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

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."