Nelson C.J. Is Making Room For Radical Thought With A Third Space

Posted on by Melony Akpoghene

Nigeria has been in the midst of a new cultural renaissance for the last few years. From visual artists to musicians, filmmakers, writers, and thinkers, the country is alive with creative minds pushing beyond several odds to attempt seemingly impossible things, particularly within the strictures of their society. These constraints are real and formidable, and without care, creative energy can easily dim or disappear. But it is precisely in these conditions that art becomes essential. 

It is this urgent work of building spaces that protect, provoke, and sustain creative thought that Nelson C.J. embraced when he created A Third Space, a “multidisciplinary art space,” he describes to NATIVE Mag as one “where people could simply be while also being inspired to think, create, [and] commune, in meaningful and radical ways.”

Since its inception in 2024, A.T.S. has taken shape as a deeply immersive monthly experiential platform organised to spark fresh perspectives on how we engage with art across different formats: visual art, literature, music, film, and mixed media. True to Nelson’s claim, its programming adopts a deliberately multidisciplinary approach, combining film screenings, album listening sessions, poetry readings, art exhibitions, and craft talks. Over time, the space has welcomed an expansive range of creatives—from Falana, Lady Donli, and Show Dem Camp to Wana Wana, Dika Ofoma, Yagazie Emezi, Fiyin Koko, Nicole Asinugo, Josh Ike Egesi, and Myles Igwebuike—attesting to the breadth and dynamism of contemporary Nigerian artistry.

Conceived as a meeting point for community and experimental practice, A Third Space enters a scene dense with talent but thin on intentional gathering. It is not only exhilarating to witness what young people can do with their minds, but also essential to have a space where those minds can be nurtured. The project also arrives amid wider conversations about shrinking patience for nuance in public life. As founder and lead curator, Nelson C.J.’s wager is that creatives need room to think and test. Hence, A Third Space positions itself as a cultural in-between, built on the premise that art can help people make sense of their shared reality.

In a conversation with NATIVE, Nelson C.J. speaks about creating A.T.S. for the intellectually curious and about his desire for A Third Space to remain responsive to its community.

Why did you feel it was necessary to create A Third Space?

A Third Space began as an idea in early 2024. At the time, I was looking around me and seeing the ways communal gatherings were disintegrating. At the same time, I was also interested in experimental and alternative art forms.  I was curious to see how these two elements, community and disobedient artistic practices, might intersect. That’s what birthed A Third Space. It felt like the right time to set up a multidisciplinary art space where people could simply be while also being inspired to think, create, and commune in meaningful and radical ways.  So, A Third Space began as a result of those two needs, which felt both personal and necessary for the contemporary Nigerian culture ecosystem.

Who is A Third Space really for?

The curious, the culturally engaged, and the people seeking a sense of belonging. Because we curate programmes and experiences along different disciplines and interests, A Third Space truly is for everyone. All our programmes, while driven by intellectual curiosity and a willingness to be experimental, are also designed to be understood and to speak to issues we all feel and think about as humans. In that way, even if you’re not an artist and you’re simply curious about how the world works, how other people are thinking about culturally timely conversations, or how other people are using art to make sense of our collective existence, there’s always a seat for you at A Third Space.

Are there ways in which A Third Space has become an incubator for emerging talent or ideas?

Yes absolutely. We make it a point to work with both emerging and established artists. We believe that a transference of ideas needs to be constantly occurring across generations. So when we have our craft talks, we will typically invite emerging artists to join the panel or even host it. We have had curators still in the infancy of their careers develop programmes with us, and more than anything, we always make sure to highlight whether, through commissions or program inclusions, artists who are emerging and are working in art practices that are uncommon/have limited compatibility with traditional art spaces.

What’s your long‑term vision for it, as a cultural institution within Nigeria and beyond?

Our goal is to continue to be a strong and reliable community where people can truly engage in memorable experiences through art and culture. We would love to expand physically, work with more artists, curate more unexpected programs, and of course, open up to other parts of the continent. We want to be continually useful in serving the desire for community, originality, and radical thinking.

Rising Star, Jody, Teams Up With WaveBoy For Romantic Number, “Lisa”

Posted on by Wale Oloworekende

Rising Afro-fusion artist Jody and music collective, WaveBoy, have joined forces to release “Lisa,” a captivating love song that explores the intoxicating feeling of instant connection and romantic chemistry. 

Produced by David Acekeys with additional production from D-tac, “Lisa” tells the story of an undeniable attraction and the moment that announces its arrival. With smooth melodies, infectious rhythms, and Jody’s signature vocal delivery, the track captures the passion and playfulness of new romance. 

 

“’Lisa’ is about that experience we’ve all had, when you see someone and you just click instantly,” Jody explains. “The whole vibe was so natural. I was in the studio having fun, doing my adlibs, and my friends were there just cracking up at some of the things I was saying. They were enjoying it even more than I.  I want people to feel that same energy when they hear it,  that ‘run it back’ feeling. It’s good vibes, something for the ladies to whine to on the dance  floor, something that just makes you feel good.”

Anchored by David Acekeys’ production and elevated with string elements from D-tac, the instrumental creates a lush sonic backdrop that sits comfortably in its own lane. Jody first gained recognition in 2021 with his bouncy anthem, “Non Stop.” Now operating independently under WaveBoy  Entertainment, he returns with a refined sound and renewed creative vision with”Lisa” representing the first major collaboration between WaveBoy and Jody, a partnership built on creative freedom, authentic expression, and a shared vision for the future of Afropop

Listen to “Lisa” here.

Afropop Is Losing Touch With Love

Posted on by Faith Ndansi

If you’ve been paying attention to the Afropop scene right now, it almost feels like love is forgotten. It is surprising considering that just two decades ago, it was basically all we heard. For me, it didn’t fully register until I read Billboard’s list of the top 50 Afrobeats songs of all time in 2025. 

Unsurprisingly, 2Baba’s “African Queen” topped that list, described as a “syrupy ballad that revolutionized Afrobeats” and a “love letter to a generation of women from the continent.” In my opinion, this was a perfect choice because the 2004 song encapsulates everything Afropop used to be. Songs like “Fall in Love,” “No One Like You,” and “Yori Yori” paint a vivid picture of longing and devotion through their lyrical intimacy and expressive vocal delivery, effortlessly conveying what it feels like to be enamored with another person. 

 

Today, things have shifted. The intimacy that was once felt in Afropop has been lost and seemingly traded in for sexualized lyrics that compare women’s bodies to pastries. In conversations with a wide range of creatives from across the industry, everyone had their own unique perspectives, but there was one thing we all agreed on: things have definitely changed. This is not to claim that this shift is absolute. When I spoke with Taves, an artist who stands out because of his vulnerable lyrics and emotional storytelling, he pointed out that there are still artists “keeping yearning alive, telling it how it is, how bad it gets, and how deep it gets.” 

Amaeya, another artist who is also recognized for their heartfelt and authentic approach to songwriting, agreed with Taves. “Love is still there, it’s just expressed differently now,” she says. “I see many of my fellow up-and-coming artists singing about love most beautifully, but we just don’t get to hear it because it is not mainstream.” 

 

In other words, love hasn’t vanished; it has just been redefined throughout the years. Reflecting more than just an obvious change in the music but also a change in the people making and consuming it. Music commentator Elsie Ahachi summed it up perfectly, saying, “Art reflects the times. This newer generation has a problem with commitment, and you actually see that reflecting in the music.”

Early Afropop Was All Heart 

The music that came out in the earlier days of Afropop was real and raw. There was magic in the way artists could take a concept so foreign and make it instantly familiar through songwriting. In some sense, this reveals a broader truth about music, which is that it is not a standalone entity, and what gives it meaning is the relationship it holds with people. 

With love being the most universal feeling in existence, it made sense that artists used this as a central theme in their music, giving listeners everywhere the ability to relate to someone they’ve never met. Both Taves and culture commentator Aisha bring up “Olufunmi” by Styl Plus as a staple example of the emotional vulnerability that defined early Afropop. “In earlier times, we had artists like Styl Plus crying on a song about a girl called Olufunmi, begging her not to leave him alone,” Taves started,  “Like crying-in-the-rain type shit… that’s what we’re missing these days.”

Styl Plus’ approach to love songs reflected a more conservative era, where affection was articulated with softness. “When speaking about women and heterosexual relationships, it was a lot more romanticized and respectful,” Aisha says.  “I don’t think themes of sex were hypervisible in music. Styl Plus gave me that R&B, loved-up feeling.” 

 

Back then, loving loudly was the norm. With no dominant online dating apps and limited digital communication, most relationships unfolded in person, in public, and within communal spaces. The media that did exist at the time only reinforced this emotional openness. For example, Nigerian radio stations such as Metro FM, 96.9 Cool FM, and Rhythm FM would often feature popular relationship-themed segments that would cover a variety of topics, from heartbreak to romantic advice, and even matchmaking. This cultivated a shared vulnerability amongst listeners, allowing everyone who tuned in to feel as though they were a part of the same story. 

However, this openness had limits. While public expressions of love were normalized, music that ventured into overtly sexual themes faced censorship and social judgment. “Quite a few of them were censored by the Nigerian government, and communities and parents would side-eye anyone listening to them,” Aisha says. “Society was a lot more critical of that kind of music, and engaging with it was sometimes seen as devious.”

This moral scrutiny upheld a cultural framework that positioned marriage as the ultimate end goal. So consequently, it made sense that the bulk of Afropop at the time centered on themes that aligned with the socially-sanctioned ideals of love, such as adoration, commitment, and heartfelt expression

Why Is Gen Z Struggling with Love?

If earlier Afropop was a reflection of a society rooted in commitment and emotional vulnerability, then today’s Afropop exists within a world shaped by hypervisibility, hyperaccessibility, hyperindependence, and an extreme form of digital attachment. This environment has shaped a generation that is a lot more cautious in how it chooses to express love. Taves keeps it blunt, saying that the internet has “done a lot of damage,” giving young people unprecedented access to each other’s lives. “Everything is more accessible, and there is more exposure now,” he admits. You can talk to anybody and be anybody you want.” 

 

 

Social media has created a false sense of endless options for our generation, making it feel as though we can always find someone “better” with little effort. That mindset has entrenched dating trends like situationships and friends-with-benefits. As these dynamics have taken hold, relationships themselves have shifted.

Expanding on this, Aisha explained that, “Relationships have changed from that conservative model we were used to in the past, to now being a lot more liberal.” With this shift, she notes, comes a lack of clear boundaries, something that is increasingly reflected in the music. Still, she resists placing the responsibility solely on Gen Z. When it comes to hypersexuality in media and art, she argues that Gen Z are not the “original creators.” Instead, she points to millennials as the trendsetters, with Gen Z simply taking it to the next level.

The shift in societal values is only part of the story. The influence of digital streaming and social media on music consumption has been just as significant. Platforms like TikTok have become key tools for artists, allowing music to circulate globally without the barriers that once defined the industry. Amaeya speaks candidly about the role it played in building her career. “TikTok is definitely one of the biggest tools for PR because of how wide social media is,” she says. “I always say TikTok is what helped my career. When I dropped my first song, I was just posting every day, and one day I made a random video with my song, and that video went viral.”

That same ecosystem not only determines how music travels. It also shapes what kind of music rises. Songs that perform well today tend to be short and easily digestible. Elsie notes that artists have begun to “dumb down songs for the audience,” attributing this shift to shrinking attention spans. “People don’t have that patience for a song to build up,” she explains, “Or to have a story being told and to follow intricate songwriting.”

A glance at the charts reflects Elsie’s observation. A lot of the current top-charting songs feed into what has come to be known as vibe culture, music that prioritizes atmosphere over  introspection. Money, designer, babes, parties, and pleasure are quintessential factors while vulnerability remains largely absent. That ephemeral quality of modern Afropop points to something deeper, which is the desire to escape reality through music. 

Elise situates vibe culture within a broader context, particularly in Nigeria, where daily life has become increasingly difficult for the everyday person. “When a lot is going on,” she explains, “Human beings have this tendency to want to escape.” In moments like these, she notes, there is often an “uptick in music that’s like, forget your worries, let’s just jam all night.”

 

As audiences lean further into escapism, vulnerability becomes less central to what sells. Aisha observes that “artists have no need to be vulnerable because at the end of the day, that’s not really what’s gonna sell much. Afropop is music people play at functions, something people can catch a vibe to. So, like, vulnerability, what’s the need?”

Despite this, some artists continue to prioritise emotional honesty. Amaeya describes her approach to vulnerability  as one rooted in sincerity, saying she wants her music to be “real to her and connect with people.” Still, that openness comes with caution. As Aisha points out, “vulnerability as a concept is wrapped up in a lot of psychological things.” It’s a reality Amaeya feels acutely. As a woman in a male-dominated industry, she admits she is often conscious of how her emotions will be received. “Guys can do whatever they want and get away with it,” she says, highlighting the uneven stakes of being openly expressive.

Taves’ relationship with vulnerability unfolds under different conditions. “I don’t think that I have ever felt pressure to be like anybody else and to be something other than very raw in my music, only because of the people that gave me inspiration,” he says. He credits artists like Asa, known for her soulful and introspective approach to love, as well as BNXN for shaping his understanding of sincerity and honesty in songwriting. 

 

What Is The Future Of Love In Afropop?

As Afropop continues to cement itself as one of the world’s fastest-growing genres, and societal and digital trends continue to redefine what we once knew, we are led to the inevitable question: where is Afropop headed in terms of expressing romance? Taves is confident that love will make a return. “Everything goes in a circle,” he says. “We will definitely go back to that point where it’s cool to be vulnerable and genuine in a song again.” Just as he once looked up to songwriters who were open and real, he believes that “the new artists coming up will be the same way, because they couldn’t do it any other way than being real.”

Aisha and Elsie are more critical about the future, especially regarding society’s role. Aisha explains that she doesn’t see the state of Afropop shifting unless there is “a societal shift around love and relationships.” She also points to the Global North’s influence in shaping trends, noting that “whatever’s happening there is co-opted and transplanted back to Nigeria and West Africa.” It’s a crucial consideration as Afropop becomes a global phenomenon.

Elsie agrees with Aisha’s point, suggesting that the only way to understand where Afropop is going is by studying our “collective minds as a culture.” She pushes the conversation further, theorizing that Generation Alpha might lean into being more vulnerable. “I feel like every generation tries to do the opposite of what came before them,” she says. 

Even if it feels lost for now, love has not been forgotten in Afropop. The way it appears in the music reflects how society values and experiences love at any given moment. When love returns to the forefront of culture, Afropop will respond instinctively, expressing genuine feelings. In the meantime, the genre will continue to evolve alongside a generation still understanding what love means to them.

What Nigerians Are Searching on Google Ahead of Valentine’s Day

Posted on by Melony Akpoghene

Valentine’s Day remains one of the most anticipated dates of the year. Even though people sometimes shy away from vulnerability, the celebration of love continues to hold a special place in our lives. 

While expressions of love happen year-round, 14 February carries a particular significance, prompting reflection on how we show up for those we care about. The desire to appear thoughtful often drives Nigerians online in search of ideas. From TikTok and Pinterest to the ever-reliable Google, many are turning to the internet for inspiration on how to creatively curate a great experience. However, data from Google shows that searches this February point to a broader take on Valentine’s Day. No longer confined to romance, the holiday has morphed into a celebration of all forms of love.

Traditionally, Valentine’s Day was dominated by romantic couples, even though that was not its original purpose. But, today, the growing recognition of female friendships and the shift away from centring men and romantic love are reflected in how the holiday is celebrated, expanding it to embrace the full spectrum of love in all its forms.

Consequently, the concept of Galentine’s Day is now mainstream, with friend groups scouting “Galentine’s Day party” ideas to celebrate their community of friends. Demonstrating this, Google searches such as “What is Galentine” are on the rise, alongside queries like “Valentine’s Day messages to send to my best friend,” “Valentine letter for your friend,” “activities to do on Valentine’s Day with friends,” “how to make a Valentine’s Day sweetheart bracelet for your best friend,” and “funny Valentine messages for friends.”

Parallel to this shift is the focus on self-love, which is also shaping Valentine’s Day searches. With mental health and wellness on everyone’s radar, the day has become a window for personal care. Searches for “glow-up” plans and self-care activities suggest that people are investing in themselves, carving out time for rest and personal growth. Even couples are exploring ways to balance togetherness with individual care, as seen in rising searches for “spa couples Valentine package ideas” and “combo deals for Valentines in a spa or salon.”

At the same time, adventure and other memorable experiences remain high on the agenda, and dinner alone will not suffice. Nigerians are exploring romantic weekend getaways in Lagos and even cruises along the country’s coast. The day has become an opportunity to go all out, be as cheesy as you can, and there is also a heightened focus on concretising the visual memory of the day. Searches for “Valentine photoshoot ideas for boys” indicate that men are now as invested in the aesthetics of the holiday as their partners.

While Valentine’s Day will always be a way to show love, we indeed are living in times dominated by aesthetics. This has made curated experiences increasingly important, a trend evident in gifting habits. Flowers remain a classic choice, but money bouquets have grown in popularity, with Google data confirming rising interest. Customised “cake designs” that complement these bouquets are also trending.

In any case, regardless of what people are searching for, the underlying impulse is to make the day count.

Shoday Is Just Getting Started 

Posted on by Michelle Ejiro

Midway through Shoday’s hit-packed run in 2025, many fans started to joke about his zest for churning out releases with a startling regularity. However, what many didn’t know was that his radicalisation came from watching his first experience with fame slip through his fingers due to a lack of understanding of how to handle it. 

Growing up in Lagos, Shoday (born Shodade Solomon Segun) always knew from the moment he started accompanying his sister to choir rehearsals that he wanted to make music professionally. Eventually, he scored his first viral single in 2022 with “Caution,” but the song’s momentum quickly dissipated. “When it dropped, I wasn’t familiar with the game,” he admits. “It was my first time having a viral song. All I knew was that I’d go to clubs and they’ll play my songs. Before that, I used to pray to God for a viral hit because I believed it was enough to change my life. Then it came, and I realised I needed a catalogue to be successful.”

 

That realisation led to a rethinking of his strategy. “It wasn’t luck, and that’s why I’ve been able to make a comeback,” he says. “I returned to my template and drawing board that I used to make “Caution.” It clicked again in 2024, and I never stopped since then.”  At the moment, Shoday is part of a new generation of African artists who have harnessed TikTok’s algorithmic reach to build a community of fans through content creation. It’s a framework that propelled his career beyond his wildest dreams, leading to collaborations with stars like Davido, Zlatan, and Adekunle Gold.

For Shoday, ‘Hybrid’  sees him at his most experimental. Beyond a hit-studded, up-tempo catalogue, he wants to express his vulnerability and interrogate the parameters of his interaction with fame through songs that prove he can be versatile, hoping that listeners can connect with him to a degree where his emotions become transcendental.

 

Our conversation with the singer has been edited for clarity. 

You had an amazing run in 2025 that is now culminating in your debut album. What made you feel it was finally time to release it?  

I’ve been planning this album for about two years. It was supposed to drop last year, but we had to move it. I wanted my debut album to sound good, so I took my time and waited for the right moment rather than rushing because of pressure or people’s expectations. This is the right time for me to drop the album.  

Why did you choose ‘Hybrid’ as the title? What does it signify? 

The title is ‘Hybrid’ because I want people to see me in different forms. It’s about versatility. If you look at the cover and the rollout, it’s all about me combining different elements. When you listen, you’ll experience how versatile I am. There are Pop songs, street records, love songs, different sounds and ideas. I’m bringing them together so people can feel different sides of me as an artist.  

Can you walk us through the creative process behind each track?  

“Glam and Fame” is me telling my truth. It’s one of my real songs. I was very vulnerable. There are things I said that made me question releasing it, but it’s my truth. If people don’t like it, they don’t. I’m honest about how I feel about life, fame, people, the industry and certain things in life.  “Joy” is  a continuation of “Glam and Fame.” I talked about the kind of life I want for myself.  It doesn’t sound like a typical “me” record. While the third track, “Somebody,” is about my journey from the trenches to where I am now. It’s a deep Street‑Pop record about my background.  

 

Let’s talk about your collaboration with Fola on “Paparazzi.”

We recorded a lot of songs together, and “Paparazzi” is my least favourite among them, but my team chose it as a single. It’s not that it’s a bad song, I just didn’t expect it to take off and be accepted the way it has. I always believed that a collaboration with Fola would go crazy, because people have wanted that for a long time, and this felt like the right time. Both of us are buzzing, and we don’t want to follow the usual industry pattern where two artists come up and start beefing. It was produced by SB, who’s an amazing producer.

You’ve worked with SB, Fola, and with people you’ve known before fame. How does it feel seeing everyone rise at the same time?  

It’s amazing. We’ve known each other from way back, before fame and before this momentum. We’ve been friends. What amazes me is that we all kind of started gaining momentum at the same time. It’s a good feeling.  

What’s the story behind “Shoday Kilode.”  

“Shoday Kilode” came after we did “Hey Jago,”  where we were just hyping and praising Rahman Jago, and the whole world accepted it. So I thought, “If we can praise someone else and it works, I can do a song where I praise myself, and people will still love it. That idea gave birth to “Shoday Kilode.” I added very relatable lines in the first verse about life as a Nigerian or just as a human being, the cost of living, everybody having problems, and how tough things are. Everyone can relate to that. I merged that with my aim of stamping my own name, so it becomes familiar and sticks in people’s heads.  

 

What’s your absolute favourite song on the album?  

Honestly, all the songs. And I don’t mean that as a safe answer. It depends on my mood. One thing I really like about the album is that it has a song for everybody and every mood. If you’re sad, there’s a song for you. If you’re happy, in a romantic mood, or just chilled, there’s a song for that. Mine depends on how I feel and how I’m connecting with the songs in that moment.  

You mentioned “Figure It” was recorded in London. What’s special about that track?  

It was recorded while I was on tour. I had a few recording sessions there, and this one was with Pozer, a rap artist. He’s an amazing guy.  “Figure It” is an up‑tempo love song; you can dance, have fun, and enjoy it. The beat and the general sound are unusual for me, so I had to approach it differently. It stands out from the rest of the project, and I feel people will really love it.  

Would you say “Figure It” is your most experimental track on the album?  

No, I think “Joy” is the most experimental. I’ve done something in that lane before, but with “Joy,” I was very intentional about the lyrics, the sound, and the storyline. Everything about that track, from how it’s written and arranged, felt like a big experiment that I’m proud of.  

You and Fola have several songs together. Are we ever going to get more of those collaborations, maybe a joint project?  

Possibly. In the future, we could do a joint project and drop like four to five tracks. People really like “Paparazzi,” and I feel like they want to hear more from both of us, so a joint project is definitely something we might work on.  

 

“Halle” was originally supposed to be the intro. Why did you switch to “Glam and Fame,” and what does “Halle” represent on the project now?  

“Halle” was produced by Pheelz. We recorded a couple of songs together, and I told him this one had to be on the album. At first, it felt like the perfect intro because of its tone, but as the project came together, I decided to use “Glam and Fame” instead.  I wanted to open the album with something extremely real and vulnerable, something that immediately tells people we’re here for serious talk and serious music. “Halle” still plays an important role near the end of the album, but “Glam and Fame” sets the tone I wanted from the very beginning.  

You’ve reiterated that with ‘Hybrid,’ you want to showcase your versatility from a creator’s perspective, but what do you want your listeners to feel while experiencing the album? 

I hope they feel how I felt when I was making the album because there’s a song for everybody, whether it’s a sad song, a happy one or even a love song. 

What is success to you, and would you consider yourself successful at the moment?

I would consider myself successful, but I still want more. Even the richest man in the world is still striving for more. 

Listen to ‘Hybrid’ here.

Knucks Wants You To Know That He’s ‘A Fine African Man’

Posted on by Boluwatife Adeyemi

‘Alpha Place’ marked a definitive breakthrough for Knucks. Though the British rapper had steadily built up his credentials as a smooth, razor-sharp lyricist on his debut mixtape ‘Killmatic,’ a clever portmanteau of his hometown Kilburn and Nas’ legendary debut, and two follow-up EPs, it was his 2021 release that truly helped put him on the map. Reminiscing over Jazz-inflected beats, the rapper, born Ashley Nwachukwu, offered a vivid homage to his origins in South Kilburn, London, recalling childhood memories, neighbourhood vignettes, and the lived experiences that shaped his artistic identity. 

The album was lauded for its cinematic detail, strong, consistent production, and, more notably, Knuck’s ability to blend classic Hip-Hop aesthetics with a distinctly British sensibility. Its commercial success was spearheaded by the lead single, “Los Pollos Hermanos,” a track inspired by the fictional restaurant of the same name, which has amassed hundreds of millions of streams across various DSPs and solidified Knucks’ status as a formidable voice in the UK Rap landscape.

 

Building on this foundation, his second studio album, ‘A Fine African Man,’ released in late October 2025, represents a continued and deeper exploration of identity, as the rapper pivots to examine his Nigerian heritage. ‘I’ve been telling myself before anything else, I’m an African man / I’ve been to the village, I know all my kin like the back of my hand,’ he raps calmly on the album’s opening seconds, a firm declaration and cultural grounding that guides the narrative that unfolds across the project’s 34-minute runtime.

Cuts like the anecdotal “YAM PORRIDGE,” “CUT KNUCKLES,” the Fimiguerrero-assisted “NKITA” and “CONTAINER” highlight his characteristic wit and observational clarity as well as his desire to experiment with his production a little more. To enrich the album’s cultural narrative, he includes different sentimental soundbites and enlists a complementary guest list that includes legacy Igbo acts like Kcee and Phyno, both of whom add layers of authenticity to Knuck’s overall vision. 

A couple of weeks after the album’s release, the 31-year-old caught up with NATIVE Mag to discuss the new project, the inspiration behind it, how he settled on the collaborations and a moving story that inspired one of the album’s standout tracks. 

 

Your new album, ‘A Fine African Man,’ has been out for a few weeks now. Can you describe how you feel post-release and what the reception has been like?

I feel a lot of relief that the album is finally out. When you have art that you’ve held on to for so long, you just want to see other people’s reaction to it. See how they take it in, how they experience it, how they live with it. These last few weeks of people living with it have shown me that the things I tried to accomplish on the album have been successful. People have come back to me to say that they feel the things I’ve set out for them to feel. It’s a good feeling. 

You’re British-born with Nigerian heritage. What was it like growing up in an African home in the UK? 

London is a cesspool of different cultures. Growing up, I had neighbours who were Jamaican, Somalian and Indian. It was a mix of different cultures growing up, so it was down to your parents to instil your culture in you so you know where you’re from. Thankfully, my parents used to speak some Igbo around the house, and they’ll cook Nigerian food. 

You’ve previously spoken about spending a year in boarding school here in Nigeria. How was that experience, and did you enjoy your time there? 

I cried when my parents first told me I was going to Nigeria. Coming here was a culture shock for me. Everything was so different. Academically, especially, but even just the entire lifestyle. I had to do everything myself, and that wasn’t something I was used to. But I think that experience made me mature very early. I had to navigate that unusual experience on my own, and I was only 11 or 12 at the time. 

You’ve also mentioned that Nas’ ‘Illmatic’ inspired you to make your own music. Were there any musicians you liked or listened to during your time here in boarding school?

I liked Flavour. “N’abania” and “Nwa Baby” were really popular around the time I was here, and I really liked those. I also liked Psquare and Timaya. 

 

When did you start working on ‘A Fine African Man’?

I started working on it in 2022. 

Was there a specific thing or moment that inspired you to make this album? 

Initially, I was working on an album with a music producer from LA called Kenny Beats. I was back and forth from LA for almost a year. Then I had a meeting with my manager, which changed my focus. They had observed where music was at the time, and a lot of what was popular were African songs. So they wanted me to make an album in that direction. I thought about it, and I realised it could be a good opportunity to carry on from where my last album left off. On “Three Musketeers,” one of the last songs on ‘Alpha Place,’ I talked about going to Nigeria, but I never went in-depth, so I thought I could continue that story with this album.

How did you decide on the collaborations for the album? 

A lot of the collaborations were by design. Anytime I’m making an album, everything has to align, and it has to thematically make sense. Once I decided I wanted to make an album dedicated to where I’m from, I felt like it was important to feature Nigerian, and more specifically, Igbo artists. It just gave more authenticity to what I was making. 

I’m curious about the track “YAM PORRIDGE.” It seemed like it was inspired by your experience back here in boarding school. Can you tell me a bit more about that song?

The song is inspired by a cook who used to work at the boarding school I attended. She’s from my village, and she knows my dad. I guess before I moved here, my dad must have spoken to her to look after me. So she was basically the only person close to family that I knew in the school. Anytime I was ill or wanted to speak to my parents, I would go to her, and she would look after me. 

A couple of years later, when I had started making music, my dad mentioned that he wanted to send some money back to Nigeria, and I randomly thought to also send money to the cook just to make sure she was alright. A couple of weeks after sending the money, my dad reached out and said that when they delivered the money to the cook, she was really ill, and the money was timely.  When I think back to why my experience with that woman was so memorable, it was partly because of her Yam porridge. So I made that song wanting to tell that story, but I didn’t want to be the focal point. I asked my dad about some more details about her, so I started the story from when she was young and then built it up. First verse, she’s a young girl, second verse, she’s a young woman, and then the third verse, she’s a grown woman. Only at the end do I mention myself.

Do you have any special moments from making this album? 

I went on a trip to Jamaica, and it was definitely a high point of making the album. I made “MASQUERADE,” “FRIENDS,” and “PALM WINE” on that trip. Before I went to Jamaica, I was struggling with writer’s block. I was finding it difficult to continue with the album, but that trip seemed to unlock something in me, and that enabled me to make some of the most powerful songs on the album. 

 

If there’s one thing you would love your fans or listeners to take away from the album, what would it be? 

That I’m a fine African man. Every project I drop is another way to know me a bit more. I’m not too sociable online. The only way you’ll know about me is through my music. So I think it’s important for me to be honest and authentic in my music.

Listen to ‘A Fine African Man’ here. 

Vic Mensa Leads Daily Paper’s “OFF ROAD” Campaign

Posted on by Melony Akpoghene

Daily Paper is officially wrapping its Spring/Summer 2026 season with ‘OFF ROAD,’ tapping Vic Mensa to spearhead the project. The rapper and activist is pulling double duty here, stepping in as both the campaign’s face and its creative director. Shot entirely inside Mensa’s Los Angeles home, the campaign leans fully into his personal perspective and lived experience, flipping the script on how Daily Paper usually tells its stories.

As the title hints, ‘OFF ROAD’ builds on themes of independence and self-determination introduced in earlier drops. As creative director, Mensa has spent the better part of a decade dodging the boxes people try to put him in, evolving into a truly multidisciplinary artist. Whether he’s careening from Punk-Rap or diving into the Chicago art scene, his career is defined by a refusal to stay in one lane, and that restless, exploratory spirit drives ‘OFF ROAD.’

 

In the campaign film, he talks candidly about the pressures that come with forging your own way and the responsibilities that come with choosing yourself, even when the vision is not immediately understood.

That sentiment carries through visually and symbolically in the collection, which features expressive styling that brings together pieces with washed textures and utilitarian silhouettes. Each detail nods to the diasporic experience in subtle but thoughtful ways. The collection  has rolled out across the season in a series of staged drops, each building on the collection’s recurring theme. This final release ties everything together, reinforcing Daily Paper’s ongoing engagement with African and global diaspora culture and how it continues to move the needle in fashion and music globally.

The full ‘OFF ROAD’ collection will be available worldwide on 26 February, online and in Daily Paper stores.

Shop the ‘OFF ROAD’ collection here.

Best New Music: Kwesi Arthur Is Turning The Page On “Redemption”

Posted on by Boluwatife Adeyemi

In the weeks leading up to the release of ‘Redemption Valley,’ Kwesi Arthur’s latest project, the Ghanaian rapper became embroiled in a public spat with his former management, Ground Up Chale, and its co-founder Glen Boateng. The dispute, which centers around financial exploitation and image ownership rights, boiled over when the rapper recently issued a statement warning the public to hold the aforementioned parties responsible for any potential action that could threaten his career or safety. 

The new project, his first since 2024’s ‘This Is Not the Tape III,’ arrives against this backdrop. It’s a vulnerable and solid endeavour that aims to reclaim control of his professional career and also refocus attention squarely on his music and artistic vision for the future. The Ghanaian star, who had previously shown his range and lyrical prowess on albums like 2019’s ‘Live From Nkrumah Krom Vol II: Home Run,’ and its follow-up ‘Son of Jacob,’ clearly approaches this new project with renewed vigour and focus. 

 

The emotional architecture of ‘Redemption Valley’ is immediately established on the somber, introspective opener titled “Redemption.” Clocking in at just over two minutes, Arthur opts to give listeners an insight into his current state of mind, setting the tone for what’s a deeply personal and reflective release. “Innocence these streets rob from me / These scars long heal for body,” he raps solemnly in the opening seconds before going on to repeatedly sing the central mantra, ‘This is my redemption,’ over M.O.G Beatz’s sparse production.

 

The track is a slow-burning meditation on the challenges and betrayals that have defined his professional career so far, as well as a statement of survival and self-renewal, much like a phoenix rising through the ashes. Shortly after the project’s release, all eight tracks debuted on Ghana’s Apple Music chart, with “Redemption” currently holding the top spot. It has also featured prominently on other DSP charts like Spotify’s, proving the rapper’s enduring appeal and perhaps ushering fans into what could be another defining chapter in his artistic journey.

Listen to Redemption Valley’ here.

Omah Lay Taps Into Melancholia On “DON’T LOVE ME”

Posted on by Boluwatife Adeyemi

Omah Lay has released a new single titled “DON’T LOVE ME.” Produced by longtime collaborator Tempoe, the latest track comes as the second single off his highly anticipated sophomore album ‘Clarity of Mind.’ The singer had previously teased the song on social media a couple of times, most recently with a monochrome visualizer that generated significant buzz ahead of its official release. 

“DON’T LOVE ME” follows a period of sustained activity and output from the Port Harcourt native, suggesting we’re fully in rollout season. A couple of successful collaborations last year, most notably the Grammy-nominated “With You,” preceded the late-year arrival of “Waist,” the lead single from his forthcoming album. 

 

He carried on the momentum into the new year, linking up with Seyi Vibez for a dulcet duet titled “My Healer.” While his previous solo release is more upbeat, suitable for dancefloors, his latest returns to the familiar melancholic sound and aesthetic that found him much success a couple of years ago. “I don’t feel nothing, I don’t feel like I’m alive,” he sings over Tempoe’s moody production, delivering the line with the same disquieting mix of numbness and magnetism that made previous tracks like “i’m a mess” excel.

 

Based on pre-released singles, the singer’s forthcoming album may not stray too far from what fans have grown accustomed to sonically and thematically. The Grammy-nominee has, however, grown an invaluable ability to constantly keep things fresh and interesting, even while operating within the confines of his established sound. 

Listen to “DON’T LOVE ME” here. 

oSHAMO Maintains His Fuji-Pop Streak with “Shina Rampe”

Posted on by Melony Akpoghene

Nigerian music history remains a deep well that many contemporary Afropop artists keep returning to, drawing from the sounds they grew up on and reshaping them for the present. Born in Lagos and now based in London, oSHAMO was raised on Fuji as everyday music, absorbing the style of not just the genre’s legends—Wasiu Ayinde, Osupa, and Pasuma—but also the political edge and communal spirit that have always defined it. 

That foundation sits at the core of his artistic direction, grounding his sound in familiar rhythms while guiding it towards modern spaces. His music focuses on translating the percussive bounce of Fuji into Pop forms that move easily across borders.

 

Following the release of his sophomore EP ‘I D R I S’ last year, which featured the viral record “SuperFuji (Gobe),” the singer appears intent on maintaining that momentum. His latest single, “Shina Rampe,” makes the case. Produced by longtime collaborator LC Beatz, the track places oSHAMO squarely in his element. Its tone is established almost immediately by rapid, insistent drum patterns that maintain their pace throughout. Lyrically, he keeps the focus on dance and flirtation, leaning into the thrill of spending freely in the moment.

 

oSHAMO’s work rate has remained consistent, matched by a clear understanding of how digital culture moves. He has consistently harnessed TikTok as a space for discovery, with several releases gaining organic traction on the platform. Several of his songs have found viral life on the platform, and “Shina Rampe” is already gaining traction there. If his past run is anything to go by, this year is shaping up to be another strong one for him.

Listen to “Shina Rampe” here.

Best New Music: Scotty Olorin Is Ready to Risk It All on “Deela”

Posted on by Melony Akpoghene

Last year, Scotty Olorin’s presence in the industry was defined by a steady output that peaked with his collaboration with Straffitti, “Te Wo,” which marked him as one of the more compelling figures in Nigeria’s underground scene. The scene has always been a springhead of wonder-makers, with a tight-knit community and innovative sounds. But in 2025, its vitality roared back, setting the tone for a moment brimming with creativity and demanding attention from anyone lending even a passing ear. Riding that wave, Scotty Olorin built momentum that he looks ready to carry confidently into 2026.

 

His first release of the year, “Deela,” is a cute love song, named after its muse, the rapper herself. This isn’t new territory for him; across most of his work, he has already shown himself to be something of a loverboy. At the same time, he continues a pattern most glaringly exemplified by the three-pack ‘Asherkine‘: flipping pop culture references into cheeky influences for his work, and he brings that instinct here. Referencing women as symbols of admiration is a familiar move in popular music, but it is still rare to hear dark-skinned women centred so plainly as muses.

Olorin, like many of his peers, has a famously wacky and experimental sensibility; anything is on the table. Joeyxcv’s production is both tuned into Afropop’s current trends and eager to push them in unexpected directions. He stitches next-gen footwork rhythms to underground Rap microgenres, folding recognisable elements like the Jersey club bounce into something hazy and collagist. Across a lean, two-minute runtime, Scotty Olorin uses his loose, singsongy flow to paint with a warm, lively palette. Though “Deela” plays as a love song—complete with tender promises and flashes of the luxury money can buy—it also captures Olorin at his most assured: clear-eyed about his appeal and unafraid to say so.

 

“Deela” is a loose feel that makes it a nice way to begin the year. It captures an artist with a lot of promise settling into himself as the scene around him continues to come into focus, and what follows from here feels worth paying attention to.

Cheque Is At His Expressive Best On ‘YAZI’

Posted on by Michelle Ejiro

Nigerian singer and songwriter Cheque returns with ‘YAZI,’ a seven-track EP representing a new direction for the artist, leaning into emotional Hip-Hop, Trap-infused production, and his natural melodic style. The EP finds Cheque in a reflective moment where he explores themes of ambition, faith, and resilience across tracks like “Goodbye” and “Ocean Dry.”  

Rooted in Afropop while drawing from R&B, Street-Pop, and melodic Hip-Hop, the project showcases Cheque at his most expressive, moving between solemn lows and celebratory highs. He addresses the pressures that come with progress without shying away from vulnerability. 

Right from the opener,  “Booming,” to the closer, “Desperado,” each song unfolds strongly, and he sings with the urgency of a man weighted by his own struggles while occasionally slipping in bits of joy.

 

For its sonic experience, the EP is cohesive, and the songs smoothly flow into one another, allowing for emotions to be felt on a full scale.  It is evident that with ‘YAZI,’ Cheque aimed to start the year on a high note, and his renewed focus on honest storytelling comes to play.

Listen to ‘YAZI’ here.

The Reality of Nepotism in Nigerian Music 

Posted on by Abdulmuqsit Idowu 

Power has always moved in circles. From politics to sports, media to film, influence tends to pass between the same hands. Favoritism sits at the center of this dynamic, and that is usually where conversations about nepotism begin. The line, however, is thinner than we admit. You don’t need to be a mogul to favor those close to you; humans are hardwired to help their own, yet music is often imagined as different. In the collective imagination, music is the great equalizer—a pure meritocracy where talent is the only currency that matters. If we are being honest, however, that is rarely how it plays out.

Considering the sheer density of the Nigerian music market, thousands of songs are uploaded to streaming platforms every week; too often, the volume of the noise is deafening. In such a saturated ecosystem, talent is merely the baseline requirement. Visibility is the real asset. So, when an artist emerges with obvious access, backed by deep pockets, high-level connections, or proximity to power, it immediately triggers a conversation. It’s not that talent is absent; it’s that access decides who gets the microphone in the first place. This is where the Nigerian conversation gets steamy: Is nepotism really the enemy, or have we fetishized “the struggle” as the only proof of legitimacy?

The music industry has never been a level playing field, but Nigerian audiences often demand hardship as a prerequisite for respect. We love a “grass-to-grace” story; the struggling narrative serving as a moral certificate. Consequently, an artist’s background becomes a litmus test. For artists from wealthy or well-connected homes, this skepticism is a heavy ceiling. They are constantly interrogated: Are they real? Did they buy their way onto the playlist? Are they using writers and PR machines to manufacture cool? 

 

Ironically, these are industry-standard tools used by everyone, from the streets of Ojuelegba to the leafy mansions of Banana Island. But for the privileged, the use of these tools is viewed as cheating. Part of the problem is our lazy lexicon. We use the term “nepo baby” as a catch-all slur, lumping together the wealthy, the privileged, and the connected as if they are the same. They are not. To understand the current landscape, we have to view privilege as a spectrum.

There are so many types of nepotism, for example, legacy nepotism. This is being born into a name that carries heavy cultural weight. The Kuti family, Femi, Seun, and Made, operate from this end of the spectrum. They inherited not just a name, but a responsibility and a sound. Secondly, there is industry proximity. This is where the door isn’t just unlocked; the parents hold the keys. Take Mayorkun for example, his mother is the veteran actress Toyin Adewale. While she isn’t a musician, her decades in the entertainment industry provided Mayorkun with an intrinsic understanding of how the machinery works—contracts, public image, and networking. The door was closer for him, but he still had to walk through it. 

Then, there is access privilege, which causes the most friction today. Artists like Mavo fall here. They aren’t necessarily industry heirs, but they are financially positioned to bypass the early gatekeepers. Studio time, high-end visuals, and marketing budgets, barriers that necessarily delay the actualization of the dreams of others are mere formalities for them. Finally, there is network privilege. In the Nigerian music industry, speed is everything. Breaking through requires brand relationships, performance slots, and festival placements. Privilege shortens this journey. It buys you time to experiment, and more importantly, it buys you room to make mistakes without starving.

To understand where we are going, we must look at where we started. The comparison between Davido and B-Red remains the ultimate case study in how privilege interacts with talent. Both entered the game under the colossal shadow of the Adeleke name. But Davido didn’t just accept his background; he weaponized it. On “Dami Duro,” he screamed Omo Baba Olowo (Son of a Rich Man) at the top of his lungs. He didn’t cosplay poverty to appeal to the streets; he sold the fantasy of wealth with such charisma that the streets bought into it anyway. He backed the flash with an insane work rate and a hit-making consistency that eventually drowned out the critics.

 

B-Red, despite legitimate talent, struggled to convert that same access into cultural dominance. Their diverging paths prove a vital point: Privilege gets you into the room, and it might even buy you the first round of drinks, but it cannot force the public to dance. Fast forward to 2025, and the rules of engagement are shifting again with Mavo and a loose collective of artists being tagged with the moniker “Nepopiano.” Mavo represents a generational shift. He doesn’t dodge the label; he plays with it. When he drops lines like “No more way for poor people,” it cuts through because it is blunt, provocative, and self-aware. 

Instead of apologizing for his background, he acknowledges it and pivots to the music. His run as one of the most featured artist of 2025 wasn’t just about money; it was about positioning. Up-and-coming artists like No11, Siraheem, and Ayjay are moving with similar intentionality. This isn’t just about individual rich kids making beats; it’s about community. Just as lower-income artists have their crews, these artists have theirs.

We have seen precedents for this phenomenon before: Davido built his foundation at Babcock University, Cruel Santino and BOJ cultivated the Alté scene, and more recently, Mavo has leveraged the ABUAD (Afe Babalola University) connection. These artists understood that being legitimately tethered to scenes comes before stardom. They are building an ecosystem that values aesthetics, high-quality production, and a specific lifestyle brand that appeals to a Gen Z audience less obsessed with the struggle and more obsessed with the “steeze.”

 

Whether “Nepopiano” becomes a lasting sub-genre or remains a fleeting social media tag is unclear. What is clear, however, is that Nigerian music is entering a phase where privilege is no longer something to be hidden. It is being acknowledged, debated, and, often,turned into art. Perhaps the conversation is finally maturing as we move away from asking “Where did you come from?” and start to ask “How hard can you move now that you’re here? 

Access will often decide who gets the head start. Money will always buy the best cameras and the loudest PR. But in the end, consistency is the only thing that decides who stays. You can buy the airtime, but you cannot buy the replay value. The audience still holds the ultimate power. And as history shows, they always make the final call.

Best New Music: Seyi Vibez and Omah Lay Are In Their Romantic Bag On “My Healer”

Posted on by Boluwatife Adeyemi

Seyi Vibez is always on the go. Since seizing the metaphorical “Chance” that he earnestly demanded on his breakout single a couple of years ago, he’s been on an impressive creative streak, constantly tinkering and stretching the boundaries of Street-Pop’s traditional soundscape to produce some of the most innovative and critically acclaimed music of his career and, indeed, the wider Afropop sphere. 

Following the recent release of ‘FUJI MOTO,’ his ambitious but polarising seventh LP, the singer seems to be decisively shifting gears once again. That album, a curious and at times confounding experiment that notably tried to bridge Japanese imagery with Afropop influences, was undeniably innovative in its approach but struggled to find a consistent groove or thematic core. The arrival of his latest single, “My Healer,” feels like an attempt at course correction as he looks to set the tone for 2026. 

 

Produced by Tudor Monroe and AOD, two producers who also contributed to his latest album, the NSNV head honcho is in his romantic bag here, reminiscing about a love interest whom he last saw when he was 22. He pairs his more soulful, evocative sensibilities with the duo’s fast-paced percussion, yielding a more compelling outcome than similar, less successful attempts on ‘FUJI MOTO.’ 

The song’s tone is initially set by some euphonic bells, which remain an inviting backdrop across the single, and a complementary, although sometimes comical, opening Omah Lay verse, where he’s bemused by the lack of knowledge regarding his preference for sugar in tea, and like many of his peers, strongly warns that he does not play with his money. It’s mostly off-topic, but it works just fine thanks to the Grammy nominee’s strong delivery and the innate charisma he injects into every line. 

 

For Seyi Vibez, “My Healer” represents a step in the right direction. While some of his more cluttered, recent releases have suffered from a lack of cohesion or clear, thematic direction, this new single feels like a welcome return to the distinctive melodic and songwriting approach that his audience has come to cherish. It’s a strong start to what could be another memorable year for the Professor. 

Review: ‘REAL, Vol 1.’ by Wizkid and Asake

Recently, fans of Asake unearthed the singer’s old X account, which he used under his former stage name, Medoo. Among the flurry of old posts, his last tweet on the account stood out as an inspiring piece of digital artefact. “One Artist I would love to work with is Wizkid,” he tweeted in 2015 while promoting the first iteration of his hit single “Joha.”

That level of optimism from the ex-YBNL star is unsurprising, as collaborating or achieving success on the level of Wizkid, the established gold standard for African musical success, would have been the prevailing aspiration for many emerging artists at that time. What makes the narrative particularly compelling is Asake’s storied, meteoric rise and the eventual realisation of a monumental artistic vision. 

An iconic run that began with the release of the infectious, Olamide-assisted “Omo Ope” in early 2022 catapulted the Isale Eko-born singer to unimaginable heights in record time. He released an impressive trio of albums in as many years, showcasing an exemplary level of dedication and skill and becoming an inspiring symbol of success in the process, echoing the trajectory of a similar iconic figure from Ojuelegba who he once tweeted about years ago. 

 

A decade later, the two are sharing inside jokes on an episode of Instagram’s Close Friends Only series, one of the few press appearances they made to promote their new collaborative EP, ‘REAL, Vol 1.’ Their bromance began about a year prior, when Wizkid appeared on Asake’s third studio album ‘Lungu Boy,’ featuring on the standout “MMS.” Since then, the two have been vocal about their mutual admiration for each other, culminating in this new low-stakes, and potentially high-reward, EP that feels more like a commemoration of their bond rather than a statement of creative intent. 

Despite the strong camaraderie that has clearly developed between the two Afropop titans, this palpable personal chemistry has not fully resulted in a resonant musical synergy. “Jogodo,” the EP’s lead single, which arrived a week ago, is a passable tune that fits neatly into the current Afropop soundscape but lacks any distinctive cutting edge. The pair settles into a comfortable, mid-tempo groove over Magicsticks’ slick, although familiar, production, with neither really pushing the other, or the music itself, into a new or unique direction. 

 

This is mostly true for the EP’s other tracks. The opener “Turbulence,” led by Asake, who opens up the song with his soothing vocal inflection and philosophical aphorisms, coasts pleasantly but ultimately lacks any real bite. The more upbeat closer “Alaye” also offers little in the way of innovation but packs enough propulsive energy to get a crowd going. The project’s most interesting offering comes in the form of “Iskolodo,” a groovy, Calypso-influenced cut that features the duo’s strongest performance across the EP’s limited runtime. 

History suggests superstar team-ups almost always seem better in theory, and ‘REAL, Vol. 1’ does little to challenge that precedent. Yet, there’s significant upside to the EP. These two iconic figures, who represent different eras of Afropop’s rich history, coming together for a project like this feels like a satisfying cross-generational dialogue that’s indisputably authentic to the genre, if not necessarily ambitious. Also for Wizkid, it helps keep his impressive collaboration streak going, positioning him favorably for another solid year while it serves as an appetizer for fans of Asake who patiently await the release of his highly anticipated fourth studio album ‘M$ney.’

Northern Nigerian Musicians Are Rewriting The Playbook

Posted on by Melony Akpoghene

Contrary to what many might assume, a buzzing scene of new-gen Northern Afropop artists in Nigeria is very much alive—thriving even—though it exists, admittedly, at a slight tangent to the country’s mainstream music industry. Long insulated from the hyper-globalised churn of Nigerian popular culture, the Northern Nigerian creative ecosystem has endured in relative quiet. Yet the region’s artistic output, from Kannywood’s cinematic ambitions to its niche but resilient musical expressions, has persisted as a substantial, if chronically under-acknowledged, thread in Nigeria’s cultural fabric.

Historically, musical expression in the North has leaned towards traditional forms: devotional idioms, folk cadences, and religious genres have historically dominated the sonic terrain. This inclination is often attributed to cultural conservatism and sociopolitical realities that either keep Pop music at bay or relegate it to the margins when it does appear. Still, over the past few years, the North has begun carving out space on the national radar, and the current wave of artists is proving that its contributions are not only culturally resonant but commercially viable.

In 2023, FirstKlaz emerged as one of the few visible members of a new generation Northern Afropop acts to successfully breach the mainstream, triggering a recalibration thanks to his collaboration with the folk music group, Iliya Entertainment Music. His debut single, “Tonight,” braided Fuji and R&B into a fluid, unforced fusion. But it was his 2024 breakout trilogy—“Gen-Z Fuji,” “Gen-Z Faaji,” and “Gen-Z Arewa”—that sealed his reputation as a visionary and a sonic cartographer mapping terrains that felt unfamiliar but necessary.

 

The North historically boasts a deep musical archive, stretching from the courtly Hausa songs of the Sokoto Caliphate to the Islamic devotional traditions of Kano and Katsina, which offers a vast tonal and rhythmic vocabulary ripe for contemporary experimentation. What makes FirstKlaz especially electrifying is his intuitive precision: the careful placement of traditional Hausa instrumentation, such as the kalangu (talking drum) and the goje (two-stringed fiddle), within sleek pop architectures.

On tracks like “Gen-Z Arewa,” he folds the hypnotic pulse of the kalangu and plaintive, folk-leaning vocals into polished, forward-leaning beats. His lyrical nods to Hausa culture, presented with breezy insouciance, situate his work within a broader, transnational story, yielding a sound that feels rooted and futuristic. His seven-track debut EP, ‘Dejavu,’ released last year housing gems like “Soyaiya,” “Maria,” and “Lili,” further secured his footing as an essential innovator.

 

The buzz has been building, and it’s no longer just FirstKlaz drawing mainstream attention. By now, you’ve almost certainly heard OG Abbah’s viral “Wayyo Allah Na.” Though released in February 2025, the record detonated across social media later in the year, propelled by a video stitched together from vignettes of him cruising through his neighbourhood, visibly turnt, flanked by his crew. The bubbly, head-knocking production hits hard, shoving the track squarely into the banger zone it was made for. It’s not every day you encounter a Hausa rapper going that hard, but it’s also not without precedent.

 

Earlier pioneering collectives like SWAT ROOT, home to future heavyweights such as Mode 9 and Terry tha Rapman, laid critical groundwork. Their influence peaked through the uncompromising releases from the Payback Tyme Records stable, specifically with the 2001 release of Six Foot Plus’ ‘Millennium Buggin’ and the eventual arrival of Terry tha Rapman’s seminal debut, ‘Tha Rapmanifestation.’ Terry tha Rapman went on to release other landmark projects such as his 2007 debut studio album ‘Tha Rapman Beginz,’ which featured tracks like “Na Beanz.” Mode 9, who is often cited as the crew’s technical lynchpin, spent these formative years refining a style that would eventually earn him a record-breaking seven “Lyricist on the Roll” awards at the Headies. 

While his earliest Payback Tyme recordings for the unreleased ‘IX Files’ (circa 2001) became the stuff of underground legend, it was the 2004 release of ‘Malcolm IX – The Lost Sessions’ that officially announced his arrival as a dominant force in Nigerian Hip-Hop. This project, along with the subsequent 2006 mixtape ‘Pentium IX,’ essentially functioned as a manifesto for lyrically dense Nigerian rap, housing Boom-Bap classics like “Elbow Room” and “419 State of Mind” that proved the Northern scene could produce lyricism capable of standing shoulder-to-shoulder with the best of Nigerian Hip-Hop’s Golden Era.

eLDee of the Trybesmen also cut his teeth in the Kaduna scene, exporting that Northern-honed grit southward to help shape the late-’90s Pop soundscape. Then came the late-2000s wave of M.I Abaga, Ice Prince, and Jesse Jagz who gave the region a formidable, visible representation, imbuing Nigerian pop with a decidedly Northern sensibility and perspective. Magnito followed closely behind. 

 

Still, there’s something especially thrilling about the newer cohort: DJ AB, Classiq, Morell, Dap Boy, Deezell, and now OG Abbah, whose commitment to performing almost exclusively in Hausa feels unbending and forward-pushing in ways earlier generations did not fully attempt.

The sharp-tongued Rumerh has also emerged as one of the most arresting new forces, proving she can rap circles around just about anyone. Known as the “Queen Kong” of Kaduna, the Fulani artist has evolved from viral TikTok moments into a central figure in the Arewa Hip-Hop scene. For a long time, women’s names were conspicuously absent from conversations about music—especially Hip-Hop—but that absence is no longer tenable. Today’s women in music are hungry, unrelenting, and simply impossible to ignore. They are working twice as hard to cement their presence and are succeeding at it.

Rumerh first caught public attention in 2022 through open-verse challenges that showcased a flow far more seasoned than her years might suggest, as she leaned into an aggressive, modern aesthetic. “Streibullet” went viral last year, thanks to its ferocious and untamed energy. The rapper lunged at the beat with venom, hurling bars with zero hesitation and no interest in restraint. On “Beauty Sleep,” her slick flow glides across buoyant production, her bars razor-edged and breathtaking as she code-switches effortlessly between Hausa and English; her bite remains lethal regardless of the language. The remix featuring Magnito serves as a definitive co-sign from one of the scene’s established talents. Ice Prince has also lent his veteran credibility, putting his own stamp on the renaissance with a cover of OG Abbah’s “Wayyo Allah Na.”

 

Then there’s Princess Mufeeda, who raps in a clipped, weighty cadence guided by a no-frills, all-bars philosophy. Raised in Maiduguri, her career took shape after moving to Abuja, where she began balancing life as a recording artist and television actress. To many, she is Salma—her character on the popular series ‘Kwana Casa’in’—but in the booth, she steps into a far more forceful persona. Tracks like “Our Tears,” “Rising Star,” and “Ji Mana” rest on confrontational, drill-adjacent foundations, and she wields her voice like a calibrated instrument, delivering heavy punches packed with internal rhyme, technical sharpness, and pointed social insight.

Beyond the headliners lies a long bench of Arewa talent: Auta Waziri, Msquare Nahh, Boyskido, Feezy, Namenj—artists who are working within a self-sustaining economy and have cultivated loyal fanbases and thriving micro-scenes across the North, even as their reach remains largely niche. They champion their homeland’s sound freely, stubbornly, and relatively unbothered by mainstream expectations. They form a web of community, building careers through regional circuits, street-level credibility, and deep cultural fluency, sustaining communal scenes that continue to be influential.

 

The ascent of these artists signals a broader hunger within Nigeria’s music ecosystem. Beyond the unmistakable cool of OG Abbah’s “Wayyo Allah Na” visuals and the song’s sticky hook, the fervour with which it was received revealed how starved listeners were for something different. Last year, debates abounded around the idea that while the industry continues to churn out technically assured, chart-friendly records, Afropop may be eating its own tail—its spontaneity dulled, its experimental joy thinned, and its imagination running low. 

Hence, the enthusiasm surrounding these Northern acts exposed a curious overlap of frustration and desire: a craving for something different, risky, and genuinely interesting again. The clamour for the new reflected a subconscious longing for a disruptive style capable of delivering the jolts of excitement that new sounds or breakout acts usually bring, and though there were sparks that eased that drag, the appetite was never fully fed and will be carried into the new year. However, for many of these Northern acts, there are harder questions about sustainability.

Nevertheless, the sense remains that the tide is irreversible. Visibility and collaboration will definitely determine how far this wave travels. But it’s not all doom and gloom; the infrastructure is stirring, with DSPs like Spotify and Audiomack seemingly always willing to lend a hand. Expanding access to digital platforms and social media has thinned the walls that long hemmed this scene in, allowing sounds, stories, and identities to circulate freely across borders. Taken together, the experimental courage and cultural grounding of these artists suggest that Northern Nigeria’s creative ecosystem is no flash-in-the-pan. It is a scene with depth and breadth just waiting to take off. 

How 3-Step Became The Definitive Sound Of The Moment

Posted on by Temple Egemasi

With Contributions from Lerato Motaung and Sera Etta

 

Over the last three decades, South Africa’s vibrant Electronic music scene has proven itself a constant wellspring of global genres. In recent times, it has once again produced a new rhythmically complex sound that’s taking the world by storm. Dubbed 3-Step, a name that mirrors its sound, the most immediately recognisable feature of the sub-genre is the three-kick drum per bar, an intentional departure from the ubiquitous four-four or four-on-the-floor beat that characterises House music. 

By removing one of the four kicks per bar, an elastic groove is created, and a bounce that is both grounded and unpredictable. This emerging subgenre is rapidly gaining global traction, championed by a new generation of producers while sparking debate among industry veterans. It’s a subgenre defined by what’s present and the power of what’s intentionally left out.

The tempo of this emerging sound typically falls within the 113-120 BPM range, which is slightly slower than many Afro-House tracks. But it’s not just about rhythm. The production layers are quite textured, featuring log drums and basslines familiar from Amapiano, sharp percussive hits from Afro-Tech, wide pads that lend breath and air, and soft stabs of horn or synth. In other words, each component matters, and the spaces between matter even more. The groove feels like a conversation between drums, melody, and the silence that surrounds them.

PIONEERING THE SOUND

Johannesburg’s Thakzin, born Thabang Mathebula, has emerged as one of the central figures behind the rise of 3‑Step. In multiple interviews, he describes 3-Step not simply as a new sound but as a mindset; an approach to rhythm and culture, rooted in South Africa’s dance-floor traditions, yet open to mutation and experimentation. In a discussion with Spotify, Thakzin outlines 3-Step as more than just a stylistic approach, invoking spirituality, ancestral rhythm, and a sensibility of “healing” through music, drawing on imagery of sangoma drumming and trance states.

Before crystallising the 3-Step sound, Thakzin (then known as DJ Thak’zin) established himself in the Afro-Tech niche of House music. His discography before 3-Step’s rise includes tracks like “Bona,”  “No Fear,” “OK Dance,” and his ‘Kakapel‘ EP that was released in 2020.  The COVID-19 lockdown era provided him enough time to start searching for novelty, as it was quite easy to get bored with so little to do at the time. 

 

Thakzin spent much of the COVID-19 lockdown era on his YouTube channel, documenting his experiments with the sound that would go on to be 3-Step. Almost a year after the world was back outside, Thakzin released the track widely cited as the breakout moment for the sound, “The Magnificent Dance,” which helped crystallise the rhythm and brought wider attention to the genre. While the fetish for “origin” may always be contested, Thakzin’s role in shaping and naming the 3-Step movement is firmly recognised. He released “Possessed” in mid-2023 and “Burning Bush,” a joint effort with Morda, later in September, and both tracks have gone on to be genre classics to this day.

In 2023, Thakzin was featured on DJ Kent’s “Horns In The Sun” and Oscar Mbo’s “Yes God,” two ever-present tracks on every fundamental 3-Step playlist. In just a few short years, Thakzin has moved from quiet experimentation to becoming one of the most decisive architects of South Africa’s newest Electronic pulse. 

DISPUTE, ADOPTION, AND ACCEPTANCE

Every emergent genre comes with debates, and 3-Step  is no exception. There was a high-profile dispute between Heavy K (Mkhululi Siqula) and Prince Kaybee (Kabelo Motsamai) in August 2025 over who “invented” the genre. Although Thakzin remains formally recognised for the subgenre popularisation, 3-Step has some of its earliest roots in unofficial DJ mixes and live sets, blasting at grooves or from the subwoofer in the taxi on the way to school. 

While Heavy K’s acclaim stems from his substantial market share of early unofficial 3-Step DJ mixes, Prince Kaybee released “Ebabayo” on digital platforms in 2021, one of the first official records in close sonic proximity to what we recognise as 3-Step today. This spat reflects how 3-Step is now big enough to attract legacy claims and, by extension, cultural currency. Institutionally, award ceremonies and streaming platforms are now recognising artists operating within 3-Step, further cementing its place on the scene. While Thakzin may be the lodestar, 3-Step has found multiple outlets and offshoots through other DJs and producers.

One such ambassador of the sound is Dlala Thukzin. His background in Gqom and Amapiano means his 3-Step production traces those roots: driving percussive rhythms, log drums, and bounce. Dlala’s 3-Step offerings usually feature sonorous vocals, vivid synths, and dancefloor urgency as seen in “VAR” with Goldmax, “Ama Gear” with Funky QLA and Zee Nxumalo, and “iPlan” with Zaba and Sykes.

 

Atmos Blaq, fondly referred to as the “Lastborn of Afro-Tech,” opened his catalogue with a House remix of Afro Pupo’s “Venus” in 2019. From 2019 to date, he has racked up an impressive catalogue that features an array of Thakzin features and a culturally-important breakthrough single. This single, “Kwa Mama,” achieved two important things: it gave the sound significant visibility, as he was already an established DJ and producer before his first 3-Step track, and it established the start of his 3-Step legacy with an instant banger. His contribution to “Ubuntu Groove” cemented that ascent, weaving 3-Step’s percussive, swung style into his sets and production work. Despite being barely 24, Atmos Blaq has already secured high-profile cosigns from industry heavyweights like Black Coffee, Shimza, and Keinemusik, and his compositions have been featured on primetime South African television.

MÖRDA and Oscar Mbo are also very important contributors to the subgenre, featured as co-contributors on “Mohigan Sun” and “Yes God,” two all-time tracks within the subgenre. Also within this legacy bracket are “Burning Bush” by MÖRDA and “Vuka” by Oscar Mbo, JAZZWRLD, and Thukuthela. Other stars like Jnr SA, Dankie Boy, CIZA, Argento Dust, Zeh McGeba, Musa Keys, and DJ Kent are other prominent names who have made important contributions to the growth of this once-niche sound. Thus, the adoption of 3-Step by these DJs is not merely a case of riding a trend; each brings their own history, influence, and regional context into the genre, shaping its diversity and adaptability.

 

A CROSS-CONTINENTAL GROOVE

As with every global sound, 3-Step has found its way to Lagos. You could describe Lagos as the continent’s dancefloor, and you’d not be wrong at all. The Nigerian EDM scene is currently experiencing its biggest bloom, and this growth has been exemplified by an increasing spotlight on subgenres like 3-Step and DrumNBass in the country. Other indicators of this growth include the development and proliferation of parties focused on 3-Step and similar sounds, as well as the presence of both international and homegrown 3-Step DJs on the lineups of some of the country’s biggest raves.

Since movements like Sweat It Out broke out, more EDM and Afro-House outfits have sprung up, and two of them, Monochroma and Group Therapy, have been notable for consistently platforming 3-Step at their editions. Apart from the presence of 3-Step on the set plan for almost every edition of these raves, internationally renowned 3-Step DJs have been featured on several editions. Thakzin headlined Monochroma in February of 2025 in what many remember as one of the best nights of the rave scene as he spun original and unreleased 3-Step music for hours, while the Lagos crowd simply defied the pouring rain and took it all in. 

Since its inception in 2024, Monochroma has also hosted JNR SA, Dankie Boi, Goldmax, CIZA, Drumetic Boyz, Zulu Mageba, and, very recently, DJ Vitoto. Group Therapy’s 2025 roster of headliners also included 3-Step heavyweights like Dlala Thukzin, Atmos Blaq, Prince KayBee, Funky QLA, and Argento Dust. This robust mix of the old guard and contemporary trailblazers ensures that Lagos has access to a diverse range of this subgenre’s flavours, and seeing that excess is the city’s defining character, Lagos went on to host Desiree, MÖRDA, Oscar Mbo, Dlala Thukzin, Distruction Boyz, and JNR SA alongside Blak Dave, Aniko, and Proton in December. 

 

Since its continental breakthrough, every major name in 3-Step has gotten on a flight to spin a set in Lagos, and this is impressive considering the context within which they’re making this happen: a new emerging sound, four-and-a-half thousand kilometres from its birthplace, crazy economic realities, in a country that frowns at the queer communities that have kept EDM alive. 

The current appeal for 3-Step music in the global Afropop capital is the byproduct of an interesting coincidence: the elastic groove of  3-Step’s setup fits perfectly when transposed onto popular Nigerian genres. Lagos-grown selectors who have hacked this technicality have consistently delivered electric sets while balancing the sound’s originality with its appeal to the audience. Some of these memorable 3-step sets include Blak Dave and Proton’s B2B at Monochroma in September 2025, Aniko’s Monochroma set in November 2024, Proton and Sigag Lauren’s B2B and Blak Dave’s headliner set at “Blak Dave and Friends” in July. 

As a consequence of largely positive feedback from the early 3-Step sets in 2024 that were experimental at the time, a rapid proselytising of this sound happened, with a “3-Step remix” catalogue of Afropop bangers developing. Prominent examples of this include the “Oblee 3-Step Remix” by KEVIN LNDN and Abiodun, Jesse Alordiah’s “Escaladizzy 3-Step Remix,” and “Fokasibe” by Naija Housa Mafia.

 

WHO ARE THE BUILDERS?

This novel subgenre currently has a small catalogue of original compositions by Nigerian DJs, and David Olubaji owns a large share of that cake. His first EP, ‘The Third Step,’ was the first 3-Step project by a Nigerian DJ and was released under his moniker, Blak Dave. “Igoke,” one of the standout tracks on the EP, is currently a crowd favourite and is well on its way to becoming a defining tune for the subgenre in the Nigerian space. 

Blak Dave transitioned to music after a decade in the tech world, and has since become a leading purveyor of Afro-House and 3-Step in Nigeria. In addition to his aforementioned contributions to the sound and co-running Monochroma with his friend Proton, he owns the Blak Dave And Friends brand. This rave almost exclusively features 3-Step headliner sets. To put his behind-the-scenes contribution into perspective, he executed a Thakzin headliner for Monochroma in February, then delivered a JNR SA headliner for another Monochroma edition in April, and another JNR SA headliner for Blak Dave and Friends. 

 

 

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An interesting decision Blak Dave has made is to make his discography serve as the backbone of the scene he is building. After his EP, he has released two more 3-Step singles: “Keshi” with SoundsOfAce in November 2025, and a feature on “Attack” with DJ Six7even in December. Another important contributor to this subgenre is Jamie Black, who displayed his dexterity on “Fokasibe” as part of the Naija House Mafia group and “Ogba” from the “Flow” EP. Other very notable mentions are KEVIN LNDN, who made the “Hot Body 3-Step Remix,” the “Hey Jago 3-Step Remix,” and collaborated with Blak Dave on the entirety of his ‘The Third Step‘ EP.

According to Blak Dave, 3-Step’s amorphous structure is crucial to the positive reception of the sound in Nigeria: “The bounce, the omitted fourth kick gives it a bounce that Naija melodies can flow smoothly with,” he explains. “That way our DJs have found a way to mash up and spin off 3-Step remixes of hot jams.” He is not wrong. Aniko and Adeyi shared a set at Group Therapy Abuja, and one of the highest points of the night was when they spun the “Escaladizzy 3-Step Remix,” sending the crowd into a frenzy.

 

 

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A post shared by Catch The Gigs (@catchthegigs)

MORE STEPS

Though rooted in Johannesburg townships, 3-Step has begun to travel: London DJs, continental African markets like Nigeria, Kenya, and Uganda, as well as streaming playlists, are all pointing to its growth. The fact that the rhythmic novelty lends itself to dance-floor delirium, and that its hybrid nature draws from Amapiano, Afro-Tech, and Deep House, means it has crossover potential globally. 

While 3-Step is still relatively fresh, there are several notable instances where the subgenre has been showcased on significant stages. Thakzin’s inclusion on Beatport’s Next Class of 2025, and on lineups like Montreaux Jazz Festival and Ultra South Africa, hints at club and festival circuits recognising his sound and, by extension, 3-Step. According to public streaming data reports like Spotify’s Wrapped, Apple Music’s Replay, and YouTube’s Recap, 3-Step tracks like CIZA’s “Isaka II” with Tems and Omah Lay, and “iPlan” by Dlala Thukzin have become continental hits, thanks to streaming success and social media-driven exposure. In less than five years, 3-Step has moved beyond intimate township or club sets, now being featured within large-scale DJ performances, festivals, and cross-continental streaming moments.

Ultimately, the emergence of 3-Step marks another evolution in the rich lineage of Dance music, and at its core is Thakzin’s structural innovation, his desire to blend cultural inheritance with industrial club energy, and a rhythm that feels both fresh and grounded. As the rhythm spreads from Johannesburg to Lagos, London, Nairobi, and beyond, its acceptance is no longer niche; it is being embraced, cosigned, contested, and celebrated.

Bugwu Aneto-Okeke Joins The MERLIN Board

Posted on by The Native

Merlin, the digital music licensing partner for the world’s leading independent labels and distributors, kicks off 2026 by announcing its new Board, bringing together leaders from the independent music industry in 12 different countries across Africa, Asia, Europe, Latin America, North America, and Oceania. The Merlin Board is elected from and by its membership, which represents tens of thousands of independent record labels, distributors, and rightsholders from around the world.

Merlin is the digital music licensing partner for the world’s leading independent labels and distributors. Merlin has negotiated premium deals with Apple, Canva, ElevenLabs, Meta, Spotify, YouTube, and 40 other innovative platforms around the world. Our global membership is from 70+ countries around the world, representing 15% of the global recorded music market.

Merlin operates for the benefit of its members, without investors looking for an exit, and is funded entirely by our low 1.5% admin fee. Merlin helps the world’s leading independent music companies to own their digital business through world-class deals and a range of member benefits.

The Board members bring a wealth of experience to guide the organisation in its mission to enable and support its members’ independence. They offer the deeply informed global perspective of a range of leaders with hands-on experience navigating markets across the world.

The Board includes a mix of new and returning members. Newly elected to the Board are: Bugwu Aneto-Okeke, Measurable Accurate Digital Solutions (Nigeria); Charles Caldas, Exceleration (Portugal); Manami Ogawa, STARBASE (Japan); Rachel Buswell, Domino (UK); and Sascha Lazimbat, Zebralution (Germany).

“We are delighted to welcome our new Board Members, each of whom brings a unique and high value perspective to Merlin,” said Charlie Lexton, CEO, Merlin. “Merlin’s dedication to delivering unique benefits and best-in-class deals is at the heart of our mission. As the digital landscape continues to evolve, our Board’s experience across markets and business types is an invaluable resource in ensuring we continue to deliver premium value to our members around the world.”

In addition to the elected members, Merlin has appointed Dan Waite, Better Noise (UK), and Verónica Rojas, Casete (Mexico) as Board Observers. Re-elected to the Merlin Board and continuing their service are: Carlos Mills, Mills Records (Brazil); Chris Maund, Mushroom (Australia); Darius Van Arman, Secretly Group (US); Golda Bitterli, Revelator (Israel); Justin West, Secret City Records (Canada); Louis Posen, Hopeless Records (US); Marie Clausen, Ninja Tune (US); Megan Jasper, Sub Pop (US); Pascal Bittard, IDOL (France); and Tom Deakin, AudioSalad (UK).  

Beggars Group and Merlin founder Martin Mills will continue to serve as a Director of Merlin Network, the organisation’s parent entity, alongside Darius Van Arman, who continues as Merlin Chairperson, and Merlin CEO, Charlie Lexton.

Merlin would like to extend its appreciation to all of its outgoing Board Members. Merlin thanks Eniko Gallasz (WMMusicDistribution), Fer Isella (limbo music), Jeffrey Chiang (Fluxus), Jennifer Newman Sharpe (Exceleration), Michael Ugwu (Freeme Digital), and Simon Wheeler (Beggars) for their service and contributions to the organisation.

10 Artists To Watch Out For In 2026

Posted on by The Native

The bulk of the work we do at NATIVE Mag revolves around music and its capacity for inspiring the best of us. However, the journey to being a music star has never been more fraught with uncertainty and structural barriers. Whether it’s a Nigerian Indie Pop star at the beginning of her career or a South African vocal prodigy, the need to get behind the acts we love has never been more urgent or felt as right as it does in 2026. With that in mind, we are sharing a list of some of the stars we believe will be big draws over the coming months.

tg.blk

 

Nairobi’s alternative scene may have found its most compelling export in tg.blk. Recently inducted into Apple Music’s Africa Rising Class of 2026, she has built momentum through her fearless delivery of lo-fi, emotionally resonant tracks, earning a loyal, cult-like following across East Africa. With a debut album teased for later this year, tg.blk is poised to expand her genre-blurring sound while solidifying her place as one of the region’s most exciting emerging voices. – Melony Akpoghene

Igwe Aka

 

Igwe Aka is starting the year on the front foot, exploring heavily-stylised Igbo Hip-Hop and Trap music with the release of “Kapow.” This builds on the already established acceptance for his distinct artistry. With his current momentum, 2026 is potentially the year for a mainstream star turn accompanied by a widespread inclusion in pop culture conversations. – Michelle Ejiro

MaWhoo

 

A KwaZulu-Natal native, MaWhoo has evolved from a “hook killer” for giants like Kabza De Small into the undisputed golden voice of 3-Step and Amapiano. Her sound is defined by rich, spiritual Zulu lyricism layered over electronic dance beats. With her defining solo project, ‘Amazwi Okubonga,’ released last year and featuring tracks like “Bengicela” and “Umona,” she cemented her ability to carry hits on her own. As 3-Step itself showed significant promise last year, it is compelling to watch how MaWhoo grows alongside the genre, while also hinting at a reach that extends beyond it. – M.A

Elsy Wameyo

 

A producer, rapper, and singer born in Nairobi and now based in Adelaide, Elsy Wameyo is a self-sufficient artist who writes, produces, and directs her own work. Her music draws on choral Gospel elements and moves fluidly between Hip-Hop, Soul and alt-R&B, weaving in themes of identity and belonging shaped by her African heritage. Over time, her sound has grown more confident and focused. On the self-titled EP she released last year, ‘WAMEYO,’ she sharpens that approach, pairing tightly controlled flows with an assertive delivery that highlights her technical skill and sense of command. – M.A

Rico Ace

 

EsDeeKid, the hottest thing out of the UK at the moment, has generated massive buzz thanks to the release of his 11-track LP ‘Rebel,’ which hit No. 4 on the US Billboard’s Rap Albums chart. A couple of its biggest songs, “Phantom” and “LV Sandals,” both feature another exciting British rapper named Rico Ace. While a lot of the rising star’s work has been in collaboration with EsDeeKid, 2026 could be the year he steps out of the Scouser’s shadow. – Boluwatife Adeyemi 

Danpapa GTA

 

The viral success of the snippet of Dan Papa GTA’s latest single, “Ikeja (No Go Thief),” meant 2026 was going to be a pivotal year for the promising up-and-comer. He’d been digging away at his eccentric style for a couple of years, experimenting with his production choices, lyrical content, and long-winded intros. It’s finally begun to pay dividends, and the coming months could be really exciting for the singer and his growing fanbase. – B.A

Valentino Rose 

Valentino Rose might only just be at the start of her career, but the singer’s powerful voice and mastery of messaging stand her out, whether she’s leaning into predestination on “Higher” or going toe to toe with ODUMODUBLVCK on “TOY GIRL.” 2025 was an eventful year for the rising act who showed her range across several features and collaborations, 2026 could be the year that she claims her place at the top tables of Afropop – Wale Oloworekende

Monochrome

 

Monochrome’s delivery of his verse on the buzzing single, “How Far,” sets precedence for a takeoff as the year progresses. It follows his slow and steady growth from following releases like “SUPA-SEHski” and ‘+SWAGU’, which essentially showcase his range, ability, and readiness to set bodies moving. – B.A

Kkeda

 

Kkeda might just be Afropop’s biggest open secret. From hypnotic sensual cuts like “No Words” to declarative Pan-African collaborations like “Queen Africa,” the Accra-based singer has built a reputation for glidng across soundscapes with profound clarity and purpose. If her suites of releases from 2025 showed anything, it is that the singer is inching ever closer to a breakthrough moment. – W.O

WAVE$TAR

 

2024 was the year WAVE$TAR officially debuted, showing promise on his fiery mixtape, ‘STARLIFE.’  The project served as a strong manifesto for what was to come, funnelling his fears, lofty ambitions, and hedonistic tendencies into fun music. He built on that promise in 2025, thanks to the success of “Escaladizzy,” and the late-year release of “PRADA BBY” and “TRAP.” As the calendar turns, 2026 feels poised to be a monumental year for the rising rapper. – B.A 

NATIVE Mag’s Best Albums Of 2025

Posted on by The Native

Halfway into the 2020s, the album as a format still remains the standard of musical execution. Over the years, that claim has been propped up by the success of a variety of African albums that straddle the divide between tradition and innovation. Our list of best albums from 2025 pays homage to that ideal, balancing the tightrope between madcap innovation and genre-furthering exploration.

Whether it was Moonchild Sanelly making light work of supposed boundaries between South African House variants or The Cavemen. broadening the scope of Highlife as ever, we have been invigorated over and over by the albums on this list. Even when the aim has not been euphoric escapism, other albums have faithfully captured the contradiction at the heart of the human experience like Boj’s ‘Duplicity.’ All in all, the albums on this list had us genuinely enthralled, representing all that keeps us hopeful about the present and future of music.

20. ‘FUJI’ – Adekunle Gold 

For his sixth LP album, ‘FUJI,’ Adekunle Gold doubled down on his approach of co-opting Yoruba music into his contemporary brand of Afropop. Gold appeals to his grassroots followers this time, slightly dropping his urbane campaign a notch. The result is an even album that borrows as much from past Nigerian music genres as it does from R&B standards administered with a contemporary American Hip-Hop sensibility. ‘FUJI’ is lush and smooth, considered and thoughtful. It’s filled with enough biographical details for us to see that there is a father, a husband, a son, and a sickle cell survivor here willing to show off his vulnerabilities and his victories. With standout tracks like the Yinka Aiyefele-assisted “Many People,” 6LACK-conscripted “Love is An Action” and the star-studded “Bobo,” ‘FUJI’ is Adekunle Gold’s best album since ‘AfroPop Vol. 1.’ – Dami Ajayi. 

 

19. ‘Full Moon’ – Moonchild Sanelly

‘Full Moon’ captures Moonchild Sanelly at her most imaginative. She’s in command of all her powers, swinging wildly between Kwaito, Amapiano, Gqom, Afro-Punk, and Electro-Pop. She lets her playful wit carry songs about bodily autonomy, desire, and self-actualisation, as the elastic rhythms provide structure. The album is fun, light on its feet, and very thoughtfully composed, providing a solid beam for Moonchild to stretch her sonic universe without losing the exuberance and unpredictability that make her enjoyably unique. – Melony Akpoghene. 

 

18. ‘Juvie’ – Joshua Baraka

2025 was a fruitful year for East African R&B, but Joshua Baraka pushes the boundaries of the style in a way that feels wholly unique without losing the emotive cognition of it all. He took that ability to task across his debut album, ‘Juvie,’ released in November 2025. A coming-of-age epistle, ‘Juvie’ contends with guilt, gratitude, and romance without losing sight of the human heart that is responsible for its creation. It’s that recognition of needing to parse emotions through different formats that makes the 12 songs of ‘Juvie’ fascinating, whether Baraka is launching into a stirring rap flow on “Morocco” or deconstructing the parameters of a romance on “Wrong Places” over a percussion-led instrumental by JAE5. – Wale Oloworekende

 

17. ‘Bab’motha’ – Kabza De Small

Ever perceptive of how South African House continues to evolve and find new form, Kabza De Small has kept his sound lithe and nimble over two decades into his career. On ‘Bad’Motha,’ the king of Amapiano finds himself at the cutting edge of the sound that he helped to break to an international audience. There is a link-up with 3-Step innovator Dlala Thukzin on “Ngyozama,” a rip-roaring declaration of gratitude on “Siyabonga” with Nontokozo Mkhize and Mthunzi. In a year of many highs for South African House music,  ‘Bad’Motha’ offered a timely reminder of Kabza’s curatorial prowess and the abiding brilliance that has made him one of Africa’s foremost musical minds. – W.O

 

16. ‘Duplicity’ – Boj

With six solo projects under his belt, Boj continues to demonstrate an impressive work rate and a capacity for keeping his sound and artistic vision fresh. His latest album, ‘Duplicity,’ released just a couple of weeks ago, is a testament to his continuous evolution as the singer fully leans into the exploration of a dual personality, showcasing both his rogue, assertive side as well as his softer and introspective persona. Thanks to the varied and stellar production work from Genio, he can achieve the intricate balance required for a concept album of this nature. – Boluwatife Adeyemi

 

15. ‘Cavy in the City’ – The Cavemen.

Ever since they emerged, The Cavemen. have served as a vessel for the timelessness of Highlife, and on ‘Cavy in the City,’ that vessel is confidently steered into international waters. The duo’s latest effort is a sumptuous expansion of their mandate, leaning further into globalism than ever and weaving their warm guitar lines and sunny polyrhythms across the album’s cosmopolitan fabric, with contributions from Pa Salieu and Angélique Kidjo. – M.A

 

14. ‘catharsis’ – Fola

Fola’s Afropop ancestry is tricky. He is collegial with Kizz Daniel and mentored by Bella Shmurda, but the strongest influence on his style is post-‘Made In Lagos’ Wizkid. Fola sits within that slow tempo, psychedelic-invoking Afropop that melds American R&B mood with the unadorned realities of Nigerian Street-Pop. On the first listen, ‘catharsis’ feels like an understated statement album. On the umpteenth listen, it is an incurable earworm where the track-listed songs meld into each other, achieving a spool of dramatised traumatic experiences. – D.A

 

13. ‘Less Trouble’ – Shekhinah

‘Less Trouble’ finds Shekhinah doing what she’s always done: laying her heart bare with so much depth that it knocks the wind out of you. She’s an exacting lyricist whose reliance on mood and scene-setting broadens her music’s scope to cover the full spectrum of longing, love, and loss. On this album, she traces the bruised contours of her emotional world and pushes further in, singing plainly from places that still ache. The music transports you somewhere beyond words and tears open whatever vulnerability you’ve tried to tuck away. Whether she’s singing wistfully about letting go of a ne’er-do-well lover on “Bare Minimum” or belting out passionate lines of devotion—“I put your love on, boy, I wear it”—on “Steady Pt. 2,” ‘Less Trouble’ is filled with vignettes of a self-aware yearner determined to keep trying, no matter how many attempts it takes. – M.A

 

12. ‘The Summer That Saved Me’ – Odeal

Odeal has been on an incredible run for the past 18 months, releasing a succession of well-received singles and projects that have earned him a reputation as one of the leading figures operating at the intersection of Afropop and R&B. A highlight of this recent run is ‘The Summer That Saved Me,’ the first instalment of his two-part project, which arrived earlier this year. He’s as dynamic as he’s ever been on here, moving from a tranquil acoustic affair with R&B sensation Leon Thomas to the bounce and buoyancy of “London Summers,” without losing his soothing flair. – B.A

 

11. ‘punKstA*’ – Luwa.Mp4 

Luwa.Mp4’s standout quality is his freewheeling Punk-Rock spirit; a constant desire to experiment, merging a kaleidoscope of influences to create a unique, nostalgic, and instantly recognisable sound. ‘punKstA*,’ his official debut album, is the ultimate showcase of this riotous, non-conformist energy. He dismantles convention across the project’s 12 tracks, morphing elements from Afropop, Grunge, Hyper-pop, R&B, and Rap into a cohesive yet delightfully chaotic whole. – B.A

 

10. ‘Very Stubborn’ – Victony

Victony’s eight-track EP, ‘Very Stubborn,’ is an  addendum to his exquisite 2024 LP album, ‘Stubborn.’ A sonic rebound of lush production, it boasts smooth lyrical excursions drawing from his rough working-class background in Lagos suburb Ojo. Victony juggles several experiences, including his ongoing survival guilt, which follows his remarkable success. Adjusting to the demands of his newfound fame, particularly the attention and affection of niceties, including beautiful women, Victony lends his falsetto to songs that glean joy from an edgy biography of precarious Nigerian youth. However, he doesn’t walk alone; he pulls heavy hitters like Don Jazzy on “E Go Be,” second-generation Afrobeats legend Terry G on “Tanko,” and Afropop royalty Olamide on “Skido,” easily the album’s standout dance track. – D.A

 

9. ‘INDUSTRY MACHINE’ – ODUMODUBLVCK

Fans of ODUMODUBLVCK would not believe their luck after getting two full-length projects from the rapper in 2025, but it is on the long-anticipated ‘INDUSTRY MACHINE’ that he unfurled the full range of his ability. Clocking in with 23 songs, ‘INDUSTRY MACHINE’ runs through influences from Highlife, House, Afrobeat, and Trap with aplomb. It was all held together by ODUMODUBLVCK’s signature grit and charisma. There is an edge to his flow on “UNAWARE,” “LAYI WASABI,” and “IF YOU LIKE GYM,” but for the most part, he’s keen to assure his lover that he has her best interests in mind with highlights like “DO YANGA,” “CANDY MUSIC,” and “MY ANGEL” showing a sentimental side to the rapper. – W.O

 

8. ‘Sogolo’ – Witch 

WITCH (We Intend to Cause Havoc), a renowned Zambian band, have been around for about five decades, pioneering a legacy of Zamrock and Native Zambian music from the inception of their 1977 debut ‘WITCH.’ ‘Sogolo’ follows their 2023 project ‘Zango,’ and it is just as  multifaceted as the latter, exploring a psychedelic approach on “Nadi, ” Rock inspiration on  “Kamusale,” Alternative R&B on  “Set Free,” and tilting towards spirituality and worship on “Totally Devoted.” Across 39 minutes, WITCH creates a listening experience that feels nostalgic thanks to its retention of their ’70s approach, but also refreshing enough to make a difference in a year like 2025. – Michelle Ejiro

 

7. ‘The Godmother’ – Dbn GoGo

Dbn GoGo understands more than anyone that referring to oneself as the godmother requires a level of sophistication that significantly permeates the music and aura to accompany said claim. She has been at the forefront of Amapiano’s global rise, and ‘The Godmother’ solidifies her stance. With production credits across all tracks, she employed extra vocals from some of South Africa’s renowned voices, including Scotts Maphuma on “DLALA GOGO” and Moonchild Sanelly on “THE BOY IS MINE.” With ‘The Godmother,’  Dbn GoGo establishes herself deeper as a game lover and, particularly, a player who understands the intricacies of staying afloat. – M.E

 

6. ‘031 Studio Camp 2.0’ – Dlala Thukzin 

The nature of South Africa’s vibrant Dance music scene is such that there’s perpetually a new talent emerging to captivate audiences, alongside a broader, developing subgenre that is simultaneously sweeping the nation. Durban’s Dlala Thukzin has recently emerged as one of the country’s most compelling names thanks to his exploratory and collaborative spirit. The 2025 instalment of his running series, ‘031 Studio Camp 2.0,’  is already proving to be an essential catalyst for the evolution of South African music, bringing together some of the country’s finest musical talents to creatively explore Afro-House and its burgeoning offshoot Afro-Tech. – B.A

 

5. ‘Captain’ – Bnxn

Easily Bnxn’s most experimental and widely acclaimed body of work yet, he evolves from his signature ballady style to a heavily influenced Afropop style. The change had been set in motion with the release of  “Phenomena” and the Rema-supported  “Fi Kan We Kan” in 2024. ‘Captain’ being his sophomore album, was an incredible showreel of his growth from the melancholy of ‘Sincerely, Benson,’ and even though he still retained a core of his rhythmic style on songs like  “I Alone,” “In Jesus Name,” and “5hrs Till Nairobi,” his bolder nuance shines on “Jies” and “Cutesy,” which shaped a versatile body of work. – M.E

 

4. ‘Thato Ya Modimo’ – Kelvin Momo

A leading figure in the private school iteration of Amapiano, Kelvin Momo has forged a unique path with songs that gently build up into grand treatises on the human condition and life’s vicissitudes. Much like all that has come before it in Momo’s oeuvre, ‘Thato Ya Modimo’ is a soothing tribute to destiny, culture, and family. Inspired by the producer’s name, the title translates to ‘God’s Will,’ signifying a sense of surrender that’s explored on songs like “Take Me to the River,” “Modimo,” and “Bring Me Back to Life.” As one of the foremost Amapiano acts of his generation, Momo’s work on  ‘Thato Ya Modimo’ is both a promise and demonstration that amapiano will never abandon its soulful origins come what may. – W.O

 

3. ‘Paradise Now’ – Obongjayar

Listening to an Obongjayar project can best be likened to being on a Ferris wheel, going round and round, adrenaline pumping through one’s veins. ‘Paradise Now’  imitates an exotic ride. Songs like the  solemn album opener, “It’s Time,” and the tearjerkers, “Born In This Body” and “Happy Head,” were emotionally gripping, while the album’s upbeat gems, “Holy Mountain” and “Just My Luck,” gave rise to a revving energy.  In sum, listening to ‘Paradise Now’ is not a linear experience, and Obongjayar’s sonorous, heartfelt vocals accentuate its perfection.  – M.E

 

2. ‘BLACK STAR’ – Amaraee

Amaarae is always tugging the dancefloor toward some brighter, stranger place. Her glorious third album, ‘BLACK STAR,’ is a full-throttle commitment to the hedonistic lifestyle she has spent much of her career projecting. The album is one of this year’s most exhilarating global Pop statements, collapsing different forms of Black dance music into a sensual, pleasure-soaked soundworld. Amaarae sings with disarming directness about sex, drugs, and more sex. But even in its bawdiest moments, the album never loses its composure, each beat slotted precisely where the body wants it. It’s a record that banks on joy, pleasure, and freedom—and wins because it takes none of those things for granted. – M.A 

 

1. ‘then 1t g0T crazy’ – Zaylevlten

It’s remarkable how much can change in just 12 months. Near the end of 2024, Zaylevelten released a ruminative tape titled ‘before 1t g0t crazy,’ tunnelling into his interests, motivations, and quirks across a thrilling 15-song dispatch from the heart of Yaba, a densely populated student area on the mainland of Lagos. One year later, the ambitions of ‘before 1t g0t crazy’ are more or less realised on ‘then 1t g0t crazy,’ a madcap exploration of just how wildly one’s dreams can mutate when long-held hopes become a reality. An empathic tome from the depths of the Nigerian underground in a year when the scene has revitalised Afropop, ‘then 1t g0t crazy’ cackles with invention and  an insouciant brilliance, whether Zay is flexing his financial muscle on “Guide Pass” or detailing how much his listener base has expanded on “Isa Lot.” Things get wild across the original and deluxe version of ‘then 1t g0t crazy,’ but you get the sense that Zaylevelten is just having a blast, whatever comes. – W.O

NATIVE Mag’s Best Songs Of 2025 

Posted on by The Native

It was the renowned musician, Fela Anikulapo-Kuti, who described music as a weapon all those years ago. Decades later, music remains a profound weapon for a variety of reasons. For Fela, music was an instrument against post-colonial repression and institutional corruption. For a new generation of Africans and Black diasporans, music is a tool to deal with ennui, emotional imbalance, and the socio-economic landscape of the 21st century.  2025 has not proved to be an exception in that regard, thanks to the inspired work of several talented musicians who continue to forge new pathways for our music. This year has seen a further uptick in the proliferation of Dance music from Southern Africa, while the Nigerian underground has also made a spirited comeback. It all set the stage for some thrilling music that never let the groove stop throughout 2025. 

20. “Bengicela” – GL_Ceejay, MaWhoo, and Thukuthela

Collaborations are powerful, and when voices meld in deep-seated alchemy, the result is a layered, tranquil experience that is gracefully depicted on MaWhoo’s  “Bengicela.” Assisted by South African heavyweights GL_Ceejay, Thukuthela, and JAZZWRLD, “Bengicela” is divinely inclined, subtly translating to a vulnerable call to be saved amidst life tribulations. It is lyrically despondent but simultaneously uplifting. – Michelle Ejiro 

 

19. “99” – Olamide ft. Asake, Young Jonn, Seyi Vibez & Daecolm

The Yung Willis-produced “99” is the standout tune on Olamide’s self-titled eleventh LP with good reason. It features a cast of Afrobeats heavy hitters and the South-African born Zimbabwean Daecolm. Despite the all-star lineup, the star wattage doesn’t burst the fusion of smooth Electronic Dance and retro Hip-Hop sensibilities the song invokes. It is the Afropop lingua that gives it away as local production. “99” packs a global feel with its elevated but understated production values. – Dami Ajayi

 

18. “Shaolin” –  Seyi Vibez

2025 was a somewhat muted year for Seyi Vibez, but that said, the larrylanes-produced tune “Shaolin” is a standout record from this year. With an incantatory verse delivered in spirited cadence full of vibrant street slang, the TG-Omori-directed music video adds visual colour, Kung Fu-inspired scenes, and Nigerian-life-inspired dance choreography into this less than three-minute-long song, fusing ambient oriental music with relentless African percussion. – D.A

 

17. “One Condition” – DJ Tunez, Wizkid, FOLA 

DJ Tunez and Wizkid were arguably as active this year as they’ve ever been. The duo was on a noteworthy run all year, strategically embracing a new wave of Afropop talents to skillfully blend their signature, Dance-inspired soundscape with fresh, innovative perspectives. This strategy worked a treat, especially on the hypnotic “One Condition,” a buoyant, Ozedikus-produced number that pairs FOLA’s soothing vocals with Wizkid’s laid-back charm. The result is an irresistible track equally suited for the fervor of an energetic dancefloor and the solitude of a quiet bedroom. – Boluwatife Adeyemi

 

16. “Cough Syrup” – Bnxn

Originally owned by Victony, but astutely complemented by Bnxn, it’s a delight that they were both convinced it fit better on ‘Captain’, and quite frankly, it’s one of the songs that gave life to the album. It is arguably one of the unrivalled written Afropop records of 2025 with spellbinding vocal delivery from both artists. – M.E

 

15. “Mali” – Dlala Thuzkin, Zee Nxumalo, Sykes

Coming off Dlala Thuzkin’s second edition of ‘031 Studio Camp,’ an album that features the best South African voices operating at the moment, Zee Nxumalo and Sykes complement Dlala’s inventive production on “Mali,” heralding a song that has travelled far across the continent, satiating the increasing demand for House music at raves. Within the year, Dlala Thuzkin has gradually become a staple name at parties, thanks to the propelling moment “Mali” earned post-release of the album. – M.E

 

14. “2:02 PM IN LONDON” – ODUMODUBLVCK

The timestamp record is a time-honoured staple of Hip-Hop music, giving birth to some of the genre’s most cathartic music. ODUMODUBLVCK’s  “2:02 PM IN LONDON” is no less exorcising than some of the most scathing records in that fashion, finding the Abuja rapper channelling the most menacing interpretation of his Okporoko sound this year. Spitting molten bars about his position as a Hip-Hop dynamo, he brought listeners up to date with his thoughts on vacationing with his girlfriend and keeping Afropop stars on their toes despite, operating primarily as a rapper. All while ramping up anticipation for his long-expected album, ‘Industry Machine.’ – Wale Oloworekende

 

13. Ayra Starr – “Hot Body”

From the moment that Ayra Starr teased a snippet of her latest single, “Hot Body,” it sounded ready-made for revelry and summer thrills. Always a keen advocate for the girlies turning up and appreciating themselves, Ayra Starr takes things up a notch with “Hot Body,” helming an hypnotic anthem about all the things that a hot body can conceivably do. Produced by Ragee and The Elements, it also marked an evolution in Ayra Starr’s career as she leans into themes directly tied to the pleasures and freedom of being a young woman at the pinnacle of Afropop. – W.O

 

12. “Emhlabeni” – Kelvin Momo, Da Muziqal Chef, Thatohatsi, and Tracy

“Emhlabeni,” the lynchpin of Kelvin Momo’s evocative album, ‘Thato Ya Modimo,’ arrives just six songs into the 29-song album, but it packs a punch. Peeling back the layers of betrayal and divine redemption, Thatohatsi and Tracy help steer a proclamation of self-autonomy that coasts along over a spirited mix of drums and groovy shakers. – W.O

 

11. “Laho” – Shallipopi

When Shallipopi teased a snippet of “Laho” in February 2025, many listeners were sure that it would go on to be one of the most definitive songs of 2025. Months on from its release, that assertion has proven to be true. The laid-back style of Shallipopi’s delivery and infusion of Bini language have orchestrated a hit that has resonated with listeners worldwide. It has also spawned numerous versions and unofficial remixes, easily becoming one of the biggest Afropop songs of the year while ensuring that Shallipopi retains his position at the forefront of popular music from West Africa.  – W.O

 

10. “Shakabulizzy” – Mavo

In the wake of the success of “Escaladizzy,” fans were curious to see what Mavo would get up to next, and there was no better way to answer those questions than with “Shakabulizzy,” a heat rock of gigantic proportions that took off upon release. Cut from the same cloth as his breakout hit, “Shakabulizzy” features more of the quotables, soundbites, and inventive lingo that have made the 21-year-old the breakout act of the year. It also helps that he was proposing to take his lover on an epic shopping spree once his money clears; there was no universe where Shakabulizzy” wasn’t taking off.  – W.O

 

9. “Money Constant” -Wizkid, DJ Tunez, DJ Maphorisa, Mavo 

This song is a complete transmission from someplace more euphoric and rapturous than our world. Mavo opens with smooth bars and tasteful lamba that lock into every pocket of the beat, before Wizkid slides in to take the baton and carry it forward with equal competence. It’s a seamless handoff over a DJ Tunez and DJ Maphorisa–led production that truly bangs. – Melony Akpoghene

 

8. “Shake It To The Max”-  MOLIY, Shensea, Skillibeng 

Moliy was hard at work in late 2024, building momentum behind what quickly became her biggest single yet and one of the biggest songs from the continent this year. An uncomplicated viral dance challenge helped the original release become a regional hit, but it was the Shenseea and Skillibeng remix from earlier in the year that took the song to the next level. The remix topped several charts across the globe and had everyone from Cardi B to Manchester United’s Bryan Mbeumo shaking it to the max. – B.A

 

7. “Uzizwa Kanjan” – Jazzworx, MaWhoo, Thukuthela &GL_Ceejay 

Johannesburg production duo Jazzworx and Thukuthela are, without a doubt, one of the year’s most exciting and innovative acts. The duo manage to capture the current pulse of South African House music on singles like “Uzizwa Kanjan,” one of the few hits they’ve been responsible for this year. The single fuses the throbbing kick drums of 3-step with MaWhoo’s soulful vocals, creating a track that is incredibly soothing, melodic and deeply rooted in South African musical heritage. – B.A

 

 

6. Guide Pass” – Zaylevelten 

“Guide Pass,” the runaway hit from Zaylevelten’s breakout mixtape, ‘then 1t g0t crazy,’ is essentially all you need for an introduction to the rapper and his work. The self-produced beat is a masterclass in minimalist complexity, built on a deeply resonant bassline and unexpected percussive elements that provide perfect backdrop for his infinite stack of flows and multiple quotable lines. It’s a track that demands repeat listens, each one pressing home what the hype surrounding this rap prodigy is all about. – B.A

 

5. “Chanel” – Tyla

“Chanel” is a dazzling song, confident in its breeziness and full of feeling. Tyla has had a strong 2025, and the track feels like the climax of her run this year. She is already earning a solid reputation as a hitmaker, and here she harnesses one of her greatest gifts: bright energy, slick hooks, and a charming ability to turn every line into a moment you want to sing back.- M.A

 

4.“B2B” – Amaarae

A standout cut from ‘BLACK STAR,’ “B2B” finds Amaarae seething with an insatiable fire. She expresses a fervent desire to sustain the blurred boundaries of a complicated, steamy affair, oscillating between sweet demands and wounded longing. Produced by Kyu Steed and Ape Drums, the track pairs Amaarae’s spectral vocals with mesmeric Deep House rhythms that abruptly dissolve into delicate Spanish guitar, resulting in an utterly hypnotic listen. – M.A

 

3. CIZA, Tems, Omah Lay – “Isaka II”

The ascent of CIZA’s “Isaka (6 am)” is a textbook example of a modern-day breakout hit. Propelled by a viral TikTok challenge from earlier in the year, the original single became practically inescapable on the internet and subsequently dancefloors. The explosive success of the single launched CIZA into the mainstream limelight, establishing him as a significant new voice on the continent. A high-profile remix featuring Omah Lay and Tems followed months after the original, boosting the song’s popularity and highlighting the synergy between SA’s infectious Dance rhythms and the global reach of West African Pop music. – B.A 

 

2. “Baby (Is It A Crime)” – Rema

The rule of thumb expects that a sampled classic should outdo the original or, at the very least, match the already existing quality. When Rema first shared a snippet of his reimagination of Sade’s 1985 “Is It a Crime,” the sole brilliance brewed heated anticipation for its release and his ability to make gold off a stellar record shone when it finally dropped. “Baby (Is It A Crime)” is as soulful as the original and its infusion in making the Afropop hit calls for passionate romance.. – M.E

 

1. Davido & Omah Lay – “With You”

If there are two things Davido has unarguably mastered, they’re how to craft fit-for-purpose Afropop hits and selecting ideal collaborators. Both Davido and Omah Lay spoke highly of this collaboration a few times before its official release, but I imagine neither the pair might have envisioned how rapidly it took off. Those opening guitar licks were enough to cause delirium in functions across the continent, and its nomination for Best African Music Performance at the 2026 Grammy Awards speaks to its status not just as a fleeting hit but as a significant piece of contemporary African music that resonates on the highest international platforms. – B.A