Zlatan, who has had one of the most successful breakout year in Nigerian music, rose to prominence after collaborating with Chinko Ekun and Lil Kesh on “Able God”, and later releasing the smash single “Zanku” in October 2018, a song that birthed a viral dance and cemented his name in the mainstream. That success culminated in the release of his 17-track debut studio project of the same title, ‘Zanku’. Although, it wasn’t Zlatan’s first foray into the music scene, having previously participated in rap competitions and released a record with Nigerian rap veteran Olamide in 2017 titled “My Body”, ‘Zanku’ marked a significant turning point in his career.

For a rap artist in Nigeria, his newfound success in the years 2018/2019 and its subsequent ripple effect were rare. Only a few rappers have managed to break the mold and attain the kind of mainstream success that allows them to rival popstars. Save for Olamide (Baddo), who redefined the possibilities for rap artists in an industry dominated by Afrobeats, only a select few including Zlatan have managed to replicate such success. Known for his gritty lyrics and energetic delivery, Zlatan has sustained a strong presence in the music scene by leaning into a familiar hip hop template that cleverly infuses pop sensibilities, producing what can be regarded as “melodic rap” in the Afrobeats context.

However, with his success came a change in social standing, one that mirrors a grass-to-grace story that unfolded before the eyes of some of his listeners in real time. Born into a low-income family in Ikorodu, Lagos State, Zlatan defied all odds with nothing but his talent, determination, and a burning desire to succeed, a tale that many would consider the Nigerian dream. It is from this state of reflection that Zlatan delivers his third studio album, ‘Symbol of Hope’. He reaches deep into the well of self-reflection with the vulnerability of a therapy session, musing on his life’s journey and crafting a 15-track album that reads like pages from a personal diary. On ‘Symbol of Hope’, Zlatan acknowledges and chronicles the many milestones in his career — his growth as a son, father, and friend. But beyond the self-awareness and documentation of his transformation, Zlatan is intentional about his message: this third studio album is meant to serve as a nudge to keep going; a beacon of light, a Symbol of Hope.

A Review of the Album: Symbol of Hope

The 42-minute album opens with the tuneful “Pay Day”, where Zlatan reflects on his newfound financial stability. Together with Chechdaproducer, he creates a soulful opener; a beautiful blend of sing-rap delivery, choral backups, and uplifting progressions that elevate both the lyrics and the listener. ‘Symbol of Hope’ soon dives into its recurring themes of introspection and life’s harsh realities, particularly on “Demons” featuring one of this generation’s vocal powerhouses, Qing Madi. The track opens with stirring guitar chords that set a somber mood, while Qing Madi’s piercingly rich vocals create a haunting backdrop for Zlatan’s 32-bar verse.

“Oyoyo” finds Zlatan in celebratory mode, delivered over an upbeat production laced with heavy percussions and log drums by Telz. Here, he reflects on his humble beginnings, the challenges he’s overcome, and his gratitude for how far he’s come. He raps, “From Ikorodu to America,” painting vivid pictures with the scantiest words. The energetic “Jeserawa” carries the delivery flair of vintage Zlatan, crafted for the dancefloor with persistent adlibs evocative of his 2019 sound. It’s also the only track that assembles multiple guest features, with Zlatan and Idowest delivering raw, street-hop energy that balances out Shallipopi’s and Terrythevoice’s lighter contributions. Produced again by Chechdaproducer, “Jeserawa” is buoyed by familiar bounce and a club-ready feel that fits its recklessly sensual tone.

On the fifth track, “Hip Hop Messiah” a heavy Amapiano collaboration with Afrobeats hitmaker Davido, Zlatan makes a statement, though not in the way rap purists might expect. Contrary to the title, the track leans into pop territory, with Zlatan opting for a sing-rap template that has consistently worked for mainstream rappers. Davido anchors the song effortlessly, creating a balance between star power and melodic depth.

The album maintains a steady flow, playing it safe without veering into experimental or overly climactic territory. It transitions smoothly into “Get Better”, featuring Fola, one of the most commericially successful artists of the year. Helmed by Chechdaproducer, “Get Better” continues Zlatan’s grass-to-grace narrative, offering glimpses of his inner monologue during moments of struggle, perseverance, and mental tenacity. Fola’s somber yet motivating chorus complements Zlatan’s reflective tone, creating a resonant piece about resilience.

Seventeen minutes into ‘Symbol of Hope’, the project takes an intriguing turn on “Diamond”, an Afrobeat-inspired track deeply nostalgic and evocative of Lagbaja’s folk soundscape. With its fusion of percussions, saxophone, flute, and rich bass guitar, “Diamond” marks one of the most complete songs on the project, and a testament to Chechdaproducer’s range. The album’s newly found momentum continues with “Paypal”, where Zlatan delivers braggadocious verses in a melodic cadence that almost outshines Mayorkun’s contribution. The Semzi-produced track is sleek and confident, further showcasing Zlatan’s position as an artist who effortlessly straddles rap and pop.

“Odeshi” follows, maintaining the album’s pulsating energy, while “Till Thy Kingdom Come” pivots to a more spiritual tone, a gratitude-filled track layered with trumpets, log drums, and gospel-inspired backup vocals that give it a Pentecostal edge.

Zlatan introduces a new flavour on the 11th track, “Genesis”, incorporating percussion and flute peculiar to Nigeria’s southern region to craft a highlife/Igbo-pop fusion. Here, Flavour thrives within his natural sonic terrain, while Zlatan continues to explore his recurring themes of reminiscence, gratitude, motivation, and resilience. The project then moves into the fourth of its six lead singles, “Happy Day”, a playful, celebratory record built on bouncy percussion and intentional rap verses.

“Bebe”, featuring Victony, opens with a smooth, flirtatious vibe that’s pure Afro-fusion charm, as Zlatan and Victony trade verses over a breezy beat laced with melodic hooks and subtle percussive elements. Building on that momentum, “Gimme Your Love” dials up the energy into a high-octane party anthem that feels both nostalgic and fresh. Reuniting with his mentor Olamide, Zlatan crafts a record brimming with Afro-fusion rhythms, infectious ad-libs, and a chorus begging for replay — “Come gimme your love, fún mi je.” Olamide’s verse, dripping with swagger and wit “The boy’s hot dripping Gucci, not mad”, steals the show.

The reflective closer shifts gears into introspective street gospel, weaving faith, grind, and gratitude into a soul-stirring anthem. Over a blend of Afro-fusion and subtle highlife nods, Zlatan delivers authoritative bars on perseverance and divine favour, looking back at his Ikorodu roots with raw honesty. BhadBoi OML’s emotional vocals and storytelling chorus adds haunting depth with his tone transforming the hook into a mantra of triumph. The production is sparse yet powerful, allowing the lyrics to breathe while building to euphoric drops that evoke old-school Galala vibes with modern polish, and ties the project’s ethos together.

For Zlatan, every taste of success drawn from Afrobeats’ influence has come with a degree of conformity that distances him slightly from the essence of a rap artist. Hence, it remains debatable whether Zlatan is truly rap’s messiah, as he claims to be on the album. However, his journey, from a child born into a low-income household to one of Nigeria’s most successful mainstream rappers, objectively positions him as a ‘Symbol of Hope‘, not only to the rap scene but to anyone who believes in light at the end of the tunnel.Ultimately, ‘Symbol of Hope’ is Zlatan reaffirming his place as a cultural figure whose story continues to inspire. It’s a sonic diary of survival, gratitude, and growth that thrives on sincerity. For listeners, it serves as both mirror and motivation; for Zlatan, it stands as proof that success, when earned against the odds, becomes more than personal victory, it becomes a symbol of hope.

The post Zlatan’s Symbol of Hope Is His Most Human Work Yet appeared first on Afromixx.

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.

LISTEN TO THE FULL NEW MUSIC FRIDAY PLAYLIST BELOW

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Leveraging his social media platforms, particularly Instagram, First Klaz has consistently presented the genius of his artistry to the world, drawing audiences in through his music and engaging video executions. This has earned him a growing fanbase, recognition from industry heavyweights and opportunities to collaborate with established artists who have now discovered his brilliance. And with every new release, First Klaz is on a mission to make something extraordinary out of the ordinary, a philosophy that clearly underpins his creative process, as highlighted in his interview with Afromixx.

With the remix riding the momentum of Gen-Z Arewa, First Klaz taps into the talents of rappers representing Nigeria’s other major tribes, bringing a refreshing cultural layer to his 2025 offering, ‘Arewazobia’. The track features indigenous Igbo rapper Jeriq and Yoruba rapper Zlatan Ibile. In a bid to extend the success of the original and breathe new genius into what many already consider a perfect song, First Klaz dives deep into his creative arsenal. The result is ‘Arewazobia‘—a clever wordplay on ‘WAZOBIA’, the popular term for Nigeria’s three dominant ethnic groups.

On the over-two-minute track, the production elements that made the original version successful remain intact. Opening the song are the voices of Iliya Entertainment Music, followed closely by Firstklaz’s verse. Within the first few moments, it’s clear that Firstklaz isn’t out to radically reinvent ‘Arewazobia’. Instead, he seeks to fuse cultures, making space for guest artists to imprint their distinct cultural twangs on the record. This intention is mirrored in the culture-specific percussion that underscores the latter half of the track. Jeriq raps primarily in Igbo, layering his storytelling with sprinkles of pidgin and English, all wrapped in highlife textures. Zlatan follows, delivering a gritty verse that pulses with Yoruba rhythms and the vibrant call of the talking drum.

With ‘Arewazobia’, Firstklaz leans into Nigeria’s rich cultural diversity, not as a theme, but as a lived experience, one he moulds into sound. And in doing so, he reminds us that music, when true to its roots, can be both a celebration and a conversation.

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Get Better – Zlatan ft. Fola

Following a string of pivotal moments in his career and his confirmation under Nigerian singer Bella Shmurda’s label, fast-rising star Fola has released his first single of 2025, featuring rapper Zlatan. The song comes just months after his six-track EP in December, which featured his breakout single and its remix, alongside standout tracks like ‘bye bye’ and ‘who does that?’ featuring label boss Bella Shmurda.

On ‘Get Better’, a hustler’s anthem of relentless ambition, Fola shares his desires for the finer things in life while emphasizing the effort it takes to attain them. The theme of hustle comes naturally to both artists—given their shared grass-to-grace stories—with a sublime delivery that strengthens the song’s overarching message. Get Better is many things at once: reassuring, inspiring, and a call to remain steadfast in the pursuit of success. Zlatan’s verse is compelling, reinforcing the song’s message with his masterful cadence: “Dangote still striking deals, Adeleke just buy new jet and you say make my grind reduce (for where), I don see who get before wey no get again na why my morale dey boost, My soldier dey shine e boot.” Fola cradles the concept of Get Better in the hook, singing: “I just want things to get better, ko po ko dun kpa, Me I’ve been working, mo need cheddar, ani mo fe buga, Iye Iye Iye, I swear I can’t deny.”

I No Be God – LADIPOE

It’s fascinating how LADIPOE can rap-sing about virtually any subject matter he chooses. Though he is known for taking long breaks between releases, in recent times—particularly in 2024—he has been more active, dropping three singles, with the latest addition being ‘I No Be God’. This could hint at an impending LADIPOE project, or perhaps he’s simply overloading fans with music, reminiscent of his Revival Sundays era. LADIPOE kicked off 2024 with ‘Hallelujah’, a song of resilience laced with powerful rap bars in June, followed by ‘Compose’, a love-struck track featuring the talented taves, and later capped the year with ‘EKWE’ alongside Adekunle Gold and Kel-P.

I No Be God is a vulnerable love letter—an open confession to a lover—exploring how life’s imperfections can interfere with an otherwise perfect relationship. The track opens with a vibrant guitar progression, escorted by hard-hitting bass and soulful vocals, as the chorus unfolds: “I no be God, I be somebody’s son, I no fit to answer whenever you call me, only because I’m in love, I’m in love, I getty shoulder whenever you worry, I don’t care, when nobody dey, me I go dey, ’cause you want me, I’ll be there when you call my name, Yes, I’ll be there in a hurry.” LADIPOE openly acknowledges the burdens he carries but reassures his partner that his shoulders will always be hers to lean on, using every line to plead for understanding.

Keep On Loving Me (Biko Biko) – Lady Donli

Lady Donli, known for her soulful fusion of Afrobeat, jazz, and funk, has added yet another classic to her discography with her first release of 2025, ‘Keep On Loving Me (Biko Biko)’. Over a funky, jazz-infused production rich with delicious guitar licks, she delivers a heartfelt expression of love, her melodies wrapping around the song’s warm instrumentation like a gentle embrace.

‘Keep On Loving Me (Biko Biko)’ captures a love story slowly turning sour, though Donli struggles to pinpoint exactly why. A relationship filled with beautiful moments can be difficult to let go of, and so she pleads, “Can you keep on loving me (biko biko)” repeatedly, her voice carrying the weight of desperation and longing. With this release, Lady Donli continues to carve her place in the industry, showcasing her soulful vocals and eclectic sound. If you’re planning a long drive this weekend, ‘Keep On Loving Me (Biko Biko)’ might just be the perfect soundtrack to unwind to.

For You — Khaid

Tossing another release into his emotive songs bag, Khaid’s ‘For You‘ is a passionate burst of desire and affection, with each word pouring out with sincerity on the wings of emotion. His velvety vocals glide over the mellow production, heightening the weight of his devotion. “Tell me if you dey like I really dey for you, Oh like I dey for you, Omo yanga dey for two, I fit to risk am for your sake, So make you no dey carry do, Omo no April fool, Wait till I get my hands on you,” he sings, laying bare his yearning. The track leans into the delicate balance between vulnerability and reassurance, making it a heartfelt addition to Khaid’s growing repertoire of love-centered records.

Hey Jago — Poco Lee

Hypeman and celebrity Poco Lee has teamed up with rising street pop artist Shoday to release a song dedicated to fashion entrepreneur Rahman Jago and the city he grew up in. Produced by X, ‘Hey Jago’, like every typical street pop track, is an energetic party starter, blending raw street energy with a pulsating beat. Shoday handles the verses, infusing melody with streetwise grit, while Poco Lee delivers a combination of hypeverse and slang that transforms the track into a rallying anthem. Teased heavily in the previous week, ‘Hey Jago’ capitalizes on the momentum built from snippet videos, ensuring an instant connection with fans who thrive on its infectious vibe. With its mix of street lingo and high-energy delivery, the track is poised to find its place in clubs and parties across the scene.

LISTEN TO: Zlatan, LADIPOE, Poco Lee and others on New Music Friday

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Following the preview of two unreleased songs on his Instagram, Nigerian rapper and fashion entrepreneur Zlatan has announced that his third studio album, ‘Symbol of Hope (SOH), will arrive soon.

In an Instagram story post, Zlatan declared, “S.O.H THE ALBUM. THE BEST SET OF SONGS I HAVE EVER RECORDED MY WHOLE LIFE.” And judging by the two unreleased tracks he teased prior to the announcement, both of which have received positive reception from fans, his third studio album, ‘Symbol of Hope’, might just be his best work yet.

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Known for consistently dropping smash hits, Zlatan’s career has been relatively quiet lately, with only a handful of releases toward the close of 2024. With a fashion brand to manage simultaneously, that’s understandable. However, he has chosen to kick off 2025 on a more intentional note, showing a strong willingness to release new music. Zlatan’s excitement and optimism are palpable as the release of his third studio album inches closer.

And while late-2024 singles like ‘Till They Kingdom Come’ and ‘Gimme Your Love’ featuring Olamide may serve as lead tracks, the previewed unreleased songs pack a more energetic punch. Hopefully, a release date is announced soon so we can find out for ourselves.

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Clean Bandit, Anne Marie & David Guetta, Ruger – Cry Baby Remix

Clean Bandits, Anne Marie & David Guetta’s “Cry Baby” have been making waves and have been making numbers on charts and streaming platforms, and the song is about to get bigger. 

The original artist enlisted afro-beats sensation Ruger to jump on the remix, and he didn’t disappoint.

Ruger delivered a masterpiece of a verse as he got into his feelings singing so passionately about having his woman trust him more and loving her as well. Each artist did their thing and brought their A-game like they were making the song for the first time. The bad boy lovers are going to love this one.

L.A.X, Taves & Ayo Maff – Let Me Know

L.A.X came through with possibly one of the most unexpected team-ups he brought on Taves and rave of the moment Ayo Maff on this chill tune. Taves kicks things off with a soothing vocal entry as each artist goes on to sing, assuring their ladies of their undying love for them. An ideal example of thug love,  “Let Me Know” is that track that will be on the playlist of young lovers.

Zlatan & Sir Hopy – Raba

Zlatan comes through with another hit track, and this time, it’s a hardcore rap attack TITLED “Raba” featuring the rising star “Sir Hopy.” The streets are going to love this one as it speaks of getting that dough, that money, that raba, and how they do not joke about that money. It’s no doubt a street anthem material as it is something a lot of people can relate to, after all, no one jokes about their money. So, click the link and enjoy listening to Zlatan’s latest fire track.

Odunsi (The Engine) – Nigerian Boyfriend (EP)

Featuring tracks like “Back in Office,” “Intentions,” and “Language” with 111Syri, Odunsi (The Engine) returns to the musical spotlight and drops an EP titled “Nigerian Boyfriend,” reminding us of how much of a versatile and talented artist he is. Still keeping his style of music, Odunsi (The Engine) explores a new wave of sound as he gives us a peek into his world. Enjoy this new EP Odunsi blesses us with.

Boy Spyce – Shout

Mavin’s artists have been giving us hits back-to-back, and this time, Boyspyce didn’t disappoint with the release of his latest track, “Shout.” A notable line in the song is “I no fit come shout”, but with such a catchy tune giving off so much dancehall vibes, it is going to be quite ironic when this song actually gets everyone shouting in clubs, and parties while they vibe to it.

Oxlade – OFA (Album)

Oxlade finally drops his highly anticipated debut album, and he titles this one “Ofa.” Oxlade uses this album to pay homage to his African roots, and he doesn’t miss it at all as he brings in Artists from various countries in Africa such as Bobi Wine, Dave, Fally Ipupa, Flavour, Ojahbee, Popcaan, Sarkodie, Tomi Owó, and Wande Coal. “Ofa” is a 16-track album that beautifully blends Afrobeats, Afro-Swing, Amapiano, Coupé-Décalé, and R’n’B and shows off Oxlade’s genius creativity and talent.

Music lovers are going to enjoy listening to this one for sure.

Ice Prince, Loose Kaynon & Joules Da Kid – Long Azz Rap Song

Nigeria’s rap star Ice Prince pops out with a rap attack tune titled “Long Azz Rap Song,” and true to its name, it really is a long-ass song as it spans for 8 minutes, and it is an 8-minute of pure lyrical genius. Joining Ice Prince on this one are Loose Kaynon & Joules Da Kid. This rap team-up gives us hardcore bars on each verse they deliver, and for rap lovers, this tune goes straight to their favorite playlist.

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