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

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

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

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

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

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

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

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

Maleek Berry was starting to sense that something was missing. The British Nigerian singer-songwriter and producer was aware that the emotional and technical elements that once enlivened Afropop music were being overlooked by those who grew up with it.

"Good songs, great songwriting, great storytelling… Afrobeats fans are yearning for that right now. That's why I had to go away and put together a collection of amazing songs that people can relate to for years to come. Not only party to, but cry to, get married to, have babies to," Berry, born Maleek Shoyebi, tells OkayAfrica in an exclusive interview.

The result of that time off is Berry's debut album, If Only Love Was Enough. It's Berry's most anticipated work, which arrives just about a decade into his time in the industry as one of the most important pioneers of contemporary Afropop music.

A predominantly R&B and Afropop blend, 'If Only Love Was Enough' pays homage to the early 2010s Afrobeats sound with a strong awareness of the times. The album features new-age artists like Ruger, as well as longtime collaborators of Berry like Tiwa Savage and Wizkid. In a music landscape that has been hurtling towards global expansion and evolving its sonic identity at a dizzying pace, Berry wants to slow things down a bit. If the project sounds like a time capsule, it is likely because it has been in development for several years and incorporates a range of sonic influences from various eras.

"I've gone through so many different versions," Berry says. "I've gone through many phases of not liking a particular song or not liking a certain group of songs, and changing them over and bringing them back. The album was supposed to have dropped a long, long time ago, but I'm glad I waited this long, and I've finally arrived at this version now. I'm very proud of it."

If Only Love Was Enough is not, thematically or structurally, a cultural statement after all. The songs here explore unrequited love, romance, and existential reflections, all classic Maleek Berry themes, but the project is highly symbolic. It's a well-articulated response to the creative slump that Nigerian music has found itself in recently. Berry is aware that, on a sonic level, this project has the potential to kickstart a return to basics, reminding music makers and Afrobeats listeners of the magic and thrill of a musical era that should never have been forgotten. "In my opinion, it's going to bring a breath of fresh air and carve out a whole new direction musically and sonically for the space as well," he adds.

Berry from the past

Much of what has made Maleek Berry's sound distinct is his devotion to drawing from the past while keeping his ears open to what the present has to say. His journey into the Nigerian music scene began in 2011. While on vacation in Nigeria at the time, he would connect with some of the voices who were already molding the scene — Davido, Naeto C, Wande Coal, and Wizkid — and eventually got his first major hit with "Carolina," featuring Sauce Kid and Davido. Then there was 2013's "The Matter" featuring Wizkid. A recurrent feature of that sound was an intelligent blend of percussion and hip-hop flows. It was modern, quintessentially Nigerian, and helped blaze a trail for what the genre would go on to become.

On If Only Love Was Enough, Berry seeks the expertise of former collaborators who also ruled the scene in that era while also drawing from the R&B music he grew up listening to. "I wanted to bring those worlds together. I had to do a little bit of looking into myself as well and getting out of my way, listening to my previous projects, figuring out the greatest songs that I've written that people liked, and not overthinking it, and making sure I have something on the album for everybody."

For Berry, the sounds of the early 2000s are timeless because it was also a time with minimal distractions.

"People were writing some of the best music ever to come out. The world was a lot less distracted during that period. That was one of the main reasons for my prolonged absence. I had to go and live life to experience what it felt like to truly live the meaning of these songs. This is what real artists used to do back in the day."

Berry worked with longtime collaborators like Legendury Beatz to keep himself rooted in the sound he wanted to create. "All of us started together back in the day, working with Wiz during the Star Boy era. There were points where I was stuck, and I had certain creative blocks, and I'd go down and ask their opinion."

Berry was also tempted to jump on the amapiano wave, but his close collaborators were opposed to the idea. "We've had many moments like this during this album creation process. Legendury Beatz would sit me down and be like, 'You know you have a sound, right? You created something back then that is tangible.' Getting reminded about that and what that sound meant to people, and what it still means to people today, gave me the confidence to stick with this sound and stick with the theme."

Berry hopes that If Only Love Was Enough will be inspirational. "I always want people to be inspired by my music," he says. "I want my music to stand the test of time. So, the same way my fans are still listening to music we released in 2013 or 2016, I want to have the same impact with this music, if not more." Even more important to Berry is how this work might inspire his peers. "All of us are sharpening each other, and I want my peers to hear this album and be blown away just like everybody else."

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.

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

The nominees for the 25th annual BET Awards have officially landed, and African artists are making their presence felt. From Lagos to Johannesburg, Dar es Salaam to Accra, a diverse slate of continental talent has secured nominations across major categories, underlining the global rise and influence of African music.

This year, Nigerian pop powerhouse Ayra Starr leads the African contingent with three nods – Best Female R&B/Pop Artist, Best New Artist, and Best International Act. It's a significant moment for the 21-year-old, whose debut album, The Year I Turned 21, has positioned her as a standout voice in the Afro-pop landscape. Ayra's nomination haul cements her arrival as a local chart-topper and a fully-fledged global star.

Another Nigerian trailblazer, Tems, earned double nominations in the BET Her category for “Burning” and “Hold On,” both from her critically acclaimed debut Born In The Wild. Known for her introspective writing and haunting vocals, Tems continues to expand the boundaries of soul and R&B, infusing them with the spirit of Lagos while resonating with audiences worldwide.

Across the Best New International Act category, the spotlight turns to a new class of African talent defining the moment: Nigeria’s Shallipopi, UK-based Nigerian artist Odeal, South Africa’s Maglera Doe Boy, Tanzania’s Abigail Chams, and Durban’s genre-bending producer Dlala Thukzin all made the cut. It’s a testament to the explosive creativity bubbling from African scenes that increasingly set the pace for pop music at large.

Speaking on this year’s nominations, Senior Vice President & Co-General Manager at Paramount Africa and Lead at BET International, Monde Twala, reflected on the significance of this moment: “The 2025 nominations reflect the incredible creativity, influence, and impact of African artists who are shaping culture and pushing boundaries. These talents represent the diversity and heartbeat of a new generation, and the global resonance of our sounds.”

The awards continue to spotlight excellence across Black entertainment. US rapper Kendrick Lamar leads all nominees with ten nods, including Album of the Year for GNX and Video of the Year for “Not Like Us.” Rising star Doechii, with her genre-bending debut Alligator Bites Never Heal, earned six nominations, tying with Drake, Future, and GloRilla. Meanwhile, SZA and The Weeknd both earned four nominations each.

Celebrating its 25th anniversary this year, the BET Awards, dubbed “Culture’s Biggest Night”, returns to the Peacock Theater in Los Angeles on Tuesday, 10 June, broadcasting live on BET (DStv Channel 129 and GOtv Channel 21) at 01:00 WAT. The milestone event will also include the free 2-day BETX Fan Fest, co-produced by Live Nation Urban, with concerts, panel discussions, and community activations.

As African artists continue to break borders and redefine genre, their growing visibility at institutions like the BET Awards marks more than just individual wins; it’s a reflection of how the global cultural map is being redrawn.

Grammy award-winning Afro-fusion icon Burna Boy continues to stretch the boundaries of sound and sentiment with “Sweet Love,” a reggae-tinged ballad that deepens the emotional spectrum of his forthcoming eighth studio album, No Sign of Weakness.

Arriving on the heels of the energetic Soul II Soul-sampling single “Update,” the new track signals a shift in mood. Introspective, sultry, and emotionally open, “Sweet Love” is a moment of tenderness from an artist known for his bold declarations of strength and swagger.

Produced by Major Seven, whose previous credits include work with Rihanna and Future, the song unfolds with the effortless sensuality of 1980s lovers rock, echoing the warmth and vulnerability of reggae greats like Gregory Isaacs and Dennis Brown. Over a plush, slow-burning groove, Burna Boy sings with a voice that’s as textured as it is heartfelt: “I want to give you love, sweet, sweet love,” he croons, letting the rasp of his tone carry the weight of desire, devotion, and longing.

“Sweet Love” helps position the forthcoming album as one of Burna Boy’s most emotionally layered projects yet. While his last release, 2023’s I Told Them…, leaned heavily into themes of legacy, cultural affirmation, and artistic authority, the new material feels looser, more personal, and in many ways more daring.

Like his genre-defying career, the artist’s latest single resists easy classification. There are flourishes of Afropop in the rhythmic structure, unmistakable reggae influences in the instrumentation, and echoes of the American soul, particularly the tortured passion of Otis Redding and James Brown, in his vocal delivery. But the fusion of these elements, bound together by Burna’s commanding presence, makes “Sweet Love” feel less like a throwback and more like a reimagining.

Burna Boy is set to take No Sign of Weakness on the road. His upcoming European tour starts in July, with confirmed dates in Berlin, London, and Helsinki. Additional shows are expected to be announced soon, continuing his trend of packing stadiums from Lagos to London, Johannesburg to Paris.

Listen to “Sweet Love”