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

Anyone familiar with Lagos knows it’s famously split in two. The Island, home to upscale neighborhoods and trendy spots, is seen as the city’s most desirable area. The Mainland, where most Lagosians live, is rich in culture but often dismissed for its lack of polish. When the Mainland Block Party launched in 2018, its founders set out to shift that perception by throwing the coolest party you’ve ever attended.

“We just wanted to make sure that people understood that living on the Mainland doesn’t mean that you’re ratchet or doesn’t mean that it can’t be safe,” says Rebecca Momah, the Deputy Team Lead of the organization. “People can also have fun on the Mainland. The Block Party was built on community, and we made sure everybody felt welcome”.

Ever since the initial Block Party in Ikeja, Lagos’ capital, its relevance has stretched beyond mainland Lagos to other parts of Africa and even the world. It’s organized a nationwide tour with ODUMODUBLVCK, been headlined by Davido, and now, it’s hosting a show in New York City. This show is in collaboration with OkayAfrica as part of the platform’s 15th anniversary celebrations. Although scene-defining, the wins of the Mainland Block Party reveal essential lessons on how to build and retain community.

“Every new Block Party is a new reason to show people why we’re the ones,” says Tobi Mohammed, co-founder of Mainland Block Party. “At some point, it started to feel like we’re loved, and I felt that shift, of course, being able to sell tickets into thousands or multiples of hundreds, in cities that we didn’t start from. It’s a blessing itself. People have spent more and didn’t have those results. I would say that we kinda have this mindset of ‘fight for it, and just be grateful about it when you win.’ So every endeavor feels new.”

Constant reinvention has been a defining mark of Block Party. “To earn a new city or be grounded in that city,” says Mohammed, in description of what they’re always looking to achieve. With Mainland Block Party sharing the same founders as the music agency Plug NG — Asa Asika and Bizzle Osikoya — there’s strong incentive to burrow into deeper levels of youth culture, with Mohammed once revealing that entertainment chose him, and before working in the scene, he used to watch these men he now calls partners on-screen, with utmost respect for what they’re doing to uplift what he described as “coolness currency.”

“They’re new things every time,” says Momah about the lessons they’ve gotten from organizing the events. “It’s not the same every time; every event is dynamic in its own way. The biggest lesson there for me is, you’re a master at this, but there’s also room for you to learn. You can’t say you know it all [about] doing events; you have to give yourself room to grow, you have to give yourself room to listen, you have to give yourself room to take feedback.”

“Digital is the new coal,” infers Mohammed, “so you have to reinvent yourself and ask yourself how you can always catch up on that wave.” Reiterating the need to keep an open perspective, their words show how Mainland Block Party has been able to keep afloat in an ever-shifting industry, becoming a sort of precursor to Lagos’ rave scene that has since become a strong feature of the city’s nightlife and an influencer of homegrown Afrobeats.

For Mainland Block Party, it’s been a steady journey towards global domination, and the New York event is the next phase of their phenomenal run. Before now, they’ve had two intercontinental events, one in London and the other in the U.S., headlined by Afro rap artist Zlatan. But that was a pop-up, not really an all-out show, and with the New York show, they’re bringing the flamboyant ODUMODUBLVCK to imprint the Afrobeats experience on that stage.

“Expensive o,” jokes Mohammed when asked about how they have gone about organizing the New York Block Party event. “Just look at it as a newborn baby trying to find their feet in this world,” says Momah. “That’s just how to crown the entire process. So we’re in a new place, new city, new people; people behave differently there, inasmuch as they’re Nigerians there, obviously, we’re not only trying to cater to the Nigerian audience. We’re trying to conquer globally; it’s not been easy, but we thank God. We thank God that we have good heads on our shoulders. And we’re open to partnerships—I feel like the key thing that has helped so far in this journey are collaborations.”

Apart from collaborations with platforms like OkayAfrica, Mohammed says team members on the ground form part of the community it takes “to raise a great child,” like Block Party.

With another U.S. event planned with DJ Maphorisa and a new segment of their Lagos party titled Respect the DJ, it’s very much clear that the Block Party intends to take over the world. Surely they have the required tools—it’s only a matter of time.

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.

The imagery of Afrobeats is massively influenced by music video directors, who curate an artist’s visual brand and consequently, their representation in the minds of the audience. Music videos have always been important, and even in the presence of several new media forms, its relevance remains visible, as clearly seen in the work of Director Pink, who has been a frontrunner in the scene over the past half-decade.

On the latest edition of Afrobeats Intelligence, we get an intimate look into the world of visuals through the experienced perspective of Pink. The episode begins with host Joey Akan asking where she finds the intersection between what goes into her ear and what people should see. “You hear some songs and it’s really hard — it’s getting harder sometimes — to really pick out what you would want to represent visually,” she says, “but most times when I get a song, I always analyze a few things; what’s the song talking about, how I research about the artist as well, then I also brainstorm on what the song actually needs to push it. So I have to boost the song with the video; it’s also important”.

Pink admits that she enjoys visualizing new artists, since music videos must have some continuity across different songs. The intricacies of visually representing an artist come to the fore, as the director reveals the tools of character-building: the mood associated with an artist, the lighting choices, the progression of scenes. She says: “I always ask some questions, ‘what’s your vibe like?’ ‘What kind of artists do you listen to?’ Some of them are also taking over very old artists that have left a legacy, some of them want to follow those footsteps. It’s more like trying to understand and know the artist deeply, and actually try to bring that out.”

From the sound to fashion to image, the episode reveals all the many considerations the video director must influence. Her work with Chike comes to mind, as she’s largely curated his perception as a warm loverboy, their creative partnership beginning from the Simi-featured remix of “Running.” Between the vivacious frames of “Egwu” and the melancholic symbolism of “Man Not God,” we see a director attuned to the work of their client, sharing the creative process with as much gusto.

In this conversation, Pink is eloquent and inspirational, revealing the stories and techniques that have shaped her career. Now in her mid-20s, she’s been on the journey for about a decade, surmounting several challenges to rise towards the zenith of her craft. “It was just making images,” she says about the initial appeal of music videos. “The fact that you’re able to do anything in just three minutes. It’s not like a film where you’d probably stick to a particular story, and you can go outside the box a bit, but you don’t really have that much leverage. With music videos, you can do a million and one things.”

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.

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.

Samthing Soweto - "Ama Get Down" (feat. Blxckie)

Samthing Soweto & Blxckie - Ama Get Down (Official Audio)

This song sounds like what a pack of angels must sound like. From the harmonies to the verses, the beat to the overall mood, it's pure affirmation, proof that good things do exist. "[I] don't think I've ever mentioned how much I appreciate being on this song. It means a lot to me mainly cause this is Samthing Soweto, the legend, and sometimes I really be forgetting how far this journey has taken me," wrote Blxckie in a heartfelt post on X.

In an interview with OkayAfrica, Samthing Soweto revealed his deep admiration for Blxckie's work ethic. The way the collaboration came together was magical, he said. Blxckie had ducked into the studio from another session, heard the track, and laid down his verse on the spot. Samthing Soweto was moved by it, though at the time, he wasn't quite sure what to do with it. That it made the album at all feels like a miracle and an unexpected blessing that turned into one of the project's most luminous moments. - Tšeliso Monaheng.

FAVE – "Intentions"

On her latest song, FAVE delves into the romantic terrain she has largely explored since her breakout. The mid-tempo swirls with a seductive tease that brings out an excellent vocal performance from the Nigerian singer, as she highlights what she wants from a relationship and how she's navigated her way into the industry. With her debut album expected later this year, this collaboration with the COLORS studio puts her in a good place. - Emmanuel Esomnofu

Kami Leonne - "Velvet"

Kami Leonne is velvety on her new single. The Dubai-based Congolese musician reaches registers that unlock new depths of emotion, letting her voice melt into a festival of harmonies. The production is sleek; the sonic embodiment of a genre she dubs Afrosilk. She sings lyrics that course through three languages: English, French, and Lingala. This is as smooth as it gets, and anything smoother hasn't been invented yet. - TM

BNXN – 'Captain [LP]'

Captain sees BNXN establish himself as a curator of Afrobeats' many feelings. From the aspirational to the heartbreaking and everything in between, the Nigerian superstar assembles a credible list of talents that further propel his vision, including Victony, Soweto Gospel Choir, and Rema. It's a colorful project that showcases BNXN's ability to create a bop, although there are yet pockets of melancholy for those who lean towards that direction. - EE

Benjamin Jephta and Kujenga - "The Blessing - Revisited"

It's been a decade since Benjamin Jephta flooded the scene with "Homecoming," his searing debut that helped set the standard for modern-day approaches to South African jazz. Now, joined by fellow Capetonians Kujenga, the bassist, composer, and all-around bad-ass, is circling back to the roots that grew a giant. Expect dynamic horns, keys that punch you in the gut in the funkiest way, and grooves that heighten every sense. This is a spiritual quest, and the returns are nothing short of nourishment for the soul. - TM

GoodGirl LA – 'GoodGirl [EP]'

On her new six-track EP, Goodgirl LA shows the game what it's been missing for so long. From the undeniably direct writing to the scintillating beats, there's a zesty reflection of the singer's themes, which range from love to self-actualization. The listener emerges with a profound respect for GoodGirl's process, demonstrating why she's been so heralded in the Nigerian music scene for a while now. - EE

Viwe Mkizwana - "People of the South"

South African jazz speaks its own distinct vernacular. On "People of the South," bassist and composer Viwe Mkizwana assembles some of the sharpest voices in the scene—Bokani Dyer, Marcus Wyatt, and more—for a ceremonial offering to the gods of sound. The result is a lyrical, restorative piece that soothes all the aching parts. - TM

Blaqbonez – "Go Crazy"

There have been few rappers in the scene who incorporate real-life happenings as poignantly as Blaqbonez. Every song seems an exciting extension of his life, and on "Go Crazy," you hear him reaching deeper levels of the fly talk. Briefly incorporating Rema's flow on HEIS, it's a searing demonstration of Blaqbonez' ability to infuse pop culture without losing his unique details. A shot or two may have been directed at ODUMODUBLVCK, which makes it an even more visceral listen.

MODAR, Lowfeye & Emtee - "Year 64"

There's no South African rap group making more noise right now than the Qwellers. One of their standout voices, Lowfeye, makes a strong case for "best rapper out" status with "Year 64," an overdue collaboration with Emtee, the revered figurehead of the African Trap Movement, whose wave shifted the game a decade ago alongside Sjava and Saudi. The track is all haunting organs, stinging raps, and the most decadent bounce imaginable — a collision of two generations, both razor-sharp in their own right. - TM

Mellissa – "Catch Me If You Can"

Ever the intimate vocalist, every note from Mellissa carries strong emotive and technical power. "Catch Me If You Can" exudes those qualities, a powerful record that sees her explore the exciting world she lives in while throwing shots to naysayers, singing "catch me if you can." With her vocals floating over the live-centric production, it's a song that excites, again marking the young artist as one to watch. - EE

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.

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

Ayra Starr has won her first BET award after clinching the highly coveted Best International Act Award. The Afrobeats star beat out strong competition, which included Mavin Records labelmate Rema, last year's winner Tyla, Ghanaian maverick Black Sherif, and Uncle Waffles, among others.

The win was well celebrated by multiple sections of the homebound and international audience, as Ayra Starr has often been nominated for top international awards, including the BET and Grammys, but had previously come second to other artists. This feels like a deserved win, especially considering the quietly purposeful year Starr has been having. A few weeks ago, she performed at a New Balance event, and her two singles, the Valentine anthem "All The Love" and the Wizkid-featured "Gimme Dat," have been doing very well on the charts.

As expected, Ayra's BET nod has opened up a flurry of conversations. One of those is Jay-Z's Roc Nation congratulating Ayra Starr via their X account. This move has sparked speculation about whether the label has signed the Nigerian star or has some ongoing business in the background.

It is known that since the 2010s, Mavin CEO Don Jazzy has maintained a connection with his Roc Nation counterpart, with Jay-Z reportedly sending members of his team, including the rapper Jay Electronica, to scout for Nigerian talent. This visit also resulted in a song.

A more pressing commentary on Ayra's BET win is that her award was presented to her backstage despite her presence at the event, which was held at the Peacock Theatre in Los Angeles. People have noted how Wizkid once criticized international award shows for their reluctance to appreciate African acts on the same stages as their international colleagues, an act the Afrobeats veteran labeled as "rubbish."

Ayra Starr has also insisted on being properly recognized for her work, criticizing Nigeria's premier music awards, the Headies, in 2023 for awarding her Best Female Act after the event had concluded. "We didn't deserve such nonchalance!" she wrote in a post on X afterward. It remains to be seen how she will respond to BET's action, but such actions should have no place in the music industry, especially in a globalized scene that owes its success to the efforts of players from around the world.

Beyond Ayra's win, Africa had further reason to celebrate as the Amapiano women DJ duo TxC snagged the coveted Best New International Act, joining their respected South African forebears like Black Coffee and Sho Madjozi who have won the BET in previous years.

Cynthia Erivo, the British actor of Nigerian descent, was also awarded Best Actress, cementing her place as one of the faces of contemporary Black cinema. Erivo has had a phenomenal year, earning critical acclaim and multiple prestigious nominations for her powerhouse performance as Elphaba in the blockbuster musical "Wicked," including Academy Award, Golden Globe, BAFTA, SAG, and Critics' Choice nominations for Best Actress.

OkayAfrica was on the ground, capturing the energy and excitement of African talent on the red carpet. We spoke with several of the continent's brightest stars.

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British Sudanese sensation Elmiene gave us an exclusive moment before his beautiful performance on the BET stage.

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The duo TxC was excited to be there and wished that everyone could experience the energizing atmosphere. “It is crazy! Being here, seeing everybody, the atmosphere … everything that is happening right now. I feel like everybody should experience this,” one of them tells OkayAfrica.

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Ghana's Black Sherif shared with us the exact moment he learned about his nomination.

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Buju Banton, a towering figure in reggae, also took time to connect.

Tems has been announced as a headliner for the first halftime show at the FIFA Club World Cup. Scheduled to be held in the US between June and July this year, it has been a hot topic as to how the footballing event could borrow a leaf from America’s Super Bowl halftime tradition, and now it’s finally happening.

The Nigerian superstar and her team are not new to the world of sports. Tems recently became a part-owner of San Diego FC, making history as the first African woman to hold ownership stakes in a Major League Soccer (MLS) club. She will headline the FIFA Club World Cup final at MetLife Stadium on July 19, performing alongside Puerto Rican star J Balvin and American act Doja Cat. The trio was selected for this highly anticipated event by Chris Martin of Coldplay.

As Afrobeats continues to scale internationally, collaboration between the music and sports industries is inevitable. As entertainment is a shared interest, artists like Tems have been intentional in positioning their brands to attract a wide range of partners. The Club World Cup has a peculiar appeal, being hosted in the United States, a country that, despite its recent political upheavals, has typically enjoyed a large demographic of Africans in the diaspora.

Tems’ inclusion on the Club World Cup stage not only represents Africa’s contributions to the beautiful game; it nods to the rich history of African American music, from Soul to R&B and hip-hop, that has been a notable influence behind her unique sound.

Further entrenching the halftime show in more noble ambitions, FIFA is partnering with Global Citizen, an organization dedicated to ending extreme poverty and providing children with access to education and football infrastructure. Consequently, the FIFA Global Citizen Fund aims to raise $100 million towards the achievement of these goals.

Through this potentially world-changing connection between football and music, not only are those goals possible, but both of these scenes are going to open up more favorably for their practitioners. Already, we’ve seen Afrobeats acts like Ayra Starr and Rema perform at a New Balance launch and the Ballon D’Or ceremony, proving that African stars, with all their swag and sonic brilliance, are going to be instrumental as the world consistently evolves into one big field of collaboration.

Given Tems’ expertise with live performances, the world will surely be in for a show on that MetLife stage.

On this week’s episode of Afrobeats Intelligence, presented by OkayAfrica, the Afrobeats story gets a new arc through one of its most intriguing characters. Bella Shmurda holds a unique place in Afropop due to his insistence on crafting only music that comes from his heart, with a distinct voice that has vivified the mainstream in no small ways.

In conversation with Joey Akan, the artist provides a conscious map of how he fought his way through the inner streets of Lagos, armed with nothing but his sound and his heart. It’s a deeply personal episode, as Bella Shmurda has always been a candid conversationalist, and here we get even deeper into his process.

The evolution of Bella Shmurda’s writing is one of the early points in the episode; the artist talked about how using songbooks made him a more precise songwriter. “I think I had more inspiration when I used to write in books,” he said. “I have to think properly about my lyrics before writing because I have to cancel, and I don’t want to cancel. So, you have to be precise about what you write on that paper, and I feel like I need to go back to that. I’m more reasonable when I’m writing.”

Entering into what Joey called the intersection in Bella’s work, aspects such as spirituality, love, and inspiration were discussed. “I just want to see people happy,” says the artist about why he has a sense for motivating people, a quality he traces back to his childhood. With a clarity that his listeners are familiar with, the episode peels back the influences behind the artist as they discuss various subjects that circle back on emotions and subjectivity.

It’s clear from this Afrobeats Intelligence episode that impact will always be central to the music Bella Shmurda makes. “At this moment, I feel like I’m not in the industry anymore,” he says. “My kind of music, I’m not doing songs now for trend, because this beat is hot, this sound is hot, let me jump on it. I don’t think I’m in that space anymore. I just want to do this music for the reason I want to do it, which is uplifting people’s souls, making people self-conscious, and helping people go through life with my music.”

Every week, OkayAfrica highlights the top Afrobeats and African music releases through our best music column, 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.

SPINALL – “Want You” feat. DESTIN CONRAD & JayO

With his first release of the year, veteran tastemaker SPINALL goes the sensual, mid-tempo route. The production swirls with a drum and guitar base that sets the body moving, resembling the lush soundscapes of Wizkid but with even more urgency. On singing duties, the duo of DESTIN CONRAD and JayO deliver in tune with the innuendo-leaning direction of the song, painting imagery that shows how badly they want the girl. It’s a song that sounds ready-made for intimate settings, but its progression could also lend itself to more open events. – Emmanuel Esomnofu

DJ Lag, Sir Trill, Sykes - “Woza”

Sir Trill is on a roll. He kicked off the year deep in his amapiano bag with “ iMpumelelo,” then took it up a notch by returning to his rap roots on “iBele” alongside 25K and Maglera Doe Boy. Now, he’s launched a daring incursion into Gqom with DJ Lag’s thunderous “Woza.” Joining him is Sykes – the voice behind hits with Dlala Thukzin (“iPlan,” “Imoto”) and Kelvin Momo (“Bala”), a perfect partner-in-vibe. It’s a match forged on gqom dance floors, streaming platform playlists, public taxi speakers, and everywhere else, the sgubhu lands the hardest. In a press release, the producer shared that he started making the 3-Step-inspired beat while playing back-to-back sets with Thakzin, a mainstay in the 3-Step scene. “I wanted to capture my take on 3-Step while channeling Afro-Tech influences I’ve been spinning during live sets. When Sir Trill and Sykes added their magic, I knew I had something that merged my Gqom roots with a new sonic direction; it just felt right,” he said. – Tseliso Monaheng

BNXN & FOLA – “Very Soon”

When they first linked up, it was clear that BNXN’s saccharine vocals beautifully complemented the brooding tones of FOLA. On “Very Soon,” they capitalize on that artistic similarity to craft another song of remarkable emotional power, as they sing about the aftermath of a breakup, promising to be better soon despite the lingering pain. With a melancholic soundboard, it’s a detailed view into the world of a character that’s going through the rubble with nothing but the resolute hope they’ll get on the other side. – EE

Kwesta - “Nyakanyaka”

Kwesta’s becoming, from a young gun ready to tear up any stage, collaborating across genres, to a grootman (elder) of the game, is the stuff of legends. Despite his longevity, he’s kept a youthful curiosity and a pen as sharp as the needles he steps on when the raps emerge. “Nyakanyaka,” off his latest album, The Big Bro Theory, is a masterclass in lyrical control. The way he bends words, forces them to obey him, and crafts rhyme schemes out of thin air is pure wizardry. His content is deeply local yet resonates globally. “I’m on my Tito, I’m in my bag,” he raps on the chorus, a slick (perhaps unintentional) nod to the late Tito Mboweni, South Africa’s former finance minister and first Black governor of the Reserve Bank. But he doesn’t stop at clever punchlines; he breaks syllables down, invents cadences, and feeds the ear pure gold. Rhyming “as we raise” with “temperature”? Just unfair. Kwesta remains an unmatched emcee. A superior artist. – TM

Simi – “Day By Day” feat. Kizz Daniel

It makes perfect sense that Simi and Kizz Daniel would do a song together. They both create music from the mundane elements of life, and the latter is in his most collaborative phase ever, stretching his distinct style to accommodate the musings of his talented peers. On “Day By Day,” the warm, percussive-driven production gives both artists the space to reflect on their blessings, even referencing Fido’s classic, which shares some sonic semblance with the newer record. It’s quite the feel-good affair we have here. – EE

Mashbeatz - “Nobody” (feat. Nasty C and Usimamane)

Earlier this week, a mix by Mashbeatz and DJ Sliqe was released online, featuring exclusives and unreleased heat that quickly went viral. One standout was “Nobody,” a lethal link-up between two of Durban’s finest in Nasty C and Usimamane. The former needs no introduction and, in the past decade that he has been active, has become somewhat of a figurehead for the new wave of South African hip-hop. The latter is a student of the game who’s carved his own lane with tracks like “Cheque” and “Uvalo” and delivered scene-stealing verses, most notably on Mashbeatz and Wordz’s 2024 epic, Only The Brave. On “Nobody,” we get two sentient emcees, high off their own brilliance, swaggering on a beat like it owes them money. “Can’t even jump in no mosh pit / PTSD, I’m from the kasi,” spits Nasty C, a reminder that his pen remains elite, and his run is far from over. – TM

Young Jonn has been one of the most penetrating voices in Afrobeats these past few years. With several hits under his belt and the commercially successful Jiggy Forever album, the Chocolate City man has earned the right to flex his laurels and talk about how great he is, which is the main theme behind “Che Che,” his new record.

On “Che Che,” he’s joined by Asake, another artist who constructed his acclaim upon such rocky ground. Both artists are in scintillating form as they reflect their distinct styles; the sweet-tongued bounce of Young Jonn floats in cheerful cadences, complemented by the swagger-driven rhythms of Asake, whose recent music has reflected his hip-hop influences even more vividly. All these nuances of delivery take on a searing form in this new single.

The song is co-produced by Jaytunes and Young Jonn himself, recalling the 2000s when, as a YBNL-affiliated producer, he soundtracked the uptempo direction of the era’s street pop. Perhaps that’s where his distinct interpretation of amapiano comes from, blending its hypnotic percussion with a flair that echoes the nightlife of Lagos.

In his verse, Young Jonn affirms that “I get am before no be property…deliver me from my frenemies,” the lyrics are sung with an almost religious earnestness, seeing as spaces as the ones he enjoys are exclusively accessed by money and influence. Assured in his place, Asake paints the other side of the picture, asserting that he feels good, "mehn I’m too fly / praying, Alubarika, everywhere good, agba baller.”

“Che Che” would resonate with those who hit the road often and stake it all on the promise of a good time. Its anchor on divine help will do its bit among Nigerians, who are famously prayerful, except here it’s delivered with fiery pomp rather than solemn admonition. Following the upbeat direction of Young Jonn’s music, “Che Che” proves the natural follow-up to records like “Wetego,” on which he contributed a verse for his label mate Blaqbonez, and “Only Fans,” which had been Young Jonn’s first release of the year.

Once again, Young Jonn proves himself a force on the dance floor.

A few weeks ago, Davido made a bold claim that Lagos probably has the best nightlife in the world. The Afrobeats superstar expanded on that sentiment, saying, "There are so many things to do in Lagos … there are crazy parties everywhere, we have good restaurants, the private beaches … everything is there in Lagos."

It's a grand statement, but one that Lagos has been building toward for over a decade. Back in 2008, Banky W sang of the city like a dreamland in "Lagos Party," where everything is possible and the fun never stops. Sixteen years later, Lagos has mostly justified its top-tier placement as an Afrobeats destination, and the numbers prove it.

When the sun sets in the city, something electric happens. The beats drop, bottles pop, and Lagos transforms into Africa's party capital. But beneath the pulsing rhythms and flashing lights lies a massive economic engine powered entirely by Afrobeats.

According to a recent report by Lagos-based advisory and investment management firm TAG, titled Uncharted Waters: Nigeria's Afrobeats Economy, the genre doesn't just soundtrack the city's nightlife; it powers it. From superstars visiting clubs and splurging cash to the drinks at every table, Afrobeats drives everything from beverage sales to food service, smoking accessories, and more.

The numbers are huge. Drinks contribute to 90 percent of sales at upscale venues, with most recording an average consumer spend of N617,000 ($394) per table. With clubs averaging about 20 tables each and factoring in variables like club days and venue capacity, the annual gross revenue hits approximately N1.9 billion.

One can barely keep track of the hot spots. Names like Hotbox, Quilox, and Secrets Palace dominate conversations and even get referenced in Afrobeats records. These venues have become more than entertainment spaces; they're cultural institutions where Nigeria's top artists naturally gravitate, drawn by Lagos's longtime status as the preferred residence for the country's music elites.

But the scene extends beyond traditional clubs. Raves have carved out their own space, championed by young people seeking more inclusive spaces and outdoor activities. Events like Element House and Group Therapy have popularized subgenres like gqom, Afro House, and EDM, generating revenue through table sales and merchandise while pushing sonic boundaries.

This nightlife ecosystem creates waves throughout Lagos's economy. Informal economic activities spring up around these venues, hotels, transportation services, and food vendors, all catering to the steady stream of party-seekers. The impact is so significant that house rents on the Island command premium prices, with these areas considered high-value specifically because of their nightlife appeal and affluent clientele.

As more Africans in the diaspora return home, Lagos and Accra have emerged as top destinations; their established nightlife systems create memorable experiences that keep people coming back. Brand sponsorships also naturally follow, with alcoholic companies particularly interested in events that coincide with the most consumption of their products - a good night out.

Just last week, this cultural influence reached a new milestone when businesswoman and film producer Mo Abudu opened Lagos's first restaurant "dedicated to the iconic genre of Afrobeat" on Victoria Island. While technically honoring Fela's original Afrobeat, the venue captures the broader musical movement that evolved from those roots, proof of how this sonic lineage serves as a unifying force, binding Lagos's diverse demographics together.

Yet Lagos nightlife faces serious challenges that temper its success. Government-driven issues like inadequate security and poor road networks create incessant traffic that can turn a night out into an ordeal. The high-stress levels that come with navigating Lagos ironically fuel the very music the city inspires, a cycle of tension and release that keeps the creative energy flowing.

What Davido understands, and what data from this report confirms, is that Lagos hasn't just built great nightlife. It's created a cultural-economic ecosystem where music, money, and midnight converge into something approaching magic.

Every week, OkayAfrica highlights the top Afrobeats and African music releases through our best music column, 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.

BNXN – “Cutesy”

Cool flame best describes "Cutesy," the new record from BNXN. Known for flexing his lyrical abilities, on this one, the artist goes for the atmospheric, utilizing the half-realized pomp of drill-esque drums to croon about his intentions for his lover. It's an affectionate performance made even more tender by BNXN's unfazed delivery, taking the theme in good stride even as the production infuses a strong dramatic quality. Sounding like a new era, we're all ears for what the artist has lined up. - Emmanuel Esomnofu

saveHXPE - "80s Baby" (feat. Baby Diaz)

Lesotho's saveHXPE wears his influences on his sleeve. On the follow-up to "Real", released earlier this year, he utilizes a Kendrick Lamar-esque cadence to magnetic effect. Baby Daiz is the extra seasoning, and levels up an otherwise intimate affair into a rap banger with multiple replay value. - Tšeliso Monaheng

Anendlessocean – "ZA"

Known for blurring the lines between contemporary gospel and the mainstream, Anendlessocean has delivered another record of stunning quality. "ZA" is an affirmative number elevated by its stirring, stripped soundscape and the artist's lucid lyrics, wherein he boasts of the assurance of living in the spirit. As always, it's a fine feat of musicality that is made even more beautiful through its resounding message. - EE

ID Cabasa, Bella Shmurda, Ayo Maff & Ajebo Hustlers – "Anytime Reimagined"

Veteran producer ID Cabasa has been orchestrating a series of reimagined songs, giving fresh life to some of the most transcendental records of the 2000s. On his latest, he flips the aspirational hues of 9ice's "Anytime," collaborating with a trio of artists who made their name from similar stories. A fine mix of lyrical sensibilities, the voices are in sync as well, making this undoubtedly one of the best songs from the project yet. - EE

Ishuu Industry & Ntate Stunna - "Ndeya Ndeya" (feat. 2wofresh)

On "Ndeya Ndeya", Ishuu Industry and Ntate Stunna create a party anthem for the ages. With 2wofresh in the mix, the song becomes more than just a jam; it's a statement of intent, never to stop loving the good times. - TM

Rowlene & Christer – "Don't Give Up On Me"

One of the most impressive voices in the scene, there's a vulnerability that is uniquely expressed in every Rowlene song. Her adeptness in the R&B style heightens her feeling for the mundane; even the most ordinary experiences are magnified when she sings about them. "Don't Give Up On Me" thrives on these influences. It emphasizes that while human flaws are inevitable, it's important for lovers to remain in awe of one another. With an exhilarating delivery that soars until the last second, it's one of the most emotive songs you've heard recently. – EE

B4bonah & Samsney – "Active"

Produced by Samsney, this record showcases a vulnerability in its arrangement. It explores the familiar Afropop theme of striving to build a better life, but its unique appeal comes from the infectious beat and B4bonah's spirited performance. Ultimately, it's a song reiterating the energy Ghanaian artists bring to the scene, and as always, it's active. – EE

The Cavemen - "Dancing Shoes"

Siblings Kingsley Okorie and Benjamin James are The Cavemen, a duo whose potent highlife songs have gained a sizeable following over the years. They have spent time with Lady Donli, KDDO, Busketmouth, and other shining lights in the Nigerian music scene. "Dancing Shoes" is a party manual, guiding you gently towards requisites on the dance floor. The aim, however, isn't to sweat, but to live in the music and never leave its magnetic field. - TM

Kwesta - “Joy” (feat. Nkosazana Daughter)

One of the most decorated rappers in South African hip-hop, Kwesta's range extends beyond the template he operates within. He has had bangers across genres and remains as sharp and relevant to the scene as ever, a testament to his staying power. On "Joy", he calls upon Nkosazana Daughter, whose silky voice is the sonic embodiment of easy living. In his usual, raspy voice, Kwesta spit lyrics steeped in slang so complex, it sounds like he invented the words for this song specifically. - TM

Kehinde Alabi, better known as Louddaaa, interned as a sound engineer in Port Harcourt before moving to Lagos about five years ago. He started seeking employment as a sound engineer since it seemed production didn't make sense — he hadn't produced in over a year as production jobs weren't readily available. He submitted his CVs to studios, companies, and radio stations, but "they all rejected me," Louddaaa recalls in a recent Zoom conversation with OkayAfrica.

A friend would send him a vacancy post that turned out to be Mavin Records. "Are these people trying to scam me or something?" he remembers thinking, but he sent his credentials and got the job after a series of interviews. "It was a miracle," he says, "and I told myself I would be the best recording engineer ever because it felt like a second chance for me. I had hope again."

The journey to becoming a producer was even more interesting, relates Louddaaa. He selected beats and recorded the Mavin Records artists, but stayed back after every session to arrange beats. Due to his residence being on the Mainland, going to the other side of Lagos was stressful each evening. While making beats one night, Don Jazzy entered the studio and heard something he was making. "Can we try Ayra [Starr] on this?" the don asked, and soon enough, Louddaaa got locked in with the newly minted star, whose debut EP and album he would significantly influence.

Still, Louddaaa was unconvinced he was a producer. Sometimes, he flunked the producer sessions he was booked for since he didn't think he could replicate the genius of Ayra Starr's songs. "Working with her was different; we had a deep connection," he would explain. "It was easy; there was no tension. We simply exchanged ideas. They were ideas that took us six months to create; now you want me to create a beat on the spot?"

"It took a while for me to start playing that role of a producer," he says, "because I kept telling myself: 'I don't know why they love this thing that I'm doing. What do they like? This is not really making sense to me.' I wasn't sure about myself. It took me a while to say, 'Bro, it's happening already. They like this."

Since those days of uncertainty, Louddaaa has imprinted his sound more visibly on the colorful skies of contemporary Afrobeats. Shining with a deeply personal energy, the mellow and measured quality of Louddaaa's sound has shaped the early careers of new-age Mavin artists, from Magixx to Bayanni and Boy Spyce. This isn't a mere coincidence, he tells OkayAfrica. "Whenever I want to work with an artist, the first thing I do is try to engage them," he says. "I have a conversation with them and understand where they are. Then I try to create a sound based on all the information I have that I think is unique to your story."

He applied the same approach with Davido, collaborating on two tracks for his recent album, 5IVE. Louddaaa had tried connecting with the star in 2021 and subsequent years, but nothing came out of those efforts. Then, in February of last year, he was inspired by the Holy Spirit — Louddaaa is a firm believer — to create music for Davido, which he collaborated on with his friend, Dayo Grey.

"I was very intentional," he says. "I listen to David a lot, and I have an idea of where he is based on all the songs and features he has done in the past. I also have an idea of where he should be in terms of music, and I just put all those things together."

They made 'Anything,' which stands out as an exceptional high point even among an album characterized by its triumphant moments. Davido had committed to recording the track, and Louddaaa still had many ideas to explore. He wanted something vintage for Davido, a beat with the rustic qualities of the classic "Aye," whose chorus he enthusiastically sings. "I told him, let's go back to that old David," he explains. "Let's create a 2024 record that has an element of the old David but still feels good for this age that we're in. That's how we made '10 Kilo,' I sent it to my songwriter friend, and he came up with some ideas, the melodies, and everything."

Louddaaa orchestrated the record. "I remember when I first sent the beat for 'Anything' to my songwriter, the first thing they wrote, I was like 'nah, this is not it,' because I had an idea what I wanted him to sound like: a Davido and Louddaaa song," he attests. "Everything that you guys hear now, to the glory of God, was something that I envisioned. In terms of the writing, production, and everything, we tried different ideas."

It's clear that Louddaaa isn't just another producer — he's a designer of entire soundscapes. "I call myself an 'A&R' in quotes," he says, "not an official A&R, but I have this ear to design a sound that is unique for an artist." More artists now want the sauce; between last year and now, his roster includes the likes of Lojay, Chike, Black Sherif, and Simi, whose latest album featured nine tracks from Louddaaa. Most of these artists share a soulful core; Louddaaa says the inspiration pulls both ways.

"It's from my end, first of all," he says. "My sound is born from my life experiences. I've gone through so many dark things in my life that I can't even go into details right now. My life is a rollercoaster. Growing up, music was like a coping mechanism for me. It was what I used to bury most of the things I was dealing with as a child and as a teenager. Every time I make music, I connect it to one of those things. I'm saying something, but it's with music. One of my biggest testimonies is when people listen to my music, they tell me they love it, it's so soulful, it's so emotional. And I'm like, 'Thank you, Jesus.' Because that was my goal — I want you to feel something."

Femi Kuti sits in a modest room, cool and calm. On this Zoom call with OkayAfrica, the 62-year-old afrobeat legend speaks with the agility of a man assured in his craft. In a few days, he will release his eleventh body of work, Journey Through Life. As we begin our conversation, we first explore Kuti's intent behind the album title.

"I just thought it was important to talk about things that have guided me throughout my life," says Kuti, "that's why it's called 'Journey Through Life.' Just before the recording, my daughter had an operation and everywhere was just so … we were all very confused, everywhere was so emotional, and her bravery was part of the inspiration. The family was so tight and together in this period, and I thought it was important to sing about these virtues."

If you listen closely, you can hear the communal energy that flows through the 10 songs on the album. Vibrant percussion blends with bright guitar work on the titular track, "Journey Through Life," in which Kuti sings about the personal and familial ideals he speaks passionately about. "Keep all your loved ones by your side," he sings in his unshakable voice, a sweet salvo that soars with fiery purpose when required.

That energy often emerges when Kuti tackles the corruption of the Nigerian political class, as he does in "Chop And Run" and "Politics Don Expose Them," where he highlights the wrongdoings of politicians. Like a watchman from his tower, Kuti stands for the conscience of society.

"We're the ones that make up Nigeria," Kuti affirms. "All our issues, our joy, everything works hand in hand. I think I've understood long ago that this problem won't be solved in my lifetime. You see, when you're talking about not just Nigeria's problem but Africa's problem, you're talking about 400 years of slavery, a hundred years of bad, corrupt, evil African government, Western influence, greed, so it's not going to end in 50 years. It's not possible."

Highlighting the motives of pan-African leaders such as Patrice Lumumba and Malcolm X, he says that anyone who wanted Africa to grow was eliminated.

So why sing at all? The veteran knows it's impossible to change the world, so he has recently turned to more personal matters. "I think I would be quite stupid to think I can solve Africa's problem with my music," he scoffs. "But if you listen to the tracks, you'll see a record called 'Work On Myself.' The way I look at life is: 'Why do we like to superimpose our ideas on other people?' We need to superimpose those ideas on ourselves to make ourselves better. Probably that's the objective of life."

Journey Through Life is a compilation of Kuti's ideals. His political thoughts might occupy the frontline, but they stand visibly beside his musical mastery. Whether it's his early recordings after forming the Positive Force band in 1986 or almost breaking the Guinness World Record for the longest saxophone note in 2017, it's remarkable that Kuti has always continued making music. Nearly stoic in his dedication, he tells us it's a fight against monotony.

"It's very important for an artist not to remain stagnant or monotonous," he says. "Every project of mine, I try to do something different, or else it would be boring. Age and practice help you grow, so I still practice. I still do a lot of work, and hopefully, my sound will mature with age as time goes by. You see, music is like a flower. You have to nurture it; you have to give it water and sunlight, or else it will die. Your music will die off."

On "Corruption na Stealing," he moves beyond his famous baritone vocals, singing in a near-falsetto that shows just how impressive a singer he is. Amidst the grungy Afrobeat groove, which instantly situates listeners in Lagos' Afrikan Shrine, the musician brings to life one of the transcendent problems of African society. In the second verse, his phrasing takes after contemporary styling, as he upholds that "when money thief, we must find the thief to call am thief," however recognizing that the same rules are bypassed for the rich and influential, with the advantage of "big English to add to the thing."

During our conversation, Kuti goes into long analyses of the social world, all of which tie back to his life’s journey. Education, he infers, used to mean more than just certificates — it had to do with virtues.

"Nowadays, we have a lot of lousy professionals," he says. "In a classroom of twenty students, if one child fails, everyone fails. Maybe that guy who came last, or doesn't know it, probably would have become a surgeon if we had taught him well. He would probably treat one of us in the future, but we're making fun of him and bringing him down. For me, the teacher is wrong, and everyone in that classroom is wrong, for that child to fail. What kind of education is that? The African community is old. We grow together. Everybody has the potential to be successful; everybody is important in society. Everybody has a problem to solve."

Creating such a thematically and sonically rich work four decades into one's career is quite rare in music; furthermore, in the Nigerian music scene, where legacy is often attributed to the old, the dying, or the dead. For the Anikulapo-Kuti family, who have commandeered one of the strongest cultural legacies in the world, it seems fitting that an artist and personality like Femi Kuti would release this project now, four years after a joint project with his son, Made Kuti.

Our conversation ends with me asking about the importance of these familial connections. "I think legacy is important in that sense," he says. "But you don't force people to do what they don't want to do. Made did. He's playing music because he wants to. I have seven children. He's the only one ... Okay, one of the girls is showing interest, I don't know if she'll show it at the latter stage of her life. All of them have studied music, but the rest don't want to play music."

"To play music, you really have to be sure," he says. "It's not a bed of roses. You have to find your passion; when you discover what you love, even during tough times, your dedication will make time fly. You won’t even realize where the last 20 years have gone because you’re so engaged in your work. And if you even become successful, you'll see it in a different light. It's not about material things. In my family, success is never weighed by wealth; rather, it’s about your commitment to your work and the perseverance you demonstrate over time. This is how I see my life, and this is how Fela lived his life."