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.

At the end of March this year, DJ Maphorisa and Xduppy released an incredible collection of songs stretching across two albums. Titled Ngomoya and Rough Dance, the albums cover the gamut of South African electronic music and tip the scale in favor of the country remaining the global behemoth it’s already become.

Ngomoya leans into soulful amapiano, weaving themes of spirituality, longing, and love; the Rough Dance delivers pure, unfiltered ‘sghubu’ – that bass-heavy catharsis tailor-made for dancefloor therapy. Both sides complement each other with specially curated features that energize the music, pay homage to the greats, and collectively imagine a future where the genre is non-existent. Blxckie, Mawhoo, Nanette, Daliwonga, Scotts Maphuma, and many others lend their talents to the project.

Xduppy first met DJ Maphorisa following the success of his 2023 hit, “Bhebha,” a sonic departure from the norm that infused ‘quantum sound’ — a reference to the public transport taxis that would be fitted with the most insane sound system for maximum bass impact, popular among high school students — into the amapiano template.

In an interview with OkayAfrica, the producer says that the album came about as a result of countless studio sessions that happened with no immediate goal in mind besides being creative. “We had planned on dropping an EP but realized we’d made more than enough,” Xduppy tells us. “We do studio [work] every week. It becomes hard to know exactly when we started working on the project.”

Xduppy grew up with a father who was a house music head and a mother who was into gospel. He discovered hip-hop independently and was on that track until he switched it up. However, he still has some rap bangers in the vault.

“I started producing in grade 8 or 9. It was a bit hectic because I didn’t have a laptop. I had to move from one place to another, borrow my friend’s laptop, take it back, skip a few months without producing, and return. This was in 2017/18,” he says. The artist and producer used the bursary money given to students through the National Student Financial Aid Scheme program to buy his first laptop. He installed the music software FL Studio and started producing house and hip-hop songs. That was shortly before the 2020 lockdown.

In Jamaican patois, ‘duppy’ can refer to a malevolent spirit. In his case, it comes from the nickname Dub-G (double G), a reference to the first letters of his name, Gomolemo Gumede. It went from that to just Dub and then Duppy, following the release of Drake’s “Duppy Freestyle.”

“I was just working on some music. I originally made [‘Bheba’] at Sleazy’s just by playing around. He heard it and said that it goes crazy. Myztro’s studio was five minutes away from us. They came through, we worked the song, and let it go. It’s funny; people don’t even know that it’s me singing on it,” he says. “I was just trying to create new sounds. People got a hang of the wave and did their own versions of it.”

The Ngomoya and Rough Dance sessions with DJ Maphorisa didn’t have a linear trajectory. Sometimes, an old song would spark an idea for the feel and approach of whatever they’d work on, or they’d take chords, tweak them, and incorporate them into a song. “In the end, something always came out,” he says.

The results are impressive. In two months, the albums have managed to rack up millions of plays across streaming platforms and introduced music lovers to bangers they’ll bump to until the year ends. “Abantwana Bakho,” featuring Young Stunna and Thatohatsi, is blazing dancefloors, with “Sangena,” featuring Scotts Maphuma and TOSS, closely following behind.

“We were having a hard time deciding which songs would be on the album. We tested them out at our gigs and got people’s opinions online,” he says. “I feel amapiano is gonna be bigger than what it is now. It will keep spreading because it’s also moving with the times.”

We’re getting deeper into the year, and the music releases keep piling up. For April, our bag packs treats from Eswatini, Lesotho, Angola, Zimbabwe, and beyond. Tap in and make sure to update your listening habits with the awesomeness we have.

Internet Girl - “Treat” (South Africa)

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

Jah Prayzah - “Kuno” (Zimbabwe)

Jah Prayzah has carved out many musical bags in the many years he’s been active in music, and he can twist and turn at any point to reveal a different side of his artistry. “Kuno” is the first release from his forthcoming album, Ndini Mukudzeyi. He digs deep to sing his heart out about love, legacy, and the bonds that remain unbroken after life has ended. On “Uzuyi Bheke,” he features South African rapper illRow, who details the struggle one faces when trying to escape street life and go on a straight and narrow path.

Paras Sibalukhulu Dlamini - “Yobe” (South Africa)

On his debut album, Ingoma Busuku, multi-layered vocalist Paras Sibalukhulu Dlamini finds a delicate sweet spot that swings between Zulu vocal traditions advanced by the likes of Shaluza Max and Mbuso Khoza, and an undefined, new territory that he can get to own with time. He also gathers a heavy set of cats to help him advance his vision. Nduduzo Makhathini handles production duties, while a cast of musicians from across South Africa, Switzerland, and France completes the cipher. “Yobe” sets the tone for meditative reflections on spirituality, tradition, and what it means to be an African in the modern age.

Taniâ - “Dioguito” (Angola)

Angolan artist Taniâ updates Bernardo Jorge Bangão’s classic, “Dioguito.” In her hands, the semba classic morphs into a cultural counterpoint that brings the old and new together. Her voice floats effortlessly, while Francisco Alexandre Pedro’s production adds the bounce necessary to keep head bopping.

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

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

Sarnilo - “Autumn” (Eswatini)

“Autumn leaves are falling, hear me out I’m calling,” sings Eswatini-based artist Sarnilo on her latest release, “Autumn.” In the Tru Hitz-produced song, the artist utilizes her sultry voice to confess her feelings as she glides effortlessly on the song’s gospel chords.

Thope tse Khang - “Lerato” (Lesotho)

Lesotho’s Thope tse Khang are household names, made famous by their daring, provocative lyrics and addictive famo melodies. “Lerato” is taken off their second offering since signing to the Universal Music Group in 2024. Titled Ha E Lume, it’s a four-track collection of the material the group has come to be known for.

Voltz JT - “Crisis” (Zimbabwe)

Voltz JT is an emcee’s emcee. He has the vocal tone to command audiences, and the lyrical content makes him one of the dopest coming from the African continent right now. “Crisis” details the difficulties people from different corners of the world are experiencing right now; salaries don’t increase, only the cost of living does.

K.O - “Pharadise” (feat. Young Stunna)

On ” Pharadise,” revered artist and producer K.O dips into his emotionally charged bag (see: “Skhanda Love,” “Hate Love”) to unearth a beacon of hope for hustlers in the city of Johannesburg. “And my patience is running low; I wanna know,” he raps, taking the position of someone who has to suffer at the hands of these hustlers. Young Stunna, who also appeared on one of K.O’s biggest songs, “Sete,” adds his spiritually-tinged flavor on the chorus, begging and pleading to his creator to give him the power to overcome. “Pharadise” is the last single until his fourth studio album, Phara City, drops this June. In a statement, the rapper described the work as “a mirror held up to our lives, reflecting the raw, beautiful chaos we navigate every day.”

April has been a superb month for East Africa's music scene. This month's standout releases are all about bold moves, unexpected collaborations, and deeply personal storytelling, proving once again that the region's artists continue to innovate while staying true to their roots.

Tanzania's Jux celebrates love's grandest gesture with "God Design" featuring Nigeria's Phyno, with visuals from his real-life wedding. Kenya's Bien takes listeners on a rare cross-border journey with Somalia's Suldaan Seeraar on "Safari," bridging cultures with a heartfelt collaboration. Uganda's King Saha reflects on the highs and lows of life lived online in "TikTok Life," while Kenya's Bensoul and V-BE toast to the sweetness of love in "Kautamu Flani."

These are just some songs that kept East Africa grooving in April.

Listen to OkayAfrica's Best East African Songs Right Now below.

Jux - "God Design" Feat. Phyno (Tanzania)

Fresh off "Africa's wedding of the year" to Nigeria's Priscilla Ojo, Tanzania's Juma Jux returns with a new track featuring visuals from the actual ceremony. According to Jux, the song is part of his seven-track EP, A Day to Remember, described as "a soundtrack to our love story." "Straight from the heart, for the love of my life," he shared on social media. "Forever starts now." Don't sleep on Phyno's verse.

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

Kenya's Bien is gearing up to release a new album, kicking things off with the lead single "Safari," a collaboration with Somalia's Suldaan Seeraar. Despite Kenya and Somalia's shared border, musical collaborations between the two nations are rare. This makes the track a compelling glimpse into the album's direction and Bien's evolving artistry. The album arrives ahead of his upcoming tour across Europe and the U.S. this summer.

King Saha - “TikTok Life” (Uganda)

One of Uganda's finest, King Saha returns with a song that celebrates and laments the experience of living life in front of a phone screen. It reflects digital-age realities, delivered with his signature melodic flair—and it's been steadily climbing the Ugandan charts. Even over a decade in the game, King Saha continues to craft music that speaks to and for the people.

Bensoul - "Kautumu Flani" feat. V-BE (Kenya)

Six months after his hit "Extra Pressure," Bensoul returns with "Kautamu Flani," a new single featuring Nairobi-based duo V-BE (Vijana Barubaru). Since its release, the song has quickly climbed to the top of Kenya's charts. Known for their romantic, soulful sound, V-BE brings their signature vibe to the track, celebrating an unnamed, indescribable sweetness that love brings.

Matata - “Mpishi” feat. Bien (Kenya)

It's been a year since Norway-based group Matata released new music, and they've returned in style with "Mpishi," teaming up with Kenya's hitmaker Bien for a track that has topped the Kenyan charts. Known for their vibrant fusion of rap, Sheng, and Kikuyu influences, Matata's latest release also highlights their colorful aesthetic and infectious choreography, reaffirming their place as one of East Africa's most exciting acts.

Marioo - Tete  (Tanzania)

Marioo is on a roll this year. His hit "Nairobi" remains at the top of the charts, and he is ready to add to that with "Tete."

Toxic Lyrikali - "Confirmation" feat. Mr Ree (Kenya)

After a breakout year in 2024, urban tone-drill sensation Toxic Lyrikali kicks off 2025 with his first single, "Confirmation." Hailing from gritty Nairobi, Toxic Lyrikali has built a loyal digital following with his electrifying stage presence, sharp lyricism, and bold storytelling.

In this month's Best West African Songs list, OkayAfrica travels through Côte d'Ivoire, where coupé-décalé is still ruling the scene, Ghana, where artists like Lali x Lola experiment with Afropop-influenced sounds, and Nigeria, where legends make triumphant comebacks.

Tiwa Savage "You4Me" (Nigeria)

The Queen of Afrobeats, Tiwa Savage, is entering a new era. Here, she returns to her R&B roots, ditching percussion for guitars and tender lyrics. After releasing the reggae-infused "Forgiveness" last year, "You4Me" plays like an earnest, feel-good contemporary R&B track that still carries her subversive touch. The track samples Tamia's "So Into You," drawing clear connections between the influences Savage is drawing from for her upcoming project and the sounds she is looking to create. As is familiar with Savage's work, the writing is tightly constructed, and well-placed riffs anchor the vocals.

Serge Beynaud “Taper Dedans” (Côte d’Ivoire)

One of the prominent champions of coupé-decalé and loko loko, Serge Beynaud's new track "Taper Dedans" is instantly infectious and club-ready. The track is enlivened by a playful call-and-response, repetitive hooks that stick to the brain, and an explosive beat that would make a perfect soundtrack to an end-of-year music festival. With over a decade of working in the Ivorian music industry, Beynaud is one of the ardent voices that have continued to embody the communal and transformative essence of coupé-decalé while adding a modern spin.

Reekado Banks “Mukutu” (Nigeria)

In "Mukutu," Reekado Banks keeps things seductively simple. Singing over a bouncy yet stripped-down beat, Banks offers a splashy, beach-ready track for the summer. More than a decade since his debut, it's clear that Banks still knows what it takes to make a hit song.

Dayo Lamar “Woody” (Côte d'Ivoire)

Dayo Lamar's "Woody" lends itself to classic hip-hop and EDM sensibilities. Executed as if in one breath, Lamar raps over a thumping beat, clearing his mind and getting his thoughts out without an interlude or chorus. "Woody" is a short, well-defined, and brilliantly executed confessional that places sufficient trust in the sharpness of Lamar's rap flows, the slimness of the beat, and the precision with which he delivers his message.

Team Paiya “Révolté” feat. Le Grand Homme (Côte d'Ivoire)

In many ways, Team Paiya's music carries an urgency that's difficult to explain yet essential to their impressive discography. Even though they were formed in 2022 and haven't been around for long in the star-studded music scene in Côte d'Ivoire, their energetic, blended approach to music has made them a crucial part of the current success of Ivorian music. In "Révolté," their latest track, the crew blends coupé décalé, rap, and boucan in a signature sound they call "maimouna 2.0." Like their previous hits, "Révolté" has an explosive, thrilling essence that, yet again, proves how attentive Team Paiya is to the sounds and messages that move the youth.

Joyce Olong "WWYD" (Nigeria)

Nigerian indie artist Joyce Olong created much of her latest, full-length project, Soseo, in Ghana. Tucked away in a serene and spiritually charged space, Olong became a channel through which several ethereal, otherworldly songs were birthed. "WWYD," a groovy, bewitching track, is one of them. Starting with short, sharp chants and an echoey, trance-like beat, "WWYD" quickly segues into a gentle pep before Olong's soothing voice enters, asking questions and beseeching a love interest. Known for languid sounds that inspire reflection and easy living, Olong takes these qualities (her most powerful artistic qualities) and throws them into a highly experimental pot, where everything feels light, honest, and aggressively beautiful.

Lali X Lola "Unstable" feat. Oiza x Meyi (Ghana/Nigeria)

Fast-rising Ghanaian musical duo Lali X Lola share much in common with their Nigerian counterparts, Oiza x Meyi. They're both identical twins, and their music sits at the fringe of the mainstream, often melding R&B with indie and exploring Afropop and folk. In their first and fitting collaboration, both duos bring their well-oiled charm, playful but sensitive lyrics, and experimental musicality to a lively track. "Unstable" explores classic themes of self-preservation, ultimately recognizing misdeeds and reaffirming one's strength amidst a chaotic relationship. Both groups share the same concerns regarding matters of the heart, and because they're both excellent documentarians of the state of modern romance, they're compelling to listen to.

Demmi "Still Rolling" (Ghana)

Ghanaian artist and producer Demmi (McDonald Otubuah) is an ardent student of modern Afropop. Thanks to his producer background, Demmi collects references from well-known and obscure sounds, which he then simmers into groovy yet deeply personal Afropop tracks. In his latest drop, "Still Rolling," that formula comes into play excellently. His lyricism is personal and anecdotal, the beat experimental but club-ready. For Demmi, "Still Rolling" is an alluring tease of something big to come.

Melissa "Tattoo" feat. Blaqbonez  (Ghana)

Ghanaian R&B star Melissa teams up with Nigerian rapper and singer Blaqbonez for a sultry, emotion-heavy number on "Tattoo." Covering the plains of desire and tease, "Tattoo" evokes a blurry image of a sweaty dance floor filled with willing love interests. Blaqbonez's raspy tone and playfully brash lyrics complement Melissa's airy, fluttering voice. Ultimately, "Tattoo" blends the softness of R&B with the subtle bounce of Afropop into a song that would sound magical after a dip in the pool on a hot summer day.

Check out the list below: