In celebration of its 10th anniversary, Apple Music has unveiled its list of the 500 most-streamed songs of the decade, with Ed Sheeran’s global hit Shape of You taking the top spot.

The British singer-songwriter’s 2017 track has outperformed every other song on the platform in the past 10 years, beating The Weeknd’s Blinding Lights and Drake’s God’s Plan, which landed in second and third place respectively.

Upon its release, Shape of You shattered Apple Music’s record for the highest number of first-day streams and went on to dominate the Billboard Hot 100 for 12 consecutive weeks. The track later earned Ed Sheeran a Grammy Award for Best Pop Solo Performance in 2018.

The remainder of the top 10 features a mix of pop and hip-hop heavyweights. Post Malone makes two appearances with Sunflower alongside Swae Lee at No. 4 and Rockstar featuring 21 Savage at No. 5. Other chart-toppers include Drake’s One Dance featuring Wizkid and Kyla, Travis Scott’s Sicko Mode, Sheeran’s Perfect, Chris Brown’s No Guidance, and Billie Eilish’s Bad Guy.

Elsewhere on the list, The Chainsmokers and Halsey’s Closer ranks at No. 11, Kendrick Lamar’s Humble at No. 15, Ariana Grande’s 7 rings at No. 19, and BTS’ record-breaking Dynamite at No. 34.

Drake holds the title for the most entries on the list, with 27 songs making the cut. Taylor Swift follows with 14, while Mariah Carey secures a notable spot as the only artist with a holiday track in the upper rankings, her classic All I Want for Christmas Is You lands at No. 100.

To mark the milestone, Apple Music released a special playlist featuring the full 500-song lineup and shared an exclusive interview with Ed Sheeran. Reflecting on the enduring success of Shape of You, Sheeran told Zane Lowe, “No one can take away the song. I’ll be able to play it forever… I’m just grateful to have songs like that, where anywhere in the world, you can pick up a guitar and make someone happy.”

The full list of all most-streamed songs and playlist are now available for streaming on Apple Music.

JUST IN:

Ed Sheeran's "Shape of You" is officially the #1 Most Streamed Song in Apple Music History pic.twitter.com/11gMqLGVxv

— 𝗔𝗟𝗕𝗨𝗠 𝗧𝗔𝗟𝗞𝗦 (@AlbumTalksHQ) July 5, 2025

Most streamed songs in Apple Music history (Top 500):

#1 Shape of You
#2 Blinding Lights
#3 God’s Plan
#4 Sunflower
#5 rockstar
#6 One Dance
#7 SICKO MODE
#8 Perfect
#9 No Guidance
#10 bad guy
#11 Closer
#12 Starboy
#13 goosebumps
#14 STAY (The Kid Laroi & Justin)
#15 HUMBLE.…

— chart data (@chartdata) July 5, 2025

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The 2025 BET Awards nominations are out, and as expected, they’ve stirred up plenty of conversation.

While some of music’s biggest names rightfully claimed their spots, a few surprising omissions and unexpected nods have left fans buzzing.

The BET Awards have long been a vital platform for celebrating Black excellence in music, film, television, and sports, with a growing reputation for spotlighting international talents, particularly from Africa. However, with the 2025 nominations now public, conversations have erupted over some of the unexpected inclusions and more strikingly, the glaring omissions.

While heavyweights like Kendrick Lamar, Doechii, Drake, SZA, and Ayra Starr rightfully earned multiple nominations for their consistent impact and artistry, some notable absences have left fans and industry watchers both surprised and disappointed.

From chart-toppers left off the list to rising stars overlooked, here’s a breakdown of the biggest shockers and snubs shaking up the 2025 BET Awards nominations.

The Davido snub: A head-scratcher

Perhaps the biggest shock of the 2025 BET nominations is the complete absence of Nigerian superstar Davido. The omission comes at a puzzling time, considering Davido’s impressive run over the past year. Not only did his Grammy-nominated album Timeless deliver multiple global hits, but his recently released project, 5ive, has also made waves since its debut in April 2025.

5ive, which features collaborations with international heavyweights like Chris Brown and Victoria Monét, debuted at number 2 on the Billboard World Albums chart and has been praised for its range, sound, and replay value. The album’s strong streaming numbers and positive fan reception further cemented Davido’s position as one of Africa’s most influential and commercially successful artists.

Adding to this is his recently concluded sold-out world tour, which saw him headline iconic venues and expand his fanbase across Europe, North America, and the Middle East. In terms of visibility, chart performance, and cultural relevance, Davido ticked all the boxes for what one would expect to see acknowledged by the BET Awards this year.

That he did not secure even a single nomination leaves fans and industry observers baffled, reigniting long-standing conversations about the criteria for African representation on international award stages like BET.

The Ghanaian exclusion: A recurring pattern

Another glaring oversight is the complete absence of Ghanaian artists from the nominations list. Despite a thriving music industry and a roster of globally recognized stars like Stonebwoy, Sarkodie, and Black Sherif, no Ghanaian name appeared in this year’s lineup.

This exclusion is particularly disappointing given the growing global reach of Ghana’s music scene. In recent years, artists from the country have headlined international festivals, charted globally, and contributed to cross-border collaborations with mainstream acts.

The lack of representation has sparked conversations online and within African entertainment circles about the persistent underrepresentation of certain regions on major award platforms like BET. Critics argue that while Nigerian artists have made incredible strides, there’s a pressing need for African music’s diversity to be more inclusively showcased, reflecting the continent’s full creative breadth.

Why does this matter?

Award shows like the BET Awards play a crucial role in elevating artists to new audiences, affirming their contributions, and validating their cultural impact. When deserving acts are overlooked, especially in categories designed to spotlight international talent, it not only feels like a missed opportunity but also suggests an uneven playing field.

These snubs also highlight the complexities and politics of award nominations, where visibility, industry connections, and sometimes external narratives can overshadow pure merit. As Afrobeats, Amapiano, and other African sounds continue to break barriers globally, international platforms must rise to the occasion by ensuring fair and balanced representation.

What’s next for African stars and Award show representation??

As the buzz around the 2025 BET Awards nominations continues, attention now shifts to the main event, set to air live on June 30, 2025, from the Peacock Theater in Los Angeles. Known for celebrating the very best of Black culture in music, film, television, and sports, this year’s ceremony marks the 25th edition of the prestigious awards, a milestone anniversary expected to deliver memorable performances, tributes, and standout moments.

For African music, the conversation sparked by these nominations isn’t just about trophies, it’s about visibility, validation, and the opportunity for African stars to shine on one of the biggest platforms dedicated to Black talent worldwide. The growing dominance of Afrobeats, Amapiano, and other African genres on the global stage means these artists aren’t just regional acts anymore, they’re global superstars who deserve equal recognition alongside their counterparts from the U.S., U.K., and the Caribbean.

Industry watchers, fans, and artists alike will be closely observing not only who wins on the night but also how African talent is presented, celebrated, and acknowledged. Will this year’s broadcast make room for more African performances? Will the conversations around inclusivity and fair representation influence future nomination lists? These are the questions shaping the narrative as the countdown to June 30 begins.

For those eager to see how their favorite stars fared, the full list of 2025 BET Awards nominees is available here.

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In the Arabic-speaking world, Marwan Moussa needs no introduction. The Egyptian German rapper and producer has dominated the rap scene for years, rising to fame for his hard-hitting bars and effortless flow. A man who enjoys bragadociousness and does it well, Moussa is the third most-streamed Arab rapper of all time and has received three All Africa Music Awards.

After losing his mother to illness in October 2023, Moussa did not listen to music for six months. Then, he returned with "3AMEL EH" (What do I do) in July 2024, on which he opens up to his therapist about his depression, inviting listeners into a journey of climbing out of the darkness.

This week, Moussa revealed الرجل الذي فقد قلبه (The Man Who Lost His Heart), a conceptual framework for the introspective tracks he has been releasing. Throughout the album, the female voice we hear on "3AMEL EH" tells him that everyone deals with the same feelings in different ways. She introduces him to the five stages of grief - denial, anger, bargaining, depression, and acceptance - which he adopts as an artistic lens for the 23 tracks across five discs.

"I wanted to make a sad album, but I cannot say accurately what I was going through," Moussa tells OkayAfrica. "I was creating as I went and tried to fit songs into categories. Maybe creating these songs was therapeutic, but I cannot say accurately which stage I went through with which song."

Each disc has stylistic elements that bring Moussa's emotions to life. Denial sounds like string instruments and trap shaabi, a mix of dark trap beats over traditional Egyptian rhythms. Anger rises with Arabic scales and instruments like the Oud. "I felt like [anger] is a very Arab emotion and state," says Moussa. "It's how we express grief the most, especially as men."

His favorite track on the album, "TAQATO3," is on the anger disc. Starting rap-heavy, the track samples the iconic song "Shagar El Lamoon" by Egyptian singer Mohamed Mounir, before ebbing into a vibe that Moussa describes as "melancholic, somehow sad but euphoric."

Moussa wrote and recorded "TAQATO3" between Thailand and Los Angeles; the album came together in studios all over the world. "We just recorded in the places that we happened to be at, and we let it add color and flavors to the album, which I think added diversity to the songs," he says.

Bargaining heavily features the piano, the instrument Moussa associates with questioning. While the other discs have at least one feature, bargaining is the only emotional state he navigates completely alone. With track three of that disc, "Fahman Donya," he recently became the first Arabic-language rapper to perform on the global rap platform From The Block.

Depression is characterized by ambient, mournful textures. Moussa sings and bears his soul over simplistic, repetitive melodies that feature string instruments and the piano, carrying a distinguishable Egyptian rhythm that embeds the universal experience of loss in a specific cultural context.

Throughout the album, a male voice tells Moussa "hawil tiftikir" (try to remember), reminiscent of Kendrick Lamar’s use of voicenotes. However, Moussa did not have any musical influences for this project. "In the beginning, I thought that was a bad thing. Everything just came from the mind," he says. "But I hope that it will become more timeless because there are no musical reference points."

Acceptance closes the album with Moussa emerging on the other side. This disc is more playful, incorporating jazz piano, Afrobeats, and the assertion that he must keep trying. "[The album] is not about being sad or breaking up with someone. It's about losing someone who dies, specifically, "says Moussa. "I would love it if it helps someone navigate through a period of sadness. Like a map."

Now that he has revealed this deeply vulnerable and raw side of himself, will Moussa continue along this path? "I miss doing an ego song," he says and laughs. "I want to do music that makes me feel confident. That's what I love about classic rap: you say stuff, you feel cool, and it feels good. But that's not how I felt the past year, so I couldn't rap like that."

There's a common concern that Egyptian rap lost its authenticity when it became mainstream, and some voices mutter that the genre is dying out. Moussa agrees that rappers have not been at their best in recent years, but he has noticed a brooding resurgence.

"I think people will become more competitive in the next few months. The action is going to come back," he says. "I think we'll see some battles and hear music that feels like more time has been spent making it. I can feel it and am excited to be a part of it." The Man Who Lost His Heart, with its poignant lyricism and expertly crafted sonic layers, can spearhead a revival of vanguard Egyptian rap, should it actually be on its way.