streets. Pure, unfiltered dancehall fire from the SM general himself.

“Boss A Di Whole Place” is a track that comes across to a listener like a declaration of territory. With heavy bass and militant energy slapping from the first bar, this is the Ghanaian dancehall king talking his truth.

The rhythm hits hard from the jump with heavy distorted basslines, sharp snares, and minimalist but urgent percussion that screams classic dancehall yard energy.  Shatta comes in raspy and commanding, declaring dominance from the gate: “Mi a di boss of di whole place / When mi step out every road straight.” He mixes boastful flexes with ghetto resilience: talking about system barriers, building his own gate, and rising anyway despite the pain. The repetitive “one life, one crown, one way” line in the hook solidifies “Boss A Di Whole Place” as straight anthem material.

Dream Big — Akuvi feat. Stonebwoy

Norwegian-Ghanaian songstress Akuvi links up with one of Ghana’s dancehall kings, Stonebwoy, for “Dream Big”, a brand new single that is already spreading pure motivation across DSPs. This cross-continental collab feels like the perfect uplifting start to 2026. The production opens bright and breezy with mid-tempo Afro-fusion rhythms, shimmering guitars, subtle log drums, and warm synths that build into an infectious, feel-good groove. It’s soulful yet energetic, blending contemporary Ghanaian sounds with universal pop appeal.

Akuvi leads with her emotive, soaring vocals that are silky clear with a heartfelt delivery on themes of ambition, resilience, and chasing dreams no matter the odds. Her tone is empowering and vulnerable at once, pulling a listener in immediately.

Then Stonebwoy slides in with that signature BHIM fire: raspy flow, motivational bars, and uplifting energy that adds serious depth and grit. His verse is pure inspiration, talking about overcoming barriers, believing in yourself, and going all in. The chemistry is effortless; they trade off like they’re hyping each other toward greatness.

The chorus is the standout, with “Dream big” chants layered with harmonies that stick instantly, built for sing-alongs, stadium vibes, or just personal motivation on your morning run.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

The post Wizkid, Asake, Shatta Wale, NSG and More on New Music Friday appeared first on Afromixx.

Wizkid lit up the stage with fan-favorite hits, including “Ojuelegba,” “Jaiye Jaiye,” “Money Constant,” “Soco,” and others, delivering the signature vibe that has made him a global superstar.

View this post on Instagram

A post shared by Lagos Motor Boat Club (@lagosmotorboatclub)

Following the performance, LMBC Commodore Babasola Alokolaro presented Wizkid with an official certificate and commemorative club hat, formally marking his honorary membership.

The Lagos Motor Boat Club, established in 1950 (with origins tracing back to the 1938 Lagos Tarpon Club), is one of Nigeria’s most exclusive social institutions, known for its nautical heritage and high-profile membership that counts royals, business moguls and cultural influencers among its ranks. Wizkid now joins distinguished figures such as Oba Saheed Ademola Elegushi and Ogiame Atuwatse III, the Olu of Warri.

This gesture signals how deeply Wizkid’s influence has penetrated spaces beyond the stage. For Wizkid, who spent 2025 dominating charts with hit songs and live spectacles, including standout Detty December Festival performances, and whose artistry has seen accolades and commercial success across streaming platforms worldwide, this induction reads as a cultural homecoming of sorts. It’s a nod not only to his musical prowess but also to his role in shaping Lagos’ cultural capital on the international stage.

View this post on Instagram

A post shared by Lagos Motor Boat Club (@lagosmotorboatclub)

The post Wizkid Inducted as Honorary Member of Prestigious Lagos Motor Boat Club appeared first on Afromixx.