South African hip hop enters a new phase with the release of three lead singles from YONDA WAY VOL. 1: ‘YONDA’, ‘Goliwood Living’ and ‘She Just Wanna Party’. The tracks mark the start of what is being described as the YONDA WAY movement, ahead of a full album scheduled for release in January 2026. The project brings together nine emerging South African artists under the creative direction of Zingah and producer Tweezy. The line-up includes Kanekeid, Fistola Inecut, Horid The Messiah, Andy Maveric, Leo Brown, Buzzi Lee, ThatPrettyGirlYongz and Leezy Lindokuhle. Many of the artists were first introduced through Zingah’s interview series YONDR, which spotlighted emerging talent within the local hip-hop scene. Studio camp and production process In August 2025, the group entered a three-day studio camp alongside established contributors including Maglera Doe Boy, Kwesta, Reason and Priddy Ugly. According to the project team, the sessions produced 24 tracks in a competitive format where artists worked to secure placement across songs. Following the camp, Zingah and Tweezy oversaw a month-long refinement process, narrowing the material down to an 11-track project. A youth listening group referred to as the “Sound Council”, made up of more than 250 participants, was also involved in previewing the material and providing feedback during development. Several of the featured artists have already begun performing publicly as a collective. They recently appeared at a Nasty C event and are scheduled to perform at NotBenjamin’s StreetFest later this week. Zingah said the project was designed to create space for emerging voices within the genre. “This wasn’t just about making songs. It was about building a moment, bringing new voices together, giving them space to express themselves, and creating something that represents where SA hip-hop can go next. The energy in that camp reminded me why this culture matters,” he said. The YONDA WAY project is positioned by its creators as a collaborative effort aimed at strengthening the visibility of emerging hip-hop talent in South Africa. It combines studio development, live performance exposure and audience testing ahead of its full album rollout in 2026. The three lead singles are now available on streaming platforms, with the full project expected early next year.

The Africa Live Entertainment Conference (ALEC) 2026 is scheduled to take place in Johannesburg, South Africa, from 23 to 25 April, bringing together figures from the music, live events, touring, policy and investment sectors to discuss the future of Africa’s live entertainment industry. The event, which aims to strengthen collaboration and improve the commercial infrastructure supporting Africa’s live entertainment sector, has received endorsement from the National Council for Arts and Culture and the Lagos State Ministry of Tourism, Arts and Culture. Confirmed keynote speakers include Ninikanwa Olachi Okey-Uche (Consul General Nigeria, Johannesburg), Olivier Laouchez (Trace TV), Sipho Dlamini (gamma) and Mo Abudu (EbonyLife). Other confirmed speakers and panelists include Cuthbert Ncube (Africa Tourism Board), Annabell Lebethe (SAMRO), Bizzle Osikoya (The Plug), Dama do Bling (Mozambican artist), Amu Oraefo (Entertainment Executive), Usher Nyambi (ALEC) and Walter Wanyanya (Jacaranda Festival). Organisers say the conference will focus on challenges affecting the sector, including touring infrastructure, artist mobility, visa access, financing and revenue systems across the continent. “Africa's live entertainment industry is full of potential, but unlocking that potential requires more than talent, it requires structure, collaboration, and intentional investment,” ALEC founder & convener Anthonia Yetunde Alab said. “ALEC was created to bring together the people shaping the industry, not just to have conversations, but to drive real, long-term outcomes for the continent.” Conference programme ALEC 2026 will feature keynote addresses, panel discussions, closed-door roundtables and a Women in Live Arts (WILA) brunch. Planned sessions include: The State of African Live Entertainment — Infrastructure, Investment & Growth The Global Routing — Breaking African Artists into International Markets Festivals, Venues & the Fan Experience — Building World-Class Events on the Continent The Business of African Music — Rights, Royalties & Revenue Touring Without Borders: Mobility, Visas & Regional Cooperation The Johannesburg Commitments — Closing Roundtable Organisers expect participation from stakeholders across several African countries, including Nigeria, South Africa, Kenya, Ghana and Senegal. ALEC describes itself as a pan-African platform focused on strengthening the business infrastructure of live entertainment through partnerships, policy engagement and industry networking. Read more about ALEC here.

An open call has been launched for artists and creative practitioners across Southern Africa to participate in a heritage-focused creative development programme under the Africa–Europe Partnerships for Culture (Southern Africa component). The initiative invites participants to engage with heritage narratives from the region and reinterpret them through contemporary artistic practice. Selected applicants will receive funding and take part in a structured collaborative process leading to new creative works. Key details Grant value: €6 000 (about $7 000) per selected participant Programme duration: Six-month Heritage Narrative process phase Outcome: Co-produced creative works developed with Heritage Narrative Clusters Application deadline: 29 May More information: www.goethe.de/aepc Who can apply Applications are open to: Artists, creatives and artistic practitioners All artistic disciplines Applicants based in the following countries: Botswana Eswatini Lesotho Namibia South Africa Zimbabwe Programme overview Selected participants will work collaboratively with Heritage Narrative Clusters The focus is on reinterpreting heritage themes through contemporary creative approaches The process culminates in three co-produced artistic outputs per selected participant/group Application information Full call for proposals available via PDF document (via official application portal) Applications must be submitted through the Goethe application portal Context The grants form part of wider cultural cooperation between Africa and Europe aimed at supporting artistic exchange, collaborative production, and the development of new narratives rooted in heritage and contemporary expression. View the original call here.

The Journey to Jazz festival will return to Prince Albert in South Africa’s Karoo region from 30 April to 3 May, bringing together musicians, workshops and community-based events across multiple town venues. Opening on International Jazz Day, the festival will begin with its traditional sunrise concert at Krittikom Koppie, a recurring feature that has become central to the event’s identity. Performances will then extend across churches, courtyards, public spaces and the Swartberg Pass, which will again be used as a site-specific performance location. The programme includes a mix of South African and international artists. Among those scheduled to perform are singer Zoë Modiga, musician Vusi Mahlasela and pianist Kyle Shepherd, who will present a commissioned score for films by William Kentridge. Other performers include Amy Campbell, Nomfundo Xaluva, Linda Sikhakhane, Don Vino Prins, Jonathan Rubain and Zawadi Yamungu, alongside international trio ¡Gracia! and cultural commentator Ntone Edjabe. A key feature of the programme is the Karoo Jazz Project, an initiative focused on emerging musicians, which will be expanded in 2026 through collaborations with regional ensembles and choirs. Alongside performances, the festival will host a series of talks and masterclasses covering topics such as jazz history, improvisation and listening culture. Sessions include discussions led by participating artists and curators, with some events already reported to be at or nearing capacity. A new addition for 2026 is a community food gathering titled the Sagra, which will take place at the PACT Centre on the opening day. The event will focus on shared food preparation and local produce as part of the wider festival programme. Organisers say the festival is intended to integrate music with local culture and geography, with events designed to take place across public and heritage spaces throughout Prince Albert. The event is presented by the Prince Albert Community Trust (PACT), which says proceeds contribute to local youth development and skills training initiatives in the region.

The Tiwa Savage Music Foundation, in partnership with Berklee College of Music, is set to host a five-day music education programme in Lagos, marking the first time Berklee’s curriculum and faculty will be delivered in Nigeria. The initiative, titled Berklee in Nigeria: Class of 2026, will run from 22 to 26 April and will involve 120 emerging Nigerian artists selected from more than 2,100 applicants. According to organisers, this represents the largest application pool recorded for Berklee’s international outreach programme. Participants will take part in classroom instruction, ensemble sessions, and one-to-one scholarship interviews with faculty members. The programme will be held at the MUSON School of Music and will cover a range of genres including Afrobeats, R&B, hip hop, gospel and jazz. Teaching will be led by six Berklee faculty members, including Dennis Montgomery, Yoron Israel, Tyrone Chase, Nichelle Mungo, Anthony Nembhard and Jason Camelio. The programme will conclude on 26 April with a public concert and award ceremony at the National Theatre. The event is expected to host an audience of up to 3,000 people, including industry professionals and members of the public. During the finale, selected participants will be awarded full three-year undergraduate scholarships to study at Berklee’s campus in Boston. Students will also perform original compositions developed the programme, accompanied by a live band. The event will be hosted by Nigerian media personalities Darey Art Alade and Kiekie, with additional guest appearances expected. The programme is supported by a number of partners, including Flutterwave, PepsiCo and the Bank of Industry, alongside local institutions and organisations. Organisers say the initiative aims to provide structured training and international exposure for emerging artists, while strengthening links between African music industries and global education platforms.

Congolese artist Fally Ipupa has released a new album titled XX, marking two decades of his career in music. The 19-track project, released on 17 April through Warner Music France, features collaborations with a range of international artists, including Wizkid, Angélique Kidjo, Joé Dwèt Filé, DJ Maphorisa, Calema and KeBlack. The album is led by the single ‘Jam’, featuring Wizkid, alongside previously released track Cinéma. Production on the project includes contributions from Trésor Riziki, Dany Synthé and Seysey. XX follows Ipupa’s previous album Formule 7, which achieved gold certification. The new release blends contemporary pop, R&B and Afrobeats elements with the traditional guitar-driven foundations of Congolese rumba, a genre central to his catalogue. Ipupa has built a global audience over the past two decades, with reported figures of more than three billion streams and over 2.5 billion views on YouTube. His career includes sold-out performances at major venues such as Paris La Défense Arena, OVO Arena Wembley and ING Arena Brussels. In November 2023, he became the first African solo artist to sell out Paris La Défense Arena, Europe’s largest indoor venue. To mark the album release and his 20-year milestone, Ipupa is scheduled to perform two concerts at Stade de France on 2 and 3 May. Additional tour dates across the UK, Europe and North America are expected to be announced later in the year. Beyond music, Ipupa has been involved in advocacy work, serving as an ambassador for organisations including UNESCO and UNICEF.

South African producer and DJ Mr Thela has built his reputation on a sound that sits confidently between kwaito and gqom, pushing both genres into sharper, more contemporary territory. Speaking during a recent session at BackDoor, he offered a closer look at his creative process and the ideas shaping his latest album, Langa. Raised on a steady diet of South African music, Mr Thela developed an early appreciation for the country’s sonic traditions. That grounding now informs his approach: to preserve the essence of local sounds while stretching them into something new. His work reflects that balance, rooted in familiarity but driven by experimentation. The lead single ‘Songena Yini’, released in late 2025, captures this fusion clearly. Featuring Beast RSA and Woza Sjax, the track blends amapiano textures with gqom’s harder edges, resulting in a sound that is both rhythmic and direct. Released on 14 November 2025 through Universal Music Group, Langa is a 21-track project that leans into Mr Thela’s Cape Town roots while widening his sonic palette. The album features collaborations with artists including DJ Tira, Que DJ and Rhass, and centres on themes of perseverance and cultural identity. The title track stands out for its stripped-back approach. Accompanied by a music video, it leans more on atmosphere than lyrics, using sound and imagery to suggest renewal and forward motion. The visuals, which highlight elements of community, mirror the track’s reflective tone. Beyond the studio, Mr Thela spoke about the impact of performing internationally. Touring has exposed his music to audiences far removed from its origins, a response he admits he did not fully anticipate. He described these experiences as “both exciting and eye-opening”, noting how listeners connected with his sound despite language and cultural differences. Those moments, he said, have reinforced his confidence in the universality of rhythm. The response from global audiences has encouraged him to remain rooted in his identity while continuing to experiment. Collaboration has also played a key role in his growth. Working with artists such as Mshayi and Njelic, Mr Thela has developed a network that allows him to move fluidly across styles and scenes. His openness to collaboration has helped shape both the pace and direction of his career. As his profile continues to expand, Mr Thela remains focused on carrying the sound of home to wider audiences. His work suggests a deliberate effort to bridge local and global influences, without losing the character that defines his music.

South African band Freshlyground have released a new album, Take Me Home, marking their first full-length project since 2018. The eight-track album was produced by JB Arthur, who previously worked on the group’s earlier releases ‘Nomvula’ and ‘Ma’Cheri’. It was recorded at Bridgenorth Studios. Take Me Home introduces a new lead vocalist, Mbali Makhoba, whose addition signals a shift in the band’s sound while maintaining elements of their established Afro-fusion style. The album blends Afro-pop and blues influences and features lyrics in both isiXhosa and English. The project includes singles such as ‘Jabula’, ‘Welele’ and the title track ‘Take Me Home’. Across the album, the band explores themes including personal change, identity and belonging. The release follows a seven-year gap in studio albums for the group, during which time they remained active through performances and other projects. Freshlyground, known for their pan-African musical approach, gained international recognition in the 2000s with a sound combining multiple genres and languages. The new album continues that approach while incorporating contemporary production elements. No additional tour or promotional details have been announced at the time of publication.

Kenyan artist Nyashinski is set to stage a multi-date theatrical residency in Nairobi titled SHOWMAN, expanding his live performance format into a structured run of shows scheduled for April 2026. The production will take place across several dates, beginning on 4 April and concluding on 12 April, with multiple performances including a VIP edition. The residency is designed as a staged music-theatre hybrid, with organisers describing it as a more intimate, choreographed live experience compared with conventional concerts. The scheduled performances include single and double-show days across the run, with a VIP show set for 8 April. Ticket pricing is expected to vary depending on show type and availability, with general tickets starting at KSh 3,000 and VIP access priced from KSh 20,000. The residency follows his earlier stage production Shin City, which is credited with influencing the development of the new format. SHOWMAN is positioned as a continuation of that concept, but expanded into a longer theatrical run. The announcement comes amid a period of heightened activity for the artist, following the release of his second studio album Yariasu, which features tracks such as Tai Chi and P.I.C (Partner In Crime). The album builds on his earlier work, including Lucky You (2020), and a series of EPs that have contributed to his profile within East African music. In a statement accompanying the residency announcement, Nyashinski described SHOWMAN as a performance-driven project intended to engage audiences beyond traditional concert formats. He said the show would combine music and theatre, adding that it was designed for audiences to “laugh, dance, sing, marvel and make memories”. Nyashinski, who has built a career spanning rap and melodic pop, is known for blending Afro-pop and R&B influences with lyric-driven storytelling focused on themes such as faith, ambition and resilience. Further production details and supporting creative elements for SHOWMAN are expected to be released closer to the performance dates.

The volume of fully AI-generated music uploaded to streaming platform Deezer has continued to rise sharply, with the company reporting that it now receives nearly 75 000 synthetic tracks every day. According to figures released by the Paris-headquartered service on 20 April, AI-generated music now accounts for more than 44% of all daily track deliveries. This represents a marked increase from 39% in January, when the platform said it was receiving around 60 000 AI-generated tracks per day. The company said the trend has accelerated over recent months, rising from 50 000 daily AI tracks in November and 30 000 in September, following the introduction of its AI detection tool in early 2025. Deezer said the total equates to more than two million AI-generated tracks uploaded each month, although it added that consumption of such content remains relatively low, accounting for between 1% and 3% of total streams. The company also said that around 85% of those streams are identified as fraudulent and therefore not monetised. In response to the increase, Deezer said it has stopped storing high-resolution versions of AI-generated tracks, extending an earlier policy that excluded such content from editorial playlists and algorithmic recommendations. “AI-generated music is now far from a marginal phenomenon, and as daily deliveries keep increasing, we hope the whole music ecosystem will join us in taking action to help safeguard artist’s rights and promote transparency for fans,” said Deezer chief executive Alexis Lanternier. He added that the company’s detection technology had helped reduce “AI-related fraud and payment dilution in streaming to a minimum”, and confirmed that the system is now being licensed to external partners. Deezer said it has detected and labelled more than 13.4 million AI-generated tracks during 2025, positioning itself as the first streaming platform to implement platform-level identification and tagging of synthetic music. The company’s detection system, first deployed in June 2025, is designed to identify fully AI-generated tracks produced by tools such as Suno and Udio, and is intended to adapt to new generative systems as they emerge. Other streaming platforms have taken different approaches to AI disclosure. Qobuz introduced its own detection and tagging system in February, while Apple Music launched Transparency Tags in March, relying on labels and distributors to disclose AI use. Spotify has also moved towards industry-wide disclosure standards through the DDEX framework, with a beta system now allowing AI credits to appear in song metadata. Deezer began commercial licensing of its detection technology in January, partnering first with French collecting society Sacem, before expanding through its “Deezer for Business” unit. The Hungarian performers’ rights organisation EJI became a subsequent licensee. The company also said it has applied for patents covering its detection methods, which aim to identify unique audio signatures associated with synthetic music, even without model-specific training data. The rise in AI-generated content has intensified wider industry concerns over copyright and revenue distribution. A study by CISAC and PMP Strategy estimates that up to 25% of creators’ revenues could be at risk by 2028, equivalent to as much as €4 billion. Deezer has also cited its own research suggesting that 97% of listeners are unable to distinguish between AI-generated and human-made music, while 80% support clear labelling of fully synthetic content.