Headliner Rema, the Benin-born architect of Afro-rave, delivered a performance that felt like a coronation. Fresh off a year of total chart dominance, Rema’s set was a masterclass in stagecraft. Emerging amidst a haze of pyrotechnics and cinematic visuals, the “Rave Lord” navigated his discography with the precision of a veteran. From the dark, brooding textures of his sophomore album ‘Heis’ to the unavoidable euphoria of “Calm Down”.

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He ignited mass sing-alongs with deeper cuts such as “Charm”, “Why”, and “Soundgasm”, reminding attendees of his deep range as an artist. The energy peaked during collaborations: a raucous “Benin Boys” reunion with Shallipopi, celebrating shared Edo roots, and moments of pure crowd euphoria. Rema’s commitment to excellence elevated the night, creating an atmosphere so thick with vibes, you could slice through it like butter.

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Yet Rhythm Unplugged’s magic lay in its eclectic supporting headliner, a deliberate fusion that mirrored Afrobeats’ boundary-blurring ethos. The night’s narrative was built on a bridge between the UK and Nigeria. Central Cee, arguably the UK’s most potent cultural export right now, brought his “Wild West” energy to the Lagos stage. Clad in his signature streetwear, the West London rapper proved that his flow translates perfectly to a Nigerian crowd, with the room erupting word-for-word for “Sprinter” and “Doja”.

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The undercard pulsed with Naija’s current vanguard: BNXN provided the melodic soul of the evening, offering a smooth counterpoint to the night’s high-octane rap sets; Odumodublvck’s set (highlighted by a generous moment gifting his wristwatch to a fan during “Cast” with Shallipopi) delivered a rugged, high-intensity performance that solidified his position as the bridge between Nigerian rap and the mainstream; and Shallipopi’s Plutomania energy (joined by brothers Zerry DL and Famous Pluto for “Ewo”). Rhythm Unplugged has always been a springboard for the “next up”, and last night showcased the sheer depth of the current scene, including body-moving performances from artists like Moliy, Chella, Fola, Mavo, Shoday, SMADA, and Zerrydl.

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However, for those inside, Flytime Promotions delivered on the promise of luxury. The production value—LED architecture, crystal-clear acoustics, and seamless transitions—set a standard that few other festivals on the continent can match.

Twenty-one years in, Coca-Cola Rhythm Unplugged has evolved from a variety show into a sleek, international-grade festival. While the barrier to entry is higher than ever, the cultural payoff is undeniable. Last night at the Eko Convention Centre was a statement of intent for the rest of the 2025 festive season.

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Addressing a post on X (formerly Twitter) that accused him of using stream farms to boost his songs—which currently sit at No. 2 and No. 3 on the Apple Music Top Nigerian Songs chart—Young Jonn also responded to what he described as “negative reviews” of his sophomore album, “Blue Disco“, which labelled the project “tiring and monotonous”. He pointed to the album’s strong chart performance as proof of its impact and audience reception.

The 21-track album, released on November 28, 2025, debuted at No. 1 on Spotify Nigeria’s album chart, marking Young Jonn’s second consecutive project to achieve the position within a year. Nine songs from ‘Blue Disco’ entered the Billboard U.S. Afrobeats Songs chart, including seven new debuts, one re-entry, and one track holding for 14 weeks. The lead single “Lalala” (featuring Rema) reached No. 1 on Spotify Nigeria’s song chart, while “Cash Flow” (featuring Wizkid) debuted at No. 1 on both Spotify and Apple Music Nigeria with 1.1 million streams in its first 24 hours and peaked at No. 3 on the UK Official Afrobeats Chart.

Reviews have largely compared ‘Blue Disco’ unfavourably to Young Jonn’s 2024 debut, ‘Jiggy Forever’, which placed seven tracks on the same Billboard chart, calling both efforts repetitive in structure and lacking variety despite commercial success. Some outlets noted the album’s length as a potential drawback but praised its production and features from artists like Asake, Joeboy, and Darkoo, with “Che Che” (featuring Asake) topping Apple Music charts in several countries.

Young Jonn began his career as a behind-the-scenes producer before shifting fully into performing, a transition that saw him release his debut album in 2024. With Blue Disco’s success—featuring collaborations with major artists and seen as a statement of his growth—many fans and industry watchers view this moment as validation of his evolution from hitmaker to frontline Afrobeats artist.

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Blue Disco — Young Jonn

Off the heels of his 2024 breakout ‘Jiggy Forever’, which racked up over 600 million streams and solidified his leap from shadowy producer extraordinaire to Afrobeats frontman, this 21-track behemoth, ‘Blue Disco’, arrives with sky-high expectations. The Nigerian hitmaker has teased a “duality” concept: the “blue” for introspective melancholy and raw emotional digs, and the “disco” for euphoric, bass-thumping release. Young Jonn’s ‘Blue Disco’ is ambitious, star-packed, and clocking in at a hefty runtime.

The opener, “Padre Nuestro”, sets a cinematic tone right out the gate. It’s a Spanish-infused prayer-like murmur over shimmering synths and subtle hi-hats, evoking a hazy dawn in a neon-lit studio. Young Jonn’s hazy vocals, smoother and more controlled, float like smoke, whispering gratitude and manifestation vibes. It’s intimate, almost vulnerable, pulling you into the “blue” side immediately. No big bang, just a slow burn that makes a listener lean in, wondering if this is the evolution he promised in his recent Clash interview: a matured artist reflecting on personal growth. By track two, “Lalala” ft. Rema, the disco switch flips. Rema’s effortless flow layers over syncopated basslines and infectious hooks, turning this into an instant earworm. It’s a chaotic joy of amapiano whistles sneaking in, with Young Jonn’s ad-libs bouncing like party confetti. 

The momentum builds relentlessly through the midsection, where the features truly shine without overshadowing Young Jonn’s delivery. “Level Up” ft. Olamide is a street-anthem slapper with gritty bars over thumping percussion that feels like a victory lap for Young Jonn’s own come-up. Olamide’s sanguine energy (“All of my life, I just wanna level up”) mirrors Young Jonn’s ambition, and the production is as immaculate as the delivery. “Cash Flow” ft. Wizkid, is a laid-back luxury cruise with Starboy’s signature croon blending seamlessly into Young Jonn’s energetic bounce. It’s the kind of effortless chemistry that elevates the whole project, think hazy R&B meets Afrobeats shimmer. The real fireworks, “Che Che” ft. Asake his second collab on the project, after “2Factor” ft. Asake & Focalistic) are euphoric monsters. The production is an amapiano-fuelled chaos with log drums rattling like fireworks. Asake’s playful yelps push it into overdrive, and it’s the track that is crafted for not just the dance floor, but to intentionally soundtrack the merriment that comes with the end of the year.

Solo cuts like “Full Control” showcase Jonn’s vocal growth, a smoother delivery over disco-nodding synths that are culturally rooted, but it feels a tad transitional on this initial pass, more vibe-setter than hook machine. “Go Shawty”, ft. DJ Tunez, injects fun with its cheeky bounce, and “Touch”, ft. Shenseea, brings a dancehall flirt that pops, her patois slicing through the electronic haze like a breath of Jamaican air. Yet, as the album hit tracks like “LAPO Baby”, “Strika”, and “Minivan” introspection deepens, with Young Jonn manifesting success and praising higher powers over gliding strings. It’s tender, almost gospel-tinged, but the 21-track sprawl starts to creep in around “What Are We” ft. Franglish. The R&B simmer is sultry, but fatigue nips at the edges; a tighter edit could’ve sharpened the conceptual punch. The amapiano flex on “Airdrop” and the closer “Safe Space” recover nicely, with the latter’s emotional core hitting like a quiet revelation. The album concludes with “Outro: Blue Disco” a spoken-word poem over fading disco pulses; unique, risky, and a poetic bow on the whole affair, echoing Young Jonn’s evolved headspace.

‘Blue Disco’ is a victory lap that sticks the landing and moonwalks across it. Young Jonn’s production wizardry remains his superpower, weaving Afrobeats elasticity with global disco flair and electronic edges that feel tailor-made for borderless playlists. 

Then 1t G0t Crazier (Deluxe) — Zaylevelten

Fast-rising artist Zaylevelten, Lagos’ own trap alchemist and off-kilter visionary, unleashed the deluxe edition of his September breakout, and ‘then 1t got crazy’. Clocking in at 16 tracks and just shy of an hour, this expanded cut arrives like a fever dream extension, adding four new heaters, including features with Mavo and Odumodublvck, to the original’s raw, experimental edge. Born in the underbelly of Nigeria’s new-wave scene, Zaylevelten, who also doubles as the project’s executive producer under the name Tenski, has been teasing this “crazier” escalation since the original’s drop, promising deeper dives into his eccentric psyche: a genius trap delivery laced with Afrobeats glitches, spiritual hijacks, and visuals that look like glitch art from a cyberpunk Lagos. Then ‘1t g0t crazier’ deluxe sees four additional tracks to the original release including ‘Wuse Tu’ featuring Mavo, ‘Idanski tw0’ with Odumodublvck, ‘Lowzy’ and ‘1sa l0t’.

The opener, “Wenski”, hits like a distorted sermon—warped samples of street preachers over skittering hi-hats and Zay’s murmured manifesto on fame’s double-edged blade. It’s disorienting, almost cult-like, setting a tone that’s equal parts hypnotic and harrowing. The outro “Idansk tw0”, remixed for the deluxe ft. Odumodublvck flips the script with the guest artist’s frenetic flow, injecting pure anarchy and turning a solid original cut into a certified menace. The bars clash like rival crews: Zaylevelten’s sly menace vs. Odumodublvck’s explosive delivery, all over a beat that rattles.

“1SA L0T” strips it back: eerie atmospherics and Zaylevelten’s stream-of-consciousness flow over sparse beats, touching on paranoia and triumph. It’s vulnerable, almost ASMR-trap, and hits different in the dead of night, proof of his growth from producer shadows to lyrical force.

 “Wuse Tu” ft. Mavo, the first deluxe exclusive, is a melodic trap odyssey with Mavo’s silky sing-rap delivery weaving through Zaylevelten’s gritty verses. With an infectious bounce—think amapiano whispers under trap thunder—and on initial listen, it’s the earworm that demands an immediate rewind. Mavo’s vibe adds emotional depth, turning what could be a flex track into something almost confessional, about chasing highs in low places. 

Not everything detonates on impact, though. Tracks like “Gbona” and “Butti Vybes” (original holdovers) feel transitional here—solid vibes, but the sprawl tests attention in our bite-sized era, blending into a haze of eccentricity that might need spins to unpack. Album of the Year users clock the original at a respectable but niche 70-ish average, praising the boldness but noting the “acquired taste” trap niche in Afrobeats’ shadow. The deluxe’s four extras (pushing to 16 songs) add texture and replay value, as Album Talks highlights, but a tighter curation could’ve made it lethal. Still, in a week dominated by Young Jonn’s Blue Disco at No. 1, this No. 2 chart climber proves Zay’s pulling weight—early streams are surging, and X is lit with “wave active” declarations.

‘Then 1t G0t Crazier’ is Zaylevelten’s manifesto of controlled chaos—a trap odyssey that’s as intellectually hijacking as it is viscerally thrilling, blending Nigeria’s street pulse with global glitch aesthetics. The new tracks (especially “Wuse Tu” and the “Idansk1” remix) inject fresh fire without diluting the original’s eccentric core, showcasing an artist who’s not just riding the wave but engineering the tsunami.

Juvie (Album) — Joshua Baraka

Uganda’s Afro-soul prodigy Joshua Baraka has just handed the world his debut album, Juvie—a 12-track introspection on youth’s wild ride, dropped yesterday via Moves Recordings and exec-produced by the inimitable JAE5. At a breezy 36 minutes, the album is a polished gem, blending Joshua Baraka’s signature falsetto silk with R&B confessions, Afrobeats grooves, and dancehall sparks. Building on the momentum of the early success of viral singles like “NANA” (over 100 million streams) and EPs that turned heads across East Africa and beyond, Joshua Baraka—born in Kampala, a multi-instrumentalist shaped by Bob Marley and Cory Henry—promised a project reflecting “juvenile” chaos: love’s highs, heart’s lows, and the hustle in between. 

The opener, “One of One”, wastes no time asserting dominance—a Beyoncé-esque vocal delivery over introspective keys, strings and subtle percussion, like a deep breath before the storm. Joshua Baraka’s layered harmonies build like a prayer, teasing vulnerability that echoes his growth from bedroom producer to global contender. It’s cinematic, pulling you into ‘Juvie’s’ thematic core: navigating young adulthood’s mess. By track two, “Morocco” ft. Axon, the vibe shifts to sun-soaked escapism—crisp Afrobeats rhythms laced with dancehall sway, Axon’s smooth assist elevating Joshua Baraka’s hook into an instant cruiser.

The heart of ‘Juvie’ pulses through the midsection, where Joshua Baraka’s storytelling shines without needing a safety net. “Still Young” ft. JAE5, the pre-release heater is a nostalgic flex, pulsing bass and Joshua Baraka’s reflective croon over JAE5’s rhythmic wizardry, grappling with time’s theft in pidgin-tinged poetry. 

Then “State of My Heart” ft. Bien drops like a confessional bomb, Sauti Sol’s Bien adding gospel warmth to Joshua Baraka’s raw ache, over soulful strings and minimal beats. It’s tender, almost therapeutic, unpacking love’s wreckage with lyrics that cut deep: “Heart in a state, but I’m healing slow”. Paired with ‘Sorry’ and the upbeat “Corner,” a flirty Afro-pop bop that’s all confidence and corner-boy charm, the contrast creates an emotional seesaw that’s riveting. 

The outro, “So Low” featuring The Compozers concludes the project with its moody introspection, eerie atmospherics and Joshua Baraka’s vulnerable lyrics, evoking late-night regrets that mood-swing straight to catharsis, standing out for its rawness, equally “mood changing” alongside “Wrong Places” for that heartbreak grip. 

‘Juvie’ is a debut triumph, Joshua Baraka’s soulful odyssey through youth’s spectrum, fusing Afro-soul intimacy with Afrobeats flair and R&B finesse. 

Intentions — FAVE ft. Urban Chords

FAVE’s “Intentions” featuring Urban Chords is a refix shaped by the undeniable presence of AI in today’s music landscape. After her COLORS performance on June 30 and the original release on July 18, an AI-generated remix by Urban Chords went viral on TikTok earlier this year, triggering a wave of fan excitement and ethical debates around synthetic vocals. In a surprising turn, FAVE — the original IP owner of “Intentions” — has now partnered with Urban Chords, the Lagos-based vocal collective known for blending gospel-rooted harmonies with modern production. Together, they reclaim the narrative by layering her airy, emotive timbre over AI-enhanced choral textures, marking what some listeners are calling Nigeria’s first true “AI choir” moment.

The track unfurls like a midnight prayer, opening with FAVE’s signature whisper, soft and intimate. The minimalist production from Urban Chords sets the stage: subtle mid-tempo drums pulse like a heartbeat, shimmering guitar riffs flicker like distant city lights, and atmospheric synths weave a hazy veil that screams introspection over instant gratification. Her vocals glide in on the hook: “Intentions, what are your intentions?”, peeling back the cool-girl armor for raw vulnerability, dissecting love’s murky motives with pidgin-inflected poetry that’s equal parts ache and accusation. It’s soul-baring from the jump, but laced with FAVE’s playful menace which hooks deep, and demands a pause to let the words sink. 

As the track progresses, the Urban Chords drop like a divine intervention—not mere backups, but an enveloping gospel-tinged embrace that swells the track into something transcendent. These aren’t your standard harmonies; crafted with generative AI to mimic human warmth and resonance, they add lush, otherworldly layers that feel both futuristic and familiar, turning FAVE’s solo vulnerability into a communal catharsis. The choir’s entrance elevates the bridge into euphoric territory with harmonies stacking like a virtual congregation, bearing witness to her lyrical confessions without overpowering her lead. Production-wise, it’s a blend of R&B undertones flirt with Afrobeats’ elastic groove, keeping it danceable yet meditative, a far cry from the high-BPM bangers dominating playlists. 

The verses lean heavily on vocal layering over sparse beats, which risks blending into ambience for casual spins—though that’s the point, per FAVE’s own words in recent chats: “AI is here… but I want to guide the narrative and make sure the art still has heart.” FAVE’s “Intentions”with Urban Chords is a luminous reclamation, a haunting Afrobeats-R&B hybrid where vulnerability meets vanguard tech. The Urban Chords (AI-infused or not) transform a solid confessional into a spiritual flex, blending gospel soul with futuristic flair that’s tailor-made for late-night unwinds and dawn-after playlists.

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Young Jonn, the producer-turned-hitmaker of several hits and his seamless blend of neo-Afrobeats with disco-infused grooves, shared his raw reflections via a heartfelt X post late yesterday.

“It’s disheartening that Nigeria is still confronted with such overwhelming challenges; the insecurity has become unbearable, and it’s very clear that the leaders and we citizens must rise to do better, even as we pray for God’s strength to guide and sustain us through these times,” he wrote. The statement, laced with grief and resolve, culminates in a deferral: “In light of these, I’ve decided to postpone the release of my album ‘BLUE DISCO’ to a later date.” 

He closed with a prayer for national healing—”that God restores peace, unity and hope to Nigeria”—a sentiment that has resonated deeply in a country where joy feels increasingly elusive.

The timing could not be more stark. Nigeria’s security landscape has deteriorated into a grim tableau of relentless violence: kidnappings on major highways, brutal attacks in the north, and a surge in banditry that has claimed countless lives and displaced thousands in recent weeks. 

Public outrage has boiled over, with social media ablaze in criticism of governmental inaction, echoing protests and calls for reform that have defined 2025’s national discourse. For Young Jonn, whose music has long celebrated resilience and rhythm as antidotes to chaos, launching ‘Blue Disco’—a 21-track odyssey teasing themes of personal battles and unyielding groove—amid such turmoil felt untenable. “Chaos swirls, but we don’t fold. We move in rhythm: Blue Disco,” reads a lyric from the album’s trailer, but today, the rhythm must wait.

Young Jonn joins a chorus of artists and influencers who’ve hit pause on festivities, from cancelled concerts to muted promotions, in deference to collective mourning. No new release date has been announced, leaving the void filled only by earlier singles like “Full Control” and “Cash Flow” featuring Wizkid, which hinted at the album’s sultry, electronic-edged evolution.

As the nation grapples with its demons, perhaps this interlude will amplify calls for change. When ‘Blue Disco’ finally spins, it may well soundtrack not just bodies in motion, but a country mending. 

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Blaqbonez— No Excuses (Album)

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

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

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

Zlatan — Symbol of Hope (Album)

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

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

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

Ayra Starr & Rema — Who’s Dat Girl

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

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

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

MOLIY & Tyla — Body Go

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

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

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

Young Jonn — Full Control

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

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

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

Niniola — Belle 

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

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

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Bella Shmurda – Holy Jah

On his newest release, Bella Shmurda plays the part of a streets’ griot with a preacher’s tone. “Holy Jah” is a spiritual yet street-rooted cut that bridges divine faith and gritty survival. Produced by Popito, the beat is deliberately minimal, clearing space for Bella’s raw, throaty voice to turn each lyric into a rhythmic prayer. He’s singing to the divine but also to the everyday hustler, folding reggae’s sacred tones into the sharp edges of street-hop. Lines like “Wetin dey you find for sokoto, omo e fit dey your shokoto” cut through with timeless wisdom, while the refrain “Holy Jah, wey know tomorrow” feels like an anthem of surrender and resilience. With his newest delivery on “Holy Jah” Bella Shmurda is still the Ghetto Preacher; raw, poetic, and utterly relatable.

Tiwa Savage – This One Is Personal (Album)

Four years after ‘Celia’, Tiwa Savage comes back with an album that feels like she’s peeled off all her armor. ‘This One Is Personal’ is a 15-track journey that reads like a diary with confessions, heartbreaks, lessons, and the rawest sides of her voice. Recorded over two years across Nashville, Malibu, and Lagos, the album is an expansive yet intimate body of work, blending Afrobeats with R&B and soul in seamless fashion. Standouts include the biting “You’re Not the First (You’re Just the Worst)”, the piano-driven “I’m Done”, and the Skepta-assisted “On A Low”. James Fauntleroy’s pen adds depth on “Change”, while taves brings a sultry edge on “Addicted”. Tiwa Savage executive-produced the project alongside Vanessa Amadi-Ogbonna and Mystro, and you can hear her stamp everywhere. While some may find the feature list sparse, it seemed Tiwa Savage wanted this to be her story, in her voice, with few distractions. Vulnerable, bruised, but confident, ‘This One Is Personal’ is perhaps Tiwa Savage’s at her boldest yet.

Young Jonn feat. Wizkid – Cash Flow

Young Jonn has been steadily building his transition from hitmaker producer to frontline artist, and “Cash Flow: with Wizkid proves he’s fully there. The track is a decadent ride through wealth, desire, and celebration, merging Afrobeats sheen with amapiano bounce. Young Jonn’s verses glide with the confidence of someone who knows the beat bends to his will, while Wizkid’s silky entrance provides that effortless star power. Ragee’s production is lush but uncluttered, letting the groove breathe while adding amapiano flourishes that feel both current and timeless. Coming off “Che Che” with Asake and “Only Fans”, “Cash Flow” is a clear statement that Jonn’s upcoming ‘Blue Disco’ album is set to be a serious contender in Afropop’s evolving landscape.

DJ Spinall – Eko Groove (Album)

DJ Spinall has always carried Lagos in his DNA, but with ‘Eko Groove’, he writes a direct love letter to the city. The 14-track album is an explosive yet measured blend of Afrobeats, amapiano, and reggae, crafted with the intent of global dance floors but rooted in “Eko” energy. The opener, ‘Eko Groove’ featuring Ayinde Bakare, sets the tone with layered percussion and live instrumentation, while “Struggle” with Summer Walker, Buju Banton, and Jaz Karis dives into soulful storytelling. Pre-release singles like “Early” with Victony and “Excited” with Ami Faku, Heavy-K, and Niniola gave hints of the sonic diversity, but the full project makes it clear that Spinall is as much a cultural ambassador as he is a DJ. Features from Wizkid, Teni, and Niniola balance local flavor with international shine, and the production quality reflects his hands-on role. Recorded between tours, the album mirrors Spinall’s journey from Lagos rooftops to Coachella and Glastonbury stages. ‘Eko Groove’ is D Spinall bottling Lagos’ chaos, rhythm, and joy into a global dance soundtrack.

Gyakie – After Midnight (Album)

After a run of successful EPs, Gyakie finally delivers her debut album, ‘After Midnight’. Seventeen tracks long, the project is a sweeping exploration of love, heartbreak, spirituality, and nightlife, crafted mostly in the quiet hours after midnight. Gyakie lets her Ghanaian heritage, her father’s highlife influence, and her Afro-fusion sensibilities melt into something cinematic. The album balances sacred reflections with scandalous nightlife energy. “Sankofa” offers soulful introspection, while “House Party” with Young Jonn lights up dance floors. Guest features are carefully curated with 6LACK adding sultry R&B depth on “Damn U”, Shatta Wale brings grit on “Harmattan”, Headie One fuses drill with her smooth tone on “I’m Not Taken”, and Kojey Radical adds poetic edge on “Party Galore”. ‘After Midnight’ is a project listeners will find organic, with Gyakie writing 90% of the material herself, starting with moods before lyrics.For Gyakie, “After Midnight” is a milestone, an album that could easily cement her as one of the leading African voices in the global conversation.

Kizz Daniel – To Be A Man

Kizz Daniel returns with To Be A Man, a single with conspicuos emotional depth. Running at just under four minutes, the track dives into masculinity, vulnerability, and the heavy expectations placed on men in African society. Rather than masking it all in bravado, Kizz Daniel leans into nuance, acknowledging the weight of stoicism, pressure, and emotional silence. The production layers lush harmonies over crisp percussion, creating a sound that is as reflective as it is groovy. Kizz Daniel’s vocal delivery is textured, balancing strength with fragility, and the result is a track that works both as a dance record and a contemplative listen. In many ways, “To Be A Man” shows Kizz Daniel in a somber state, not just chasing hits, but adding depth to his legacy.

Africaine – Give Me Love

Following her debut in 2020, Africaine has shown a consistency that matches her talent. Now, preceded by a few singles and an earlier release, “Live Life” in March this year, Africaine shares a new vulnerable song titled “Give Me Love”

The two-minute Afro R&B record, produced by god0marr, blends western influences with a West African delivery that reflects the Connecticut-born singer’s familiarity with her Nigerian roots.

The mid-tempo “Give Me Love” portrays an emotional Africaine struggling to come to terms with a slipping love. She expresses herself in English, Pidgin, and Igbo, possibly picked up from her many summer trips to Owerri, Nigeria, over the years. She pleads with her lover: “If you leave, where would I go / How could I find someone to love me like you,” her delivery cutting through a listener’s heart with honest, heavy lyrics.

Unlike previous years where she typically released just a single, “Give Me Love”—her second release of 2025—may signal Africaine’s intention to take listeners on a lengthier ride through endearing melodies, emotive lyrics, and perhaps even a project on the horizon.

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Lojay — Tenner

Lojay is back in his vulnerable bag again ahead of his debut studio album, with a sleek but upbeat new single. With “Tenner”, he threads emotional tension into the pulse of alternative Afrobeats and Amapiano, crafting a sound that feels like dusk: mellow, yearning, and intense. Produced by Black Culture, the track feels like a soft but focused gaze, with his vocals not just carrying melodies but transmitting a kind of quiet urgency. There’s a dusky weight to “Tenner” that’s not entirely sombre. On the record, Lojay’s longing is coated in gloss, making it both danceable and introspective. The writing dances around themes of desire and romantic risk, while the groovy production gives it breathing space to settle deep into a listener’s ears. For those tracking Lojay’s sonic evolution from “Monalisa” to now, this is another clear marker of his grip on atmosphere, storytelling, and a delivery that just sets him apart.

Ahead of ‘XOXO’, his forthcoming debut album, “Tenner” reads like a well-placed teaser that leans into restraint with the confidence of an artist who knows exactly where he’s headed.

Adekunle Gold — Coco Money

Adekunle Gold’s “Coco Money” is a braggadocious track that’s all about flavour and flex, one where swagger meets soft life in a rich blend of Afropop confidence. Produced by Niphkeys, the song weaves crisp drums with a sonic thread that feels highlife-adjacent but undeniably contemporary. Then comes the cheeky interpolation of Rihanna’s “BBHMM”, a standout moment of brash flair that adds bounce and boldness to the track.

“Coco Money” doesn’t necessarily chase depth but basks in the fruits of a journey well earned. But even in the midst of the glitz, Adekunle Gold stays slick with the pen, finessing Yoruba phrases into quotables and cruising over the beat with that velvet-gloved delivery that’s made him a staple in Nigeria’s mainstream music. His tone sits halfway between toast and testimony, acknowledging the hustle but never forgetting to floss a little. 

Victony & Fridayy — Glory II

Victony’s “Glory II” is devotional in every sense; part gospel, part street hymn, with a soul-stirring collaboration that cuts across continents. Fridayy’s voice floats in, backed with a spacious, powerful, and emotionally soaked rap-sing delivery, while Victony stays grounded, weaving his signature storytelling around hardship, hope, and elevation.

What makes “Glory II” so compelling is how it adds flavour to the original version. Produced by Ben10k and Semzi, “Glory II” opens up a rare pocket where gospel instrumentation and Afrobeats percussion comfortably merge. Like ‘Glory’, “Glory II” is a track about grit, grace, and a theme of perseverance which sits at the centre like a flame. As a follow-up single to Victony’s ‘Stubborn’ album era, ‘Glory’ feels like a sonic rebirth, and with Fridayy on the feature, it’s a spiritual testament of victory.

Cassper Nyovest — Guess Who’s Back

Cassper Nyovest makes a return to the scene with his chest out, pen sharp, “Guess Who’s Back”. ‘Guess Who’s Back’ conveys Cassper Nyovest’s sentiments towards his peers in the form of a victory lap, a warning shot, and a reminder. Built on the head-nodding hip-hop beat by KaizerBeatz, the track is full of flashbacks and flexes, delivered with that signature blend of Zulu lyricism and Western rap cadence. On “Guess Who’s Back”, there’s an ease to Cassper’s delivery that comes from experience. Whether he’s reflecting on his come-up or throwing shots in coded bars, it’s clear he is aware of the value of his legacy and doesn’t intend to let it fade quietly.

With “Fill Up Toyota Stadium” coming up in December 2025, “Guess Who’s Back” feels like the perfect kind of pre-fight music you play before stepping back into the ring.

DJ SPINALL ft. Young Jonn — KEROSENE

SPINALL and Young Jonn go full ignition on “KEROSENE”, a combustible club anthem that fuses amapiano-adjacent log drums with pure Afropop electricity. Ahead of his upcoming studio album “EKO GROOVE”, which arrives 22 August. On “KEROSENE”, SPINALL handles the beat with the seasoned hand of a DJ who knows what works in real-time, tag-teaming with GOJI’s co-production, which keeps things tight and tactile. This teamwork allows Young Jonn to weave his usual magic, singing, rapping, and ad-libbing with the kind of fluid charm that’s become his trademark. “KEROSENE” is built for a repeat value and likewise a spark plug for the dancefloor.

Kunmie ft. Simi & Mabel — Arike (Remix)

Kunmie’s “Arike” gets a remix that stretches its emotional fabric across three borders, three styles, and three voices. Simi opens the track with feathered poise, her vocals gliding across the instrumental like silk on polished wood. Kunmie anchors the song with warmth and clarity, while Mabel’s verse arrives like a curveball, unexpected but exactly what should be the outcome of the track if a remix had to be done.

Together, the trio craft a sonic dialogue that feels more like a shared love letter than a remix. Kazez’s production makes space for this delicate delivery, laying a soft groove that holds everything in place.

“Arike (Remix)” retains its emotive yearnings from the original but with a cross-continental blend of tenderness, power, and feminine grace that redefines it.

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Following his collaboration with Wizkid on ‘Kai’—which also marked their fifth song together—Olamide enlists Willis’ expertise while bringing together former YBNL members Young Jonn and Asake, alongside Seyi Vibez and Zimbabwean artist Daecolm. “99”, released on 9th of June, contrasts the expectations of many as it sidesteps the implication that a heavy Afrobeats star presence means a party-starter record. And while this is the case for Olamide’s second lead single off his forthcoming album, “99” is still a certified Afro-house masterpiece in how it utilizes each guest’s verse in delivering a laid-back Afro-house groove. 

A closer look at Olamide’s craft reveals that he’s never been a conventional artist when it comes to making music, regardless of how commercial his sound may be. Hence, the existence of albums like the mellow UY Scuti, where he mostly croons, and the pulsating Ikigai, which evokes memories of his early rap days.

And on 99, he shapeshifts again, but not in the way long-term listeners might anticipate. Over the Willis-assisted production, Olamide opens the track with a sing-rap delivery and the exuberance of someone celebrating a newly acquired financial goal, driven by the desire to “party like it’s ’99”—a sentiment Young Jonn drives home with deft, sticky melodies. Asake plays it safest, sticking to the rhythm and delivering his verse with a similar cadence, complementing Olamide and Young Jonn’s contributions with the appropriate messaging for “99”.

Seyi Vibez brings his unconventional apala-fuji–infused delivery, adding flavour and panache to the track, as Young Jonn serenades listeners yet again for the third time:
“Meji, meji, I’m gonna party like ’99, leave all my stressin’ behind tonight”—
but this time layered with the vocalizing of Zimbabwean dance-electronic artist Daecolm, who readies for his bit. His verse is velvety and lightweight, as he takes a more sensual approach, closing the track with a refined dance music tint.

If Olamide’s “99” is anything to go by, it’s that the 17 track album will be a genre-blurring experience, offering fans a vast sonic engagement.

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Young Jonn ft. Asake – Che Che

Young Jonn links up with Asake for “Che Che,” an uptempo, high-energy banger that’s already shaping up to be a contender for song of the summer. The track radiates unbothered confidence and playful bravado, with both artists bringing their A-game to a bass-heavy, percussive beat laced with subtle Amapiano textures.

Asake brings his magnetic vocal stylings, sliding in effortlessly with a hypnotic flow that blends Yoruba lyricism with streetwise charm. His cadence—part chant, part melody—acts like an addictive hook in itself, while Young Jonn delivers slick lines like “I look fly, I dey smell nice, everything JeJe,” summing up the vibe in one self-assured bar.

Produced by Young Jonn himself alongside Jaytunes, “Che Che” is a certified party anthem positioned to be a cultural moment. It follows the success of his February single, “Only Fans” and keeps the momentum going after ‘Jiggy Forever‘, the singer’s 16-track debut album, which has racked up over 600 million streams globally. With lyrics like “deliver me from my frenemies,” “Che Che” taps into both playful swagger and subtle commentary, offering a street-leaning record that feels both fresh and familiar.

Crayon – Roju

Crayon steps into lover-boy mode with “Roju”, a sweet, rhythm-laced serenade that showcases his continued growth as a melody-first hitmaker. Over upbeat percussion and vibrant synth arrangements, he crafts a track that’s as perfect for late-night drives as it is for spinning on repeat at a house party.

Produced by John P, the track finds Crayon yearning for emotional depth and connection: “I will never ever ever roju roju / For you soul, imma sinner man.” It’s a bold promise, wrapped in lush harmonies and that signature Crayon bounce. The production keeps things light and infectious, but the heart of the song is in the vulnerability he wears so confidently on his sleeve, leaning into his strengths.

“Roju” builds off the momentum of ‘Bodycon’, a sultry Afropop record released just weeks prior, and sets the tone for Crayon’s upcoming project. Having carved out his lane since ‘Cray Cray‘ in 2019, the Mavin/Blowtime artist now sits confidently among Afropop’s new wave, balancing romantic themes with mass appeal. And with “Roju”, he offers listeners just a taste of that.

BNXN ft. FOLA – Very Soon

BNXN continues his romantically melancholic run with “Very Soon”, a heart-tugging collaboration with rising star FOLA. Produced by Beatz Vampire Craze, the track weaves soulful R&B textures into a fluid Afrobeats groove, setting the stage for a vulnerable reflection on love, growth, and delayed promises.

Opening with BNXN’s signature emotional drawl, the song finds him expressing devotion despite imperfections: “Ero bi mase para o je kin sun / Very very soon I’ll do it better and I promise you.” It’s an ode to patience, the kind needed to love someone who’s still finding their way. FOLA complements the sentiment with a silky, expressive verse that adds emotional depth without overcomplicating the vibe.

“Very Soon” marks the fourth single from BNXN’s forthcoming 16-track ‘CAPTAIN’ album, following “Cutesy”, “Phenomena”, and “Fi Kan We Kan” with Rema. The track also builds on BNXN and FOLA’s growing musical chemistry, first teased on the Alone remix. Together, they strike a balance of raw emotion and sonic finesse, making “Very Soon” one of the most soulfully potent releases this cycle.

Simi & Kizz Daniel – Day By Day

Two of Nigeria’s most consistent vocalists join forces for “Day By Day,” a heartfelt ballad that’s as soulful as it is soothing. Produced by AYK Beats, the track finds Simi and Kizz Daniel trading verses on love, patience, and emotional rhythm.

Simi’s voice floats with her usual clarity, tender but assertive, as she sings about growth and vulnerability in relationships. Kizz Daniel complements her beautifully, his honeyed tone wrapping around words like “every little step wey we dey take na divine.”

What makes “Day By Day” stand out is the vocal synergy wrapped around subtle honesty. Simi and Kizz Daniel are artistes that have largely built careers on love songs, yet on “Day By Day” they sound more introspective than romantic, like two people doing the hard, necessary work required to build something real and, of course, lasting.

Wizard Chan – OLIVER

There’s a primal power in Wizard Chan’s voice, and “OLIVER” uses it to full effect. Opening with tribal drums and a folk-meets-afrobeats arrangement, the song is both a spiritual plea and a philosophical musing.

Chan’s lyrics come from a place of searching: “Oliver twist, I’m asking for more / But life no be beans, e dey test your core.” It’s the language of a man who’s walked the rough road and now pauses to ask, what next? The production, helmed by Pumba Mix, is sweeping, cinematic even, with vocal chants that swell like an inner storm. With Wizard Chan riding it with sharp delivery, painting his struggles and ambition in vibrant detail. “OLIVER” by Wizard Chan is street poetry, distilled and recharged.

Sarkodie ft. Jay Bahd & Kwaku DMC – HUSTLERS DREAM

Veteran Ghanaian rapper Sarkodie taps into Ghana’s drill-powered youth for Hustlers Dream, roping in Jay Bahd and Kwaku DMC for a no-holds-barred rap cypher. Produced by MOG Beatz, the track crackles with urgency and intent. It’s an anthem purposed for those grinding against the odds, weaving lyrical dexterity with lived experience.
Sarkodie’s verse is expectedly crisp and commanding, but it’s the newer voices, Bahd and DMC, who bring street-edge flair and a refreshing take. Their hunger is palpable, and their delivery is razor-sharp.

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Magixx – “I Dream In Color” (Album)

After a patient buildup, Magixx has unveiled his debut album, ‘I Dream In Color’ The 13-track project, teased with a listening party photo drop on social media, includes four previously released singles and a collaboration with Jeriq. While some fans might question the choice of Jeriq over an artist aligned with Magixx’s R&B style, the album’s release clarifies his vision.

‘I Dream In Color’ opens with “Consistency,” produced by Sparqq, where Magixx reflects on his journey, acknowledging both triumphs and tribulations. “Ori Mi,” the second track, reveals a prayerful Magixx, expressing optimism and linking his ambition to financial success. These introspective beginnings signal a departure from typical romantic themes, offering a raw look into Magixx’s personal experiences.

Despite this focus on personal narratives, Magixx doesn’t entirely abandon matters of the heart. “With You,” “Winter & Summer,” “Alchl,” and “Sexy Lady” explore romantic themes, adding to the album’s emotional landscape. Rooted in familial dynamics, anxieties about betrayal, and a quest for inspiration, ‘I Dream In Color’ presents a multifaceted portrait of Magixx’s artistic vision.

Kel-P & Wande Coal – Best Of Both Worlds

Afrobeats enthusiasts are treated to ‘Best Of Both Worlds,’ a collaborative EP from producer Kel-P and vocalist Wande Coal. This five-track project showcases their collective talent, delivering a blend of melodic Afrobeats. Kel-P revealed in a BBC Radio 1Xtra interview that the EP was a spontaneous creation, born from a prolific recording sessions after his initial 2018 meeting with Wande Coal. Wande Coal, often called the “king of melody,” reaffirms his title throughout the concise EP. Including the 2024 release “Old Soldier,” the project also features the official release of the viral snippet “Ejo,” though disappointingly, Ikechukwu’s verse was omitted. Each track on ‘Best Of Both Worlds’ stands out, highlighting the synergy of brilliant producer and sublime vocalist.

Young Jonn – Only Fans

Young Jonn has launched his 2025 campaign with the single ‘Only Fans,‘ a track that embodies a carefree, playboy persona. Known for his versatility, Young Jonn delivers an infectious blend of smooth melodies and a relaxed vibe. The lyrics of ‘Only Fans‘ articulate Young Jonn’s hedonistic outlook, exemplified by the opening line, “Too many girls in the world for me to be with only one.” Drawing a parallel to King Solomon, Young Jonn positions himself as a modern-day figure of indulgence, prioritizing pleasure and freedom.

Co-produced by Greamar and Smyley, ‘Only Fans’ features a laid-back tempo and catchy groove. Young Jonn’s ability to seamlessly integrate singing, songwriting, and production is evident in the track’s cohesive and enjoyable sound.

Dandizzy & Duncan Mighty – Port Harcourt Boy

Dandizzy and Duncan Mighty have teamed up for ‘Port Harcourt Boy,’ a tribute to their hometown, produced by Freshy. The track merges drill with Afrobeats melodies, creating a contemporary sound rooted in Nigerian music. Inspired by Duncan Mighty’s ‘Port Harcourt Son,’ ‘Port Harcourt Boy‘ celebrates the city’s resilience and spirit. Dandizzy delivers sharp verses, while Duncan Mighty provides a memorable hook. Their collaboration creates a dynamic track that resonates with cultural pride.

Darkovibes – Real Love

Ghanaian Afropop sensation Darkovibes has dropped ‘Real Love,‘ the latest single from his highly anticipated six-track EP, Toxic Traits, slated for release on March 14th. The track, a bold foray into drill production helmed by Nxwrth and King Wizard, showcases Darkovibes’ versatility, blending his signature melodic vocals with sharp, rhythmic rapping. Lyrically, ‘Real Love‘ escapes into a hedonistic world, painting vivid scenes of nightlife and indulgence, all set against a groove primed for the dancefloor. This release follows the previously unveiled singles ‘Snap‘ and “Replica (The Greatest),” building anticipation for the EP’s exploration of modern relationships and personal complexities.

NEW MUSIC FRIDAY: MAGIXX, WANDE COAL, YOUNG JONN & DARKOVIBES FULL PLAYLIST

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