Every week, OkayAfrica highlights the top African music releases — including the latest Afrobeats and amapiano hits — through our best music column, African Songs You Need to Hear This Week.

Read ahead for our round-up of the best new African music tracks and music videos that came across our desks this week.

Sarkodie – “Lavida Loca” feat. Lasmid

On his latest single, Sarkodie explores the pop rap path he’s done so well since the start of his career. He promises the good life on “Lavida Loca,” with the exquisite imagery and opulent flows to go with, but a winning element in its composition is the vibrant drums at the core and the atmospheric vocals of feature Lasmid. Known for his own soulfulness, he creates a truly memorable record with one of Africa’s most consistent rappers ever. A surefire bop. – Emmanuel Esomnofu

Dee Koala - “Horns”

Dee Koala needs to be protected at all costs. The Cape Town-based emcee has the masses obsessed with her style and endless swagger. Her bars that borrow heavily from the Khayelitsha streets she calls home, from the slang to the inter-personal and communal relations; and her enigmatic stage presence and camaraderie that has seen her produce smash hits with the likes of Riky Rick, Maglera Doe Boy, Blxckie, and fellow Cape Town emcee, K.Keed. She has one album under her belt in 2019’s 4 the Kaltsha, and has waded the waves of fame with her head up, feet on the ground, and a mouth that knows how to put detractors in place. “Horns” is a triumphant, brass-heavy return to a form she never lost. She is sharp, incisive, assured, and fly as hell. “Andizanga ngalonto/ suka kude, deep kwi ntsokolo (I didn’t come here for nothing / I come from far, deep within struggle),” she raps, adding fuel to a fire that had been blazing from the first bar, which started with her declaring that she’s got no time to chit-chat after she gets off the stage. With Flowaboii delivering with a heavy hand on the boards, Dee Koala is left with no option but to cause total annihilation. - Tšeliso Monaheng

Asake & Tiakola “BADMAN GANGSTA”

Nigerian star Asake connects with buzzing French artist Tiakola for the new single and music video for “BADMAN GANGSTA.” The two artists trade verses in English, Yoruba, and French, as they celebrate all of their self-made successes. “‘BADMAN GANGSTA’ is a page from my real life. It’s about owning your space, your struggles, your blessings, all at once,” says Asake in a press statement. “Working with Tiakola brought a whole new flavor to the track. We come from different places but speak the same language when it comes to vibe, feeling, and ambition.” - EE

Gabzy – ‘It’s Not You, It’s Summer [EP]’

For years, Gabzy has embodied the Afrobeats sound with a subtle diasporan touch. Often taking from R&B, the blend has won him a unique spot in the scene, and with his new EP, the artist seems to be moving even closer to the roots of his sound. It’s Not You, It’s Summer is a tender collection of six songs, featuring Fireboy DML and Victony, who further enforce Gabzy’s unique vision. Replete with tales and interesting characters, it’s a showcase of an artist who’s kept in constant touch with their process. – EE

Voltz JT feat. Sane - “Cannabis”

Voltz JT is no stranger to Zimbabwe’s music scene. A pioneer of jecha trap, which is his homegrown blend of UK drill and Zim street grit, he’s built a solid reputation through consistency, carving his own lane one bass-heavy banger at a time. Following the explosive “Medzai Fridge,” he returns with “Cannabis,” a track many believe throws subliminal shots at fellow emcee Holy Ten. The tension between the two, fanned by online back-and-forths, now finds a new home on wax. Holy Ten’s political affiliations, particularly his vocal support of the ruling ZANU‑PF, have drawn ire, and Voltz TJ seems to channel that discomfort into his verses with sharp precision. Cannabis is used as a metaphor for escapism or compromised values, positioning Voltz JT and his clique as the real ones. Sane slides in with purpose, anchoring the track with a verse soaked in youthful recklessness, hunger, and street-wise determination. Shots have been fired. - TM

Kehne – “KILODE”

Nigerian singer-songwriter Kehne showcases impressive vulnerability on “KILODE.” The trappings of a toxic love situation is one that’s been massively courted by musicians, but Kehne makes the theme uniquely hers, reflecting the years of fine-wrought artistry. Over the string-awoken production, her perspective is urgent and sensitive, asking to be treated with the same assurance that the other person’s words hold. “No dey call me baby, cos I’m not your baby,” she cautions with an unguarded shade of weariness that renders even more complexity to the record. – EE

Jordan Moozy - “Kryptonite”

Jordan Moozy is in a league of his own. He swaggers on songs like it's second nature, glides on beats like they’re his to slide on, and maintains a level of grit that usually gets lost when ambition overrides effort and hard work. “Kryptonite,” with Sun, is steeped in nostalgia, rich with imagination, and very much future-facing – a declaration that the homies are outside. Tatenda LXA draws from a deep well of house music, funk, amapiano, and more. The songwriting is magnetic and magnificent; “must be delirium, mass hysteria,” as your opening line is pure craft and attention to how the words move the soul, how rhythm injects meaning into life, how poetry becomes existence itself, made manifest through music. “‘Kryptonite’ is about a big comeback where you have your ops sitting on the edge of their seats, shaking in their boots. They don’t know what’s next and all you’re being is badder and better,” says the artist in a press release. - TM

Savara x Jay Melody – “Asali Mbichi”

Since deciding to release individual projects, Savara has shown a purposeful edge to his post-Sauti Sol days. Moving closer to a solo breakthrough with every release, his latest song “Asali Mbichi” has real potential in that regard. A subtle experimentation lies at its core, with log drums adapted in the realization of the East African rhythm. With emotive notes and the ever-beautiful singing of Savara and his guest Jay Melody, there’s obvious hit potential in the mellow beauty of this record. – EE

Phiwo - “Falling”

South Africa’s R&B scene is in full bloom, and Phiwo is right at the forefront. The Durban-born, Johannesburg-based singer/songwriter has been steadily carving out her lane since 2021, delivering deeply felt, slow-burning gems like the evocative “In The Moment,” collaborating with Adrienne Foo on a joint EP, and lending her voice to DJ Clen’s All Is Fair, a street-certified showcase of the country’s rising R&B talent. Her latest offering, “Falling,” is a hazy, bouncy slow-jam with vocals that float effortlessly over woozy production. There’s vulnerability at its core: “I know the role I played, I know I made mistakes,” she confesses, mid-descent into love’s dizzying spiral. It’s introspective and intimate, the kind of R&B that sounds and feels like everything will be okay again. - TM

Tyla – ‘WWP [EP]’

Every move Tyla has made since the start of her career reveals a young woman who was ready for fame. With her sensuous, minimalist songs, she’s positioned herself as one of the leading acts of her generation and her new collection of songs reiterates that fact. A new feature verse from one of Afrobeats’ icons, Wizkid, props this new release considerably well, also with the duo of singles that have been shared prior. New Tyla is always welcome, so there’s little to say except to get into the vibe. – EE

Halo Yagami – ‘Ingubo Enamehlo [LP]’

The Johannesburg-based soul artist Halo Yagami has often reflected a high sense of artistry. Through his songs, which blend a variety of genres, he’s provided a quality counter-perspective to the hyper-realized nature of Africa’s pop music, and he again proves his mettle on his new project. Yagami’s fifth, Inugbo Enamehlo, is a stirring body of work that goes deeply into the traditional modes of song-making, with the artist infusing his own unique touches that makes it a rewarding listen. – EE

Fresh off her 2025 BET Award win for Best International Act, Nigerian pop sensation Ayra Starr released her latest single, “Hot Body” today, a sultry, dancehall-tinged song – her third release this year – that is as seductive and alluring as the summertime vibe it possesses.

Produced by Ragee and The Elements, “Hot Body” channels humid nights and a languid, late-night dancefloor mood. The beat leans into a bouncier, percussion-heavy groove, while Ayra Starr's voice carries the same magnetic allure that defined her previous releases. The lyrics are enticing; “Look what a hot body can do/ look, focus,” she insists, then, a revelation: “body be dancing/ slow whine, summer body so fine.” She turns up the sensuality without losing the sheen that has defined her career thus far. The video, lo-fi with VHS textures, sees her in top shape, lost in her world, ready and willing to walk into the night.

Is it a photoshoot? Is it a brief moment outside before going back into the club? Is Ayra Starr about to jump into the pool? It’s all of them at once, distilled into a series of frames where the artist and the camera are locked in motion.

Since her 2021 breakout, 19 & Dangerous, Ayra Starr has charted an upward course and is showing no signs of slowing down anytime soon. Her Grammy-nominated hit “Rush” remains the most-streamed solo track by a Nigerian female artist on Spotify. The accompanying video made her the youngest African woman to hit 100 million views on YouTube. She’s been a consistent force across award circuits too, winning Female Artist of the Year at both the Headies and AFRIMMA Awards, plus two major African Entertainment Awards USA titles in 2024.

Her sophomore album, The Year I Turned 21, was released in mid-2024 and was one of the most-streamed Afrobeats albums on Spotify that year. It featured high-profile collaborations with artists like Giveon, Anitta, Coco Jones, and Seyi Vibez, bridging genres and geographies while at it. The album’s success helped the superstar lock in her spot as the second most-nominated act at the 2025 Headies.

Earlier this month, she signed a management deal with Jay-Z’s Roc Nation, reflecting her growing pull beyond the continent. It also aligns with her ongoing stadium tour across Europe, where she’s opening for Coldplay. The tour has exposed her music to massive audiences across cities like Paris, Amsterdam, Berlin, and London. She is also booked to perform at Global Citizen 2025, one of the year’s most high-profile international concert platforms. The lineup includes the likes of Tyla, The Weeknd, and Shakira.

With more than four billion career streams under her belt and a major international infrastructure now behind her, Ayra Starr is operating at a different tier.

Wizkid and Tyla, two of the biggest African music stars in the world right now, join forces for an all-out banger of a collaboration on “DYNAMITE.”

The new single, built on a bouncy bass line and syncopated drums, sees the Nigerian and South African music superstars blending their vocals perfectly as they trade sultry verses over the beat.

The new collaboration is sure to be a late contender for song of the summer, as we can see this one playing on dance floors on both sides of the Atlantic for months to come.

“DYNAMITE” features on WWP, a four-track bundle of songs Tyla has just dropped, which also features the previously released “IS IT” and “BLISS,” as well as another new track, “MR. MEDIA.”

“When I thought of doing a mixtape called ‘WWP,’ I went back to all my old demos and I remembered the Wiz one,” Tyla had previously mentioned at one of her London concerts. “And it was still good, like, after three years! I just told him, ‘Let’s finish it because I want to drop it.’”

So, “DYNAMITE” has been around for a minute, but it still plays like a fresh banger.

Listen to Wizkid and Tyla’s “DYNAMITE” and check out the full WWP bundle below.

When Pheelz collaborated with Usher on “Coming Home” and “Ruin,” it was obvious that he knew how to blend Afrobeats. Both songs had the dripping sensuality the American R&B great is known for, but there was something else about the bounce. A special element that listeners of Pheelz would recognize as his own.

That element is present on “Stay Together,” the new single from the maverick Nigerian artist and producer, which he’s created in collaboration with global music platform Beyond Music.

On “Stay Together,” we hear a riveting drum base that sounds like a call to action. Stacked on both sides by siren-esque vocals, Pheelz’s opening verse hones into the revelatory perspective of one who’s seen it all. Promoting love and mutual respect, he warns that “repeating history is deja vu,” a notion that is reiterated from unique perspectives throughout the song.

Pheelz’s reputation as a premium collaborator is also evident in his ability to work with the trio of voices that contribute to “Stay Together.” Nigerian multi-hyphenate Marshall Muze co-produces and writes on the record, bringing his signature depth as he unspools sociopolitical considerations. The feathery tones of Zambian-born Naimah also find charged purpose to rally behind, with musician of French and English descent, Ella Rose, contributing vocals.

With warm tones and vivid representations of art and culture, the visuals also reiterate the positive message of the song. OkayAfrica had a brief discussion with Pheelz about the creation of “Stay Together” and the work he’s currently doing with Beyond Music.

This interview has been edited for length and clarity.

How did the beat come alive from your end? You’re known to bring your vast compositional skills into your production. How did that work for “Stay Together”?

I didn’t produce the beat on this one, but once I heard it, I knew exactly where I could add that Pheelz flavor. We added some live instrumentation — textures, harmonies, little musical details that bring more emotion to the track. I’m always thinking about how to give the music more soul, more depth. Sometimes it’s not about doing the most, it’s about knowing what the song needs to breathe.

You’ve been one of the farthest-reaching Afrobeats artists in terms of collaborations. How do you approach working with other artists, especially those from other cultures?

I always come in with open ears and an open heart. For me, music is the most universal language, so whether I’m working with someone from LA, Lagos, or Lisbon, I just want to connect energy to energy. I bring my roots, my Afrobeats DNA, but I’m also curious. I love learning from different styles, different textures. That’s how growth happens. Every collab is a new canvas.

Can you tell us a bit about the Beyond Music Vol. 4 - Social Change album? You’re working with icons like Angélique Kidjo on that. What’s that looking like?

Working on this project is a blessing. Beyond Music Vol. 4 is more than just music — it’s a message. Collaborating on the same project with someone like Angélique Kidjo is humbling. She’s a queen, a living legend, and the way she pours her spirit into every note is inspiring. This album addresses real issues, real change, and it’s an honor to lend my voice and sound to something so powerful. It’s art with purpose.

Ideally, passion should be a prerequisite for artists. At least that’s what Tim Lyre believes. “I know it sounds cliché, but the truth is that you have to be passionate about doing it,” the Nigerian singer, rapper, and producer tells OkayAfrica. “You have to genuinely want it to be able to persevere and be consistent even when things are not going so well. I think that’s been most important, for me anyway.”

Lyre’s whole embrace of the process and dedication to creating music that can be appreciated for its singular vision is apparent in its output. Earlier this month, he released his third album, SPIRAL, a balmy soundscape featuring lilting neo-soul cuts, gently smoldering pop tunes, and smooth rap-indented highlights. The genre-hopping, now a trademark, is tied together by profound expressions of longing, loving, personal joys and anxiety, the constant search for self-fulfillment, and more.

Where his previous albums, Worry < and MASTA, were snappy affairs with runtimes hovering around the half-hour mark, Lyre’s latest is a double-sided effort that runs a few minutes shy of an hour. That extension doesn’t translate into any adverse effects; if anything, SPIRAL is a seamless listen that is effortlessly engaging. It’s an opus that reflects the accrued refinement and mastery Lyre has earned over the years, with some of his earliest releases dating back nearly a decade.

Lyre was among the dozens of young Nigerian artists who took to SoundCloud as their preferred platform for spontaneous drops, spurred by the need to create music outside what was popular in the mainstream. Across his early catalogue, Lyre ran through styles of music with a sometimes scattered twitch, to regularly strong results, if not wholly compelling.

“I think it was around that Covid-19 period,” he says, referring to the lockdown months as the period things clicked into place for him as a versatile artist. “I guess everybody just had enough time to reflect in general, myself included. I was in the studio as well, so I had time to think about how I wanted to sound. I’m someone who likes to try different things, and I had a lot of time to figure out what I wanted to take on and put all these things together. I’m someone who always just wants to improve constantly.”

The early 2022 release of Worry < was a remarkable showcase of Lyre as an artist with an elevated grasp of his abilities as a versatile artist, a streak that extended to MASTA and is foundational to the excellence curated on SPIRAL. The Tim Lyre experience since his first album has shown an artist comfortable with spotlighting his romantic scars, laying bare his yearnings, openly exploring his ambitions, and giving voice to his fears. Along with his ability to croon soulfully, rap with poise, and even dip into patois, these thematic threads make for a deeply relatable artist.

“[Introspection] is a very key part of what I’m trying to do as a musician,” Lyre says. “My favorite artists that I listen to, my best quality about them is the fact that they’re just so honest and vulnerable in their music, a lot of the time. There’s no shame when they’re talking about certain things. People can relate to that as well because we are all human beings; we all kind of go through the same things, you know, even if your circumstances are different. So I try to make it a point to keep that honesty about myself as much as I can.”

On “Rocketship,” the second song on SPIRAL, Lyre shares a heady portrait of the aftermath of a breakup where anxiety intertwines with an overreliance on weed. On the similarly forlorn “Storytime” with UK-based indie soul singer BINA, he asks, “What’s the worth of a love/that never gave you any peace of mind/until the day that it died?” It’s the kind of lingering thought that remains when you sit long enough to sift through an experience properly.

The first side of the album, largely self-produced, is heavy-hearted, filled with ruminative songs about finding perspective through the difficult weight of being jilted while also fighting for your dreams. The second side is lighter and more jovial without losing emotional lustre, from the devotional confessions on the house-infused “OMD” to the money-minded, highlife-pop swing of “Economy” with rap duo Show Dem Camp.

SPIRAL earns cohesion from being purposefully broad, a distinction that extends to the dozen featured artists, all well-placed and integral to the listening experience. “I’m lucky because I now get to work with more artists, and I’ve always been a collaborative type of artist,” Lyre says. “I’m also someone that just listens to a lot of music in general, so I feel like I know where things should go in terms of who should be on the feature.”

The collaborative spirit is aided in part by Lyre’s longstanding tilt towards community; MOJO AF, DAP the Contract, and Joyce Olong are frequent collaborators dating back several years. Meanwhile, Lyre credits a handful of the features to connections made by Outer South, the London and Johannesburg-based indie record label Lyre has been working with since his first album.

SPIRAL is “the biggest thing” Lyre and Outer South have done yet, putting more resources behind this album than his previous releases, seeing the traction the artist has slowly built up with a growing catalogue of quality releases. Those increased efforts include a headline show in late September at London’s Camden Assembly.

“I definitely want to perform my music as far as I possibly can, and just keep making good, quality music and collaborating with artists,” Lyre says as a ballpark answer for what he’s looking forward to next. He obviously wouldn’t mind scoring the kind of huge hit song(s) that vaults him from rising niche favorite to popular star, but it’s not an achievement he’s looking to force.

“With enough momentum and consistency, we can definitely get there. These things take time. It might happen one day, and people will think I’m an overnight sensation. I’m genuinely interested in making great music, and as long as that’s working out, I’m happy with life.”

Donia Wael’s sweet voice became the soundtrack to long nights on Cairene roads and Egyptian balconies long before we knew the face behind it. Anonymized as a cartoon character next to El Waili’s green skull or an animated outline of a slim body with long curly hair in the 2022 hit single “El 3asal,” Wael began her career trusting that her music would reveal everything listeners needed to know about her.

“I wanted people to connect and judge me for my music only,” Wael shares in a video call with OkayAfrica. Her songs, often bridging melancholy with electronic production and traditional Egyptian instruments, built her a loyal fan base, even though her listeners wouldn’t recognize her if they saw her in person.

“I’m over that, honestly,” she says. “I’m trying to connect on a physical level, because I realized that when people see you, they will find themselves in you. I feel like I grew up with the audience.”

In the visuals for her latest EP, Bifkrny Beek, Wael is seen dancing in Cairo, wearing glitter make-up and cute clothes. In many ways, she is exactly how her audience would have imagined her to be: playful and down-to-earth. Mu7tarama, as Egyptians would say: a respectable woman.

How did an extremely shy child become a successful musician with the aspirations to go global?

“It’s an ongoing process,” says Wael, who speaks as if she were talking to a friend, rather than repeating rehearsed phrases. “Growing up, I didn’t really share my feelings in conversations. I’m not gonna tell you what’s bothering me, but I’ll write you a song about it.”

She got into songwriting at 17, after she saw a boy playing the ukulele on a Sinai beach. “It was magical to me,” she remembers. “I went home and had to buy anything that had strings.”

With teaching herself the guitar came the ability to express herself with words. Wael has no songwriting technique. She starts strumming the guitar, and something comes out - it used to be stories she wanted to tell, before she fell in love with the traditional melody structure of a song.

Her mother used to listen to her music from behind the door, because Wael was too shy to share it. As she grew older, she began attending open mics and playing her original music on a keyboard.

“I never thought that I’d get gineh masry, one Egyptian pound, from making music,” she says. “I’m the biggest example that shyness can be overcome. Oof, I used to hide! Now I’m totally fine.”

It was studying acting that finally got Wael out of her shell. “I went into it thinking that it’ll help me write better music,” she shares. “It made me understand emotions and the person in front of me more. I fell in love with it. I want to live different lives and write music from the perspective of different characters.”

With a newly discovered love for acting and an EP already out this year, what else could Wael dream of? A girlband! Growing up listening to alternative Arab bands like Cairokee and Mashrou’ Leila, she had been wishing for her own girl band ever since she was in school, but could never find other girls who played instruments.

“Egyptian girls would only sing,” she says. “I wanted to hunt for girls [who play instruments], because I thought that we shared the same passion. And I wanted to influence more women to play instruments.”

Her hunt took several months during which she asked every musician she knew and “went crazy stalking and searching” on the internet until she found Randa Shoukry, an electric guitarist who knew other women instrumentalists.

“I found out that I actually like collaborating and that I’m a people person,” says Wael about launching her own girlband with “Ezay.” “It feels warmer and safer, because you have people to look at and jam with.”

She hopes to tour with her band and wants people to know each band member for their skill, not for the fact that they’re women.

There’s a red line that connects Wael’s EP, love for acting, and girlband: “I want people to know that they’re not alone and that it’s okay to be vulnerable,” she says. “Once, a fan told me something very important: ‘Your music helped me not to be alone in a certain phase, but I want you to know that you’re also not alone.’”

It takes coming out of one’s shell to really feel and appreciate the connections that art facilitates between humans. That’s why, after several years in the public ear, Wael is ready to step into the public eye.

Every week, OkayAfrica highlights the top African music releases — including the latest Afrobeats and amapiano hits — through our best music column, African Songs You Need to Hear This Week.

Read ahead for our round-up of the best new African music tracks and music videos that came across our desks this week.

Victony & Fridayy – “Glory II”

Releasing a sequel to his latest single just some weeks after the original, Victony is flexing the reach of his artistry. Here he’s joined by Fridayy, who’s built up an impressive resume of collaborations with Afrobeats acts. The grass-to-grace narrative of the original is maintained, as Victony’s rap-informed flow is matched for intensity by his guest’s choir-reminiscent vocals. A fine blending of sensibilities, it’s a song that delivers beautifully on its role as an ode to God’s enduring grace. – Emmanuel Esomnofu

Kabza De Small - “Siyabonga”

Kabza De Small moves in his own lane. His long-awaited fifth album lays his heart bare, clarifies his intent, and reaffirms his status as the top don in the electronic music game. Not that he ever left; in the past year alone, his music was performed by an orchestra, he dropped one of 2024’s standout tracks in “Hayi Baba” (with Chronical Deep and LaTique), and laced bangers alongside Darque, DJ Maphorisa, Xduppy, and Dlala Thukzin. He’s a man on a mission: to stretch the sonic spectrum, school our senses, and come out on top every time. “Siyabonga,” featuring Nontokozo Mkhize and Mthunzi, shows Kabza at his most tender, most curatorial. It leans into 3-Step, embraces you, cradles you. It’s a prayer – “asisabi lutho, isandla sakhe siphezu kwethu imihla yonke” (we fear nothing, His hand is upon us every day) – and everyone’s invited. - Tšeliso Monaheng.

Lojay – “Tenner”

After announcing the August release of his long-awaited debut album, Lojay has set the wheels rolling with a fiery song intended for the dance floors. Pairing his svelte vocals with hyper-vibrant pop beats is an artistic choice favored by the artist, and it continues to prove a winning formula, as he paints a riveting portrait of a lady he’s enamored by. Bold metaphors, swirling notes, and banging drums are ever-present throughout the song’s runtime, but the fusion doesn’t eclipse Lojay’s voice at the center of the fanfare. – EE

Adekunle Gold – “Coco Money”

Always one to reinvent himself, you’ll be hard-pressed to find Adekunle Gold in the same spot. On “Coco Money,” he returns to the indigenous throb that influenced his early music, pairing disco sensibilities with the unmissable drums of Juju music. It’s a quintessential fly talk song, an arena the artist particularly excels in. The vocals and the energy matching each other’s vivacity, it’s a renewed demonstration of the artist’s prowess as a songwriter. – EE

TOSS, Maglera Doe Boy, Young Stunna - “Hermano”

“Hermano” is the rap Olympics – a relay of distinctive, heavyweight voices in African music. Themed around Black township life, with fashion nods to la sapeur, Black dandyism, and ukuswenka, the video brings the song to life in elegiac style. The back-and-forth between TOSS and Maglera Doe Boy deserves its own support hotline; there are simply too many quotables to catch in one go. Then comes Young Stunna on the chorus, a welcome breather from the lyrical warfare unfolding. Together, the three move like a league of their own: elite yet grounded, daunting but disarming, feisty and tender in equal measure. It’s an overload of excellence, so pace yourself. - TM.

Mr Eazi – “Corny”

On his latest song, Mr Eazi shows why he’ll always be an interesting voice within Afrobeats. The chill number produced by P Priime showcases the artist’s expanding vision as a storyteller, as he reveals the intricacies of a romantic relationship. “No go do you cunny,” he sings atop the mid-tempo production, charting a seductive vibe that sways with the lyrics of the record. – EE

Blue Pappi - “G-Wagon” (feat. LaCabra)

Blue Pappi’s on a roll, and he’s only just getting started. The emcee, vocalist, and producer, who hails from Ladysmith in KwaZulu-Natal – home of the legendary Ladysmith Black Mambazo – follows up last week’s high-octane, Kane Keid-featuring “Dairy” with a mellow, left-of-centre tune that allows him and fellow Qwellers member LaCabra to exercise their rap muscles and cross uncharted flow territory. The cadences are impeccable, and the music, very stripped back, very lo-fi, allows them to swim with intention, playing lifeguard to your treasured eyes and ears. No word is wasted, and every moment of silence is as necessary as breathing itself. South African hip-hop is enjoying its moment in the sun, and these two are but part of a bubbling movement whose legend shall be spoken about in years to come. - TM.

Mlindo The Vocalist - “iMedi Yakho” (feat. Sir Trill)

Following the success of his breakout debut, Emakhaya, and the vulnerability of his self-titled sophomore album, Lindokuhle, Mlindo The Vocalist enters his third chapter with something deeper: perspective. It's a delicate balance of talent and emotional maturity that cuts above the clatter to go for the heart. Uhambo – The Journey is an album shaped by his own lived experience. It carries the weight of heartbreak, the beauty of healing, and the clarity that comes after navigating life’s highs and lows. On “iMedi Yakho,” a duet with Sir Trill, he repurposes the melody to Oliver Mtukudzi’s hit, “Neria,” and injects an Afro-pop swing to its step. The flavours ooze from the speakers straight to your soul. - TM.

Chrissy Spratt – “Call On Me” feat. Nonso Amadi & Serøtonin

Chrissy Spratt is no newcomer to the Afrobeats scene. Through her covers, the Canadian-based artist has curated a strong presence, even going on tour with Chike. Now, the Hi-Way 89 signee has released her latest song, a three-way collaboration with the talented singers Nonso Amadi and Serøtonin. As the line-up infers, it’s a vulnerable embrace that offers the love of a partner, with Spratt holding the thematic core through her piercing verse and vocals. It continues the purposeful run-up to a project expected in August, as she’s shown an impressive ability to handle several genres. – EE

The duo of Ikenna ‘IK’ Nwagboso and Camillo Doregos were seasoned music executives before coming together to start Hi-Way 89. They’d worked on label services and management, respectively, within the emPawa record label, positioning artists like Mr. Eazi and Joeboy for the careers they'd later have. Individually, their clients make up a fine collective of established figures within the entertainment scene, making their alliance quite complementary.

“Once I was done with emPawa towards the end of last year, Doregos and I had that conversation that it's now time to come together and do something official," Ikenna recounts to OkayAfrica. "We both live in Canada, and we just saw the opportunity here and figured that it made sense.”

For the duo, the large number of artists in Canada without a label structure made it essential for them to step into that space. “We [wanted to] provide our services and our expertise to develop acts and bring successful talents out of them,” Doregos explains to OkayAfrica.

It’s well-documented how African acts tend to favor the UK and US scenes when promoting internationally, with decades-long infrastructures influencing that decision. Making Canada an attractive destination for Black artists and brands is a long-term goal.

“Canada is still very pop, country music, and just like sprinkles of r&b,” Ikenna says about the market’s tastes. “So Black music is still very much lacking, and it’s something that we wanted to put our mark on. It just takes a company like ours to start things.”

Doregos reiterates their competence. “For me and IK, being execs that’ve been able to navigate the key markets of the world and now finding ourselves in Canada, it’s just like starting again and doing what we know how to do best — break and develop talents,” he says. “We know that there’s a huge influx of the diaspora coming in, Black music, Black culture coming into Canada now, more talents coming into Canada, but fewer executives in the market that understand the music business and the scene. So we’re looking to position ourselves and develop and grow.”

So far, Hi-Way 89 has commenced its undertaking of the cross-cultural vision. One of their flagship artists is Chrissy Spratt, an artist whose roots are shared between Canada, Armenia, and Lebanon. “One of her strongest suits is just being able to dabble into different cultural sounds,” says Ikenna, “and she’s been able to understand how to do that within the Afrobeats space while maintaining her originality of pop and r&b.”

They’ve also taken on the Nigerian act Siraheem and the Indian Canadian artist Enchantika, both of whom are joining Spratt as artists currently on the Hi-Way roster. “For us, it’s not just about the talent alone; we also look at people backing them on their side as well,” says Doregos. “Siraheem is a young kid, and people kind of doubt him. So he has a point to prove that he fits in the game. Even Davido said that when he started back then, people didn’t believe in him that much, thinking he’s from a rich background and the alte scene, but at the end of the day, he became an outlier.”

These stories shape up the Hi-Way journey quite interestingly, and it is worth watching the process unfold. Last month’s “In Too Deep” showcases Spratt’s seamless ability to move between tonal registers, as she crafts a vulnerable tale of submission and seduction. Although her delivery incorporates the softness of R&B, the underlying drums have an Afro element. Siraheem’s “Bad B*tch Syndrome” pays homage to the Lagos rave culture while sampling one of P-Square’s most beloved classics.

The coming months promise to be eventful for Hi-Way 89, with Spratt set to release her debut EP in August. The release will build on the enthusiastic reception her covers have received from African music circles online. Her latest single, "Call On Me," features Serotonin and Nonso Amadi, a Canada-based artist who has garnered significant attention. Additionally, the label is finalizing a release date for Enchantika, an eclectic act that blends Punjabi music with amapiano.

Given their diverse and promising roster, a reflection of their years of experience in the music industry, I was curious to hear Ikenna and Doregos' perspectives on what makes an artist marketable.

“It’s definitely not one thing,” says Ikenna, “but I would just say their tenacity, how willing they are to grow and develop their sound over time. With music, you can still be true to yourself; you do not have to conform to what you think the global scene wants from you. We see artists like Asake, Burna Boy, Diamond Platnumz, doing well on a global stage, and they’re not compromising their sound, they’re really pushing their culture.”

Doregos adds, “You have to understand that the African and Black diaspora is between 200 and 300 million people outside of Africa, in every city across the world. And being able to sell our music to our people in the diaspora means going global. Being able to have your song played, and that’s what is happening now. You release a song today in Nigeria, and within the next one to two days, or almost the same day, the song becomes a hit in London, France, the Netherlands, or Australia. That is what global means right now.”

This is the mark High-Way 89 has set for itself.

Nigerian singer Ayra Starr is officially on the artists' clientele list of Roc Nation, the boutique music label, entertainment, and sports services company founded by iconic American rapper and mogul JAY-Z. Rumors of the deal intensified after Roc Nation posted a snippet of Starr's soon-to-be-released single, "Hot Body," on its social media pages late last week. Confirmation came with the singer's dedicated page on the company's website.

Still signed to Mavin, the Don Jazzy-founded Nigerian label that discovered and helped drive her breakout, Starr's deal with Roc Nation is a strategic partnership that's expected to improve her already formidable global popularity, particularly in the U.S. and across Europe.

"Ayra Starr's signing with Roc Nation is a fantastic gambit by the team at Mavin/Universal to give her capable hands to match her ambition," Afrobeats Intelligence host Joey Akan says, describing the singer as "an 'IT' pop girl" with high ambitions.

Starr will now be managed internationally by Roc Nation, a move designed to leverage her star power and momentum. The singer is currently on a stadium tour with British rock band Coldplay. She will make her full acting debut in the highly anticipated film adaptation of Tomi Adeyemi's Children of Blood and Bone and has won BET and MOBO awards in recent months.

"Having been funneled into Universal Music Group, via the deal with Mavin, what this simply means is, with Roc Nation, she becomes part of another family that prides itself on execution," Akan adds. "America is Roc Nation's market. And they've worked that region enough to have blueprints, deep connections, and the pockets to sway."

Roc Nation boasts an expansive client list of successful artists across management, distribution, and publishing, including rappers Megan Thee Stallion and Lil Uzi Vert, R&B singers Alicia Keys and Snoh Aalegra, and Latin pop superstar J Balvin, among many others.

"With this deal, Ayra and the team at Mavin signify her commitment to succeeding in the West by operating deep in the US market," Akan says. "The aim is to produce another global star from Nigeria. And they're well on their way."

Samthing Soweto had just stepped out of his Uber when we connected online to talk about his new album, Touch Is A Move (Good Morning). It follows his 2020 EP, Danko!, and marks his first full-length release since Isphithiphithi redefined the game for him in 2019. Spanning seventeen tracks, the album is pure bliss, dotted with skits that feel like overheard conversations, and music that moves fluidly between the ephemeral and the ethereal. It draws from a broad palette: hip-hop, Afropop, Amapiano, Kwaito, and more.

"I think it's just luck and favour, and the audience deciding, okay, we're gonna keep you around. We like what you do, we're gonna keep you around," he says, responding to OkayAfrica's question about what it is that has sustained him for so long without releasing a full album. There were singles in between, however. "Amagents" arrived in 2022 as a cautionary tale to his daughter about the trappings of romantic love. "Ayafana amagents, ayafana amajimbozi," he sang, essentially letting her know that the game is rigged and that all men are the same – in how they set you up, in how they lie to you, in how they steal your heart.

"Songs are more valuable now than they were before. It used to be entire projects. If you have a really good song, you're good for at least six months," says the artist. "If you make music that people like, they'll remember you," he says.

There's a certain ease that comes with knowing, like knowing the sun will rise and set, as it has since time immemorial. Ease also comes in trusting that your favorite artist will deliver stunning work, no matter how long they take between projects. Samthing Soweto is one of those rare artists—a soothsayer of song, a titan, and a juggernaut who holds our hands through chaotic times. Since emerging with The Soil nearly two decades ago, he has left his mark on at least four distinct South African genres and done so as a singular, genre-defying force.

With The Soil, he helped popularise a cappella music for a new generation, infusing it with street-corner harmonies and township soul. He carried that melodic instinct into his early solo works – cult classics like This N That Without Tempo (2010) and Eb'suku (2014), which blended folk sensibilities with poetic introspection. As a member of the alt outfit The Fridge, he crafted sweet, searching love songs that defined the Johannesburg underground for a time. The Fridge was part of an ecosystem that included acts like The Brother Moves On, Impande Core, and Blk Jks – all of whom helped write the script for an alternative cool that still echoes through today's generation of bold, Black musicians.

Then came the turning point. Between late 2017 and early 2018, a collaboration with Sun-El Musician changed the trajectory of both their careers. "Akanamali," which first appeared on SoundCloud, became a runaway summer anthem. What followed in 2019 was a string of hits – "Lotto," "AmaDM," and "Akulaleki" – all within the space of a few weeks. Isphithiphithi, which arrived in September of that year, cemented his place in the mainstream, proving him not just a genre chameleon but a pioneer. Samthing Soweto became one of Amapiano's most soulful and definitive voices. And that's not nearly it; he's done incredible work in hip-hop with Stogie T, and also helped produce Makhafula Vilakazi's earlier poetry outings.

Isphithiphithi thrust him into popular consciousness, which was a welcome relief from all the years he'd spent toiling in the underground circuit.

"It's nice, because that was the point. I was always an artist," he admits. "Even before I made money, I was an artist. As an artist, I've always done art, and I do as much as I can. But when my daughter was born, I had to make money. Then I started being a commercial artist, someone who would make money from the art." He says the process has been "crazy humbling."

"It changed for the better in the sense that I was able to make ends meet. If it weren't for that, I would have stayed the artist that I was and played for whoever needed to hear me play. I was shy, and kept myself away from people's eyes," he says, and ends with a gratifying "I am happy."

The album recording process started in earnest in 2021, but it was a start-and-stop process that tested the limits of his artistic resolve. The arrival of "Amagents" signalled that an album was coming, but there were just too many false starts for that to materialise. Relationships were tested, but he still found himself back to the matter at hand: making another groundbreaking album that would shift the paradigm yet again, because that's just what he does. "I just kept on giving up. I probably gave up five times," he says.

He takes time, lets ideas percolate, re-visits, and edits until it feels right. Something he did before the album release was announced was to leak snippets online as a way to gauge public reception. "Deda," the second single, was first released in August 2023 and has garnered over two million views on YouTube to date.

"I was trying to figure out what to do next. In 2021, I had the idea that this was the type of music I wanted to make. But I wasn't sure that people would like it," he says. So he read Ryan Holiday's book, Growth Hacker Marketing, about how multinationals grow their market share without using traditional marketing approaches. "When I read that book, it emphasised that instead of using big budgets, you can use what you have – from social media and stuff – to figure out what to do next. So you can ask your actual audience, and you'll find out exactly what they want based on the comments."

"This is all I have," he reveals amid our conversation, referring to the album. It's serious work to him, spirit work that requires him to reach within to pull out songs like the head-nodding kasi epic, "325", a reference to the BMW 3 Series 325i, otherwise known as a Gusheshe in South Africa. It's a song for the hood, for lovers, for those whose hearts haven't been made cold through contact with a harsh world.

"Ama Get Down," with Blxckie, is an instant hit. The harmonies at the beginning, Samthing Soweto's vocal inflections, more jazz than kwaito, are imbued with ancient spirits – the likes of Miriam Makeba, Victor Ntoni, and even Ladysmith Black Mambazo.

Production duties shift and blend seamlessly between a cast of three producers: Christer ("Ndandatho," "Ama Get Down," and "Don't Wanna Let Go"), J Smash ("325," "Yebo," and "Come Duze") and John Lundun, who produced "Deda."

"I kept on giving up. Every time I would have a setback, I'd just be like, It's fine, I'll find something else. But I had to go back to the music," he confesses. Time and space did help, but he'd always run into the same set of problems. "The last time was in March. I thought, 'Let me try one more time.' It came together, and I was like, okay, it's done now."

What he learned from this trial-and-error process was that life doesn't always happen the way we plan for it to. "But the point is to do it. You have to not stop, per se. You have to do what you need to do, and some of the solutions will find you as you do it. But you should not stop. It's one of those things where it's like, if you can't fly, you run; if you can't run, you walk; if you can't walk, you crawl; if you can't crawl, you roll. You do something," he emphasises. "I missed every deadline you can imagine. I didn't even think it was gonna be released. At this point, I'm just happy it's gonna come out."

For now, Samthing Soweto is happy that people outside his immediate circle are listening to his work. "For a very long time, just a few people and I knew it existed."

"I always love that moment when you identify a musical genre or a certain sound from a certain place that you didn't know anything about," Jannis Stürtz, founder of the Berlin-based indie label Habibi Funk Records, tells OkayAfrica.

"Ya Ummi" by The White Bird Band marked Stürtz' starting point with Libyan reggae. It was one of the songs Stürtz came across at the abandoned TK7 factory in Sousse, Tunisia, many years ago. Owned by Tunisian guitarist and businessman Hechmi Miliani, the factory had closed after the collapse of the cassette tape industry in the early 2000s, but still housed tens of thousands of unsold tapes that Stürtz was fortunate to sift through.

"[Miliani] told me he hadn't been inside of it for ten years," he remembers. "There were skeletons of dead cats in the entrance halls." Out of the thousands of options, Stürtz chose everything Libyan he could find, paving the way for six Libyan releases in the following years.

The label today, July 4, released Habibi Funk 031: A Selection Of Music from Libyan Tapes, a collection of 15 songs dedicated to the cassette tape scene in Libya from the late 1980s to the early 2000s, featuring a range of genres from disco to reggae to pop. On a sunny Friday afternoon, Fatima Sabouni and Stürtz jump on a call with me from different ends of their Berlin office, telling me about Libya's love for reggae and the long-winded road the label took to bring this compilation to life.

Sabouni's official title at Habibi Funk Records is Product Manager, but amongst many other things, she co-wrote and edited a thoughtful and informative booklet of interviews with the artists that make up the Libya Compilation.

"'Ya Ummi' was the first track we licensed in 2019," says Stürtz. "In 90 percent of the cases, we license from the artist as opposed to old record labels. In this case, we had to make 15 deals, 15 people that needed to get paid, 15 people that we had to find before we actually could do any deal, 15 people who needed to get interviewed and their material digitized." It took six years.

None of the Habibi Funk team members could be on the ground in Libya. Their interlocutor, the man who made this compilation possible, was Yousef Alhoush, son of Najib Alhoush, the band leader of The Free Music. "[Alhoush] maintains this incredible network and found 90 percent of the musicians within 24 hours," says Stürtz.

Bringing this compilation together was a labor of love and patience that required overcoming unique logistical challenges. "The classic scenario would be that Yousef [Alhoush] finds someone who brings the master tape to Tunisia or Cairo, from where we find someone who can bring it to Germany. We get it digitized, and then it travels back the same route or one of the other routes," says Stürtz.

Sometimes Alhoush would go to the airport, hoping that he'd know someone in line for a flight, or that someone in the line would know his father and agree to deliver a master tape. Stürtz would await them at the airport with nothing but a picture. Payments were sent in a similar way.

"If I pay an artist via Western Union, they lose 50 percent of the advance," says Stürtz. "So then you've got to go to another money provider. Sometimes, I would visit a random logistics office in Cairo that has a partner company in Libya and give a random person a stack of money. I don't get a receipt or anything, and I just trust that this person then calls their colleague in Libya, and that colleague in Libya calls the musician we're working with to pay out the money."

Because North African cultures are highly interconnected and built around trust and keeping a good name, these informal ways were successful.

"Reggae became popular in Libya the year after Bob Marley passed away," says Sabouni. "Initially, artists would do covers, but there was a moment where Ibrahim Hesnawi, the father of Libyan reggae, was in the studio and someone told him, 'Why don't you just put a little twist on it and just make it a bit more Libyan.'"

The beat of Libyan shaabi rhythms is quite similar to reggae. Mixed, it became its own syncretic genre. Even today, there are Facebook groups with 60,000 members of different generations, solely dedicated to Libyan reggae. "I think there are a lot of reasons for that, besides the fact that reggae wasn't too far away from the average listener's ear sonically and filled a gap in the industry," says Sabouni.

During one of the interviews for the booklet, Libyan artist Ayed Belkhair, whose song "La Tgheeb Anni Wala Youm" closes out the compilation, explained to Sabouni why darker-skinned Libyans felt drawn to the genre.

"He said: 'When you're darker-skinned in Libya, it means that you have more African heritage in your family. And there was something about the African pride that came with listening to reggae that really resonated with people in Libya, specifically those with more African heritage. It gave us a seat at the table," she recalls.

Most of the compilation's musicians were unable to pursue full-time careers as musicians due to economic and political reasons, but they continue to write and play music to this day. "There was a lot of nostalgia from everyone I spoke to for a time that seemed to be very expansive creatively," says Sabouni. "When I asked if they still make music, they'd say 'yes, music never leaves you.'"

Habibi Funk Records' archive is a treasure trove of music many would not otherwise listen to. The label tends to gravitate towards musicians' earlier or overlooked releases, rather than their most successful albums.

"The longer you are part of the music scene and have success, the more you try to create something that will nurture the success," says Stürtz. "You try to adhere to certain sounds that are popular, follow certain songwriting and composition structures, and sometimes that means whatever you're putting out isn't as timeless anymore."

While all tracks on the compilation are timeless, Shahd's "Erhal Keef Alshams Tgheeb" is Sabouni's favorite. "It's such a great song and gets stuck in your head," she says with a smile. "It's really special that we were able to license a song by a woman."

After a chance encounter with Hesnawi, Shahd was encouraged to delve deeper into reggae and, under his mentorship, released her successful debut album Weinak in 2003. Five albums later, when Shahd's music was nationally recognized and played in shops and taxis, she remained anonymous. Sometimes, her friends recommended her own music to her.

Despite the many, albeit different, challenges these musicians faced, they created outstanding art that is worth re-release, as thoughtful and dedicated as Habibi Funk 031: A Selection Of Music from Libyan Tapes. In 15 tracks, it invites listeners into expansive worlds infused with reggae, funk, pop, disco, and, of course, beautiful Libyan Arabic.

Global music icon Angélique Kidjo has been selected to receive a star on the Hollywood Walk of Fame, making her the first African musician to be honored in this way. The Beninese singer, known for her powerful voice and commitment to social justice, was named as part of the Walk of Fame Class of 2026 under the ‘Recording’ category.

The announcement was made in Los Angeles by the Hollywood Chamber of Commerce. The organization, which oversees the Walk of Fame, confirmed that Kidjo joins a list of 2026 honorees that includes Bone Thugs-N-Harmony, Miley Cyrus, and Intocable.

Kidjo’s selection marks a major moment in music history. While artists from Africa have long shaped global culture, few have been acknowledged by institutions like the Walk of Fame. This inclusion, overdue as it may be, once again brings a strong voice from the African continent into focus.

"I may be the first African singer to get a star on the Hollywood Walk of Fame, but I am certain I won’t be the last," she tells OkayAfrica. "Many will follow, and it fills my heart with joy!"

Born in Ouidah, Benin, Kidjo began her career in West Africa before moving to France in the 1980s. She rose to fame through a unique blend of Afrobeat, funk, and pop. Her lyrics, sung in Fon, Yoruba, French, and English, explore themes such as identity and liberation.

She has released more than a dozen albums over the course of her career. Her projects have included reinterpretations of classic works, such as her reimagining of the Talking Heads’ Remain in Light, and tributes to women and African heritage on albums like Eve and Mother Nature. She has performed at major venues including Carnegie Hall and the Hollywood Bowl, and has collaborated with artists such as Alicia Keys, Burna Boy, Philip Glass, and Carlos Santana.

Beyond music, Kidjo is known for her humanitarian work. She is a UNICEF Goodwill Ambassador and the founder of the Batonga Foundation, which supports the education of girls across Africa. Her advocacy for women’s rights and cultural equity has earned her awards from the United Nations, Amnesty International, and the World Economic Forum.

The Hollywood Walk of Fame, which began in 1960, features over 2,700 stars along Hollywood Boulevard. Receiving a star is considered one of the highest honors in American popular culture. The Walk celebrates contributions to entertainment in categories such as film, television, radio, live theatre, and recordings.

With this recognition, Kidjo takes her place among the most celebrated performers of our time.

The next great African rap battle may be upon us. In late June, Nigerian rap artist Blaqbonez took aim at colleague ODUMODUBLVCK on "Who's Really Rapping," a joint track with mentor A-Q, who has been in his fair share of rap beefs. Odumodu has fired off a litany of posts on X (formerly Twitter) and talked about it on podcasts, but it would take an official response for things to get interesting.

As far as hip-hop goes, fans love a spectacle, and passion is a potent selling tool. Where can there be greater delivery of passion than in diss tracks, rude and immediately beside you. At the chagrin of critics and less-than-pleased curators, diss tracks are peak moments for the culture, for fan bases, and consequently, a powerful PR tool.

From M.I Abaga and Vector to AKA and Cassper Nyovest, there's a solid history of rap beefs in African rap, and they've produced some truly memorable diss songs. Below are 10 essential diss tracks in that canon.

M.anifest – "godMC"

When years of sneak disses culminated in a lyrical sparring between two of Ghana's most revered rappers, it was everything the audience had expected. Rappers are known for talking the mean talk, and between Sarkodie and M.anifest, there has been a lot of that over the years, with their battle taking on even more importance considering they represent unique styles within the soundscape. On "godMC," M.anifest banks on the purist sensibilities that have won him the adulation of peers and listeners, pulling out a wide range of references as he sought to sink the Sark into hip-hop's hell. From Greek mythology to the Fela-invoking production, the rapper spared no punches as he cautioned the opposition "don't measure your pen to mine, you pantomime and asinine / And you wanna be king, get your ass in line."

Ruggedman – "Ehen"

Nigerian hip-hop has arguably never seen a rapper as magnetic as Ruggedman. At the start of the 2000s, he took gleeful swings at any and everybody, critiquing the establishment with the same vim he had for rappers. "Ehen" is undoubtedly his centerpiece as a troubadour, with Ruggedman wielding a flamethrower potent enough to torch anyone.

Dissing top English-speaking acts like Eedris Abdulkareem, Black Reverendz, and Rasqui for their lack of street material, he would set the precedent for a lingual and cultural conversation that would echo years later in "Local Rappers." Even at the time of its release, "Ehen" was remarkably impactful, succeeding as a commercial darling with its radio jingle-like harmony, a cadence that rings familiar to the average Nigerian on the street.

Cassper Nyovest – "Dust To Dust"

Going personal in diss records is one way to stun the opponent into submission, but even by that logic, "Dust To Dust" is a devastating record. Over five minutes of thumping bass and drums, Cassper Nyovest suggests several things about his chief rival, the now-departed AKA, with whom South Africa's biggest beef was shared. Its origin dates back to 2014, which would stretch and loosen back and forth for the next half-decade, resulting in a few jabs here and there. But AKA went direct with the phenomenal "Composure," and Cassper had to reply with equal ferocity and tact, which understandably led him down the personal route. "I'm writing this at the crib shooting free throws / You stayed in a town house that was owned by Oskido," raps Cassper on the third verse, audibly sounding agitated, breathing down the beat with a style that recalls the quintessential 2Pac flow.

M.I Abaga - “The Viper”

Intricacy has always been a defining quality in M.I's art. With his early projects in the 2000s, he redefined the scope of the Nigerian rap album, successfully blending pop runs with the sweet essence of rhyming. "The Viper," his diss record aimed at longtime competitor Vector, was as harrowing a cadaver inspection as it was an olive branch extended.

Swinging at the edges of mercy and punishment, he employs biblical allegory to dissect the history between himself and Vector, ranging from their handling of the BET cypher to what M.I. considers Vector's inability to "put anybody in position." It's a fine display of M.I.'s incredible arsenal as a rapper, from his production of the song to the social commentary he successfully incorporates in his scathing attack.

Vector – "The Purge" feat. Vader & Payper Corleone

On "The Purge," Vector assembled one of the most compact diss records that the Nigerian rap scene has witnessed. Tensions were stoking between his and M.I's camp, fuelled mainly by the rap cyphers that both veteran rappers steered. By the time of release, it was no secret that both rappers' cliques didn't like each other, and "The Purge" took things up a notch by standing on business (and crucially, on wax). Vader takes shots at Blaqbonez, Payper swings on everyone from Loose Kaynon to A-Q, and Vector expectedly goes for M.I. "Africa rapper number one my ass, boy the flavor left," he rapped, referencing the latter's 2010 hit song, while swinging other sharp personal jabs.

Modenine - "Elbow Room"

For many, Modenine represents the pinnacle of lyricism in Nigerian rap. At his peak, which was much of the 2000s, he often rapped with the cold force of an unsullied, his barrage of punchlines slicing through boom bap beats with the sharpness of Valyrian steel. That unsparing lyrical precision is the hallmark of "Elbow Room," a speculative diss that remains as scathing as it was nearly two decades ago.

Amidst industry rumors of a beef with Ruggedman, and whispers of an already recorded diss song that eventually didn't see the light of day, Modenine got preemptive with "Elbow Room," sonning his adversary before things got heated. From the first line where he threatens to run over foes, every line is unfurled with a focused fury. By the time he delivered the death knell with "Talking to You," it was a potent sequel to the unsparing tone set by "Elbow Room."

Sarkodie - “Kanta”

Sarkodie takes umbrage at any question that casts doubt on the credibility of his pen and his greatness as a rapper. Those things were at stake when M.anifest called him out on the thinly veiled, subliminal-packed "godMC." While the beef itself never really boiled over into a protracted back-and-forth, "Kanta" was Sarkodie's unfazed reply. Taking sonic cues from American rapper Desiigner's viral hit, "Panda," Sarkodie swings for the fences and hits a home run.

Sark's trademark rat-tat-tat, machine gun flow is the vehicle for barbed lines that simultaneously extol his greatness and dismiss M.anifest as credible competition. "Sark no go diss you for nothing/nigga, already you suffering," he quips in utter disgust. Sidestepping punchlines for heft, Sarkodie raps every line like he's trying to set off the Richter scale, going a cappella with some words of advice when the beat switches off. "Kanta" didn't necessarily hand M.anifest an L, considering cooler heads prevailed after, but it proved Sarkodie's bona fides at a time when his prominence made him an easy target.

Khaligraph Jones - "Best Rapper in Nigeria"

For Khaligraph Jones, being hostile on the mic is a way of life. Even on his groovier songs, the Kenyan rapper makes it a point of duty to be a hulking presence. That's why he relished the opportunity to go at Blaqbonez, immediately after the Nigerian rapper said Jones wasn't worthy of winning the award for Best Hip-Hop at the 2023 edition of the Soundcity Music Video Awards. Within a day of Blaq's statements, Jones declared himself the "Best Rapper in Nigeria," a reference to his foe's assertions of being Africa's best a few years prior.

Some of the best diss songs in rap history have a blatant level of toxic masculinity, and it felt like Jones had been waiting for a while to unleash some of that energy on an adversary. Over an ominous beat, Jones sounds like a predator chomping on hapless prey; he doesn't just address Blaqbonez like he's well above him, he raps at him like a disgusted OG. The bloodletting is so effective that, in hindsight, Blaqbonez's jibes on his response, "Green Blaq Green," come off as tantrums.

Tony Tetuila - "Omode Meta"

The beginning of modern Nigerian pop music, also known as Afrobeats, was primarily shaped by groups, particularly boy bands. Closing out the 1990s, the Remedies, comprising Eedris Abdulkareem, Eddy Remedy, and Tony Tetuila, were one of the scene's definitive acts, but they soon splintered, and out of that emerged "Omode Meta," arguably one of the top three greatest diss songs in Nigerian music history. The initial shock factor was that it was headlined by Tetuila, widely regarded as the least important member of the Remedies.Twenty-five years later, the significance of "Omode Meta" is impossible to understate, partly because it was ultra-effective in setting up Tetuila's seminal solo career, and also because it was a flat-out hit song that continues to be eternal. Featuring rap group Ruff Rugged N Raw, alongside 2Face Idibia and Blackface of Plantashun Boiz, Tetuila assembled a bunch of lyrical assassins to do the dirty work of tearing into his former groupmates, Abdulkareem especially, while he sang an immortal hook, aided by wonderful adlibs by Idibia, that instantly garnered public affection.

AKA - "Composure"

The beef between AKA and Cassper Nyovest had everything! There were tweets – a lot of tweets – and social media posts; there was drama, from a slap to allegations of a gun being pulled; and of course, there were diss tracks. After a couple of disses lobbed by Nyovest, AKA finally pulled up with the most potent words of the situation with "Composure," an ultra-assured slapper that's the audio equivalent of handing out a can of whoop-ass.

As soon as AKA opens his mouth on the glitzy beat, his level of confidence is preposterous. He's authoritative without the need for aggressive posturing; this is AKA in his element as a rap artist with Teflon swagger. He knows his opponents "hates me with a passion" but he comes off cool as ice under all that heat, issuing a raft of unforgettable quotables like "My niggas in position when they ring the bell/ They gonna get your pony tail like a Holy Grail." By the time Nyovest went personal with his reply, "Dust to Dust," you could smell the desperation on him – a sign that AKA's damage was indelible.

I remember sitting at my kitchen table one night in spring when someone sent me Melanchronica, a collaborative album by Sudanese American rapper Bas and London-based duo The Hics. I took a listen and immediately knew that this was a special project. By the time I had reached "Sometimes," the 7-minute-long outro, I had dissolved into feelings of nostalgia and joy, playing the song on a loop.

Bas and The Hics, a duo comprising Roxane Barker and Sam Paul Evans, have cultivated their shared creativity over the past decade. They collaborated on tracks for Bas' sophomore album, Milky Way, as well as The Messenger podcast after Bas heard The Hics' "Cold Air" on GTA 5 Radio and DM'd them while passing through London on tour with J. Cole.

"I always try to seek out people who bring me out of my comfort zone and inspire me to achieve a different level in my artistry," says Bas. "Whenever I work with [The Hics], there's just a lot of emotional depth to the music. Their writing is very poetic, and they're intentional with their wording."

Melanchronica began in 2017 with "Four Walls," a song about heartbreak and longing for lost love. It was too chronically melancholic for Milky Way's summery vibe, so Bas held it back. But the world and soundscapes they had created begged to be explored further.

"The song was like one of those vulnerable moments and thoughts that you might not share with others or might not even like to admit to yourself until you get that sonic landscape that evokes that emotion out of you," says Bas. "At least in our culture, music is a bit devoid of emotion right now."

They continued working on what would eventually become Melanchronica, a cinematic, textured invitation to feel it all. At the intersection of Bas' New York-cool rap style and The Hics' genre-bending sound, which blends elements of soul, electronic, jazz, and alternative R&B, effortless chemistry has birthed to one of the rare projects that you can listen to from start to finish without skipping a single track, and then repeat.

"To have that much time making music in this day and age is [a privilege]," says Bas, echoing musicians like Morocco's Stormy and Small X. "We're stuck in a music consumption rat race and trying to stay relevant. But we had the time to really cook this." Melanchronica comes right on the heels of Egyptian rapper Marwan Moussa's prediction that rap music was changing. "I think we'll hear music that feels like more time has been spent making it," he told OkayAfrica in May.

Track five, named after the standout Black Mirror episode "San Junipero," is one of the album's more energetic songs. Evans' grungy bassline immediately drew Bas in. "It's emotional, but aggressive and has a bounce," he says. "Black Mirror is one of the most culturally relevant media, filled with so many warnings of the human condition and society that we're heading into."

My favorite songs as of now are "Erewhon" and "Sometimes." "Those are solid choices, I think I'd agree with you there," Bas says. Both tracks were written at Harbor Studio in Malibu, which was lost to the LA wildfires this year.

"Erewhon is the most LA of LA grocery stores," Bas says with a grin. "$20 smoothies and you might get an avocado sandwich and have to take out a loan. But it's good, though, I'm not gonna lie."

The track confronts artistic progress and, as a result, the improvement of one's material comfort levels — from London's Aldi to LA's Erewhon — which is one of the album's central themes. After attaining a higher lifestyle, one often realizes that it does not guarantee greater happiness or fulfillment. "Every time you reach those moments, you're not content. You're trying to find the next glass ceiling to shatter," says Bas.

Dualities, self-reflection, and longing resound through Melanchronica and are felt as the timeless and existential conditions they are. For Bas, longing specifically took on a more complicated dimension with the outbreak of war in Khartoum, Sudan, in 2023.

He used to spend every December at his family home in Bahri, which had become a base for the Rapid Support Forces until the Sudanese Armed Forces recently recaptured the city.

"When things get as dire as they have, you understand the value of having those roots, traditions, and that piece of history," says Bas. "To be in a hometown where all the families in the neighborhood go back centuries, having a cemetery I can visit with generations of my family buried there. To have all that ripped from you is depressing. Nothing's been the same."

In his writing, Bas personifies longing and desire to make the sentiment more relatable. "You might not have lost a country, but the emotion at the core is the same," he says. "It's just like, damn I miss you, I want you back."

Even though Bas agrees with me on my favorites, his is "Roxane's Interlude." "I like when Roxanne takes front and center and we get to, kind of, pepper around that," he says. "I like those songs that remind me of those classic R&B summer records I grew up on. This dominant female lead, and then a cool rap verse to throw in there."

Melanchronica is his first collaborative album; it takes patience, trust, and compromise to put a project like this together. "Professionally and creatively, I grew a lot," he says. "I am maturing as an artist and as a man. I've gained the confidence to shed a little more of the bravado that's expected of us in our genre, really tap into the depth of my artistry, and see where I can go."

If he could, he would like to go home. To Sudan. Practice his Arabic, restore the family house, and nurture a connection that was weakened when his mother passed away.

It might be this shared longing for our parents' home that touched me so deeply when listening to Melanchronica. But whatever it is you are longing for, reflecting on, and feeling melancholic about, this album will hold and nurture you in the process.

Burna Boy is ramping things up ahead of the release of his eighth studio album, No Sign of Weakness, due July 11 via Bad Habit/Atlantic Records.

The African Giant has now shared the full tracklist for the forthcoming album, which reveals an eye-catching range of guests across its 16 songs.

Perhaps the most surprising and notable of them is rock legend and Rolling Stones frontman Mick Jagger, who will appear on the album’s eleventh track, “Empty Chairs.”

Another noteworthy guest is Belgian pop star Stromae, who shares track billing on No Sign of Weakness track “Pardon.” Stromae has strong ties to the African continent through his Rwandan family background, and notably concluded one of his world tours in Kigali.

American breakout star Shaboozey (who has Nigerian roots) will appear on a track titled “Change Your Mind,” and we’ve already heard the Travis Scott-featuring single “TaTaTa.”

So far, Burna Boy has shared album tracks “Sweet Love,” “Update,” “Bundle by Bundle,” and “TaTaTa.” He’s also announced an upcoming North American tour in support of the album.

See the full tracklist for Burna Boy’s new album below.

Burna Boy's ‘No Sign of Weakness’ Official Tracklist

1. No Panic
2. No Sign Of Weakness
3. Buy You Life
4. Love
5. TaTaTa feat. Travis Scott
6. Come Gimme
7. Dem Dey
8. Sweet Love
9. 28 Grams
10. Kabiyesi
11. Empty Chairs feat. Mick Jagger
12. Update
13. Pardon with Stromae
14. Bundle By Bundle
15. Change Your Mind feat. Shaboozey
16. Born Winner

Tems is no stranger to big moves. Going from alt-leaning darling to multiple Grammy winner, the artist has been delving deeper into the rich crater of business choices that will undoubtedly solidify her as one of the most forward-thinking minds of her generation. But even by Tems' high standards as a musician and celebrity, her latest investment has the potential to become an industry gamechanger, spawning an impact that will surely outlive the 30-year-old artist.

As part of her efforts to democratize the music industry, Tems will launch the Leading Vibe Initiative, a platform dedicated to championing women within the scene. According to reports, women are significantly underrepresented in the music industry, with only 22 percent of musicians worldwide being women. Tems, who's one of the most successful artists of the new generation, definitely has a lot of tips and tools that will prove crucial to any emerging woman artist.

"Across Africa, I've seen firsthand how much talent exists, and how many female musical talents still face barriers at every stage. The Leading Vibe Initiative is my commitment to changing that reality," she tells OkayAfrica.

Debuting this August, Leading Vibe will be a purposeful initiative that showcases the intricacies of the music industry to rising artists, producers, and songwriters, drawing on the rich experience base of Tems and her managers, Muyiwa Awoniyi and Wale Davies. It will start from Tems' hometown of Lagos and expand to other African cities throughout the year, and eventually to other major cities across the globe.

"My goal with the Leading Vibe Initiative is to help discover and support talented young women who have the potential to redefine the industry," she says. "By opening doors and building a real community, we can equip more women with the tools, resources, and networks they need to break barriers, amplify their voice, and shape the future of the global music industry."

The inaugural program is scheduled to take place between August 8 and 9, with an intimate event followed by a comprehensive day-long event that will include workshops, masterclasses, and panel discussions, all designed to provide participants with a multidimensional perspective on the music industry. Afterwards, the Leading Vibe will continue to support and counsel on the creative and business aspects of music.

"It's a movement, it's a network. It's a wave built for women by women, from the continent to the world."

No doubt a groundbreaking initiative, this reveals an incredible practicality from Tems as she takes action towards leveling the entry base for women artists. As we've seen from her success and that of other women stars like Ayra Starr and Uncle Waffles, the sound and perspective of women artists have all it takes to propel Afrobeats into a greater future.

By taking on this exciting and no doubt challenging task, Tems has again taken the lead, proving that she'll always put her money and resources where her mouth is. Or in this case, where her heart is.

Visit here to learn more and apply.

AfroFuture, the dynamic celebration of African culture, music, and innovation, is making its long-awaited U.S. debut in Detroit this August. In partnership with Bedrock, the festival has announced a two-week series of immersive, community-driven events leading up to the main event on August 16 - 17, 2025, at the Douglass Site.

Titled The Road to Detroit, the pre-festival programming aims to energize the city while connecting the African diaspora. Running from August 11 through August 28, these events will spotlight Detroit’s rich Black cultural landscape, combining culinary experiences, nightlife, tech innovation, cinema, and live performance.

Kicking things off is the AfroFuture Countdown Bar Crawl taking place from August 11 - 15. Here, festival-goers can sip custom cocktails at some of Detroit’s most iconic venues, such as the Hush Harbor, The Vinyl Society, and Paramita Sound, all while unlocking exclusive rewards like VIP passes and limited-edition merch.

Food lovers can indulge in Taste of Detroit Restaurant Week (August 11 - 18), which offers curated prix-fixe menus and chef demos at standout Black-owned restaurants such as Ivy Kitchen, Kola Lounge, and Salt + Ko.

Innovation takes center stage on August 13 with Diaspora Connect: Innovation For Global Black Futures, a pitch competition hosted by Black Tech Saturdays and Venture 313. Finalists will compete for up to $10,000 in equity-free funding in categories like digital culture, creative industries, and community development. The event will take place at TechThree in Midtown and is free to attend with an RSVP.

On August 14, poetry lovers can immerse themselves in poetry me, please – A Diasporic Spoken Word Experience at the historic Willis Show Bar. Featuring musicians and spoken word artists from across the diaspora, the night promises to be intimate and deeply moving.

Every Thursday throughout August, Afrocentric Movie Nights will take place at Lowkey Cinema, featuring screenings of films like Sun Ra’s Space Is the Place, the Ethiopian post-apocalyptic sci-fi romance film, Crumb, and radical intersectional feminist Lizzie Borden’s dystopian docu-fiction drama, Born in Flames.

On August 15, the festival taps into Black music history with Samples n’ Friends X AfroFuture Experience, a communal celebration of samples, trivia, and karaoke spotlighting AfroFuture artists, Afrobeats, and Motown classics.

To round things off, a lineup of official pre- and after-parties will keep Detroit buzzing all weekend, with events like the Jerk x Jollof Pre-Party, Obi’s House, Toasted Life, and PVO.

“Bringing AfroFuture to Detroit isn’t just about launching a festival — it’s about building a cultural movement long before the first stage is set,” said Abdul Karim Abdullah, AfroFuture CEO & Co-Founder. “AfroFuture Detroit and its leadup events will honor the deep ties between the city and the African diaspora, amplify diverse voices, and foster and strengthen meaningful connections.”

Southern Africa's music scene is currently undergoing an exhilarating renaissance — a vibrant blend of history and boundary-pushing innovation. Across the region, artists are boldly redefining genres, merging the ancestral with the avant-garde, and crafting sounds that resonate far beyond their borders. From South Africa's pulsating electronic beats and razor-sharp lyricism to Lesotho's compelling storytelling and Zimbabwe's infectious dancehall rhythms, this collection of standout tracks reveals a region bursting with creative energy and artistic confidence.

Each artist featured here commands their own unique space, like Ciza's chart-climbing dancefloor anthem, which marries irresistible grooves with cinematic flair; Brotherkupa's fearless reimagining of jiggy rap with a rebellious edge; or Ntate Stunna's gripping narrative follow-up that pushes Lesotho's rap scene into new cinematic territory. The soulful introspection of Moonchild Sanelly, the magnetic swagger of Nasty C, and the genre-defying sounds of Kharishma's Limpopo-rooted lekompo further highlight the rich diversity fueling this creative explosion.

This is a sonic landscape where tradition meets experimentation, where stories of resilience, love, and identity unfold over infectious beats and intricate flows. Collectively, these songs showcase the artistry, innovation, and cultural pride that define the music horizon of 2025.

Read ahead for the Best Southern African Songs of 2025 So Far.

Ciza - “Isaka (6AM)” feat. Jazzworx and Thukuthela (South Africa)

"Isaka" is an undisputed banger. Since its release in April, the song has climbed the charts, entered the hearts of dance music lovers, and given dance floors another reason to come alive. The Tarryn Tippens-directed video is a lavish display that mirrors the track's energy, allure, and infectious groove, securing its place within the lush and evolving terrain of South African electronic music.

Sannere - "Hoba Monna" feat. Selimo Thabane, Opublic'smba, Flash Cortez, Wave Rhyder, Marcx Brass (Lesotho)

This track is a bold statement from some of Lesotho's most potent artists. Led by Sannere, who is arguably the artist of the moment, "Ho Ba Monna" gathers a constellation of the country's sharpest talents to interrogate the myths and expectations of masculinity in a time that demands truth, vulnerability, and emotional depth. Each voice adds a distinct texture, offering not just musical range but layered perspectives. The result is a timely, resonant anthem that reflects Lesotho's evolving sound and places it squarely within the global conversation.

Jah Prayzah - "Kuno" (Zimbabwe)

Jah Prayzah has carved out many musical bags in the many years he's been active in music, and he can twist and turn at any point to reveal a different side of his artistry. "Kuno" was the first release from his new album, Ndini Mukudzeyi. He digs deep to sing his heart out about love, legacy, and the bonds that remain unbroken after life has ended. It's also an assurance to the one left behind that the ancestors see them and know them. Jah Prayzah is a formidable artist.

​​Oriiginelle - “Nguwe” feat. Jay Jody (Eswatini)

On "Change," Eswatini emcee Oriiginelle traded lavish bars with South Africa's Zulu Mecca and effectively marked the 'real rap' register with one of 2024's underrated releases. "Nguwe" carries the same jazzy, lo-fi feel and finds a vulnerable Oriiginelle singing her lungs out and stacking harmonies, with lines like "still got so much work, I'm ill-prepared" before busting meticulous raps using flows integrated into some form of a higher power. Jay Jody stays on topic and elevates the song to a super saiyan level, rapping: "But I ain't perfect, ke na le diphoso (I have my own flaws)." This is elegant rap music that will resonate now and forever.

Gabopatwe & Mpho Sebina - "Lerato" (Botswana)

"Lerato," a stirring duet by Botswana's Mpho Sebina and Gabopatwe, is as close as music comes to the sound of joy. Rooted in longing and desire, it's a moody, slow-burning love song that speaks to the sweet surrender that happens when love takes over completely. Sebina's featherlight vocals and razor-sharp pen glide effortlessly over Gabopatwe's delicate, expressive piano work as his fingers trace every emotional contour of the track. It's a luminous offering for lovers everywhere.

Taniâ - “Dioguito” (Angola)

Angolan artist Taniâ breathes fresh life into Bernardo Jorge Bangão's classic "Dioguito," transforming the semba staple into a dynamic dialogue between tradition and modernity. Her voice glides effortlessly over the track, weaving nostalgia and innovation, while Francisco Alexandre Pedro's vibrant production injects just the right bounce to keep heads nodding and feet moving. It's a seamless blend of past and present that honors the roots while pushing forward.

Dlala Thukzin, Kabza de Small, MK Productions - "Muthi" feat. Zeh McGeba, Masuda (South Africa)

About a month ago, a clip surfaced online featuring Kabza De Small and Dlala Thukzin in the studio, cooking up what one can only imagine to be sizzling bangers. Some of the fruits from that collaboration are featured on 031 Studio Camp 2.0, a refreshing approach to electronic music rooted in a deep understanding of spirituality and a future-forward mindset unafraid to break new barriers. "Muthi" is sonic alchemy delivered in Dlala Thukzin's 3-Step grooves, Kabza De Small's unmistakable baselines, and Zeh McGeba's reassuring vocals. We might have another song for the summer with this one.

Kharishma - "Fly High Lekompo" (South Africa)

Kharishma is the moment. Her main occupation? Dishing out hits, which she does superbly. On "Fly High Lekompo," a melodic earworm rooted in South Africa's Limpopo province, she uses the infectious beat as a springboard to showcase the full range of her talent. The result is both catchy and commanding, a clear reminder that she's a force to be reckoned with.

Ntate Stunna - "Robari 2" (Lesotho)

With his debut offering, Sesotho Fashioneng, Ntate Stunna ushered a new age of Lesotho rappers, ones who drew from the innovations of both Famo musicians and rappers of an earlier time, such as Kommanda Obbs and Skebza D. The original "Robari," taken from that album, is a vivid tale of a robbery gone wrong. A series of unfortunate events leaves the protagonist at odds with himself, wondering how he'll escape a situation that now involves police officers. On the Flash Cortez-produced follow-up, Ntate Stunna disregards imminent danger and tries to negotiate with the hostages. "Toronko kapa mokhohlane/ ke re nka mpa ka baleha/ lebaka le nke keng ka tšoaroa, ke tsoile ka parole ene ha ke sa itlaleha, ("Jail or funeral/I'd rather run away/ I can't be arrested, I haven't been reporting for parole/")" he raps, as the cinematic soundscape elevates the song's impact. This is how you do a follow-up.

Shandesh & Mvzzle - "Sdudla or Slender" (South Africa)

Shandesh is a rising voice from Limpopo championing the lekompo sound — a genre defined by staccato percussion, synth-heavy production, and the signature use of auto-tune. Popularized by acts like Shebeshxt and Kharishma, lekompo gives voice to the everyday highs and lows of South Africa's youth. With "Sdudla or Slender," Shandesh adds another anthem to his growing catalog, building on the momentum of his 2024 breakout EP Versatile and further cementing his place in the genre's vanguard.

Brotherkupa - "Today Is A Good Day" (South Africa)

Brotherkupa's aura is currently unmatched. Alongside artists like Mfanatouchline and collectives like The Qwellers, he's ushering in a new era of jiggy raps and outlandish production that borders on disrespect in the best way possible. Here, samples are chopped, sped up, slowed down, reversed, and paired with buzzing 808s. It's an entire vibe. And the streets are responding: his fourth album, Before The Worst, shot to number one on streaming platforms upon release. Echoing the sunshine and glory of Ice Cube's 1992 hit. "Today Is A Good Day" is more than a statement — it's a lifestyle, a religion, and a way of life.

Killer T - "Magunje" (Zimbabwe)

In the animated video for "Magunje," Zimbabwean dancehall stalwart Killer T portrays an easy, carefree life. The song celebrates the finer things, luxuries, and pleasures that, while enjoyable, might still attract trouble with the authorities. Through a series of hilarious incidents, Killer T maintains an energetic flow that drives the song from start to finish, adding to its charm and playful defiance.

lordkez - "Aweh" (South Africa)

South African R&B is in a mighty healthy place right now, with new releases emerging left, right, and center across the burgeoning scene. Lordkez, a staple of this sonic wave, whose reign has blessed us with collaborations with Maglera Doe Boy, Bas, and Shekhinah, shines on "Aweh," a colloquial term for "yo." The vibes are vibing; the choreography by the inimitable Tarryn Alberts is on point, and her command of the music elevates the track to another level.

Voltz JT - "Medzai Fridge" (Zimbabwe)

Every track the Zimbabwean emcee Voltz JT touches turns to gold. With a voice that echoes the gravitas of rap's greats and a mastery of flow that stretches words, flips meanings, and reassembles them into nuggets of inside jokes, prophetic wisdom, and unapologetic badassery, he carries an entire scene on his back. "Medzai Fridge" (Shona for "put it in the fridge") is bass-heavy, raw, unfiltered, and impossible to ignore. Beware of the funk.

Lowfeye - "Tango" feat. Usimamane (South Africa)

Lowfeye and Usimamane butt heads and unleash pure lyrical warfare. Lowfeye sets it up, leaving the slate clean for his counterpart to run wild on the beat. "This how it be, nobody's safe when I step out the house," he declares in the opening line. Usimamane wastes no time, making it clear that every rapper in the game is his offspring. He even slips in a shoutout to Riky Rick before passing the mic back to Lowfeye, who excavates words so jiggy they deserve their own dictionary.

Grizzly - "Sheleni" feat. Lyrikal Busta & Sarnilo (Eswatini)

On "Sheleni," Eswatini's Grixxly puts his own spin on the one thing that rules us all: money. Teaming up with Lyrikal Busta and Sarnilo, the fire-spitting emcee trades intensity for ease. The trio glides over the beat with effortless, laid-back flows that make the track feel timeless. It's a smooth, head-nodding anthem that reminds us that sometimes, the best flex is not stressing at all.

Tieho - “Mohuli” (Lesotho)

If distinctive melodic flows and heavyweight rap bars are your thing, then Lesotho emcee Tieho is about to re-arrange your worldview. His latest release rides a warm synth bed and a chopped vocal sample from Lihoba tsa Matšekha, unfolding into a fully-formed cautionary tale about the fleeting nature of material wealth. Tieho stretches syllables, bends language to his will, and locks into rhyme schemes with surgical precision, all delivered over Emjay Elphy's minimalist but striking production.

Nasty C - "Psychic" (South Africa)

Nasty C is the undisputed don of modern South African hip-hop. With a decade's worth of hits to go back on, the artist doesn't seem intent on resting on his laurels. "Psychic" is the rage-inspiring song of the season, a display of the skill that the emcee has mastered over the years. It's full of memorable lines ("I gotta pay, rent/ so don't be nervous baby, hit the link"), the beat is anthemic, with horns that sound like moments before the earth ends, and the vibe is generational, proof that Nasty C is not the one to mess with at any time.

Moonchild Sanelly - "Mntanami" (South Africa)

Moonchild Sanelly bares new layers on Full Moon, her most cohesive and emotionally resonant project to date. There's a striking honesty that pulses through the album — a kind of vulnerability that doesn't come overnight but is earned over years of living, breaking, and healing. On "Mntanami," she digs into old wounds, not for nostalgia's sake but to make peace with the past and move forward. The production feels cosmic, bold, experimental, and unmistakably hers. It's the sound of an artist in full bloom.

Cassper Nyovest - "Kusho Bani" [South Africa]

It's been over a decade since Cassper Nyovest crashed into the mainstream with "Gusheshe," and in that time, he's remained one of South African music's most polarising figures. He's filled stadiums, launched a successful liquor brand, and undergone a spiritual transformation. Now, with "Kusho Bani," he returns to form, firing back at doubters and reminding the game of his staying power and knack for crafting hits. The song has introduced a new language to the cultural lexicon; "hosh kharamima," a phrase that appears in the song, is used by lovers across the board to express their admiration for their significant other.

Sjava - "Uyena" (South Africa)

Sjava's new EP Inkanyezi stands as a singular achievement in South African music. Recorded live during an intimate December 2024 performance, the project comprises entirely unreleased material. His command of the stage, his ability to hold space and guide emotion, is masterful. On "Uyena," he leads listeners through a gospel-tinged journey that blurs the line between concert and communion.

Internet Girl - "Treat" (South Africa)

Internet Girl's sound is an edgy mix of pop-rock, trap, and electronica fed through effect pedals, post-teenage angst, and the fleeting state of youth—all delivered through frontman TK's raw, unfiltered, and emotionally resonant lyrics. "Bhati Ntsika, where's your posi?/ they don't understand I got divorced parents/ and to my son I'd be the worst parent," he raps, his voice a fuzzy haze of broken childhood promises and the looming responsibilities of adulthood. Internet Girl is the sound of now.

saveHXPE - "80s Baby" feat. Baby Diaz (Lesotho/South Africa)

Lesotho's saveHXPE wears his influences on his sleeve. Following up on "Real," released earlier this year, he channels a Kendrick Lamar-esque cadence to magnetic effect. Baby Daiz adds the extra seasoning, elevating an otherwise intimate affair into a rap banger with serious replay value.

Miss out on the best Southern African songs of May 2025? Head to the article for hits from Lesotho, South Africa, and Zimbabwe, and more!

From Nairobi to Kigali to Dar es Salaam, 2025 has been a year of quiet reinventions and loud declarations in East African music. Some of the region's biggest names returned to the spotlight with tracks that fused romance, rebellion, and cross-cultural flair, while others chose introspection or experimentation. The result? A genre-bending, emotionally rich soundtrack that reflects where we've been and hints at where we're going.

The year kicked off with a string of certified hits. Kenya's Matata dropped "Mpishi," an infectious anthem that quickly became the country's most popular song. Tanzania's Abigail Chams rode the momentum of "Me Too," her single alongside Harmonize, to a BET Awards nomination. Meanwhile, artists like Zuchu, King Saha, and Juma Jux delivered records that navigated personal transformation and public visibility with confidence.

But beyond the charts, it's the emotional depth and sonic boldness that have stood out to me most this year. Mereba's "Heart of a Child" offered a homecoming steeped in diasporic reflection. Joshua Baraka's "Wrong Places" and Dyana Cods' "Get Busy" reminded us that growth isn't always loud. However, when it is, it had better have a melody worth moving to.

This list isn't just about what's trending. It's about the songs that have sparked conversation and moved bodies. From viral dance tracks to intimate confessionals, here are the East African songs that have defined 2025 so far.

Matata – “Mpishi” feat. Bien (Kenya)

"Mpishi" isn't just one of Kenya's biggest hits of the year; it's a pure shot of joy! After taking a year-long break, Matata stormed back with a track that's as infectious as it is celebratory. Teaming up with Bien, the group cooked up a chart-topper that had me dancing from the first listen. There's something about the blend of Bien's smooth vocals, Matata's rhythmic swagger, and the song's playful energy that feels like a burst of sunshine. I was especially looking forward to catching the band live at Blankets and Wine before the show was canceled due to anti-government protests. But seeing them take the hit on tour with Bien in Europe softens the blow. Some songs just feel good in your body. "Mpishi" is that song for me.

Abigail Chams – "Me Too" feat. Harmonize (Tanzania)

I had the pleasure of interviewing Abigail Chams just as "Me Too" was climbing the charts, and it was clear even then that she was meant to be a star. It's been so rewarding to watch that potential unfold. "Me Too" is a flirty love song featuring Harmonize that has not only become a massive hit, racking up over 15 million views, but also confirmed Abigail's staying power. With a historic BET Awards nomination under her belt, Abigail is already defining her generation.

Joshua Baraka – "Wrong Places" (Uganda)

After lying low for much of the year, Joshua Baraka is back with "Wrong Places," a soulful, emotionally charged single that signals a new chapter for the Ugandan artist. This track leans into the raw, honest storytelling that's fast becoming his signature. With 1.8 million views and counting, "Wrong Places" might just be the first glimpse into the next phase of Baraka's artistry.

Marioo – "Nairobi" feat. Bien (Kenya/Tanzania)

Marioo's "Nairobi," featuring Kenya's Bien, has emerged as a standout anthem of 2025, amassing over 26 million views and igniting a wave of cross-cultural love across East Africa. With smooth Swahili lyrics, the song is a romantic ode to the women of Kenya's capital. Its viral success — fuelled by TikTok dance clips and lifestyle reels set to its chorus — has made it more than just a cultural moment. The song also marks a high point in a remarkable year for Marioo, who had another chart-topper with "Tete."

Jux – "God Design" feat. Phyno (Tanzania)

I love love. And even more than that, I love seeing a man declare his love loudly. Juma Jux is deep in his lover-boy era, and "God Design" is a celebration of that. Fresh off his headline-making wedding to Nigeria's Priscilla Ojo, Jux dropped this romantic banger with visuals pulled straight from the ceremony. The song radiates joy and devotion, and Phyno's verse adds just the right amount of edge to balance the sweetness. It's the crown jewel of Jux's EP A Day to Remember, which he calls a soundtrack to his love story.

Mereba – "Heart of a Child" (Ethiopia/USA)

This track is a personal pick. "Heart of a Child" is a soulful, introspective gem from Mereba's second studio album, The Breeze Grew a Fire. For me, the track feels like a quiet revelation as she traces her journey back to herself through sound and storytelling. Shot in Ethiopia by acclaimed videographer Maranata Tegegne, the music video beautifully captures the emotional weight of returning home. Mereba described the album as a process of reconnecting, asking, "What do I want to say to people now?" With "Heart of a Child," she answers that with vulnerability and a sound that hangs long after the last note.

Element Eleéeh – "Tombé" (Rwanda)

No East African roundup feels complete without Element Eleéeh. As both an artist and one of Rwanda's most influential producers, he continues to leave his mark on the country's music scene. His single, "Tombé," blends Afrobeats and kompa into a sultry love song that has racked up over 7.1 million views on YouTube and sparked a viral TikTok dance trend. Smooth, addictive, and expertly produced, "Tombé" is a reminder that Element is building momentum to take his music global.

Bien – “Safari” feat. Suldaan Seeraar (Kenya/Somalia)

Bien is amid a global takeover, and "Safari" is a standout moment in his ongoing evolution. Teaming up with Somali superstar Suldaan Seeraar, the track is a rare and powerful cross-border collaboration that bridges the musical landscapes of Kenya and Somalia. "Safari" is more than just the lead single from Bien's upcoming album; it is a statement of intent. Currently on tour across Europe and the U.S., Bien is showing that he's not only a solo powerhouse but also quietly building a case as Africa's king of features. His recent run of collaborations says it all: from the viral hit "Mpishi" with Matata and the pan-East African favorite "Nairobi" with Marioo (both featured on this list) to the house anthem "All I Need" with Brazil's Rammor and "Katam" with Diamond Platnumz.

Toxic Lyrikali – "Sick" (Kenya)

Kenya's Toxic Lyrikali kicked off 2025 with a bang through "Sick," a blend of gengetone, dancehall, and drill that is cementing his place as a leading voice in Nairobi's underground music scene. With aggressive flows and hard-hitting production, the track captures the raw energy and street sensibility that define his style. It set the tone for a strong year, followed by "Confirmation" in April featuring Mr Ree and a standout guest verse on Dyana Cods' "Get Busy." All of these moves signal that Toxic Lyrikali is not just riding the wave of Nairobi's street music; he is actively shaping it.

King Saha – “TikTok Life” (Uganda)

King Saha taps into the trials of modern life with "TikTok Life," a catchy song that captures the joy and exhaustion of living online. The song reflects the digital-age reality of constantly being on display, delivered with Saha's signature depth and finesse. The song has been steadily climbing the Ugandan charts, resonating with a generation caught between performance and authenticity. More than a decade into his career, King Saha proves he still has his finger on the pulse.

Dyana Cods – "Get Busy" feat. Toxic Lyrikali (Kenya)

Dyana Cods is done playing it safe, but did she ever? In "Get Busy," she dives headfirst into steamy dancehall territory, teaming up with Toxic Lyrikali for a track that oozes confidence and raw appeal. The video, in which she stars as a seductive officer teasing her inmate, is a bold statement from an artist who has struggled to find her groove. A few months earlier, she dropped "Chude Genje" with Femi One. It's a gritty, high-energy banger that shows Cods is finding her groove following her 2024 hit "Set It." With each release, Dyana is sharpening her sound and proving that her spotlight is no fluke.

Zuchu – "Hujanizidi" feat. D Voice (Tanzania)

Zuchu has been keeping a low profile in 2025. But when she drops music, the impact is still loud. She kicked off the year with "Hujanizidi," a January release featuring D Voice, which has already garnered over 7.5 million views. The bongo flava track leans into their smooth chemistry, reminding listeners why Zuchu continues to command attention even without a constant spotlight. In May, she followed up with "Lollipop," a sultry collaboration with Yemi Alade from her 2024 album Peace and Love. It's been a quieter year for the usually prolific star. But with each move, Zuchu proves she doesn't need the noise to stay on top.

Missed the best East African music of May 2025? Head to our article for all the March hits from Rwanda, Tanzania, Kenya, Uganda, and more.

Every week, OkayAfrica highlights the top African music releases — including the latest Afrobeats and amapiano hits — through our best music column, African Songs You Need to Hear This Week.

Read ahead for our round-up of the best new African music tracks and music videos that came across our desks this week.

Runtown – ‘Soundgod Fest IV [EP]’

Boasting one of the most credible portfolios in contemporary Afrobeats, the artist Runtown has accrued a reputation as a recluse. Behind the needle-moving records is a man who just wants to stay disengaged from all the buzz, but he’s finally responding to calls for more music. Soundgod Fest IV continues his successful project series, a collection of six songs that ease into a chill vibe, with tales of love and life filtering out from the savant’s sweet tease. – Emmanuel Esomnofu

Kabza De Small - “Kabza Chant 2.0” (feat. Nkosazana Daughter, Nobuhle, Sykes)

How do you follow up greatness? You make greater moves. And who better than the undisputed king of amapiano, Kabza De Small, to show us how it’s done? On the sprawling “Kabza Chant,” the producer assembled some of the scene’s most vital voices, like Young Stunna, Murumba Pitch, and Nkosazana Daughter, for a praise song worthy of his throne. This second iteration, where Nkosazana Daughter returns, joined by Nobubhle and Sykes, is half the length yet just as potent, if not more. This is amapiano that has been performed with orchestras, heard in full houses, and felt in the spirit. It’s a shift in perception and a redefinition of legacy. It’s enchanting, exacting, and impenetrable. Kabza De Small is truly one of one. - Tšeliso Monaheng

Tekno – “Powerbank”

Nigerian star Tekno reinforces the currency of his hitmaker status over knocking Afropop drums. “Powerbank” is quintessential Tekno, boasting an astute flair for riding the beat, sounding as purposeful as ever in the recounting of a love story. When he vows that there’s “nothing I can’t do,” he sounds quite convincing, with him making quite the show of what those things might be. – EE

Yugen Blakrok - “Being Here”

With every album, Yugen Blakrok unlocks new chambers of rhythm. Her pen sharpens, her mind expands, and her worldview – always informed, never preachy – sketches parallel realms where beauty resists erasure. She moves like a magnetic field: gentle and affirming. Intentional in every breath, Yugen remains one of the best rappers doing it right now. “Being Here” deepens her already rich visual canon while her bars climb heights few dare. Sample this: “There’s times where sinners become the preachers/ Claim that they’re believers ’til you challenge their beliefs,” she raps, every bar a carefully curated slice of a bigger picture. Proceed with caution. This is real rap: unbothered, unfiltered, undeniable. - TM

Gabzy – “So Much Sense” feat. Fireboy DML

For years now, Gabzy has steered a unique vision for his R&B-influenced sound. Here, he’s joined by a similar stylist in Fireboy DML, creating a bop that evokes all the feels. With a laid-back beat evoking the promise of cool evenings, both musicians paint vivid images of chilling with their love interest, inferring that this would make so much sense. – EE

Zoë Modiga - “Uyakhazimula”

When Zoë Modiga speaks, the room listens. On record or in person, her presence demands stillness. On “Uyakhazimula,” she returns to eMbali in Pietermaritzburg, the place that raised her. The song feels like soul food, vintage couches, coal-heated stoves, and warm bread fresh from the oven. Just as the world outside threatens to fall apart, it wraps you in memory, in comfort, in beauty. This is definitive art: lush harmonies, emotional abundance, and spiritual glow. Zoë Modiga is a prime artist, and she radiates light. - TM

Da Capo – ‘Indigo Child II: Love & Frequency [LP]’

South African producer Da Capo’s establishment in the Afro-house genre is no fluke. He’s proven himself a fine creator and curator, assembling some of the most forward-thinking artists on his stellar production, and the follow-up to his last project, Indigo Child II, is no different. Featuring artists like Bongeziwe Mabandla, Elaine, and others, it is an impressive body of work with great potential to become a classic. – EE

Eli Mary - “PIECES’

On the emblematic “Pieces,” Johannesburg artist Eli Mary doesn’t just sing; she conveys feeling, using the microphone as a tool for expression. Her voice is a balm. Serene yet stirring, it drifts like smoke and lands like scripture. The beat shapeshifts beneath her, combusting in waves that mirror her emotional range. With each iteration, she peels back a new layer of self, revealing an artist who speaks as much as she soothes. This is heart music – gentle yet galvanizing. -TM

ODUMODUBLVCK – “PITY THIS BOY” feat. Victony

Released earlier this year, Odumodublvck’s “PITY THIS BOY” has all the markings of an enduring record. Between the bright strings orchestrated by Niphkeys and the harmony both Odumodu and Victony bring, it’s a delightful song to listen to. Its new video follows the opulent overtones of the song, casting the artists in scenes rich with color and activity, further extending the song’s appeal. Check out “PITY THIS BOY” and the other songs on OkayAfrica’s Best Afrobeats Songs of 2025 So Far list. – EE

Beatmochini and Towdeemac - “Eventually” (feat. Priddy Ugly, Maglera Doe Boy, Kaygizm)

The last time Priddy Ugly and Maglera Doe Boy linked up, we got a generational banger in “Ntjaka.” Now they’re back – this time on a more subdued, soulful tip – and are joined by two-thirds of the legendary Morafe: Towdeemac and Kaygizm. It hits differently, like a gentle nudge that nevertheless leaves lasting imprints on your spirit. With Beatmochini on production, this is a cross-generational link-up we didn’t know we needed but absolutely do. It’s a quiet storm of legacy, precision, and poetics. Towdeemac, once again, proves he’s not the one to front on. His bars don’t just rhyme; they ripple. Sentences run on, fold into themselves, and re-emerge as something entirely new. Who else can rap: “Cava ntja, how I inspired … to flex in their mother tongue / bona nou bafana ba kajeko ba matha joang / on another level, Joe, ba nkgopotsa nako tsa ka,” and make it sound effortless? Listen to "Eventually" here. - TM