Music held us down through the toughest moments in the past year. Whether it was protest anthems such as Davido’s “FEM” that held us through October’s #EndSARS movement, or the long-awaited arrival of Wizkid’s magnum opus ‘Made in Lagos’, music offered us solace and extended a friendly warm hand when life around us turned bleak.
But the truth is that there’s so much music being released at the same time that it’s perfectly normal for a number of releases to slip through the crack and completely miss your radar. To this end, we have compiled a list of under-the-radar releases that the NATIVE believes deserves more love and attention from our community. From party-ready anthems like Zinoleesky’s amapiano inspired number “Kilofeshe” to the rap girls anthem “Kno Me” that Somadina and SGaWD served up, here are 15 tracks that deserve to be on your radar. You’re welcome and Enjoy!
Somadina & SGaWD – “Kno Me”
Last year, we were calling for the release of the ultimate girl’s anthem which would cement the new vanguard of female artists staking their claim and making a name for themselves in the androcentric afropop industry. It seems that this year more collaborations between the girls will be happening because singer Somadina is dipping her toes into the deep end and serving up a collaboration that rivals everything that’s been released up to this point. Is she a singer? Is she a rapper? Even Somadina herself doesn’t know but she’s able to hold her own in the rap game, carefully assisted by SGaWD, a rapper and singer that’s been dominating conversations for the past year.
Zinoleesky – “Kilofeshe”
Zinoleesky is the man of the moment. Towards the tail end of the year, the Marlian music signee released his debut project ‘Chrome’ which offered a rounder view of his sonic world by introducing the singer as the hottest number to emerge from the streets to mainstream. “Kilofeshe” was an obvious standout from the project, offering the singer’s take on the South African amapiano sound that is coursing through the African music industry. Although we have our reservations about that (you can read about it here), there’s not that many verses harder than proclaiming “extraordinary things I’m doing, ordinary things no fit move me again”.
Another amapiano number on the list? You bet. Masterkraft delivered one of the most memorable party anthems of the last quarter when he recruited Bella Shmurda and Zlatan for a boisterous upbeat number titled “Hallelu”. Over the clubby drumbeat, both artists praise God for all the blessings that they have accrued over the year, with Bella Shmurda showing off his dazzling rap skills and his stellar penmanship. It’s a bonafide hit and you definitely don’t want to sleep on it any further. Now all we need is for the clubs to open up.
AYLØ – “Closure”
AYLØ has been on our radar for several years and he’s only getting better with each new release. In December, he followed up 2019’s stellar ‘Dnt’Dlt’with ‘Clairsentience’, a 6-track r&b offering that traces romantic relationships and all their complexities. Although the wheels of the world have halted to a standstill, AYLØ is still making memorable moments with those he loves, and feigning to be in close quarters with them as he negotiates “Closure”. The standout song is brimming with truth and power and instantly relatable to anyone who’s mourning their quarantine crush.
Lolu – “TT (Tongue Twister)” (feat. adé & Mafeni)
20-year old DJ/producer, Lolu enjoys using music to tell stories and create timeless sonic experiences. His latest drop,“TT” featuring adé and Mafeni, is a mid-tempo number that perfectly embodies the popular phrase, “Problem no dey finish so we just dey vibe”. Capturing the nihilism and hedonism of the ‘detty’ December holidays, “TT” comforts listeners and tells them to let go of their worries and let the good vibes take over for the moment. If you’re looking for a bit of escape this January, this is the song for you.
Mukhy & Glitch – “Julie”
Afropop is replete with love songs certain to mirror similar romantic trysts in your life and Mukhy’s latest single “Julie” is no exception to this. Though he’s a new kid on the block, having left his day job in the UK to pursue a music career in the thick of the COVID-19 pandemic, Mukhy is set to showcase his musical abilities now more than ever before. For his latest offering “Julie”, Mukhy collaborates with afropop singer, Glitch to produce a number that embodies a fun-filled feel-good melody built on heavy references and features loads of feel-good energy.
Nu Baby – “Two For You”
After making his mark on the scene last year with his stunning rendition of “Cover You”, a wonderful single that featured fast-rising singer, Buju, afropop singer, Nu Baby is out to make this year his most memorable yet. His latest offering “Two For You”, a two-pack release that delivers groovy productions with atmospheric vocals, and infectious melodic elements is built for playlists that take listeners from the house to the club and back. “Two For You” will capture anyone’s attention and will leave people wanting more. Let his message-heavy lyricism and wordplay will take listeners on a musical journey.
Olayinka Ehi – “This is a love song”
Last year, Olayinka Ehi finally started to get more recognition for her enchanting voice and enviable expressive range as she put out impressive singles and got enlisted for notable collaborations with artists like Adekunle Gold and Whoisakin. Her growing buzz saw her experimented with dance-pop on “Shake”, however, she closed the year with “This Is A Love Song”, a return to the intimate sound of soulful R&B. Her lyrics, seesawing between breezy nonchalance and bluesy hurt, expresses dissatisfaction with a romantic partner over melancholic organ harmonies. Though the sombre melodies and narration of her relationship woes are strikingly low-spirited for a song titled, “This is A Love Song”, her depiction of love as something that needs to be worked on is sure to strike a nerve with people seeking catharsis for their romantic struggles.
Samthing Soweto – “The Danko! Medley” Feat. Mzansi Choir
Samthing Soweto’s 2019 debut album, ‘Isphithiphithi’, completed his renaissance from outlier to pop superstar, snagging a platinum certification and winning multiple awards at last year’s South African Music Awards. To close 2020, the South African singer-songwriter shared a surprise EP, ‘Danko!’, almost exclusively continuing to showcase his amapiano prowess over the course of six songs. For closing track “The Danko! Medley”, however, he linked up with the Mzansi Choir to create an a capella mash-up of songs of the EP, as well as a reworks his smash single, “Akulaleki” featuring Shasha, DJ Maphorisa and Kabza De Small. The song plays out as a nostalgic throwback for Samthing Soweto fans who have been following his progress from back when he started as a member of the with a capella band, The Soil.
Rindss and Beezyx – “Gymnast”
Nigerian based producer, Beezyx teamed up with Rindss for a joint tape, ‘Descente’ last December. Though the 5-track tape offered a delightful mix of sultry R&B and afropop that can soundtrack the ride back home from the night at the club, it never got the attention it really deserved. Fortunately, one of the standout tracks, “Gymnast” has legs to sustain it well into the new year as Beezyx crafts a laidback groove for Rindss’ sensual singing addressed at a love interest. “I’m going to dance cause you’re my only fan, baby”, she sings seductively, while her voice intertwines with Beezyx’s gentle percussions. The two were first partnered up on the impressive single, “Wicked Kitty” which also featured contributions from Yinka Oshodi, Mimz and SGaWD. However, their performance on “Gynnast” shows they can be just as compelling as a duo.
Jola Bello – “789”
Jola Bello has continued to share new music since she first debuted with “For You” in 2019. Last year, she contributed an impressive performance on “Connection”,one of the standout tracks from the WeTalkSound collective’s ‘LOFN 3’ series before closing the year with her latest single, “789”. The charming new song is another romantic addition to her growing catalogue of heartfelt bops as she expressed her romantic feelings for her muse and encouraged him to make his move on her; “Boy you know you’ve got my attention/ Baby save me, you’re my redemption”. “789”was produced by Wizad who sets the song to a lightweight highlife groove which Jola Bello rides expertly as she delivers catchy melodies and adorable lyrics detailing her hearty feelings.
Picazo – “Pain”
Picazo broke out into the Nigerian mainstream music scene as an indigenous rapper with the enviable cosign from Olamide. Although he hasn’t had the most successful run like fans anticipated, it’s not for lack of effort or talent. His latest single, “Pain” released at the end of 2020, showcases his impressive ability to adapt his sound to fit the latest trend of Afro-house that is currently dominating dance floors around the continent. The synth-heavy production for “Pain” was made by Zaki Magic and it avoids the generic amapiano sound, opting instead for trance-inducing harmonies. Picaso’s finely tuned singing vocals and the dazzling production give the song narrating the turmoils of relationships an immersive quality we aren’t used to getting from dance-driven bops.
Saint Bond – “Free” Feat Cuppy
Saint Bond is the producer responsible for creatively directing DJ Cuppy’s debut tape, ‘Original Cuppy’. Although he’s still a relatively new name in the music scene, he has kept pushing the boundaries for Nigerian music with his latest single, “Free”, emerging as one of the songs picked to feature on SoundCloud and Pharrell’s i am OTHER collective’s collaborative tape, ‘SoundCloud Presents: iamOTHER, Vol. 2’. The tape which serves as a platform to spotlight and support upcoming artists was focused on empowerment, unity and speaking up about racial injustice and Bond’s “Free” was selected among the 10 tracks on the tape. He produced a euphoric beat for “Free”, hybridizing highlife guitar riffs and EDM synth harmonies to make the catchy baseline while he sang “Police go stop us/ they wan control us/ The tryna’ hold us down/ together we’re stronger” over the groovy instrumentals with tender elation. It’s the kind of motivational song we don’t hear enough of these days as he encouraged listeners to unite in the fight against oppressive police systems.
Darassa – “Proud of You” Feat. Alikiba
Tanzanian rapper, Darassa shared “Proud of You”, featuring Alikiba last year as one of the tracks from his motivational album, ‘Slave Becomes A King’. The song has now gotten a befitting video that shows the East African pair as they perform the song celebrating their love interests and enjoy a good time, partying by the pool.
Mohbad – “Sorry”
Although Mohbad is yet to become a household name in the Nigerian music scene, he is already heading to be counted amongst Nigeria’s hitmakers. He contributed the vocals heard on Rexxie’s “KPK”, one of the biggest songs in Nigeria at the moment. He also put out an impressive 8-track tape, ‘Light’, showcasing his storytelling ability and melodic Yoruba-inclined vocals. On the tape’s opening track, “Sorry”, Mohbad narrated a familiar tale of struggle we often hear from street-raised artists who grew up in poverty and learned to hustle and scam for their survival. Singing “My brothers are hungry/ Daddy gather money make I go poly/ I go poly but I no go class/ Daddy, I am sorry”, the song finds him acknowledging his own faults in the way his life turned out but we with his Yoruba-tinged delivery, we can still hear the cocky swagger of a street mogul in his voice.
Runtown – “If E Happen For Lagos”
Lagos is the entertainment capital of Nigeria so it’s not surprising that we often get songs dedicated to the city. However, Runtown’s new single is less flattering than most as he highlights the hardship Nigerians face in the city; “If you no know biggie man, you never know person”. Singing over the breezy Afrobeat production done by Mystro, “If E No Happen For Lagos” is laidback and primed for dance floors, never mind the thought-provoking lyrics about Nigerians leaving the country to avoid the hardship brought on by bad governance. However, that’s the beauty of the song as the deceptively catchy melodies lull listeners to dance despite the gloomy lyrics.
Launching in Lagos, Nigeria, this event pioneered by Tems marks the beginning of a continent-wide movement to...
In July, Tems announced the Leading Vibe Initiative (LVI) to support women in music and the creative space on...
In July, Tems announced the Leading Vibe Initiative (LVI) to support women in music and the creative space on their journey to make a mark in their fields and create space for other women in those industries. Born from Tems’ journey as a self-taught artist with a focus on driving change, the initiative offers training, mentorship, industry access, and community for women in music in Africa.
After a rigorous selection process for its inaugural cohort, Hennessy will join the two-time Grammy Award-winning star to celebrate the launch of the Leading Vibe (LVI) Initiative in Lagos, Nigeria. Held from August 8 to 9, 2025, the two-day event is the beginning of a bold new chapter in Hennessy’s long-standing commitment to music and culture in Africa.
“I’m excited to partner with Hennessy in bringing this initiative to life, supporting talented young women in music as they find their voices, embrace their power, and shape the future of the industry across Africa and beyond,” Tems said about the partnership.
The Leading Vibe Initiative aims to champion the next generation of female artists, producers, songwriters, and music professionals, increasing representation within all areas of music across the continent and beyond.
With Hennessy as lead partner, this ambitious program kicks off with an immersive event in Lagos featuring curated workshops, networking moments, and panel discussions led by top-tier talent from across the global and African music industries.
“Her vision, talent, and purpose align deeply with Hennessy’s legacy of championing those who push boundaries and redefine the world around them. We’re honored to support the Leading Vibe Initiative and to continue empowering African communities and cultures,” said Vincent Montalescot, Hennessy Global Chief Marketing Officer.
Hennessy’s partnership with Tems builds on the brand’s decades-long history of supporting music and artistic expression globally and on the continent. From Hip-Hop to Afrobeats, Hennessy continues to stand beside the artists and communities that shape culture.
In Africa, the Maison has deepened its commitment through meaningful initiatives like In the Paint and now, with the Leading Vibe Initiative, is taking a focused step toward amplifying women’s voices in music. With the Lagos launch as a powerful first step, the Leading Vibe Initiative will expand across Africa and globally, creating a cross-continental network of empowered women ready to shape the future of African music.
True Clrs, a travelling party series launched by Adeola Kofoworade and Menab Tesfu, aims to bring the dance...
One of the more pressing topics of discussion amongst party-goers today is the curious question of why people...
One of the more pressing topics of discussion amongst party-goers today is the curious question of why people don’t dance at gatherings anymore. While partying, theoretically, includes other activities like talking to strangers, getting drinks, and conducting business, it is primarily geared towards dancing and living in the moment.
These days, however, there seems to be more emphasis on these other activities than actual partying. People are doom scrolling on the dancefloor or are more occupied with trying to take the perfect selfie. Enter: True Clrs, a travelling party series launched by Adeola Kofoworade and Menab Tesfu that aims to bring the dance back to the parties by centering on the richness of African sound and the communities that love it.
“We found that there were a lot of parties in Dallas that had cultures that didn’t encourage dancing or interaction between customers,” Kofoworade tells The NATIVE about the inspiration for True Clrs over a Google Meet conversation in July. “Seeing how parties were being thrown in L.A., New York and other places in Europe, we thought to bring that idea here to Texas.”
Since its inception in 2023, True Clrs has hosted over 15 editions of its travelling party series across cities in the United States. In addition to a dedicated real-life following that engages with their series, they have also cultivated a robust online presence thanks to their meticulous branding and active CRLS YouTube page that features various thrilling DJ sets.
Ahead of the latest Houston edition of True Clrs, which featured ODUMODUBLVCK and Sarz headlining the Global Sounds Stage and others like Native SOUND SYSTEM’s DJ Sholz, Lowkey Ade, and Khulumars on DJ duties, we caught up with Adeola Kofoworade to discuss how they’ve managed to position True Clrs as the go-to party series in Texas, what makes them unique, and what their long-term plans are.
What inspired True Clrs?
We originally started True Clrs about two years ago because we noticed that there was a space in Dallas that we could infiltrate. We found that there were a lot of parties in Dallas that had cultures that didn’t encourage dancing or interaction between customers. That’s something pretty notable down here in the South. In clubs, there are a lot of sections and no big dance floors, so people are stuck in their sections without really interacting with other people. Seeing how parties were being thrown in L.A., New York and other places in Europe, we thought to bring that idea here to Texas. At first, we started with Afrobeats and Amapiano-centred parties, but then we started branching out to other genres as well.
How have you been able to position True Clrs as one of the go-to diaspora-focused party series in the U.S, especially in Texas?
We try to be innovative. We always try to make every event better than the last one. So if you came to one of our events the previous month, we try to switch things up and make sure you have a better experience the next time you come. We do this by booking notable DJs from around the country and even around the world. We also started booking a lot more talents. Last year, we had Lancey Foux; we had Sholz, who brought ODUMODUBLVCK; and we also had Skyla Tyla. This year, we’re looking to do more of that so we can always give our audience a notable experience.
How do you balance catering to the African diaspora with appealing to a broader audience that might be unfamiliar with the music and experience?
There are a couple of ways we try to do this. First, since we have monthly events, we try to switch between different genres and vibes. So let’s say, one month we have an Afrobeats and Amapiano party, the next month we could switch to this concept that we call the R&B rave. In the R&B rave, we basically play all types of R&B music, whether it’s old, contemporary or alternative, and we curate a rave-like setting.
We also run this concept where we have like two or three stages playing different genres. We could have one stage playing Amapiano, the other R&B and the other more global sounds. I guess it just depends on the venue we use. But we’re able to offer different experiences even at the same party.
Are there any other unique elements that set the True Clrs experience apart from other nightlife events?
One of our main appeals is recording DJ content. I know DJ content has become saturated recently, but what separates us is that a lot of our content is very genuine. It’s not made up or staged. We get real-time reactions from people. A lot of the time, people don’t even know they’re being filmed. Our content makes us notable, and it’s helped push our brand forward.
Since you began True Clrs, how have you been able to cultivate a strong online presence as well as a thriving community in real life?
With our online presence, it’s really been our content that has helped put us out there. We’ve had a couple of reels or YouTube sets go viral, and that’s definitely helped our online presence. Also, just being the kind of people we are, we take our time when it comes to branding True Clrs. We get a lot of feedback from people regarding our content, and we take it into account moving forward. For our real-life community, my partner and I had already been heavily involved in the entertainment space and the African community here before we began True Clrs. So we got a lot of support when we first started, and we’ve just kept building from there.
What’s the long-term vision for True Clrs? Are there any plans to expand into other U.S. cities or even international markets?
Definitely. Last year, we had our first international event in Addis Ababa, Ethiopia. My partner was up there for a holiday, and we decided to throw an event there. In the future, we do plan to expand to other countries, whether in Africa or Europe. With our connections with talents like Lancey Foux, Skyla Tyla, we’re also looking to see if we can put together festivals. That’s what’s on the horizon for True Colors.
What would you say to someone who’s never been to a True Clrs party? What should they expect, and why should they come?
Our goal is community curation through music. So what I would tell someone who’s never been to a True Clrs party is they should come with an open mind. They should trust our DJs because they might hear songs they’ve never heard before and still be able to have a good time. Also, while we don’t force people to interact, we encourage people to interact and dance while listening to good DJs.
After over a decade helming some of the most romantic cuts in Afropop, Tiwa Savage’s dalliance with R&B is...
There are only a few artists in Afropop with the range, longevity, and lustre that Tiwa Savage has. Since she...
There are only a few artists in Afropop with the range, longevity, and lustre that Tiwa Savage has. Since she emerged on the Nigerian music scene in 2011, Ms. Savage has set an inimitable standard in terms of platforming the point of view of women at the pinnacle of Afropop, working to show that women are multi-dimensional and layered, capable of going through the motions of joy, angst, distress, and optimism just as much as the next person. By unapologetically leaning into the very minutiae of what makes her tick as a woman, she’s become a fan favourite and an undisputed legend of the genre.
Impressively, she’s done this while making great strides sonically. From the throbbing afropop of ‘Once Upon A Time’ to the swaggering house-inflected triumph of ‘R.E.D,’ and the dense polyrhythmic structure of ‘Celia,’ Tiwa Savage has continued to tincture her R&B-adjacent sound with influences from home and abroad. It is an accurate reflection of Tiwa Savage as a person: grounded by her Lagos heritage but shaped by global influences. For the last six months, she has been talking up her forthcoming fourth album, describing it as a full-throttle return to the R&B sound that was her stock in trade before she returned to Nigeria in 2011 to establish herself as an Afropop powerhouse.
In April, she released the emotive “You4Me,” clearly establishing the direction for her new album, ‘This One Is Personal.’ Produced by Mystro Sugar, “You4Me” put a fresh spin on Tamia’s ’90s classic “So Into You” with percussion work by Magicsticks adding a decidedly Afropop sheen to the song. Upping the ante, Tiwa Savage returned with “On The Low,” a delightful sung-rap bop featuring British-Nigerian rapper, Skepta. Like “You4Me” before it, “On The Low” is steeped in R&B tradition, finding Tiwa Savage pining after a love that feels like a taboo or forbidden pleasure. Produced by Rymez and Mystro, it is a surefire pointer that Tiwa Savage wasn’t joking when she said ‘This One Is Personal’ had overt R&B influences.
After over a decade helming some of the most romantic cuts in Afropop, Tiwa Savage’s dalliance with R&B is helping to propel her artistry to new heights. Just as the soundtrack for ‘Water & Garri,’ her debut as a filmmaker, pared down universal emotions like longing, desire, and anxiety into digestible bits on standouts like “I Need You,” “Lost Time,” “Love O,” her latest song chronicles the intangibles of a romance that’s quite not out in the open. “I know you want to link on the low / We have to stay discreet, you don’t know,” she sweetly intones on the song’s hook, clearly obfuscating the true status of the relationship but revealing just enough to let her listeners know that the dynamic of this relationship is not the usual.
It’s a premise that is established from the opening lines of the song when Skepta breezily starts with an offer to travel, presumably after being unavailable for a while. “Yeah, I’m off tour, we should celebrate / Dedicate some time for you, baby, it’s a date,” he says. It sets off a sequence where Tiwa Savage admits to being annoyed by the complexities of this relationship.
Still, there’s something about the thrills of these tenuous romances that keeps one tethered to them, and Tiwa Savage manages to capture the dilemma of the situation when she sings, “Boy, you make me stressed, you don’t know / Then you send me sweet texts on the low.” Her measured delivery and tonal inflections lend an air of believability to the story that would be inaccessible in lesser hands.
It helps that even as she revisits her R&B origins, the singer still maintains a strong connection to the sonic references that made her an Afropop juggernaut. There is seriously impressive percussion across “On The Low” with enough Yoruba ad-libs sprinkled across to remind any doubters that this is a Nigerian star paying homage to an elemental part of her evolution without losing touch with her roots. It sets the stage for This One Is Personal’ perfectly.