Best New Music: Maya Amolo Is At Her Most Assertive On “Hocus Pocus”

Posted on by Boluwatife Adeyemi

In the challenging landscape of mid-2020, as the world adjusted to the pandemic-induced lockdown, Maya Amolo made her delicate introduction to a jaded and hemmed-in audience with ‘Leave Me At The Pregame,’ a 7-track EP that exuded a striking poignancy and melancholy that was fit for the times. The project was immediately well received, shooting up the No. 1 spot on Kenya’s Apple Music R&B charts shortly after its release. 

In the years that followed, Amolo continued to establish herself as one of Kenya’s most promising rising stars, releasing her impressive debut album ‘Asali,’ and an equally sturdy deluxe version, which highlighted her clever songwriting skills and minimalist take on R&B. It wasn’t, however, until 2024’s ‘What A Feeling,’ that she truly began to show some dynamism, exploring a few Dance subgenres that gave her music a more effervescent edge. 

In an interview from earlier in the year, Amolo revealed how her home city, Nairobi, inspired much of ‘What A Feeling.’ ‘So much of how I’ve been experiencing Nairobi has been through nightlife, and with What a Feeling, I wanted to make an album that shows that.’ Cuts like the House-inspired “Let It Flow” and the self-produced title track, both of which bubble with hedonistic fervour, capture the vibrancy of a city that comes alive after sundown while also highlighting Amolo’s desire to explore sonically. 

On her latest album, ‘The Sweetest Time,’ she dedicates a few more numbers to this exploration, showcasing versatility and, perhaps more importantly, a desire to grow artistically. The album’s highlight, “Hocus Pocus,” comes as a result of this exploration, taking inspiration from Brazil’s Baile Funk to create something refreshing and infectious. 

 

At just under two minutes, Amolo manages to make “Hocus Pocus” the album’s most seductive offering, as she sings of herself like a dangerous enchantress. ‘Look at me like you want all the smoke,’ she bellows softly on the track’s opening lines, setting the tone for a sexy and hypnotic cut that manages to be both subtle and bold at the same time. 

Along with Amolo’s slightly muted sonic exploration, another one of her latest album’s highlights is her assertive tone, which is evidenced across several tracks, especially on “Hocus Pocus.” While the Kenyan singer may project an image of sweetness and charm, her latest batch of songs reveals she’s as clear-eyed and astute as she’s ever been. ‘Angel face, but please don’t be deceived,’ she warns over CAP’s percussion and moody synths. 

Pre-released singles like the title track, “Guidance,” and new cuts like “Hollon” and the AYLØ-assisted “I Like It” appear to be early favourites on the album, further consolidating the singer’s reputation as one of the most promising R&B voices on the face of the continent. “Hocus Pocus,” however, gives a hint at where the Kenyan star could be headed sonically in the future, even as she continues to evolve and showcase different sides to her artistry. 

Listen to ‘The Sweetest Time‘ here.

Ilé Ijó Is Carving Out A Space For Itself

Posted on by Boluwatife Adeyemi

A city as diverse as Lagos inevitably serves as fertile ground for the regular emergence of dynamic subcultures that reflect the city’s ever-evolving spirit and the numerous ways that its inhabitants navigate, adapt, and express themselves. In the late 2010s, a small community of partygoers with a shared appreciation for Electronic and Dance music began to emerge, creating an alternative space for those similarly dissatisfied with the city’s more mainstream-leaning nightlife scene. The nascent subculture naturally began to attract like-minded people, fostering a vibrant scene that soon morphed into larger-scale gatherings.

Events like Sweat It Out and Group Therapy quickly rose to prominence, evolving into full-scale EDM events that became havens for sonic exploration and uninhibited self-expression. A little over a year ago, Ilé Ijó added its name to this growing list of events, carving out a unique space for itself in the city’s Electronic music landscape. “At the core of my DJing is a fascination with how people feel when they dance. I wanted to create something centered on that energy,” Abiodun, Ilé Ijó’s founder and curator, tells The NATIVE of how the event was originally conceived. 

In the relatively short time since its conception, the bi-monthly event, which initially started as Miliki, has quickly become one of the go-to raves in the city, thanks to a bunch of reasons that range from a willingness to trial new ideas with the music shared with their community to the style of communication employed. Equally important is how the party’s community is centered in every decision.

In truth, Ilé Ijó’s main allure lies in the different ways they have been able to evolve and experiment while catering to their growing community, who buy into their vision. Adeola Akinloye, a regular attendee, tells me she’s kept coming back since the first edition because of the event’s intentionality and sense of community. ‘Every single edition leaves you wondering if this is the peak; would I feel this way again? If so, When? When is the next edition?’ 

 

On August 24, Ilé Ijó kicked off its first anniversary celebrations, tagged Kòmínítì, with ‘Over 160,’ an event hosted under the Drum N Bass arm, which was launched earlier in the year. The idea to play Drum N Bass music was conceived by Marina Rd., an open format DJ who recently became a resident at Ilé Ijó. “Drum N Bass came from a desire to try something different,” Abiodun explains.“The idea felt fresh and exciting, so we went for it.”

The music at Drum N Bass dials up the pace and euphoria of the dancefloor, typically ranging from 160 to 180bpm. ‘Over 160,’ which was held in a Were House, a compact space in the heart of Lekki, was no different. Atracta opened up the night with a killer set before making way for Crasher Josh, who delivered some breakbeat hardcore gems. Marina Rd. took the wheels around midnight, further cranking up the energy with an equally spirited set.  

They rounded off their first-year celebrations with Kòmínítì club night on the 29th of August. The event drew more of the Ilé Ijó regulars thanks to an exciting lineup that largely delivered on its promise. William Eni, an Ilé Ijó debutant, kicked the night off, via ByUSBNetwork, another arm of the growing event dedicated to spotlighting the next wave of Electronic Dance music DJs coming out of Lagos and across other cities. 

Another debutant, YTG, took over the reins before handing over to Sons Of Ubuntu, one of the more prominent names in the Lagos Electronic music scene, who delivered a memorable set. The night’s highlight came courtesy of Nyege Nyege’s Jay Mitta, an Ugandan producer and DJ, who brought the frenetic energy of Tanzania’s Singeli, a fast-tempo genre that often operates between 200 and 300 BPM, to an empty parking lot in Lagos Island. 

“The collaboration with Nyege Nyege was inspired by our desire to put people onto something new. We first came across Boiler Room’s feature on Singeli in Tanzania, and the sound immediately fascinated us,” Abiodun says of how they came across Singeli and Nyege Nyege, an Ugandan music incubator and festival that promotes Electronic music. “As we dug deeper, we discovered that Nyege Nyege is the collective at the forefront of pushing the sound globally. So, we reached out, had a conversation, and brought the idea to life.”

The night was closed out by exhilarating sets from WEAREALLCHEMICALS and Abiodun himself, who made his first Ilé Ijó appearance of the year. Both nights, charged with an electric and carefree atmosphere, perfectly encapsulate Ilé Ijó’s very essence and spirit: innovative, rhythmic, and undeniably cheery. 

 

Moving forward, Abiodun says they’re looking to expand Ilé Ijó even further, teasing a few other exciting plans that are sure to keep their momentum going and their community engaged. This distinctive ethos of experimentation and commitment to innovation, while also platforming talented, upcoming DJs, has been the cornerstone of Ile Ijo’s remarkable ascent in the past year. It’s what attracts and keeps their growing community and what’s likely to keep powering them on, even as the city’s Electronic music scene continues to evolve and diversify. 

Txmmyily Is All About Having The Time Of His Life On “Jaiye” 

Posted on by Wale Oloworekende

Rising singer Txmmyily has released a new single, “Jaiye,” continuing to showcase the inventive streak that has earned him praise for his music. Produced by Dan Akins, “Jaiye” is a no-frills party anthem that sees Txmmyily run through his bucket list for enjoying a great time while reminiscing on a past romance that he’s still pining after. It’s his first release since putting out “Angelina” in April 2025. 

Txmmyily has been steadily building momentum since he first released “Rack$” in 2022. His recent songs have proven his continued ability to command attention. “Body Work” with Mavo surpassed one million streams, while “Angelina” crossed the 400,000 mark, cementing his growing fanbase and credibility as one of Afrobeats’ most exciting new voices.

 

With “Jaiye,” Txmmyily is preparing to break barriers. Even before the song’s release, it was eagerly anticipated by fans and onlookers, with over 2,000+ sounds created on social media platforms. The buzz continues to rise with the announcement of a visually striking music video. 

Directed by Jupefruit, the video draws inspiration from the song’s thematic direction, featuring the singer performing on stage before an enraptured audience. It cuts to several scenes of him lounging with friends before ending with clips and stills from a performance. 

Listen to “Jaiye” here. 

Maya Amolo Explores The Intricacies Of Romance On ‘The Sweetest Time’

Posted on by Boluwatife Adeyemi

Maya Amolo has released her sophomore album titled ‘The Sweetest Time.’ The album, which was officially announced about two weeks ago, comes as the follow-up to the Kenyan rising star’s 2024 EP ‘What A Feeling.’  While the 5-track EP explored a Dance subgenres in an homage to her home city, Nairobi, ‘The Sweetest Time’ finds Amolo delivering more of the same soulful cuts and melancholy ballads that have earned her renown, only making subtle production adjustments that help keep her sound fresh.

The album’s eponymous lead single arrived earlier in March, a tender earworm featuring fellow Kenyan singer Ywaya Tajiri, which set the tone for what much of her latest full-length release would sound like. The follow-up single, “Guidance,” which was released in May, radiated a similar warmth, as she softly sings about a love interest’s endearing qualities over some moving piano chords.  

 

On the album’s third and final single, “Look The Other Way,” Amolo takes a break from her sweet girl persona, directly confronting, according to her, “internet thugs” who do too much online but lack the same energy in real life. The Kenyan R&B singer, however, does not dedicate much of ‘The Sweetest Time’ to detractors; instead, she channels her energy to familiar love-inspired themes that have continually served as the bedrock of much of her music. 

Tracks like the sombre opener “October 10th,” the percussion-driven “Hollon,” “I Like It,” a sensual duet with AYLØ, and the wistful ballad “Truth Be Told,” immediately stand out on ‘The Sweetest Time,’ serving as testament to the rising singer’s supple vocals, which she seems to be having more command over, and her poignant songwriting skills. 

 

While she largely delivers on the sort of acoustic, tender tunes she’s come to be known for, the back end of the album houses a few tracks like the Dance-influenced “Miss Me,” “Flawless,” a collaboration with upcoming rapper Albeezy and the Baile-Funk-inspired “Hocus Pocus,” that clearly highlights the Kenyan singer’s expanding sonic palette and her ability to seamlessly navigate different genres. 

Listen to ‘The Sweetest Time’ here. 

CRALOR BOI CIC IS LIBERIA’S LOCAL CHAMPION 

Posted on by Dounard Bondo

It is impossible to tell the story of Liberia’s music scene over the last fifteen years without a mention of Cralor Boi CIC due to the sheer number of his hits, extended dominance, and a decade-long, multiple award-winning career, which includes a 2018 and 2024 Artiste Of The Year award at the MTN Liberia Music Award, Liberia’s premier music award. 

Usually called Cralo or CIC, he has stamped his imprint at the apex of Liberian music, a music scene that has seen its fair share of challenges, which often stagnated growth. However, coming off a 2024 win as Artist of The Year at the MTN Liberia Music Award, a just-concluded tour in the United States, coupled with the July 2025 release of his second solo studio album titled ‘Local Champion,’ CIC has no intention of stopping his dominant streak.

Born Maurice Tosh Gayflor, CIC’s foray into music began as a member of the children’s choir in his local Baptist church in Brewerville, a suburb outside Monrovia, Liberia’s capital city.  By the 12th grade, he had started recording music. “Professional music for me started in 2012 when I started recording in the studio,” he tells The NATIVE.  “At that stage, I gravitated to music because at an early age, I had anger issues and music helped to calm me, music was my therapy.”

 

By 2015, CIC scored his first nationwide hit with “Jon Buttay,” an infectious Afropop record that owned the streets as well as the clubs. More importantly, the record was delivered strongly in Liberian colloquial, commonly spelt as koloqua, a unique variant of creole that is widely used throughout Liberia. While Hipco–Liberia’s naming of a subgenre of Hip-hop delivered in koloqua–had seen success, CIC’s delivery in koloqua went on to define his sound and inspire a new generation of artistes, especially ones doing Afropop. 

Gbanja Scott, a Liberian rapper and media executive, says that CIC helped redefine the sound. “While there were pioneers who used koloqua in their sound, especially Hipco, CIC stood out because of the way he infused koloqua,” he explains.  “He brought his own distinct swag and melody to the use of koloqua. As a result, he is a big influence on how the use of koloqua in music has evolved. These days, you see a lot of artists trying to infuse koloqua and make it more melodious; he played a monumental role in that.”

That position is reiterated by CIC, who now claims it as part of his legacy. “I was intentional in my use of koloqua because I wanted to influence our sound and ensure it was reflective of Liberia,” he says. “I wanted people to hear me and immediately know this is a Liberian artist instead of mistaking me as being from Ghana, Nigeria, or another country. After me, more people became comfortable with infusing koloqua.”

 

However, much as CIC has come to represent what success means for a Liberian artist, his dominance and success are as much because of Liberia as it is despite it.

While Liberia’s creative scene has received limited international coverage in recent times, the country’s music scene experienced relative success in the past, especially in the 1970s and 1980s. The country even hosted American singer and civil rights activist, Nina Simone, who briefly relocated to the country in the 1970s. The local scene has also influenced music in the region, with Liberian Kru music being one of the underlying pillars of West African Highlife. 

Unfortunately, civil unrest and the bitter legacy of two civil wars fought from the 1990s to the early 2000s set back the music scene, and have largely defined reporting on the country. Consequently, in part due to the war, and also as a result of numerous challenges, including limited investment in the creative sector, the music scene has experienced restricted growth. These challenges include a lack of adequate venues to host concerts nationwide, high data costs, and low internet penetration, which have made streaming a less viable source of income for artists. There’s also the prevalence of poverty, which limits the spending power of music consumers.

“Although there are studios everywhere, we are also lacking in skilled personnel for mixing and mastering,” Scott notes.  “As a result, a lot of artistes have to send their records out of the country to have them properly mixed and mastered. There are not enough video production houses, and there are no proper industry structures. Also, artistes find it hard to access publishing and publishing rights.”

Due to these challenges and limited access to international distribution channels, Liberia has been unable to take advantage of the renewed global focus on African music. Nonetheless, these challenges have  inspired CIC. “As an independent artist in Liberia, it can be hard to execute ideas without significant investments,” he admits. “But we have to make it work, so it’s better not just for everyone, but also for the ones coming after us”. 

More significantly, CIC’s current run of success comes after a period of personal struggle. Between 2021 and 2022, CIC was virtually absent from the music scene, dropping only two songs during this period. He needed the time away to deal with his mental health. In a January 2023 Instagram post, he spoke about what he was going through, stating that, “I’ve had suicidal thoughts and issues of mental health.”

Undeterred, he has since made a comeback. He went on to release “Don’t Give Up On Me” in January 2023, a gospel-inflected record that captured CIC’s plea to a divine figure not to give up on him. That song would propel his ascent back to the top of the scene as he dropped several tracks culminating in his 2024 win in the Artist  Of The Year category at the MTN Liberia Music Award and the subsequent release of ‘Local Champion’ in July 2025.

 

His triumph in the Artist  Of The Year category specifically lifted his spirits. “The win meant a lot, it was a comeback trophy for me,” he says. “It was important for me, especially coming off of my break. These days, my mental health is better, I am more engaged, and I am also having more discussions around mental health. These discussions are not just with myself, but with others, and I inspire people by sharing how I coped with depression; if I can do it, they can as well.”

His sophomore album, ‘Local Champion,’ is a testament to the singer’s longevity, solidifying his position at the apex of Liberia’s music scene. “Critics have said my music was purely koloqua and as a result, it wouldn’t move beyond borders,” he noted, “They said the sound wasn’t international, but koloqua is the way we speak, it is our identity. That’s why I titled my ‘Local Champion,’ I want my sound to carry our identity. Being a local champion is a tag I own.”

The 15-track LP gives listeners a 43-minute crash course on contemporary Liberian pop music, guided by CIC’s smooth signature delivery in koloqua. With features including Liberian stars Stunn and Lyrical Joe, as well as Nigerian rapper, Dremo, on two songs, it’s a coronation of sorts for CIC. ‘Local Champion’ also sees him expand his sound to explore other genres like Reggae, Drill, and Amapiano. “This album is about the sounds I wanted. I have always wanted that variety, to have my discography have a touch of everything,” he shares. “With this album, I got to do that, I did something on Reggae, did some acoustic music, I am proud of the album.”

 

While the album has seen initial positive reviews locally, for CIC, it’s just another step in crafting his legacy: “The album is out, I am taking it one day at a time. I am making Liberian music and defining our sound. I am proud to be a local champion of my people.”

Listen to ‘Local Champion’ here.

Amaarae Embraces Her Ghanaian Identity On ‘BLACK STAR’ 

Posted on by Frederick Adjavon

On the surface, Amaarae’s ‘BLACK STAR’ is a sleek, hyper-modern pop project designed for global consumption, but to listen on that level alone is to miss its profound depth. Dig just a little deeper, and you find that the album is meticulously coded: a love letter to Ghana that builds a sonic world upon a foundation of a local identity without diluting it. This isn’t an artist merely sampling her heritage; she is using it as her compass.

Amaarae has never shied away from her identity. If anything, she’s flaunted it unapologetically, owning her role as a Ghanaian artist on the global stage. Her dedication runs deep. From consistently expressing love for her homeland to the determined effort to perform at home, as seen with her committed though ultimately unrealized preparation for TGMA 2024. Despite a tight rehearsal window, she flew her entire crew to Ghana, ready to deliver for the nation of her heritage. 

Artists, after two consecutive successful albums, tend to put pressure on themselves to replicate that energy on their previous albums. Amaarae, in her true artistic non-conforming nature, sidesteps that entirely. Her third album, ‘BLACK STAR,’ isn’t just a collection of songs; it’s an ode to the Ghanaian girl. Look at the rollout, every move was drenched in Ghanaian essence. From her infectious online conversations with the Asakaa boys, expressing a genuine desire to collaborate, which later materialized into a link-up in London, to her Coachella debut, where she didn’t just perform but represented Ghana by flying the Ghanaian flag high and performing records by other Ghanaian artists; and in doing so platforming those talents on one of the biggest music and cultural stage.

 

Intentionality has been the throughline. She owns her identity as a Ghanaian artist working within an unconventional medium, striving to connect with a local audience that may not always grasp her sound, yet persistently showcasing the culture on her own terms. In interviews, she consistently speaks of emerging Ghanaian talents such as Darkua, Anabel Rose, SuperJazzClub, and more, ensuring that the next wave gets shine. 

On ‘BLACK STAR,’ the title, along with the cover artwork is the first clue to her ambitions. It draws from the history of the Black Star, the iconic symbol at the center of the Ghanaian flag, which represents the “Hope of Africa.” She replaces the black star with herself, making her reclamation more personal. She is the Black Star, a true Ghanaian artist creating beautifully curated artistic and sonic expressions deep-rooted in the heritage of her motherland while concurrently pulling global Pop into her orbit and redefining it on her terms. 

The most striking evolution is her full embrace of the “Ghanaian Bounce.” The drum isn’t just an element in the mix here; it’s the entire foundation. On tracks like “Stuck Up” and “ms60”-that deeply resonant, almost humid rhythm-the unmistakable heartbeat of Accra’s clubs, is infused. Ghanaians are a rhythmic people and, as such, like to not just dance to music, but engage with it. Thus, nothing beats a call-and-response element in a song. On “Stuck Up,” this is incorporated with the “Pa-Pa-Pa Pa-Pa” hi-hat rhythm, complemented with kick-backs. This rhythm is mostly heard on multiple instruments in different tempos during a “Jama” session. It’s evidence of a local rhythm achieving global appeal without shedding an ounce of its identity.

 

Across ‘BLACK STAR,’ Amaarae engages in a conversation with the nation’s entire musical history. You can hear the legacy of Highlife–the sophisticated, post-independence sound that dominated from the 1950s through to the 1980s–in the melodic structures employed. It’s there in the smooth, infectious guitar work that underpins many of her tracks, even when they’re glitched out and run through a Hyperpop filter. 

It’s a connection to a time of elegance and cultural pride. More directly, she pulls from Hiplife, the genre that ruled the 1990s and 2000s, fusing HipHop sentimentalities with Highlife melodies and samples. This is where the narrative swagger finds its roots. She pays homage to the Hiplife genre by perfectly executing a record that samples one of the most iconic records of the 2000s, “DEEBA,” on “FREE THE YOUTH.” Then there’s the exploration of Asorkpor, this fast-paced genre, which surged to popularity across Ghana in the late 2010s, 

Born in the streets of Greater Accra by the gifted and energetic musicians and dancers from the Ga tribe, Asorkpor can  be heard on records like Skrewfaze’s “GBALAGAZA” and Article Wan’s “SOLO.” Amaarae doesn’t just reference the sound; she recontextualizes it. Asorkpor’s rapid rhythms and tweaked Highlife elements–faster than Azonto and more intense than Alkayida–find a new lease of life in her hands. A record like “FREE THE YOUTH” also hints at the Asorkpor sound. Although “S.M.O.” might not incorporate the Asorkpor beat, the dance by Iveth Stunner in the music video is one of the types commonly defined by the Asorkpor beat.

 

From the start, an Amaarae project has never been just about the sound, the themes are just as potent. The playful exploration of desire and confidence from ‘Fountain Baby’ has calcified into pure, unapologetic assertion on ‘BLACK STAR.’ This isn’t just about discovering her power, it’s about wielding it. Take “Fineshyt” and “Girlie-Pop!,” these records are anthems of audacious agency. Amaarae’s lyrics are a masterclass in confident seduction, placing her in complete control of the narrative, her desires, and the dancefloor. This is the female gaze, mastered. It presents a modern African femininity that is sexy, smart, and utterly in charge. She’s not showing off; she’s simply existing in her realm. 

However, perhaps the most Ghanaian theme on the album is artistic hospitality; it’s a deeply cultural tenet. Amaarae translates this into her curation. Where her sophomore, ‘Fountain Baby,’ skewed solo, this album welcomes a community of voices. The increased features aren’t just artistic choices or a bid for Western validation; they’re cultural statements. Amaarae is the host, inviting her guests to partake in her world, to add their flavour to a foundation that is unequivocally Ghanaian. This hospitality is reiterated on “ms60” as Naomi Campbell reads out the lyrics, “…I am the Black Star,” where she is embraced not only as a guest, but as an honorary citizen. That’s Ghanaian hospitality embodied. This is “Akwaaba” as a curatorial power move.

This extends to the intimacy of identity. To the world, she is the acclaimed auteur Amaarae, a name that headlines articles and songs on major streaming platforms. Her given name, Ama Serwah Genfi, is often reserved for formal introductions or small print. Yet, in her song “Dove Comeron,” a revealing line is uttered: “I let this girl call me Ama.” It’s an instructive moment that lets us know that being referred to by her real name is a privilege reserved for those closest to her. By sharing this on the record, she offers the world a glimpse into her identity as a native Ashanti woman, born on a Saturday, for whom “Ama” is a deeply cultural namesake. It is a subtle invitation to the global audience to discover the rich meanings behind Ghanaian names and, in doing so, to explore the nuanced beauty of the Ghanaian culture she so artfully weaves into her music.

 

Amaarae brings  Bree Runway on board, another Ghanaian artist who can boast of an exceptional linguistic dexterity. On “Starkilla,” Bree’s code-switching into Twi and English with the line, “…yeah, Ma Ninko all night,” serves as a wink and a nod to her Ghanaian audience. Amaarae, through Bree, is indirectly teaching the world, albeit briefly, to sing in a language from her motherland, ensuring her most futuristic productions feel tangibly connected to the warmth of home.

‘BLACK STAR’ is Amaarae’s most confident and culturally resonant work to date. It’s an album that doesn’t ask for a seat at the table; it builds its own and sets the menu. She draws from the rhythms of her home, the legacy of Hiplife, the soul of Highlife, and the language of her youth to power an utterly limitless vision.

The album’s central thesis is compelling: true global appeal is born from deep local authenticity. Amaarae’s Ghanaian identity isn’t a marketing angle; it’s the fuel for her artistic essence. ‘BLACK STAR’ is a declaration that she isn’t just bringing Ghana to the world; rather, she’s showing the world how to find its way to Ghana, on her own impeccably curated terms, and that might be the most powerful statement of all. 

Listen to ‘BLACK STAR’ here. 

Gyakie Finds Light In The Dark 

Posted on by Patrick Ezema

Gyakie’s day is running a little late. An interview earlier in the day had lasted longer than it should have, delaying the shoots she had scheduled for late afternoon, and subsequently pushing back our meeting by a couple of hours. When we finally get to talk, it’s past 7 p.m. in Lagos, an hour earlier in Accra, and Gyakie is seated comfortably in a long-sleeved mock neck top, the tiredness of the day occasionally slipping into her voice and shadowing her eyes, but otherwise looking very much relaxed and content. 

It is eight days before her debut album, ‘After Midnight,’ arrives, and she is caught in the gruelling stretch just before a project release—consisting of interviews with people all over the world, hours spent in studios shooting promotional material, multiple strategy meetings, and listening sessions. Like any true artist, she doesn’t particularly relish this stage of the cycle—more business than music—but she endures it. “One of the big ways to get yourself out there in the world right now is really to market yourself,” she admits. 

Now six years since she made her debut, Gyakie is no longer the wide-eyed university student who recorded “Forever” as part of a semi-serious debut EP and saw it soar beyond her wildest dreams. She is now every inch the professional artist, and ‘After Midnight,’ her long-awaited debut album, carries an unmistakable air of maturity and intentionality. If it does spawn another world-conquering track, it would be a more deliberate, foreseeable outcome, and this time, she would be even better prepared to handle it.

 

Gyakie recalls the period immediately following that burst of fame, as a university student on campus, watching as the world around her—on social media, on the radio, even in real life—grooved to her music under the lonesome blanket of the COVID-19 pandemic. She also remembers the less-talked-about stretch afterwards, when that brightness slowly faded into gloom. 

Gyakie is acutely aware of the downsides to fame. Being an artist who can express herself through music and have millions of people enjoy it is one thing. Being a celebrity and having to succeed and stumble in the public eye is another. Online commentators were not always kind to her in the period that followed her introduction to fame.“I would go on the internet and I would see people asking, ‘What am I doing?’ I’m not getting in there. I’m not doing anything,” she says. “Meanwhile, you don’t know that I’m actually working behind the scenes. So all of that just sometimes reduces your motivation to even work because people just say anything. Sometimes it gets tiring. Sometimes you kind of want to put everything down and then just leave it.” 

Her new album, ‘After Midnight,’ is named for Gyakie’s favourite time of the day. It’s the time when the noises recede and she is left alone with her thoughts and music. The bulk of the songs on her debut album were written or recorded in moments like these, and Gyakie recounts dragging sleepy-eyed producers to studio sessions at odd hours of the day, but she insists that nearly everyone ended up loving the routine. 

 

More than just a time of the day, ‘After Midnight’ is a mindset and a safe place for Gyakie, who often has to shut the world out to listen to herself. She has emerged with an album that is as rounded and multifaceted as she is, one that brilliantly captures her music and story in the last half-decade. It’s bold in its exploration of both Gyakie’s highest and lowest moments, and keen to show the 25-year-old as open and transparent as she can be seen. 

The album’s main vehicle is love—mostly for romantic interests, but also for herself and God—and with it she takes laps around the genres you would expect, like Afropop and Dancehall, but also those you might not, like Hip-Hop. A lot of the album’s genius lies in striking a balance: musically, where it can embrace Pop elements while remaining incontrovertibly African; and thematically, where it circles love without any of its 17 tracks sounding too similar. Gyakie tells me this second feat was achieved with careful precision. “We really had to find what would be unique and distinct and what would fit the theme of the project. So, if we have two songs that we are finding difficult to choose from, we just try and look at the theme of the album and the message they’re trying to get, and then that would be a reason why one of the songs would drop.” 

Up until weeks before its release, ‘After Midnight’ was billed as a 16-part album. The difference? “Sankofa,” the Afrolektra-produced number, which went from last-minute addition to first single. The track’s title draws from the Adinkra symbols of the Akan tribe. Sankofa, one of these symbols, which is often represented with a mythical bird or a heart, means to “go back and get something from the past.” “When I say, ‘Sankofa dier yɛnpɛ,’ I’m saying we do not like Sankofa,” she explains, “I am literally saying, or the person is telling her love interest, to treat them right so they don’t have to go back to an ex-relationship.” 

 

Not all the experiences on ‘After Midnight’ are directly Gyakie’s, but she enjoyed imagining storylines that the audience could relate to. It’s why she’s releasing a love-themed album while currently single, and why she can bend her vision of love to fit into a wide range of situations. To bring these stories to life, she is joined by a diverse selection of male guest stars: British Drill heavyweight Headie One, Ghana’s Dancehall frontman Shatta Wale, Afropop star Young Jonn, Alternative R&B singer 6lack, UK-Ghanaian rapper-poet Kojey Radical, and Ghanaian rapper Omar Sterling, who is one half of the iconic duo R2Bees. Each artist brings their own flair in delivery and songwriting, but ultimately provides a foil for Gyakie’s romantic storylines. 

When she isn’t extending these emotions to a romantic partner, she directs them at the woman in the mirror. “no one” and “is it worth it?” are a pair of songs born out of some of Gyakie’s lowest moments, and they hold the parts of her that are most vulnerable and delicate. ““is it worth it?’ has a lot of soul in it because of the ambience of the studio at the time,” she says. “I scheduled a studio session with the producer [Sosawavegod], but before the session, we were having a conversation about life. After all this hustling and working ourselves out, to what end? So, the room became very moody, and when I was writing the song, most of the things we spoke about were exactly what I put in the lyrics. So, that one is really, extremely personal.”

As you might have surmised, Gyakie has a deteriorating relationship with the internet and social media, and it keeps getting worse. When she wins, her online community—about 600,000 followers on X and nearly three times that on Instagram—cheers loudly, but in her bleaker spells, she has to endure people going out of their way to leave mean comments. 

“The internet space, unfortunately, is not the same anymore,” she says.“So anytime I have to go online, I don’t have the same happiness as I used to. Somebody will wake up, and they just want to say something bad so that they will feel okay. Everything is also more calculated. Everybody is trying to pretend. Everybody, everything is fake.” It is one of her biggest downsides to fame, having to perfect every bit of herself to pass the scrutiny of social media, where commenters notice everything, from outfits to hair to even earrings. 

But what she really resents about fame is the distance it has brought, both literal and metaphorical, to those closest to her. “When I got into music and it started really taking off, my communication with my family changed,” she admits. “There was a point in my life where I didn’t see my mom in over seven months.” Gyakie comes from a close-knit, strict family, with a childhood mostly spent indoors, and outside activities consisted chiefly of school and church. Now much older, Gyakie still possesses many traits persisting from her indoor upbringing. Her favourite vacation destination is her bed. “I watch movies, read books. Just spend time with myself because I don’t get to spend time with myself. Whenever I get any free time, I spend it with myself. 

 

Or perhaps her reclusion is an inherited trait from her parents, much like she suspects her music is. Gyakie’s father, Highlife great Nana Acheampong, was one of her earliest and biggest musical inspirations, while her mother nudged her into music long before she recognised her own talent, often coaxing a young Gyakie to give impromptu performances to visiting friends. 

Gyakie recalls these memories with warmth. Those were the times before passion became profession, and the weight of expectation threatened to drain the joy that fueled it in the first place. Today, she speaks about her new album with the same warmth: “I would say I have really found peace of mind and I think that’s what has got me writing so many positive things.” For Gyakie, ‘After Midnight’ is at once a reflection of the darkness she has endured and a hopeful first step toward a radiant future. 

Listen to ‘After Midnight’ here. 

ODUMODUBLVCK’s “2:02 PM IN LONDON (FREESTYLE)” Soars Up Charts In Nigeria

Posted on by Boluwatife Adeyemi

Since the start of the year, ODUMODUBLVCK has been teasing the arrival of his highly anticipated album, ‘INDUSTRY MACHINE,’ with the same vigour that characterises much of his music. Following up on his 2023 breakthrough album ‘EZIOKWU’ was always going to be a herculean task, but the dedication he’s put into building significant momentum behind his forthcoming album indicates he’s well-prepared for the task.  

Ahead of the release of the album’s lead single, “PAY ME,” a groovy collab with Zlatan and British MC Stormzy that cleverly works a sample of Mama G’s 2000s classic “Make We Jolly” into its orbit, ODUMODUBLVCK did a Drake by releasing a timestamp freestyle titled “2:02 PM IN LONDON (FREESTYLE).” 

 

The freestyle, which arrived with a music video, sees the rapper tearing through a menacing beat he co-produced with Decs and FK, with the kind of charisma and zest that has gained him renown in the last couple of years. Just a couple of weeks after the freestyle’s release, it’s began going viral, recently topping the Top 200 Nigerian viral Shazam charts. The song has also landed in the top 40 of the Apple Music charts in Nigeria, hinting at its increasing popularity. 

In a more definitive proof of its reach, it’s also begun to catch on on social media, with the phrase ‘If you like gym,’ already trending on a few platforms. The freestyle’s virality, coupled with the release of “PAY ME,” only goes to build even more excitement for ‘INDUSTRY MACHINE,’ which is reportedly set to arrive before the year runs out. 

Listen to “PAY ME” here.

Best New Music: FOLA Weaves An Epic Tale Of Hustle On “eko”

Posted on by Wale Oloworekende

Lagos is a city of daring and endless possibilities. The famous coastal city houses over 25 million dreamers, a large percentage of whom believe in the aspirational axiom that one’s life can get better despite their current station in life. In fact, many believe that they owe it to themselves to make things rosier. In essence, the fundamental premise of being a Lagosian is an earnest trust in a brighter future, a better day, and a more comfortable life if one is dogged and resolute enough to persevere and figure a way to bend life’s uncertainties to their will and desire. If grind is the currency that Lagos trades in, hope is the salve it offers for tough times. 

Rising artist, FOLA, used to sit among the city’s dreamers, working on his music in hopes of catching a life-changing break that would bring all of the city’s delights one step closer to him. In fact, when he started to write the songs that would make up his debut album, ‘catharsis,’ he was making music without an anchor, striving without direction. His collab with BhadBoi Oml, “alone,” changed the course of his life, positioning him as Afropop’s next breakout star, and setting up a fairytale rise that has seen him rise from the underground to sitting on the cusp of superstardom. 

 

His debut album, ‘catharsis,’ was imagined as a big sigh of relief, a place to dispel the worries and uncertainties of working his way to the dreamy highs of Afropop from the bottom. No song quite channels the specifics of that feeling like the pseudo-biographical “eko.” Like most FOLA songs, it’s a sombre mid-tempo ditty, but where other songs are defined by his rumination on the theatrics of heartbreak and feeling misunderstood, “eko” is about something more elemental, concerning itself with the business of survival and the trade-offs that ensuring success in Lagos demands. 

If FOLA ever needed a reminder that Lagos can be tough and unsparing, the opening seconds of “eko” feature a voice expressing her disbelief at him not knowing what he wanted to do with his life. It sets the stage for a song about confronting self-doubt, the disbelief of loved ones, and the famed difficulties of life in Lagos. Singing a delicate blend of English and Yoruba, the singer faces all these situations with swaggering confidence. “Go home or go harder / Ko shine bright like no other,” he sings before seguing into a line about outworking his coworker. 

 

It all comes back to that age-old belief that work is the only way to overcome the things that hurt or hold one back. FOLA is an ardent believer in this tenet, going by his promise to “hawk his shit like cold water.” The high point of FOLA’s writing style is in how English and Yoruba references are in constant conversation with one another. It’s a capacity that he places squarely into focus when he says, “As I dey chase the mullah ba n gbe wale mi,” code-switching between languages to invoke the divine to aid his sustainability journey. 

There are a variety of songs about Lagos. Some deal in papering over the cracks of Nigeria’s most populous city, embracing escapism as a way of dealing with dysfunction. Others daydream about easier times, reaching into a time in the future when their creators might be able to live it up. FOLA’s “eko” subverts these tropes. It doesn’t pine after wealth even if it hopes for a lift in station, nor does it wallow in the despondency of figuring out a way to sustainability. It simply exists as an archive of an interesting time in FOLA’s life when he was writing songs in hopes of the world hearing him, and that’s why it could easily find its way into the canon of great songs about Lagos. 

Listen to ‘catharsis’ here. 

Qing Madi And Keith Sweat Make An Heartfelt Ode To Persistence On “Working”

Posted on by The Native

In keeping with her growing international profile, Qing Madi was tapped by R&B icon, Keith Sweat, for a powerful return with his latest single, “Working.” Featuring the Nigerian singer, the record is an exploration of persistence and the struggle of proving yourself to the one you love. 

On “Working,” Sweat opens the door to his timeless vulnerability, narrating a love story marked by imbalance. The song captures the push-and-pull of modern relationships, the emotional economy of affection, and the grinding reality of trying to convince someone you are the right fit. 

Qing Madi’s youthful, soulful tone blends seamlessly with Sweat’s seasoned delivery, creating a generational dialogue between old-school R&B wisdom and new-age Afropop sensitivity. Together, they build a bridge that feels global yet deeply personal. In many ways, “Working” is the story of a man who has “worked and searched” tirelessly for her love, and is unafraid to wear the bruises of the journey as proof of his devotion. 

 

An important figure in R&B’s soulful tradition, Sweat is known for his smooth voice and timeless love songs.  His rise to stardom began in 1987 with the release of his debut album ‘Make It Last Forever’. The album not only achieved triple-platinum status but also introduced the world to the genre-defining sound of New Jack Swing, a blend of R&B, Hip-Hop instrumentals, and smooth melodies.

Listen to “Working” here. 

Mahvēl Teams Up With Tempoe For Fearless “Baptism”

Posted on by Wale Oloworekende

Rising Nigerian act Mahvēl has released his brand-new single, “Baptism,” produced in collaboration with producer Tempoe. A powerful statement piece, the track marks the next chapter in Mahvēl’s sonic journey and reinforces his bold vision of sound without borders. 

Fusing R&B, Pop, and Soul, “Baptism” showcases Mahvēl’s distinctive voice and fearless artistry. With Tempoe’s sleek, polished production as the foundation, the record balances raw emotion, smooth melodies, and far-ranging influences, resulting in an offering that is both refreshing and deeply personal.

Speaking on the track, Mahvēl shares that it marks a new start for him. “‘Baptism’ is about renewal and stepping into a new reality,” he says. “It’s me letting go, being reborn through sound, and through the touch of a woman who leaves me undone.” 

 

Born Ebhodaghe Marvelous Miracle, Mahvēl was formerly known as Marvel before officially rebranding as Mahvēl after signing with Tondefinc. He first gained attention with “Amber Rose,” a viral hit that earned him a collaboration with Joeboy and introduced his melancholic yet captivating sound. 

Last year, he released a compilation project titled ‘Your Nemesis,’ collecting some of his most cogent songs like “Get Me” and “Warfront” into a single body of work in reflection of his journey as a musician. Now, under his refined name and new direction, Mahvēl is expanding his creative universe with “Baptism,” blending genres and global influences into a sound  designed to resonate worldwide. 

Listen to “Baptism” here. 

Review: Tiwa Savage’s ‘This One Is Personal’

For over a decade, Tiwa Savage has helped shape the fabric of Nigerian pop, laying down the blueprint for soft power in a male-dominated genre, all while maintaining her own blend of sensuality, vulnerability, and steely resolve. Tiwa Savage didn’t just help redefine what it meant to be a Nigerian woman in mainstream music; she carved a lane so wide that a new generation of women found freedom in her blueprint. 

Where her previous albums found her building thrones–‘Once Upon A Time’ provided a solid origin story, ‘R.E.D’ documented her journey through emotional turbulence, and Celia undoubtedly cemented her global status–‘This One Is Personal’ finds her stepping away from the spotlight, not in retreat, but rather in service of reflection. It’s all about honesty.

The 45-year-old singer has called it her “most vulnerable work,” and from the first notes of “I’m Done,” you’re inclined to believe her. “I’m Done” opens the project with stark piano keys and Tiwa’s voice, weary but clear-eyed.  That opening line, “Every time I feel like I found the one //They always let me down,” lands like a deep exhale. It sets the tone for the rest of the project. Raw, reflective, and stripped of ego. The heaviness that opens ‘This One Is Personal’ doesn’t lift much across the album’s 15 tracks; instead, its manifestations and modes of expression evolve. 

 

From there, Savage lets the emotions spill at their own pace. On “Angel Dust,” she sings of a love that feels like a high but leaves her emptier each time. The line, “I never felt so dangerous, dangerous / Dangerous, scandalous,” encapsulates the heady rush of falling in love; it’s the kind of rush that clouds judgment, making the fall both euphoric and inevitable. The addictive, reckless side of this type of love is undeniable, and Tiwa’s delivery amplifies the danger of falling into something that can’t be sustained. 

On “Twisted,” Ms. Savage comes to terms with the messiness of a relationship that feels good until it doesn’t. “We be twisted but I like it, baby / We be twisted but I’m with it,” she sings. The line encapsulates the magnetic pull of a connection that is both intense and messy. Despite the emotional chaos, she feels preternaturally drawn to it, navigating the blurred lines between love and frustration. “You love it when I put up a fight / ‘Cause I kiss it better every time” reveals a deeper layer of this push-and-pull dynamic. Sonically, the track nods heavily to Marvin Gaye’s “Sexual Healing,” not just in its sultry, slow-burning groove, but in the way it wraps emotional pain in sensuality–it’s a recurring theme across ‘This One Is Personal.’ 

Savage manages to sketch out the specifics that define the tension between longing and self-protection on “Scared of Love.” The track embodies that fragile state where the desire for love is at odds with the fear of getting hurt again. It’s one of the album’s most emotionally direct moments, prioritising brutal honesty and constituting a triumph of replicating the high-stakes theatre of emotional floundering on wax.

Emotional heaviness aside, Ms. Savage’s power and resilience shine through. “Holding It Down” is a moment of quiet strength, the type that doesn’t shout but resonates with clarity and conviction. The upbeat tempo and assertive lyrics serve as a counterbalance to the album’s more introspective moments, providing a sense of grounded empowerment. On this track, Savage isn’t just surviving. She’s standing firm, every line reflecting an awareness of the emotional undercurrents around her; still, there’s an undeniable confidence in her delivery. It’s a reminder that, even at her most vulnerable, the singer is still in control.

 

Even when she’s emoting about the emotional landmines around her, Tiwa Savage still knows how to orchestrate the moods.“10%” stands out not just for what it says, but how it sounds. It’s coated in dusty drums, steely bass, and mellow chords, setting up a sultry vibe. “You4Me” is perhaps the album’s most accessible track, a glossy, groove-led reinterpretation of Tamia’s “So Into You.” It is hypnotic and alluring. Where Tamia’s original was about the dizzying newness of love, Tiwa’s version feels like remembering what it used to feel like. It’s a reminder of the bittersweet feeling of love that once was, a central tenet of the ‘This One Is Personal’ listening experience. 

Even the album’s sequencing feels like the emotional rhythm of healing. First comes rage, ache, stillness, and then, something that approaches clarity. On “Will I Run Again,” Tiwa ponders if she can ever truly open herself up to love again. It’s an acknowledgment of the hesitation that comes with reentering vulnerable spaces. Still, in its margins, there’s the faint hope that there’s room for new connections. The vulnerability she evokes in her voice is palpable, adding a sense of rawness that makes the journey feel real and relatable

In other places, Savage is keen to continue exploring themes of fleeting connections as she does adroitly on “For One Night,” where she contemplates the temporary escape that comes with a one-night stand. The track’s sensual nature is underscored by a deeper yearning for something more, despite the ephemeral nature of the encounter. It’s a rare moment of pure physicality on the album, but it still carries that emotional weight of seeking something more substantial. The presence of log drums on the track adds a quintessential Afropop pulse, rooting the track in the rhythmic tradition of the soundscape that helped elevate the singer’s profile. 

She keeps features minimal with Skepta, taves, and James Fauntleroy carefully deployed across the length of the project. Skepta slides into “On The Low” with a measured cool, the type of grown knowing of interpersonal dynamics that matches Tiwa’s restraint. The chemistry between them creates a vibe of understated intimacy. Fauntleroy’s appearance on “Change” is a standout for its unexpected shift in pace. While much of the album features slower, more reflective tracks, the track introduces a faster tempo and a more dynamic energy. Fauntleroy, known for his rich, emotive voice, brings a sense of hope and emotional release to the song, which is perfectly aligned with the track’s theme of personal growth and transformation. On “Addicted,” newcomer taves delivers a warm, melancholic contribution that blends seamlessly into Tiwa’s emotional landscape. Together, they trade verses that carry the weight of temptation and emotional residue. taves’ addition elevates the track, making it a thrilling addition to the album.

There’s a weary elegance to how Tiwa sings throughout this record that’s brave and groundbreaking. It’s born of the kind of space we rarely afford mega stars, especially in Afropop. The production mirrors this vulnerability. It’s lean, atmospheric, and intimate. While it may not have the highs of ‘Celia’ or ‘Once Upon A Time,’ This One Is Personal delivers something deeper: clarity. The album’s quiet moments, especially on tracks like “Pray No More,” where she steps into spiritual surrender, and the reflective “This One Is Personal” (Interlude)” captures the delicate process of emotional healing.

 

The album comes to a head with “You’re Not The First (You’re Just The Worst),” a defiant declaration of independence. Here, Tiwa rejects a lover who has mistreated her, asserting that they’re not special in their wrongdoings; they’re simply the worst of the bunch. It’s a moment of catharsis and strength, a last attempt at reclaiming her narrative and emotional power. 

At its core, ‘This One Is Personal’ is about choosing yourself, even through the stumbling and indecisiveness. There’s a stillness in this project that feels like healing in real time. ‘This One Is Personal’ is an intimate journey of emotional growth, healing, and self-discovery. It is an  album less concerned about the motions of building a throne and more about sitting on it as one comes to terms with the landscape of their life. In doing so, Savage has crafted a body of work that is not just personal. It’s universally relatable, offering a soundtrack for anyone navigating the complexities of love, heartbreak, and self-love.

Listen to ‘This One Is Personal’ here. 

Mavo Ups The Ante With “Shakabulizzy”

Posted on by Boluwatife Adeyemi

Mavo has released his highly anticipated new single “Shakabulizzy.” The single arrives just weeks after Ayra Starr, Shallipopi and Zlatan hopped on the remix of his breakout single “Escladizzy.” While the release of the original single served as a pivotal moment in the singer’s fast-rising career, the star-studded remix further cemented his reputation, setting up the stage nicely for his latest drop.

Building on the momentum of “Escladizzy,” Mavo had been teasing “Shakabulizzy” online for weeks, using the same strategy that propelled his breakout single. Along with snippets of “Shakabulizzy,” the rising singer was also promoting some of his older songs, getting his newfound audience acquainted with his existing catalogue while also building anticipation for what’s to come. 

 

Produced by Dibs, who is famously known for collaborating with Seyi Vibez, “Shakabulizzy” is tailor-made for the dancefloor, similar to its predecessor. The energy is amped up here as Mavo skates on the Grammy-nominated producer’s buoyant percussion and entrancing piano melodies, providing more of the same catchy and eccentric lyrics that helped him blow up. 

Given the impressive momentum he’s had since “Escladizzy” took off, it’s not out of the question to imagine that another body of work, which could house his last few drops, might arrive before the year ends. The rising singer would definitely be looking to consolidate this hot streak into a cohesive project, given his previous track record, as he continues to solidify his position as a formidable new voice on the block. 

Best New Music: Tiwa Savage and taves Make An Enthralling Dedication To Romance On “Addicted”

Posted on by Boluwatife Adeyemi

Tiwa Savage’s long-awaited fourth studio album, ‘This One Is Personal,’ finally arrived last week, marking another significant milestone in the career of Ms Savage, who has become renowned for taking her time between album releases (This is only her second in ten years). Months before her new album’s official release, the popstar revealed in interviews that the album would see her make a return to R&B, which she repeatedly described as her “first love.” 

True to her word, the album’s pre-released singles, “you4me,” a sleek number that samples Tamia’s beloved 1998 classic “So Into You,” and the Rymez and Mystro-produced “On the Low,” a steamy collab with British MC Skepta, which was released last month, are both unmistakably steeped in the melodious and soulful overtures of R&B, showcasing her powerful vocal runs and proficient songwriting skills. 

 

While the album’s sonic direction has been the main point of discussion leading up to its release, ‘This One Is Personal’s poignant themes and messaging are arguably more cogent than the overall sonics. The popstar’s third album, ‘Celia,’ which was named after her mother, was vulnerable in moments, but she goes full-throttle on candour on her latest, wearing her heart on whatever space is left on her tatted sleeves. 

Inspired by a tumultuous relationship and its devastating aftermath, the powerhouse singer bares her soul on ‘This One Is Personal,’ reflecting and reeling from the relationship’s effect for most of the album’s 42-minute runtime. The album’s highlight, “Addicted,” a short and sweet collaboration with up-and-coming singer taves, which appears on its second half, sees her reminiscing about the intoxicating and compulsive nature of this relationship. 

In a recent interview discussing her new album, Tiwa Savage revealed that “On The Low” was inspired by the need to keep this ex-relationship as private as possible. So it’s pretty likely that the singer is referencing the same relationship on “Addicted,” when she sings ‘If you need me to keep a secret / Already know the code, I’ll zip it’ in the song’s opening lines. However, “Addicted” does not carry much of the anguish and heartache that define some other tracks, as it largely plays out like ear candy, thanks to Cracker Mallo’s dreamy synth-pop beat. 

 

Tiwa Savage does the production justice, her husky and soothing vocals effortlessly floating over the beat as she repeatedly sings ‘Addicted to your mind / Addicted to the way you are / Addicted to the way you love me.’ taves is no stranger to production like this, as his breakout single “Folake” exists in the same sonic universe as “Addicted.” His contribution here is also compelling, complementing the veteran with his supple and sweet vocals. 

“Addicted” excels on different fronts. It’s the standout feature and features excellent beat selection, but what’s perhaps most striking about this song is how Tiwa Savage manages to turn lemons into lemonade. It’s the genius of many great artists: their singular ability to transform some of their most profound and excruciating moments into something infectious, enthralling, and relatable. It’s in this unique process that “Addicted” finds its deepest resonance, a testament to resilience and the enduring power of artistic expression. 

Listen to ‘This One Is Personal’ here. 

Matt B Is Reconnecting With His Roots

Posted on by Tela Wangeci

When Matt B’s name was announced at the 67th Grammy Awards for his triumph in the Best Global Album category, history was made. It wasn’t just another win for a global artist; it was a moment that placed East Africa and Uganda firmly on music’s most coveted stage. For 20 seconds, Matt says his mind went completely blank as he rushed to the stage, overwhelmed with a tidal wave of joy, disbelief, and pride. “It was pandemonium,” he recalls. “I was living in the moment fully.”  

When we hop on a Zoom call on a calm August Saturday night, it is evident that music is part of Matt’s daily surroundings,  with three bass guitars sitting in the background. “I am still jet lagged as I am trying to adjust to the time zones,” the Grammy Award winner says as he is fresh from a trip to Uganda that saw him named as the Tourism Goodwill Ambassador for Uganda by the Uganda Tourism Board. 

In 2023, Matt B released the first series of ‘ALKEBULAN,’ an expansive project that saw him celebrate Africa’s sonic palettes with a plethora of collaborations, including Eddy Kenzo on the Grammy-nominated song, ‘Gimme Love.’ His connection with Uganda grew as he felt he had an incomplete mission with the loss of the Grammy nomination for Best Global Music Performance. The hunger and drive pushed him to deliver the second installment of the ‘ALKEBULAN’ series, earning him a Grammy nod and a win at the 2025 edition of the award ceremony. 

 

A reflection of Matt B’s  journey, ‘ALKEBULAN II’ weaved experiences of loss, struggles, and oppression into a cohesive narrative. The graceful voices of the Royal Philharmonic Orchestra in “Renewal” created a nostalgic wave of emotions, and “Lost Drums” echoes the cross-continental connection of African sonics, paying homage to what has come before. For East Africa and Uganda, ‘ALKEBULAN II’ marked an important step to bringing its music to the world with two Ugandan producers earning Grammy Awards for their co-production.’ Additionally, four Ugandan songwriters made lyrical contributions to the award-winning project, highlighting the communal effort required to make ‘ALKEBULAN II.’ 

We speak to Matt B about his Grammy win, collaborating with East African creatives, and what the future of African music looks like.

Why was it important for you to bring East Africa, specifically Uganda, into your project, and how did you approach that musically and spiritually?

When I began my journey of exploring African music, Uganda was the first African country to welcome me, despite my Nigerian descent. That really stood out to me and touched my heart. I also shared my first nomination with an East African artist. At this point, I had already started building out a team of producers and songwriters in the country, and I really wanted to give them a chance, as they are crazy talented. They were the underdogs, which is something that I can really relate to.

So, we kind of went on this journey to prove to the world that you don’t always have to be at the top of the totem pole to achieve something great. Sonically, we just wanted to create good music and speak to the ancestral lineage that we all come from in the diaspora. Telling those beautiful stories through traditional, African rhythms, instruments, and language. Diving in deep and showing the beauty and wonder that the continent has to offer to the world, which sometimes may go overlooked. This journey was very spiritually healing for me, especially as an African-American. Then to take something so beautiful and share it with the world, especially our people. It truly was a great honor, and not something I take lightly. 

 

How do you hope your win changes investment opportunities in African talent, especially from underrepresented regions like East Africa?

I really hope that this win is a conversation starter on a global level. People are now waking up and realizing that Africa, particularly East Africa, has something to say, and they add value to the conversation on a global scale musically. Some of the most talented musicians in the world reside in East Africa, and I believe that the world is better off when everyone has a voice and a seat at the table. 

Can you tell us more about your work with Congress and the Recording Academy? What are some of the specific policies or protections you’re fighting for?

We’ve been pushing for bills that protect artists’ rights and intellectual property, including the NO FAKES Act, which addresses the misuse of artists’ voices, images, and likenesses by AI. Right now, anyone can create songs imitating an artist’s sound or style without permission, leaving us vulnerable and uncompensated. With no existing laws to safeguard us, this legislation is critical. The NO FAKES Act has already gained strong support across the music world, and we’re hopeful it will soon be passed into law.

What challenges do Black creators face when it comes to ownership and recognition, and what reforms do you believe are long overdue?

In my opinion, Black creatives are the most talented creators in the music industry and entertainment, bar none. Many creators find themselves locked into bad contracts or being pigeonholed into genres that they may not truly be passionate about. In the background, people are stealing our art and forcing us to give up our intellectual properties to artists of other races that people at the top may feel are more deserving. This has been a problem since the creation of the music industry and the entertainment industry as a whole. Educating our community about proper contracts and the workings of the business end of the industry.  We also have to continue to build our own table. Ownership is the most important thing at any level of business. When you give up your ownership, you give up your rights, and then people can do whatever they want to you.

 

What progress have you seen from the Academy in recent years, and where do you think the most work still needs to be done?

The Recording Academy has done an incredible job of diversifying its membership, with more women, people of color, and independent artists represented than ever before. That shift makes the Academy a truer reflection of today’s music industry. Beyond recognition, they’re also helping artists tap into areas where real opportunities lie: publishing, brand deals, and sync placements. One of the biggest benefits of membership is networking, being able to connect with some of the industry’s most influential people. I admire the Academy’s commitment to artists on a global scale, and I hope more organizations in music follow their lead.

The word Alkebulan is the original name of Africa. What inspired you to center your work around that name and concept?

During the creation process of the ‘ALKEBULAN‘ series, Angela and I kept saying to one another that we had to do something impactful, changing the narrative for our people in the diaspora. When you think about the continent of Africa, something very similar happened. Africa was stripped of its identity, parceled up into pieces, and sold to the highest bidder. So we wanted to name the album ‘ALKEBULAN‘ as a symbol of reclamation. This is about giving that identity back. There’s so much power and identity in a name. That’s where it starts, where the conversation begins. This is us giving Africa its rightful name back, giving our people their identity back, and strengthening our foundation so we can build for the next generation. 

What kind of research or collaboration went into exploring Africa’s pre-colonial identity in your music?

We spent years researching as much as we could about Africa. We wanted to be sure we were as authentic and culturally accurate as we could be. From the clothing to the dialects, languages, rhythms, and beliefs. As much as this was about the music, this was also a history lesson. We took the time to tether ourselves deeply into that history so we could then place those lessons into song, dance, textiles, and cinematography. 

In your view, what’s the role of music in healing historical and cultural disconnection?

Music truly is a universal language. Some things just can’t be described or interpreted through speech. Music is the conduit. That’s what makes music so powerful, and why it is such a big responsibility for the creative who decides to dedicate their life to this craft. This is more than melody; it is the ether. The great connector to the Most High. We channel His energy and emit it through our songs. I believe that it’s the closest that we will ever get to God on Earth. 

How do you incorporate African history and culture into your songwriting and production?

African culture in history is intricately woven into the songs and videos I produce. From the rhythm patterns of the djembe to the African languages I sing in, like Swahili and Bantu, and the beautiful wardrobe that is depicted in my music videos. I believe that telling the story through cinematography is just as important as telling it through music. The short film we created around the project helped to round out the story. We traveled to two different African countries and four cities in 10 days to film to showcase the diverse landscapes and wonders that exist across the continent. It helps to deepen the impact and understanding of the rich culture and history of the Motherland.

You’ve mentioned Quincy Jones and Berry Gordy as inspirations. What parts of their legacy resonate most with you today?

Quincy and Berry are legends whose stories continue to inspire me. I deeply admire that both are God-fearing men who put family first, a value that drives me in my own journey. My family is my biggest motivation, and seeing how they built legacies rooted not in self-aggrandizement but in impact pushes me forward. Their records spoke to the times, broke barriers, and reshaped an industry that often worked against people like us. Yet, they carved out space, shattered ceilings, and left a foundation for future generations. 

 

How do you define leadership in music, especially as a Black creative navigating both local and global landscapes?

I’ve always believed in making space when no one offers it, and then building enough for others to join. That’s why I started Vitae Records, first out of necessity, and now as a platform to support independent artists through mentorship, internships, and distribution. Angela and I invested in our own cinema gear when we couldn’t find people to bring our ideas to life. Learning the craft ourselves not only elevated our visuals but also allowed us to mentor young filmmakers, like the two aspiring creatives we recently worked with in Uganda

What advice would you give to emerging Black artists who want to make an impact, not just through music, but through action?

For emerging artists, the key is not to be selfish. When you walk through the world with open hands, ready to give and receive, you create room for growth. Be passionate about your art, but don’t cling too tightly to it. Music is a conversation, and not everyone will love or hate what you make. Once you release it, it no longer belongs solely to you; it’s an expression that others will interpret in their own way. Create freely, create authentically, and let your work live beyond you. 

Listen to ‘ALKEBULAN‘ here.

Photo Credit: Emma Tickson.

FOLA Is On The Precipice Of Greatness 

Posted on by Boluwatife Adeyemi

For many upcoming artists who have dreams of going big, there is the never-ending search for that one song, the one that spurs a watershed moment. That quest leads to these acts constantly refining their output or simply throwing things at the wall and seeing what eventually sticks. For FOLA, born Odunlami Afolarin, that moment was catalysed by “alone,” a mid-2024 release that changed the trajectory of the Lagos-based singer’s rapidly ascending career. 

The warm, love-inspired single–ambient, relatable, everyday-life music–featuring BhadBoi OML was almost irresistible, slipping its way into airwaves, charts and introducing the soulful dreadhead singer to the mainstream audience. However, the success of “alone” did not come out of the blue. It emerged from years of gradual growth that necessitated constant creation and evolution, seeing the singer mutate from an adolescent rapper to a serviceable vocalist who excels at crafting soothing melodies and extracting the allure in the mundane. 

 

FOLA’s debut single, “Ginger Me,” arrived in early 2022, a smooth collab with Bella Shmurda, which showcased the early stages of his dreamy R&B and Street-Pop alchemy that he would go on to perfect in the coming years. “Ginger Me” was quickly followed by five other singles in the same year, gradually building a sturdy discography and fanbase. Another string of singles like “Money Chaser,” “Miss You,” and “Feeling” helped his renown grow even more, setting the stage for his breakthrough moment in 2024.

 

On the 1st of August, 2025, the singer announced the imminent release of his debut album ‘catharsis,’ with a post on Instagram. ‘I’ve been writing these songs for over a year now, long before most of you even knew FOLA,’ he stated in the caption. ‘I wrote these songs to mend what life tried to break, to let go of what I couldn’t hold onto, and most of all, to heal.’ That announcement came almost a year after the release of “alone,” but the reputation and growth he has been able to earn and achieve in that period belie how long he’s been in the public eye.

Post-release, “alone” worked its way up to number seven on the Official Turntable Top 100 chart a few weeks after its release. Yet it’s its remix with BNXN, which arrived almost three months after the original, that made it even more ubiquitous. In the same month that the remix was released, it was confirmed that the rising singer had signed to Bella Shmurda’s record label, Dangbana Republik. Leveraging his new deal and the success of “alone,” he released ‘what a feeling,’ his debut EP, in early December 2024. The six-track project spurned another sleeper hit titled “who does that?,” a glossy R&B-inspired rendition with his label boss that ensured that he continued to gain momentum. 

 

The singer kicked off an impressive run at the start of the year with a standout contribution on Zlatan’s “Get Better,” helming the song’s memorable hook. Less than a month later, he teamed up with Bella Shmurda again, this time for a more upbeat number in “Dangbana Riddim,” proving that his slick, supple voice can flourish on groovy tracks as well as well the more down-to-mid-tempo production that he had tended to favour for much of his blistering rise. Thanks to the success of both “Get Better” and “Dangbana Riddim,” the singer’s stock rose immensely, commanding the attention of other heavyweights in the industry. 

In early April, FOLA released his first official single of the year, “lost,” alongside Kizz Daniel. The single, which became an instant streaming favourite, peaked at number three on the Official Turntable Top 100 chart, and it only just slipped out of the top 20 spots after 14 weeks on the charts. The following month, the duo teamed up again, this time for “Titi,” a standout cut from Kizz Daniel’s latest project, ‘Uncle K: Lemon Chase.’ 

The success of these collaborations meant that his ascent was unimpeded, and he’d arguably become the defining voice of the current zeitgeist, putting him in an esteemed class of artists who have similarly burst onto the scene with the Midas touch. His mellifluous style, which excellently melds the native lingo of Street-Pop with R&B-inspired melodies, has made his refreshing sound pretty much irresistible at the moment, making him a great foil for many of the artists he’s collaborated with. 

Ahead of the release of his latest album ‘CAPTAIN,’ BNXN put out “Very Soon,” another lustrous collaboration with the young singer that continued his hot streak. Everybody seemed to want a piece of him, as he continued to represent a breath of fresh air on all his collaborations and even solo releases. What appears to be his biggest moment yet came recently when he teamed up with DJ Tunez and Wizkid for “One Condition.” 

The pop titan had initially co-signed FOLA earlier in the year, supporting the then-unreleased “lost.” While Wizkid delivers on the new single, it’s FOLA who truly sprinkles stardust over Ozedikus and DJ Tunez’s house-inspired production, making “One Condition” an instant favourite. The single debuted at number four on the Official Turntable Top 100 chart, and it also helped DJ Tunez make history as the first Nigerian DJ to hold the number one spot on both Apple Music Nigeria and Spotify Nigeria’s charts simultaneously, highlighting Wizkid’s obvious pull but also FOLA’s fast-rising cache. 

 

If there have been any queries about FOLA’s inspiring run, it’s his standalone power.  While the singer’s stock has quickly risen thanks to his smooth R&B-inspired style, it’s undeniable that the star power of his collaborators, which currently reads like a who’s who of the industry, has also aided his ascent. With ‘catharsis,’ FOLA is looking to firmly step into the spotlight, proving that he’s worth the attention all by himself. 

The album’s solo singles “you” and the recently released “eko” are already proving he’s worthy of the spotlight by himself, also indicating what the rest of the album could sound like. The Kel-P-produced “you” is another warm, love-inspired single similar to his breakout single, while “eko,” a hustler’s anthem that also doubles as a homage to Lagos, dials the energy up a little, showcasing his clever songwriting skills as well as a more expansive style that could go on to define his forthcoming album.

 

The Shuffle: Patience Ozokwor’s “Make We Jolly” Is A Reminder Of The Enduring Link Between Nollywood And Afropop

Posted on by Boluwatife Adeyemi

Few faces are more iconic on the Nigerian screen than that of Mama G, a moniker for the popular actress Patience Ozokwor. Her brilliant execution of, more often than not, villainous, charismatic, and mulish characters made her a household name in the 2000s. 

Alongside her highly accomplished acting career, which boasts over 100 credits, the 66-year-old also led a brief but equally successful music career. She released several songs, including “Ihe Neme N’uwa,” “Iyo Ngwo Ngwo,” and “Adaeze,” most of which were lengthy and featured other Nollywood stars who also doubled as musicians, with extensively choreographed visuals and heavy backup vocals. Her debut album, ‘Ojadili,’ housed these songs, along with others, predominantly conveying messages of morality and social commentary. 

 

One of the album’s standout songs, the socio-politically charged “National Moi Moi,“ featured fellow Nollywood stars Tonto Dike and Charles Awurum. Its catchy hook and satirical music video, which depicted Mama G cosplaying as a Nigerian politician, contributed to its controversial success and further legitimized the actor and singer’s musical career. While “National Moi Moi” became ubiquitous in the early 2000s, it’s one of her other songs, “Make We Jolly,” which also features Dike and Awurum, that has arguably had the more enduring legacy. 

Stepping away from the solemn musings on the sorry state of the country, “Make We Jolly” is an instant party starter that employs its listener to forget their troubles and get lost in its rhythmicity and euphoria. Mama G beautifully reworks the melodies from VIP’s 2003 classic hit “Ahomka Womu,” as she delivers a memorable performance both in English and her native Igbo. This clever interpolation not only pays homage to a foundational track in African music but also infuses “Make We Jolly” with a familiar and infectious energy that continues to help it resonate with audiences across the continent.

 

While the Ghanaian Hip-life group declared their undying desire for a love interest on their hit single, Mama G was more concerned with the collective need for escapism on hers. “Come my brother, Come My sister / Jam the gbedu, drink the pammy,” she sings cheerily as she masterfully transforms the original’s romantic tenor into an anthem of communal celebration, urging listeners to shed their worries and embrace the present moment with unbridled enthusiasm. 

The song’s accompanying music video, which Nollywood filmmaker Ifeanyi Azodo directed, is as ecstatic as the record itself. Shots of different groups of uniformed vixens executing meticulously choreographed dance moves are punctuated by scenes of Mama G at the heart of a lively function, almost like a general rallying her troops to celebrate and be joyful. It’s vibrant and amusing in parts, capturing the simplicity and nostalgia of a bygone era.

Even though Mama G’s music career was truncated as she chose to focus on her acting career instead, she managed to leave an indelible mark with releases like “Make We Jolly,” which continues to stand as a testament to her indisputable musical talent and ability to craft songs that speaks to the heart of everyday experiences, providing a much-needed antidote to the pervasive anxieties of the modern world.

Moonga K. Refuses To Be Put in A Box

Posted on by Nicolas Nhalungo

Over the past few years, the tides have visibly shifted in Country music. A new wave of Black artists is transforming the genre and refusing to be shut out of a musical style their progenitors helped shape. Artists like Beyoncé, Shaboozey, and Tanner Addell have played influential roles in this change by pushing the genre forward with experimental sounds and powerful lyricism. Zambian artist Moonga K. has come forth with his proposition to be added to this pantheon.

Known for his bold experimentation and poignant storytelling, he is stepping into new territory with his latest, ‘OUTLAW,’ a six-track Country-inspired record that explores themes of courage, queer love, community, and mental health. “I love constant evolution,” Moonga explains. That’s what I think outlaws are: individuals with unadulterated spirits, wild and free in everything we run towards.” 

Echoing Black Country trailblazers like Herb Jefferies, Ray Charles, and Charley Pride, he describes his new project as a love letter to the past, present, and future. “Black hands built the banjo, Black mouths sang the Blues, and Black feet beat the rhythm of the South, yet we’ve been ghosted from the genre we helped create,” he explains.

 

The project takes influences from genres like Funk, Pop Punk, Rock, Soul, Electronica, and Hip-Hop. Crafted with the help of co-producers Hannah V and Ryan Marshall, Moonga K. created a sound that strikes a balance between feel-good tracks and soulful ballads. “Artists like Breland and Beyoncé allowed me to be more experimental with my sound,” he says. “I love that when you listen to their records, it always sounds unmistakably like them and reflects their joy for music, and so I attempted to emulate that.” 

Born in Zambia and raised in Botswana, the South Africa-based artist is a product of diverse cultural influences. This exposure has pushed him to reflect more deeply on the kind of music he wants to put out in the world, having grown up in a heternormative society that dictated how he was expected to exist in the world. Despite this sense of alienation, he strives to make music that resonates with others who have felt like outcasts or “misfits” as he likes to call them.

The last time I spoke to Moonga K., towards the end of the pandemic in 2021, he was preparing for the release of his sophomore EP, ‘Candid,’ a defining point in his budding career as he grappled with what it meant to be a queer artist in today’s times.  ‘OUTLAW’  features a queer love song, “stole my heart,” and marks the first time he has used pronouns in his music. “I truly didn’t intend to be political about it,” he explains. “I just thought I’d never really heard a black man sing a country song about loving another man, so I wanted to write my version of that. I’ve always been fluid in who I love or interact with romantically, and I wanted to contribute something I hope could make it easier for a black male queer artist in country to feel motivated in pursuing without fear.” 

 

Set in a futuristic world where technology, time travel, and cowboy life merge, Moonga’s story in ‘OUTLAW’ follows Kai, a lone ranger who falls in love with another Black man, Elijah. Though society in this imagined future has progressed, remnants of oppression and queerphobia still linger, and people are fleeing from traumatic families. On their journey, they encounter fellow outsiders in clubs and intergalactic ranches and find a community, ultimately discovering the transformative power of their love. 

This is a story he is hoping to bring to life soon. His love of sci-fi deepened the project’s visual approach, and through this aesthetic, he hopes to evoke a sense of community among fellow misfits. “I’ve stepped further into accepting that I’m on my path musically,” he reflects after feeling othered throughout his life. 

The road to releasing this body of work has not always been a steady one. “I had a lot of white folks, specifically, who were hesitant about me stepping into Country, not because they didn’t believe I could do it, but because the country industry is cut-throat and racist,” he shares. “Stories from writers in Nashville, while disheartening to hear, didn’t faze me in any way.”  This experience speaks to challenges many Black artists face while trying to break into the Country genre without taking into account identity markers like gender and sexuality. “I have always felt pigeonholed, but I have always found people who resonated with my music, so I just stick to the truth that someone out there will like my shit,” he says. 

 

In many ways, ‘OUTLAW’ is also defined by an almost obsessive focus on world-building. It is imaginative, ever-expanding, and attempts to create new narratives and worlds for the Black community to exist in. “Lyrically, Africans have always been storytellers, and there’s always passion in vocalising, which is spiritual,” he says. “So, I couldn’t do this record without paying homage to those call and response devices, or choral arrangements, and the banjo, which is rooted in West Africa.” Grounded in these cultural musical devices that are specific African culture, he delivers a distinctive project replete with genre-blurring sounds as seen on “tired!” which infuses traditional Country elements while honouring the genre’s African, Mexican and African-American roots. 

Beyond musical musings, he also drew inspiration from literary and artistic works such as The Negro Cowboys by Philip Durham, visual imagery from series produced by the likes of Ivan McLehann and Gabriela Hasbun, and acclaimed films like ‘The Harder They Fall.’ The common thread between these works is that they reclaim and spotlight often erased history and presence of Black cowboys and Black life while also exploring themes like identity, resilience, and cultural pride.

With this new offering, Moonga K.’s ambition is fiercely global. “I’d love to do some shows in Montreal, Berlin, London, and Los Angeles; they’ve been showing a lot of love to the singles, so it would be great to go out there and perform,” he shares. “The ‘OUTLAW’ Tour is the plan, and I’m trying to secure dates around the world, so fingers crossed, because I’ve never gone on tour before, so this could be the soundscape that sparks that.” 

Listen to ‘OUTLAW‘ here.

uNder: Best New Artists (August, 2025)

Posted on by The Native

The conversations that keep coming up during our daily newsroom more often than not revolve around platforming the music we love and the communities that surround its wider culture. Very regularly, the music that excites our team reflects The NATIVE’s vision of being a bastion of music from parts of Africa and the Black diaspora. There are exciting acts from the ever-evolving Nigerian music underground, rappers experimenting with Dance Music and Hip-Hop from South Africa, as well as emotive singers whose work blurs the boundary between Hip-Hop and R&B. 

Discovering these acts, being blown away by their skills, and sharing our community about them continues to excite us more than three years after we conceived this column as a platform to spotlight talents that represent all that’s exciting about African music. In a world where marketing budgets, ad spends, and PR placements continue to reshape the music landscape, uNder is still our way of raging against the system and spotlighting deserving acts whose works are vital to sustaining the creative spirit that makes African music indispensable. For our August entry, we have Paxslim, Blacboyy, Deena, and Mūmbi. This cohort is united by a thrilling sense of freewheeling experimentation that is sure to serve them well as their career progresses. We hope you enjoy discovering them half as much as we enjoyed listening to their music and writing about them. 

Paxslim

For Fans Of: SahBabii, LUCKI, Lil Yatchy 

One of the most influential but slightly underappreciated names in Hip-Hop’s storied and illustrious ranks is Lil B. The American rapper and producer popularised a self-proclaimed “based” style in the early 2010s–an artistic style that prioritised eccentricism over a defined framework–giving Hip-Hop an extra coat of sophistication (read: swag) and creating a new lane for Hip-Hop artists that were similarly fed up with the underpinnings of traditional Rap. He was a visionary in many respects, influencing a generation of modern-day artists like  Nigerian-Swiss rapper Paxslim, who embraces the trailblazer’s artistic tenets.

Like Lil B, Paxslim, born Pax Anthony, is not concerned with conventions or the general orthodoxy of Hip-Hop. While he largely operates as a rapper, his songs, more often than not, takes on a fluid form thanks to his experimental flows and production that give his music a vibrant, kaleidoscopic quality. With the help of Swiss producers Modulaw and Xzavier Stone, the rapper was able to try out his off-kilter melodic musings and vocal flourishes on hard-hitting, synth-heavy beats on his 2021 mixtape ‘H.G.P. (Hands Got Potential),’ helping him garner some attention from listeners who were drawn to his brand of oddball rap. 

His 2023 follow-up, ‘HOLY,’ expanded on his unique style as he opted for a more muted but equally experimental sound that further highlighted his dynamism. More importantly, the project kicked off a fruitful creative partnership with producer Haram, who produced 4 out of the project’s 11 tracks. The two developed a close working relationship, burrowing down to further explore more unique styles, as they cranked out a healthy chunk of music in a short period. A string of half a dozen singles across the first half of 2024 paved the way for ‘EXECUTION,’ a 6-track EP that highlighted Paxslim’s more efficient, smoother delivery and Haram’s evolving production style. 

Ahead of the release of his latest project, ‘D5NCIN,’ Paxslim shared ‘DBD5,’ a 5-track EP that served as a sonic compass of sorts, indicating what musical direction he and Haram were headed in on the rapper’s new full-length release. The dark and melancholic production that defined some of his older work makes way for a more cinematic and animated style, producing highlights like the energetic “Powers” and the spacey opener “Nirvana.” ‘D5NCIN,’ expounded on the two’s creative synergy as Paxslim lays his slurry, experimental flows over some of the same cinematic beats that defined ‘DBD5,’ as well as some groovy, Dance-inspired production that continues to prove the rapper’s insatiable and ever-present desire to explore and push the boundaries of his musical expression.

 

Blacboyy

For Fans Of: Playboi Carti, Destroy Lonely, Maison2500

That exciting atmosphere that defined the early years of the famed alte scene seems to be returning. Thanks to a raft of talented, upcoming acts that have emerged over the last year and a half, making their mark with unique sounds and equally impressive releases, there’s genuine and growing excitement within the underground scene again. These acts have also begun to band together, charting their collective path to success while fostering a sense of community. There’s 808collective, a producer group that comprises names like Darius, Andi, 3CB and Topsy, all of whom have been instrumental in creating some of the blooming scene’s best music yet. There’s also CYK, an acronym for Cyber Youth Kings, a creative collective that seems united in their desire to blend the old with the new. One of CYK’s standout affiliates is Blacboyy, a rapper and producer who, like a swath of others in modern-day Rap, seems to have graduated from the university of Playboi Carti’s ‘Whole Lotta Red.’ 

Born Jabber Abu, Blacboyy’s music clearly draws heavily from the mania and molten, experimental sound that defined Playboi Carti’s magnum opus, but it’s in the other styles that he’s able to combine with that of ‘Whole Lotta Red’s, almost like varied toppings on pizza, that makes his music uniquely appealing. After producing the entirety of ‘$oda Archives,’ a collaborative tape with rapper $odaman in 2021, he released his official debut single “Miltant” in late 2022. The single was quickly followed by ‘Come Out And Play,’ ‘Stardust Romance,’ and ‘Bornstar,’ three projects that featured a lot of zoned-out sing-rapping as he looked to find a sure footing sonically. 

2024’s ‘gnarly’ is where he truly began to step into his own as his vocal stunts and inflections began to sound a lot more assured, his beats more explosive, and his style more varied. “prada u,” is built about sticky R&B-inspired melodies, he sprinkles some psychedelic glitter on the hypnotic “cant feel my face,” while “body” which features fellow upcoming rapper Tobias, draw from the eclectic hyper-jerk style that rappers like Fimiguererro has popularised recently. Other cuts like “fashion killa,” which takes inspiration from A$AP Rocky’s 2013 hit of the same name, “supermodels,” and “shine,” featuring Zaylevelten, also stand out, showcasing his ability to bring something inspired and fresh to the table. 

Building on the momentum of ‘gnarly,’ the rapper released the melodic “TMZ” earlier in the year before sharing “Say Twin Say Peter,” a single with frequent collaborator S1orDie, which has proven to be the biggest moment in both their budding careers. The record is powered by sneering synths and a simple, repetitive hook by Blacboyy that seems to echo long after the record stops. The rapper recently released two new singles, “Wasted” and “gutta,” as he continues to expand his oeuvre as well as his eclectic style. 

 

 

Deena

 

For Fans of: DEELA, BKtherula, Molly Santana

On Deena’s growing Soundcloud page, her bio reads: “I make music you’ve never heard before.” While that’s somewhat debatable, at least with the current evidence that’s available to the public, however small, it’s the execution and delivery of her music that makes the upcoming rapper, born Ayodele Bisi-Daniels, special. Even with only a couple of tracks to her name, four at the time of writing, Deena has already managed to display a remarkable ability to deliver savvy one-liners and nimble shit talking with so much finesse, thanks to her bank of melodies and flows that she switches out like a seasoned rapper. 

In terms of production, Deena seems to favour snappy, bass-heavy beats that give her ample space to fire off reams of flexes and her motor-mouthed flows. On her first single, “1nce,” which was produced by Darius and pzalm, she’s assertive and slightly unpredictable, as she gets off free-associative lines with sufficient panache that makes them land. Her follow-up tracks, “way Up!” and “plan” follow the same model, imbuing both with more of a searing edge. The former features some incredibly dizzying flows that’re sure to have your head bopping, while the latter, which was produced by killua katana, is powered by the same daredevil flows and a cool nonchalance that makes her stunts all the more impressive.

“ACTIVE,” her official debut single, arrived in June, marking a pivotal moment in her budding career as she looks to establish herself as one of the most exciting rappers around. It’s more of the same expressive, high-energy and hypnotic style that her growing listenership has come to anticipate from her earlier, unofficial works. At just over two minutes, she manages to cram so many flows and melodies into ”ACTIVE” that it almost feels like a rap marathon, leaving you exhausted in the best way possible. 

 

Mūmbi

For Fans Of: Tems, Maya Amolo, Elaine

Last year, we published a comprehensive piece about the majestic voices of African R&B and the way the somewhat underappreciated genre is tightly woven into the tapestry of the continent’s collective musical heritage. Names like PSquare, Tems, Odeal, South Africa’s Ami Faku, Ghana’s Ria Boss, and Eswatini’s Manana were all highlighted and their inimitable contributions to the genre. Kenya-born Mūmbi is one of many upcoming singers hoping to add her name to this illustrious list with her refreshing tunes that blend her contemporary R&B sensibilities with an undeniable East African flair. 

The Toronto-based singer and songwriter began her music career a few years back, showcasing her supple and sweet vocals with covers of songs like Sauti Sol’s “Short N Sweet,” Vanessa Mdee’s 2018 hit “Nobody But Me,” and Lauren Jauregui’s “More Than That,” on her Youtube page. She put out her first official in single in late 2023, a dreamy, love-inspired number titled “Float (All I wanna Do).”

She released her second single “Fake Love” in mid-2024, tearing into a two-faced and insincere love interest with a self-assured acuity. ‘Now, here’s what we’re gonna do, no one needs to cry if it’s clear i’m not the girl for you,’ she sings gently with a tone of resignation and resolve. She followed up “Fake Love,” with two other singles in 2024: the sensual “Tonight” and “Steppin’ Out,” a self-confident anthem that features Haitian rapper Kemdilo. Her latest Dance-tinged single “Letting Go,” came recently in June, as she continues to showcase her skill and vulnerability, crafting narratives and soothing melodies that resonate deeply with her growing audience.

Taves Returns With Magnetic Two-Pack “W2Y”

Posted on by Boluwatife Adeyemi

Taves has shared a new two-pack single titled “W2Y.” The new songs, which the rising singer has been teasing for a few weeks now, arrive as his first official release since he put out ‘Are You Listening?,’ his 8-track debut that came out in mid-2024. Perhaps more importantly, the new singles are released under Mother Africa Reigns Supreme’s imprint, suggesting that the singer might have parted ways with his former label. 

While it’s taken Taves over a year to follow up on his debut, he’s ensured he didn’t lose all momentum by delivering a couple of standout features in that time period. Late last year, he stole the show on L.A.X’s euphonious “Let Me Know,” as well as “Compose,” a sleek collaboration with Mavin rapper LADIPOE. This year, he’s continued his impressive collab streak, adding his deft touch to Loti’s “Okrika” and Yarden’s “Ifeoma.” 

 

Teaming up with producer Arieenati, the singer’s latest two-pack, which includes “Way2Yung” and “6ways,” is imbued with the same type of charm and magnetism that helped previous singles like “Folake” and “Eleyele” resonate with his growing fanbase. The two-pack’s title track serves as a perfect soundtrack to youthful optimism and exuberance, as he delivers riffs and runs that explore his newfound vices and the thrills of adolescence. 

 

If “Way2Yung” is adequate for house parties and shindigs, the sensual “6ways” is better suited for close quarters. Here, Taves yearns and croons about a potential love interest whom he can’t seem to get out of his mind. “Is it too late? I’m calling, I don’t mean to bother you,” he sings charmily in the song’s opening seconds over evocative production that smoothly combines influences from both R&B and Trap. 

Listen to “W2Y” here.

ODUMODUBLVCK, STORMZY, AND ZLATAN WANT TO STAY PAID UP ON “PAY ME”

Posted on by The Native

After months of warning that the machine is coming, including a mixtape to portend its arrival, ODUMODUBLVCK is kicking off the much-awaited and anticipated ‘Industry Machine’ era with the release of “Pay Me,” a blockbuster collab with Nigerian rapper, Zlatan, and British star, Stormzy. 

Produced by Scarr, the track is cut from the Abuja rapper’s signature Okporoko sound, hinging on a silky and slick beat propelled by head-nodding drums and airy keyboard loops. Across the song, ODUMODUBLVCK confidently balances an effortless and engaging flow with the confident and chantable chorus, “Pay me my money,” setting the stage for Stormzy and Zlatan to deliver their verses. 

 

“Pay Me”  opens with a prominent feature of “Make We Jolly,” an old Nollywood soundtrack by Patience Ozokwor in collaboration with Tonto Dike and Charles Awuram. It offers a nostalgic glimpse into the past, showcasing ODUMODUBLVCK’s longstanding grasp and appreciation of pop culture references. 

 

Close to two years after ‘Eziokwu,’ the rapper is gearing up for another transformative release with ‘Industry Machine,’ and “Pay Me” is his opening salvo. He links up with Zlatan after first working with him on his breakout single, “Picanto.”  The video for “Pay Me” taps into the message of the track as the trio humorously attempts to pull off an ATM jacking. 

“Pay Me” is coming after the surprise March release of “The Machine Is Coming,” a surprise 16-song mixtape that housed songs like “LEGOLAS,” the Victony-featuring “PITY THIS BOY,” and “WAGE WAR.”

Listen to “Pay Me” here.