Spyro — Billing: The Breakout Hustle Anthem That Defined a Moment

Spyro struck a major chord in 2022 with Billing, a track that quickly grew from a sleeper release into one of the year’s most recognizable anthems.

Built on a bright, mid-tempo Afrobeats groove, Billing carries an infectious bounce that makes it instantly catchy. The production is clean and accessible—light percussion, smooth melodies, and a rhythm that feels easy to lock into. But beyond the sound, it’s the message that truly connects.

Lyrically, Spyro taps into themes of hustle, patience, and eventual reward. The now-iconic line about “billing” (enjoying the fruits of your labor) became a cultural moment, resonating with young Nigerians chasing success and better days. It’s aspirational without feeling forced—simple, relatable, and effective.

What makes Billing stand out is how naturally it grew. It wasn’t just a hit overnight—it built momentum through word of mouth, social media, and real-life relatability. From parties to everyday conversations, the song found its way into people’s lives.

Years later, Billing still holds its place as a defining record in Spyro’s career—a reminder that sometimes, all it takes is one honest, well-timed song to shift everything.

Don’t miss your chance to experience “Billing” — you can listen to it now and enjoy the track from your favourite music platforms. Join the conversation and let the rhythm take over!

You can listen to Spyro – Billing here.

The post Spyro – Billing appeared first on tooXclusive.

Six years after the original Prayer Request became a staple for believers and dreamers, Victor AD returns with a powerful sequel, Prayer Request II. This time, the Nigerian voice of the street expands the spiritual dialogue by bringing in Jamaican dancehall sensation Jahmiel alongside the original collaborator, Patoranking. The result is a cross-continental tune that fuses Afrobeats and Reggae-fusion into a singular, uplifting message of resilience and divine intervention.

The chemistry between the three artists is palpable. Victor AD provides the soulful, grounded foundation that fans of Wetin We Gain will instantly recognize, while Patoranking delivers his signature gritty yet polished verses. The addition of Jahmiel adds a fresh dimension to the track; his Jamaican roots bring an authentic dancehall patois flavour that elevates the song’s appeal. Together, they create a track that feels like a collective petition to the heavens, grounded in the struggles of the everyday man.

Produced once again by the talented Osho Beatz, the instrumental maintains the reverent yet groovy atmosphere of the first iteration. It utilizes bright horns and a steady, marching percussion that mirrors the unwavering faith described in the lyrics. The song moves beyond mere hustle culture to address deeper themes of gratitude and the necessity of spiritual backing in a chaotic world, making it a timely release for the current climate.

Prayer Request II is a quality remix. It is a reinforcement of a message that has defined Victor AD’s career. By bridging the gap between Warri, Lagos and Kingston, the track proves that the language of hope is universal. It is destined to be a favourite in both church halls and club lounges, serving as a reminder that, regardless of the genre, music remains one of the most potent forms of prayer.

Listen to Prayer Request II here.

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Afrobeats sensation Mavo continues his upward trajectory with the release of Mofe. The song further solidifies his reputation as one of the hottest artists in the country at the moment. Following the success of his previous projects, Mofe, which translates from Yoruba as "I want" is an exploration of desire for a woman.

The track showcases Mavo’s unique ability to blend street-pop energy with a smooth, melodic delivery. His style, heavily influenced by his early days making beats with tables and spoons in secondary school, shines through in the rhythmic complexity of the production. Mofe captures a specific Nigerian sentiment of aspiration, wrapped in a sound that is both contemporary and rooted in the South Gidi vibrations he has championed recently.

Lyrically, Mavo strikes a balance between playfulness and grit. He speaks to the desires of a youth generation, wealth, love, and recognition, without losing the infectious charm that has earned him a growing cult following. The song’s production is crisp, featuring the kind of heavy basslines and airy synths that have become a hallmark of modern Afrobeats, yet Mavo’s distinct vocal character prevents it from sounding like anything else on the airwaves.

As Mofe begins to gain traction on digital platforms, it serves as a testament to Mavo’s consistency. He isn't just releasing music, he is building a world where his personal true life stories meet the dancefloor. For an artist who cites both Playboi Carti and Wizkid as influences, this single represents a perfect middle ground, edgy enough for the underground, but polished enough for mainstream dominance.

Listen to Mofe here.

The post Mavo renders new single 'Mofe' appeared first on NotjustOk.

Following her previous single with Rema, Who's Dat Girl, Ayra Starr returns with Where Do We Go, and it feels like a deep exhale. Released as she navigates her status as a definitive global sensation, the track maintains the high-octane energy of her previous hits.

The song’s origins are surprisingly grounded. Ayra Starr has shared that it began as a personal favourite that she and her friends would play while getting ready for nights out. However, the finished product, produced by longtime collaborator ILYA, is far more than a get-ready tune. It serves as a philosophical inquiry into her romantic life. The lyrics pose the question, Where do we go from here?, directed to her love interest.

Ultimately, Where Do We Go acts as a bridge to a fresh era for Ayra Starr. It retains the rhythmic essence that made her a household name but layers it with a newfound sobriety. It is a record that demands active listening, a soulful marker that proves even at the pinnacle of fame, the quest for direction remains a powerful and relatable human experience.

Listen to Where Do We Go here.

The post Ayra Starr releases new single 'Where Do We Go' appeared first on NotjustOk.

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

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 next great African rap battle may be upon us. In late June, Nigerian rap artist Blaqbonez took aim at colleague ODUMODUBLVCK on "Who's Really Rapping," a joint track with mentor A-Q, who has been in his fair share of rap beefs. Odumodu has fired off a litany of posts on X (formerly Twitter) and talked about it on podcasts, but it would take an official response for things to get interesting.

As far as hip-hop goes, fans love a spectacle, and passion is a potent selling tool. Where can there be greater delivery of passion than in diss tracks, rude and immediately beside you. At the chagrin of critics and less-than-pleased curators, diss tracks are peak moments for the culture, for fan bases, and consequently, a powerful PR tool.

M.anifest – "godMC"

When years of sneak disses culminated in a lyrical sparring between two of Ghana's most revered rappers, it was everything the audience had expected. Rappers are known for talking the mean talk, and between Sarkodie and M.anifest, there has been a lot of that over the years, with their battle taking on even more importance considering they represent unique styles within the soundscape. On "godMC," M.anifest banks on the purist sensibilities that have won him the adulation of peers and listeners, pulling out a wide range of references as he sought to sink the Sark into hip-hop's hell. From Greek mythology to the Fela-invoking production, the rapper spared no punches as he cautioned the opposition "don't measure your pen to mine, you pantomime and asinine / And you wanna be king, get your ass in line."

Ruggedman – "Ehen"

Nigerian hip-hop has arguably never seen a rapper as magnetic as Ruggedman. At the start of the 2000s, he took gleeful swings at any and everybody, critiquing the establishment with the same vim he had for rappers. "Ehen" is undoubtedly his centerpiece as a troubadour, with Ruggedman wielding a flamethrower potent enough to torch anyone.

Dissing top English-speaking acts like Eedris Abdulkareem, Black Reverendz, and Rasqui for their lack of street material, he would set the precedent for a lingual and cultural conversation that would echo years later in "Local Rappers." Even at the time of its release, "Ehen" was remarkably impactful, succeeding as a commercial darling with its radio jingle-like harmony, a cadence that rings familiar to the average Nigerian on the street.

Cassper Nyovest – "Dust To Dust"

Going personal in diss records is one way to stun the opponent into submission, but even by that logic, "Dust To Dust" is a devastating record. Over five minutes of thumping bass and drums, Cassper Nyovest suggests several things about his chief rival, the now-departed AKA, with whom South Africa's biggest beef was shared. Its origin dates back to 2014, which would stretch and loosen back and forth for the next half-decade, resulting in a few jabs here and there. But AKA went direct with the phenomenal "Composure," and Cassper had to reply with equal ferocity and tact, which understandably led him down the personal route. "I'm writing this at the crib shooting free throws / You stayed in a town house that was owned by Oskido," raps Cassper on the third verse, audibly sounding agitated, breathing down the beat with a style that recalls the quintessential 2Pac flow.

M.I Abaga - “The Viper”

Intricacy has always been a defining quality in M.I's art. With his early projects in the 2000s, he redefined the scope of the Nigerian rap album, successfully blending pop runs with the sweet essence of rhyming. "The Viper," his diss record aimed at longtime competitor Vector, was as harrowing a cadaver inspection as it was an olive branch extended.

Swinging at the edges of mercy and punishment, he employs biblical allegory to dissect the history between himself and Vector, ranging from their handling of the BET cypher to what M.I. considers Vector's inability to "put anybody in position." It's a fine display of M.I.'s incredible arsenal as a rapper, from his production of the song to the social commentary he successfully incorporates in his scathing attack.

Vector – "The Purge" feat. Vader & Payper Corleone

On "The Purge," Vector assembled one of the most compact diss records that the Nigerian rap scene has witnessed. Tensions were stoking between his and M.I's camp, fuelled mainly by the rap cyphers that both veteran rappers steered. By the time of release, it was no secret that both rappers' cliques didn't like each other, and "The Purge" took things up a notch by standing on business (and crucially, on wax). Vader takes shots at Blaqbonez, Payper swings on everyone from Loose Kaynon to A-Q, and Vector expectedly goes for M.I. "Africa rapper number one my ass, boy the flavor left," he rapped, referencing the latter's 2010 hit song, while swinging other sharp personal jabs.

Modenine - "Elbow Room"

For many, Modenine represents the pinnacle of lyricism in Nigerian rap. At his peak, which was much of the 2000s, he often rapped with the cold force of an unsullied, his barrage of punchlines slicing through boom bap beats with the sharpness of Valyrian steel. That unsparing lyrical precision is the hallmark of "Elbow Room," a speculative diss that remains as scathing as it was nearly two decades ago.

Amidst industry rumors of a beef with Ruggedman, and whispers of an already recorded diss song that eventually didn't see the light of day, Modenine got preemptive with "Elbow Room," sonning his adversary before things got heated. From the first line where he threatens to run over foes, every line is unfurled with a focused fury. By the time he delivered the death knell with "Talking to You," it was a potent sequel to the unsparing tone set by "Elbow Room."

Sarkodie - “Kanta”

Sarkodie takes umbrage at any question that casts doubt on the credibility of his pen and his greatness as a rapper. Those things were at stake when M.anifest called him out on the thinly veiled, subliminal-packed "godMC." While the beef itself never really boiled over into a protracted back-and-forth, "Kanta" was Sarkodie's unfazed reply. Taking sonic cues from American rapper Desiigner's viral hit, "Panda," Sarkodie swings for the fences and hits a home run.

Sark's trademark rat-tat-tat, machine gun flow is the vehicle for barbed lines that simultaneously extol his greatness and dismiss M.anifest as credible competition. "Sark no go diss you for nothing/nigga, already you suffering," he quips in utter disgust. Sidestepping punchlines for heft, Sarkodie raps every line like he's trying to set off the Richter scale, going a cappella with some words of advice when the beat switches off. "Kanta" didn't necessarily hand M.anifest an L, considering cooler heads prevailed after, but it proved Sarkodie's bona fides at a time when his prominence made him an easy target.

Khaligraph Jones - "Best Rapper in Nigeria"

For Khaligraph Jones, being hostile on the mic is a way of life. Even on his groovier songs, the Kenyan rapper makes it a point of duty to be a hulking presence. That's why he relished the opportunity to go at Blaqbonez, immediately after the Nigerian rapper said Jones wasn't worthy of winning the award for Best Hip-Hop at the 2023 edition of the Soundcity Music Video Awards. Within a day of Blaq's statements, Jones declared himself the "Best Rapper in Nigeria," a reference to his foe's assertions of being Africa's best a few years prior.

Some of the best diss songs in rap history have a blatant level of toxic masculinity, and it felt like Jones had been waiting for a while to unleash some of that energy on an adversary. Over an ominous beat, Jones sounds like a predator chomping on hapless prey; he doesn't just address Blaqbonez like he's well above him, he raps at him like a disgusted OG. The bloodletting is so effective that, in hindsight, Blaqbonez's jibes on his response, "Green Blaq Green," come off as tantrums.

Tony Tetuila - "Omode Meta"

The beginning of modern Nigerian pop music, also known as Afrobeats, was primarily shaped by groups, particularly boy bands. Closing out the 1990s, the Remedies, comprising Eedris Abdulkareem, Eddy Remedy, and Tony Tetuila, were one of the scene's definitive acts, but they soon splintered, and out of that emerged "Omode Meta," arguably one of the top three greatest diss songs in Nigerian music history. The initial shock factor was that it was headlined by Tetuila, widely regarded as the least important member of the Remedies.Twenty-five years later, the significance of "Omode Meta" is impossible to understate, partly because it was ultra-effective in setting up Tetuila's seminal solo career, and also because it was a flat-out hit song that continues to be eternal. Featuring rap group Ruff Rugged N Raw, alongside 2Face Idibia and Blackface of Plantashun Boiz, Tetuila assembled a bunch of lyrical assassins to do the dirty work of tearing into his former groupmates, Abdulkareem especially, while he sang an immortal hook, aided by wonderful adlibs by Idibia, that instantly garnered public affection.

AKA - "Composure"

The beef between AKA and Cassper Nyovest had everything! There were tweets – a lot of tweets – and social media posts; there was drama, from a slap to allegations of a gun being pulled; and of course, there were diss tracks. After a couple of disses lobbed by Nyovest, AKA finally pulled up with the most potent words of the situation with "Composure," an ultra-assured slapper that's the audio equivalent of handing out a can of whoop-ass.

As soon as AKA opens his mouth on the glitzy beat, his level of confidence is preposterous. He's authoritative without the need for aggressive posturing; this is AKA in his element as a rap artist with Teflon swagger. He knows his opponents "hates me with a passion" but he comes off cool as ice under all that heat, issuing a raft of unforgettable quotables like "My niggas in position when they ring the bell/ They gonna get your pony tail like a Holy Grail." By the time Nyovest went personal with his reply, "Dust to Dust," you could smell the desperation on him – a sign that AKA's damage was indelible.

Southern Africa's music scene is currently undergoing an exhilarating renaissance — a vibrant blend of history and boundary-pushing innovation. Across the region, artists are boldly redefining genres, merging the ancestral with the avant-garde, and crafting sounds that resonate far beyond their borders. From South Africa's pulsating electronic beats and razor-sharp lyricism to Lesotho's compelling storytelling and Zimbabwe's infectious dancehall rhythms, this collection of standout tracks reveals a region bursting with creative energy and artistic confidence.

Each artist featured here commands their own unique space, like Ciza's chart-climbing dancefloor anthem, which marries irresistible grooves with cinematic flair; Brotherkupa's fearless reimagining of jiggy rap with a rebellious edge; or Ntate Stunna's gripping narrative follow-up that pushes Lesotho's rap scene into new cinematic territory. The soulful introspection of Moonchild Sanelly, the magnetic swagger of Nasty C, and the genre-defying sounds of Kharishma's Limpopo-rooted lekompo further highlight the rich diversity fueling this creative explosion.

This is a sonic landscape where tradition meets experimentation, where stories of resilience, love, and identity unfold over infectious beats and intricate flows. Collectively, these songs showcase the artistry, innovation, and cultural pride that define the music horizon of 2025.

Ciza - “Isaka (6AM)” feat. Jazzworx and Thukuthela (South Africa)

"Isaka" is an undisputed banger. Since its release in April, the song has climbed the charts, entered the hearts of dance music lovers, and given dance floors another reason to come alive. The Tarryn Tippens-directed video is a lavish display that mirrors the track's energy, allure, and infectious groove, securing its place within the lush and evolving terrain of South African electronic music.

Sannere - "Hoba Monna" feat. Selimo Thabane, Opublic'smba, Flash Cortez, Wave Rhyder, Marcx Brass (Lesotho)

This track is a bold statement from some of Lesotho's most potent artists. Led by Sannere, who is arguably the artist of the moment, "Ho Ba Monna" gathers a constellation of the country's sharpest talents to interrogate the myths and expectations of masculinity in a time that demands truth, vulnerability, and emotional depth. Each voice adds a distinct texture, offering not just musical range but layered perspectives. The result is a timely, resonant anthem that reflects Lesotho's evolving sound and places it squarely within the global conversation.

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" was the first release from his new album, Ndini Mukudzeyi. He digs deep to sing his heart out about love, legacy, and the bonds that remain unbroken after life has ended. It's also an assurance to the one left behind that the ancestors see them and know them. Jah Prayzah is a formidable artist.

​​Oriiginelle - “Nguwe” feat. Jay Jody (Eswatini)

On "Change," Eswatini emcee Oriiginelle traded lavish bars with South Africa's Zulu Mecca and effectively marked the 'real rap' register with one of 2024's underrated releases. "Nguwe" carries the same jazzy, lo-fi feel and finds a vulnerable Oriiginelle singing her lungs out and stacking harmonies, with lines like "still got so much work, I'm ill-prepared" before busting meticulous raps using flows integrated into some form of a higher power. Jay Jody stays on topic and elevates the song to a super saiyan level, rapping: "But I ain't perfect, ke na le diphoso (I have my own flaws)." This is elegant rap music that will resonate now and forever.

Gabopatwe & Mpho Sebina - "Lerato" (Botswana)

"Lerato," a stirring duet by Botswana's Mpho Sebina and Gabopatwe, is as close as music comes to the sound of joy. Rooted in longing and desire, it's a moody, slow-burning love song that speaks to the sweet surrender that happens when love takes over completely. Sebina's featherlight vocals and razor-sharp pen glide effortlessly over Gabopatwe's delicate, expressive piano work as his fingers trace every emotional contour of the track. It's a luminous offering for lovers everywhere.

Taniâ - “Dioguito” (Angola)

Angolan artist Taniâ breathes fresh life into Bernardo Jorge Bangão's classic "Dioguito," transforming the semba staple into a dynamic dialogue between tradition and modernity. Her voice glides effortlessly over the track, weaving nostalgia and innovation, while Francisco Alexandre Pedro's vibrant production injects just the right bounce to keep heads nodding and feet moving. It's a seamless blend of past and present that honors the roots while pushing forward.

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.

Kharishma - "Fly High Lekompo" (South Africa)

Kharishma is the moment. Her main occupation? Dishing out hits, which she does superbly. On "Fly High Lekompo," a melodic earworm rooted in South Africa's Limpopo province, she uses the infectious beat as a springboard to showcase the full range of her talent. The result is both catchy and commanding, a clear reminder that she's a force to be reckoned with.

Ntate Stunna - "Robari 2" (Lesotho)

With his debut offering, Sesotho Fashioneng, Ntate Stunna ushered a new age of Lesotho rappers, ones who drew from the innovations of both Famo musicians and rappers of an earlier time, such as Kommanda Obbs and Skebza D. The original "Robari," taken from that album, is a vivid tale of a robbery gone wrong. A series of unfortunate events leaves the protagonist at odds with himself, wondering how he'll escape a situation that now involves police officers. On the Flash Cortez-produced follow-up, Ntate Stunna disregards imminent danger and tries to negotiate with the hostages. "Toronko kapa mokhohlane/ ke re nka mpa ka baleha/ lebaka le nke keng ka tšoaroa, ke tsoile ka parole ene ha ke sa itlaleha, ("Jail or funeral/I'd rather run away/ I can't be arrested, I haven't been reporting for parole/")" he raps, as the cinematic soundscape elevates the song's impact. This is how you do a follow-up.

Shandesh & Mvzzle - "Sdudla or Slender" (South Africa)

Shandesh is a rising voice from Limpopo championing the lekompo sound — a genre defined by staccato percussion, synth-heavy production, and the signature use of auto-tune. Popularized by acts like Shebeshxt and Kharishma, lekompo gives voice to the everyday highs and lows of South Africa's youth. With "Sdudla or Slender," Shandesh adds another anthem to his growing catalog, building on the momentum of his 2024 breakout EP Versatile and further cementing his place in the genre's vanguard.

Brotherkupa - "Today Is A Good Day" (South Africa)

Brotherkupa's aura is currently unmatched. Alongside artists like Mfanatouchline and collectives like The Qwellers, he's ushering in a new era of jiggy raps and outlandish production that borders on disrespect in the best way possible. Here, samples are chopped, sped up, slowed down, reversed, and paired with buzzing 808s. It's an entire vibe. And the streets are responding: his fourth album, Before The Worst, shot to number one on streaming platforms upon release. Echoing the sunshine and glory of Ice Cube's 1992 hit. "Today Is A Good Day" is more than a statement — it's a lifestyle, a religion, and a way of life.

Killer T - "Magunje" (Zimbabwe)

In the animated video for "Magunje," Zimbabwean dancehall stalwart Killer T portrays an easy, carefree life. The song celebrates the finer things, luxuries, and pleasures that, while enjoyable, might still attract trouble with the authorities. Through a series of hilarious incidents, Killer T maintains an energetic flow that drives the song from start to finish, adding to its charm and playful defiance.

lordkez - "Aweh" (South Africa)

South African R&B is in a mighty healthy place right now, with new releases emerging left, right, and center across the burgeoning scene. Lordkez, a staple of this sonic wave, whose reign has blessed us with collaborations with Maglera Doe Boy, Bas, and Shekhinah, shines on "Aweh," a colloquial term for "yo." The vibes are vibing; the choreography by the inimitable Tarryn Alberts is on point, and her command of the music elevates the track to another level.

Voltz JT - "Medzai Fridge" (Zimbabwe)

Every track the Zimbabwean emcee Voltz JT touches turns to gold. With a voice that echoes the gravitas of rap's greats and a mastery of flow that stretches words, flips meanings, and reassembles them into nuggets of inside jokes, prophetic wisdom, and unapologetic badassery, he carries an entire scene on his back. "Medzai Fridge" (Shona for "put it in the fridge") is bass-heavy, raw, unfiltered, and impossible to ignore. Beware of the funk.

Lowfeye - "Tango" feat. Usimamane (South Africa)

Lowfeye and Usimamane butt heads and unleash pure lyrical warfare. Lowfeye sets it up, leaving the slate clean for his counterpart to run wild on the beat. "This how it be, nobody's safe when I step out the house," he declares in the opening line. Usimamane wastes no time, making it clear that every rapper in the game is his offspring. He even slips in a shoutout to Riky Rick before passing the mic back to Lowfeye, who excavates words so jiggy they deserve their own dictionary.

Grizzly - "Sheleni" feat. Lyrikal Busta & Sarnilo (Eswatini)

On "Sheleni," Eswatini's Grixxly puts his own spin on the one thing that rules us all: money. Teaming up with Lyrikal Busta and Sarnilo, the fire-spitting emcee trades intensity for ease. The trio glides over the beat with effortless, laid-back flows that make the track feel timeless. It's a smooth, head-nodding anthem that reminds us that sometimes, the best flex is not stressing at all.

Tieho - “Mohuli” (Lesotho)

If distinctive melodic flows and heavyweight rap bars are your thing, then Lesotho emcee Tieho is about to re-arrange your worldview. His latest release rides a warm synth bed and a chopped vocal sample from Lihoba tsa Matšekha, unfolding into a fully-formed cautionary tale about the fleeting nature of material wealth. Tieho stretches syllables, bends language to his will, and locks into rhyme schemes with surgical precision, all delivered over Emjay Elphy's minimalist but striking production.

Nasty C - "Psychic" (South Africa)

Nasty C is the undisputed don of modern South African hip-hop. With a decade's worth of hits to go back on, the artist doesn't seem intent on resting on his laurels. "Psychic" is the rage-inspiring song of the season, a display of the skill that the emcee has mastered over the years. It's full of memorable lines ("I gotta pay, rent/ so don't be nervous baby, hit the link"), the beat is anthemic, with horns that sound like moments before the earth ends, and the vibe is generational, proof that Nasty C is not the one to mess with at any time.

Moonchild Sanelly - "Mntanami" (South Africa)

Moonchild Sanelly bares new layers on Full Moon, her most cohesive and emotionally resonant project to date. There's a striking honesty that pulses through the album — a kind of vulnerability that doesn't come overnight but is earned over years of living, breaking, and healing. On "Mntanami," she digs into old wounds, not for nostalgia's sake but to make peace with the past and move forward. The production feels cosmic, bold, experimental, and unmistakably hers. It's the sound of an artist in full bloom.

Cassper Nyovest - "Kusho Bani" [South Africa]

It's been over a decade since Cassper Nyovest crashed into the mainstream with "Gusheshe," and in that time, he's remained one of South African music's most polarising figures. He's filled stadiums, launched a successful liquor brand, and undergone a spiritual transformation. Now, with "Kusho Bani," he returns to form, firing back at doubters and reminding the game of his staying power and knack for crafting hits. The song has introduced a new language to the cultural lexicon; "hosh kharamima," a phrase that appears in the song, is used by lovers across the board to express their admiration for their significant other.

Sjava - "Uyena" (South Africa)

Sjava's new EP Inkanyezi stands as a singular achievement in South African music. Recorded live during an intimate December 2024 performance, the project comprises entirely unreleased material. His command of the stage, his ability to hold space and guide emotion, is masterful. On "Uyena," he leads listeners through a gospel-tinged journey that blurs the line between concert and communion.

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, and 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.

saveHXPE - "80s Baby" feat. Baby Diaz (Lesotho/South Africa)

Lesotho's saveHXPE wears his influences on his sleeve. Following up on "Real," released earlier this year, he channels a Kendrick Lamar-esque cadence to magnetic effect. Baby Daiz adds the extra seasoning, elevating an otherwise intimate affair into a rap banger with serious replay value.

Miss out on the best Southern African songs of May 2025? Head to the article for hits from Lesotho, South Africa, and Zimbabwe, and more!

From Nairobi to Kigali to Dar es Salaam, 2025 has been a year of quiet reinventions and loud declarations in East African music. Some of the region's biggest names returned to the spotlight with tracks that fused romance, rebellion, and cross-cultural flair, while others chose introspection or experimentation. The result? A genre-bending, emotionally rich soundtrack that reflects where we've been and hints at where we're going.

The year kicked off with a string of certified hits. Kenya's Matata dropped "Mpishi," an infectious anthem that quickly became the country's most popular song. Tanzania's Abigail Chams rode the momentum of "Me Too," her single alongside Harmonize, to a BET Awards nomination. Meanwhile, artists like Zuchu, King Saha, and Juma Jux delivered records that navigated personal transformation and public visibility with confidence.

But beyond the charts, it's the emotional depth and sonic boldness that have stood out to me most this year. Mereba's "Heart of a Child" offered a homecoming steeped in diasporic reflection. Joshua Baraka's "Wrong Places" and Dyana Cods' "Get Busy" reminded us that growth isn't always loud. However, when it is, it had better have a melody worth moving to.

This list isn't just about what's trending. It's about the songs that have sparked conversation and moved bodies. From viral dance tracks to intimate confessionals, here are the East African songs that have defined 2025 so far.

Matata – “Mpishi” feat. Bien (Kenya)

"Mpishi" isn't just one of Kenya's biggest hits of the year; it's a pure shot of joy! After taking a year-long break, Matata stormed back with a track that's as infectious as it is celebratory. Teaming up with Bien, the group cooked up a chart-topper that had me dancing from the first listen. There's something about the blend of Bien's smooth vocals, Matata's rhythmic swagger, and the song's playful energy that feels like a burst of sunshine. I was especially looking forward to catching the band live at Blankets and Wine before the show was canceled due to anti-government protests. But seeing them take the hit on tour with Bien in Europe softens the blow. Some songs just feel good in your body. "Mpishi" is that song for me.

Abigail Chams – "Me Too" feat. Harmonize (Tanzania)

I had the pleasure of interviewing Abigail Chams just as "Me Too" was climbing the charts, and it was clear even then that she was meant to be a star. It's been so rewarding to watch that potential unfold. "Me Too" is a flirty love song featuring Harmonize that has not only become a massive hit, racking up over 15 million views, but also confirmed Abigail's staying power. With a historic BET Awards nomination under her belt, Abigail is already defining her generation.

Joshua Baraka – "Wrong Places" (Uganda)

After lying low for much of the year, Joshua Baraka is back with "Wrong Places," a soulful, emotionally charged single that signals a new chapter for the Ugandan artist. This track leans into the raw, honest storytelling that's fast becoming his signature. With 1.8 million views and counting, "Wrong Places" might just be the first glimpse into the next phase of Baraka's artistry.

Marioo – "Nairobi" feat. Bien (Kenya/Tanzania)

Marioo's "Nairobi," featuring Kenya's Bien, has emerged as a standout anthem of 2025, amassing over 26 million views and igniting a wave of cross-cultural love across East Africa. With smooth Swahili lyrics, the song is a romantic ode to the women of Kenya's capital. Its viral success — fuelled by TikTok dance clips and lifestyle reels set to its chorus — has made it more than just a cultural moment. The song also marks a high point in a remarkable year for Marioo, who had another chart-topper with "Tete."

Jux – "God Design" feat. Phyno (Tanzania)

I love love. And even more than that, I love seeing a man declare his love loudly. Juma Jux is deep in his lover-boy era, and "God Design" is a celebration of that. Fresh off his headline-making wedding to Nigeria's Priscilla Ojo, Jux dropped this romantic banger with visuals pulled straight from the ceremony. The song radiates joy and devotion, and Phyno's verse adds just the right amount of edge to balance the sweetness. It's the crown jewel of Jux's EP A Day to Remember, which he calls a soundtrack to his love story.

Mereba – "Heart of a Child" (Ethiopia/USA)

This track is a personal pick. "Heart of a Child" is a soulful, introspective gem from Mereba's second studio album, The Breeze Grew a Fire. For me, the track feels like a quiet revelation as she traces her journey back to herself through sound and storytelling. Shot in Ethiopia by acclaimed videographer Maranata Tegegne, the music video beautifully captures the emotional weight of returning home. Mereba described the album as a process of reconnecting, asking, "What do I want to say to people now?" With "Heart of a Child," she answers that with vulnerability and a sound that hangs long after the last note.

Element Eleéeh – "Tombé" (Rwanda)

No East African roundup feels complete without Element Eleéeh. As both an artist and one of Rwanda's most influential producers, he continues to leave his mark on the country's music scene. His single, "Tombé," blends Afrobeats and kompa into a sultry love song that has racked up over 7.1 million views on YouTube and sparked a viral TikTok dance trend. Smooth, addictive, and expertly produced, "Tombé" is a reminder that Element is building momentum to take his music global.

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

Bien is amid a global takeover, and "Safari" is a standout moment in his ongoing evolution. Teaming up with Somali superstar Suldaan Seeraar, the track is a rare and powerful cross-border collaboration that bridges the musical landscapes of Kenya and Somalia. "Safari" is more than just the lead single from Bien's upcoming album; it is a statement of intent. Currently on tour across Europe and the U.S., Bien is showing that he's not only a solo powerhouse but also quietly building a case as Africa's king of features. His recent run of collaborations says it all: from the viral hit "Mpishi" with Matata and the pan-East African favorite "Nairobi" with Marioo (both featured on this list) to the house anthem "All I Need" with Brazil's Rammor and "Katam" with Diamond Platnumz.

Toxic Lyrikali – "Sick" (Kenya)

Kenya's Toxic Lyrikali kicked off 2025 with a bang through "Sick," a blend of gengetone, dancehall, and drill that is cementing his place as a leading voice in Nairobi's underground music scene. With aggressive flows and hard-hitting production, the track captures the raw energy and street sensibility that define his style. It set the tone for a strong year, followed by "Confirmation" in April featuring Mr Ree and a standout guest verse on Dyana Cods' "Get Busy." All of these moves signal that Toxic Lyrikali is not just riding the wave of Nairobi's street music; he is actively shaping it.

King Saha – “TikTok Life” (Uganda)

King Saha taps into the trials of modern life with "TikTok Life," a catchy song that captures the joy and exhaustion of living online. The song reflects the digital-age reality of constantly being on display, delivered with Saha's signature depth and finesse. The song has been steadily climbing the Ugandan charts, resonating with a generation caught between performance and authenticity. More than a decade into his career, King Saha proves he still has his finger on the pulse.

Dyana Cods – "Get Busy" feat. Toxic Lyrikali (Kenya)

Dyana Cods is done playing it safe, but did she ever? In "Get Busy," she dives headfirst into steamy dancehall territory, teaming up with Toxic Lyrikali for a track that oozes confidence and raw appeal. The video, in which she stars as a seductive officer teasing her inmate, is a bold statement from an artist who has struggled to find her groove. A few months earlier, she dropped "Chude Genje" with Femi One. It's a gritty, high-energy banger that shows Cods is finding her groove following her 2024 hit "Set It." With each release, Dyana is sharpening her sound and proving that her spotlight is no fluke.

Zuchu – "Hujanizidi" feat. D Voice (Tanzania)

Zuchu has been keeping a low profile in 2025. But when she drops music, the impact is still loud. She kicked off the year with "Hujanizidi," a January release featuring D Voice, which has already garnered over 7.5 million views. The bongo flava track leans into their smooth chemistry, reminding listeners why Zuchu continues to command attention even without a constant spotlight. In May, she followed up with "Lollipop," a sultry collaboration with Yemi Alade from her 2024 album Peace and Love. It's been a quieter year for the usually prolific star. But with each move, Zuchu proves she doesn't need the noise to stay on top.

Missed the best East African music of May 2025? Head to our article for all the March hits from Rwanda, Tanzania, Kenya, Uganda, and more.

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

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.

Olamide – “99” feat. Asake, Seyi Vibez, Young Jonn & Daecolm

Afrobeats veteran Olamide assembles an all-star cast on “99,” a banger released ahead of his forthcoming self-titled album. From Young Jonn to Asake and Seyi Vibez, the Nigerian contingent supplies the colorful hedonism that’s been at the center of its pulsating music culture, and with his riveting verse, Zimbabwean Daelcolm polishes off the guest performances. It’s a fine celebration of the African sound, with disco flourishes that should make it bang in the U.S. – Emmanuel Esomnofu

K.O. - “Supernova” feat. Cassper Nyovest

K.O stands as a towering figure in South African pop culture. From his pioneering days with Teargas to a genre-defining solo career, he’s long mastered the art of hitmaking. On “Supernova,” a standout from his latest album Pharacity, K.O offers a sleek, retro-futuristic reimagining of Lebo Mathosa’s “I Love Music,” reintroducing the late icon’s classic to a new generation. Joined by Cassper Nyovest, the rapper delivers cryptic, staccato bars that only he could make land. This serves as a reminder of his enduring command of style and cultural resonance. - Tšeliso Monaheng

Diamond Platnumz – “Katam” feat. Bien

A sweet tease of a record, “Katam” has guitar licks and soft drums that will set your heart rolling. There’s that inimitable East African flavor that Diamond Platnumz has perfected throughout his career. But now we hear even more soul and less activity, a touch that is amplified by the feature Bien. The ex-Sauti Sol man has a voice and tone that’s impossible to miss, and he relishes this beat, going over and over with Diamond as they toast East African ladies. With a video to follow, this has strong potential to become a hit song, no less, considering the profiles of the musicians. – EE

June Freedom – “Spiritual”

In what sounds like a tribute to Fela Kuti, the production on “Spiritual” plucks colorful drums and an effervescent note that never goes away. June Freedom’s ever-alert vocals find just the perfect spirit for it, floating with the enchanting allure of a ballet dancer across the record’s sonic space. “Spiritual” is a song about desire and all that goes in between; every performance here delivers on its simple but evocative premise. – EE

Mlindo The Vocalist - “Izinkomo Zika Baba” feat. Cowboii, DJ Maphoris & Madumane

Mlindo The Vocalist crept into the scene unannounced and never quite left. “Inkomo Zika Baba,” a striking amapiano cut from his forthcoming album (due in July), sees him team up with Cowboii and DJ Maphorisa. It’s the sound of summer in the heart of winter, a tender, groove-laced confession from a man lost in the heat of love. - TM

ZerryDL – “My Amigo”

For those paying attention, ZerryDL is one of the more inventive storytellers around. Between himself and his siblings, Shallipopi and Famous Pluto, the family contributed to the rise of an interesting subgenre that strongly entrenches southern Nigeria’s narratives on the country’s sprawling street pop culture. “My Amigo” carries a theme you’ve heard before—fake love among friends—but Zerry’s language and cadence make all the delivery, grooving assuredly over Busy Pluto’s thumping club-ready production. — EE

Maleek Berry – ‘If Only Love Was Enough [LP]’

For an artist who’s been part of the Afrobeats story for over a decade, it feels a little strange that Maleek Berry is only releasing his debut album now. But Berry has largely operated on his own time and with his own style, shunning popular choices for what has felt true to him. Holding such a dramatic premise, the title of the project prompts a lot of thought, and through its 15 songs, the artist charts an expansive storyline over taut sonic choices that mostly revolve around Afropop and R&B, with features coming from assured voices such as Wizkid, Tiwa Savage, and Zlatan. Read our exclusive new interview with Maleek Berry. – EE

Banda Banda - “Sombhuluka” feat. Fatoumata Diawara & Muneyi

While he may be best known for his work with Zoë Modiga, composer and producer Banda Banda’s footprint on South African live music is both deep and expansive. He operates on a frequency entirely his own– one that, as “Sombhuluka” reveals, resonates far beyond local borders. Featuring the masterful voices of Muneyi and Fatoumata Diawara, the track vocalizes the things we often dare not say. “Sombhuluka” is love personified: a feeling that travels through language and spirit, completely unbound by geography. - TM

Ric Hassani – ‘Lagos Lover Boy [LP]’

Through this sprawling journey that centers Lagos and its infamous love narratives, the artistic Ric Hassani hits another incredible milestone. It’s a setting and story that has attracted many artists, and yet for those who are attuned to their impulses, it’s a rich field. Hassani certainly makes the journey varied, even including several interludes that ease the album through its different soundscapes and concepts. – EE

Nasty C - “Soft” feat. Usimamane

It seems Nasty C has only grown more powerful since embracing his independence. He’s already delivered “Psycho” and “Nobody,” so there’s no real reason he needs to go this hard. But he does. As the title suggests, this track offers a gentler landing than his usual high-octane fare, revealing a more measured but no less lethal side of the rapper. TM

Mayorkun – “Blessings On Blessings (B.O.B)” feat. Davido

Off his Still The Mayor album comes this great union, the mentor and his mentee. Mayorkun definitely has a lot to be thankful for, recently announcing his deal with Sony Music Africa, which he attributed to Davido’s help. Indeed, their collaboration has that groove and movement about it, with bouncy percussion that leans towards Mayorkun’s tendency for upbeat production. “Follow who know road,” in this context, is quite clear considering the duo’s relationship, a history that consistently translates on wax. – EE

Mavin Records rapper LADIPOE has dropped his latest single, Folasade, and it’s fire. Known for his razor-sharp lyricism and genre-blending prowess, LADIPOE delivers a poetic ode and a vibey tune, cementing his status as Nigeria’s “Leader of the Revival.”

Folasade is a seamless fusion of LADIPOE’s signature introspective rap and mellow Afrobeats melodies, showcasing his ability to craft emotionally resonant stories. The song, presumably named after a muse, dives into themes of love, longing, and vulnerability, with Poe’s witty “Lifelines” weaving heartfelt bars into a smooth, head-nodding groove. The accompanying lyric video, shared by LADIPOE himself, caters to his “chop mouth crew,” ensuring every bar lands with impact.

Following his 2024 releases like Compose with taves and Hallelujah with Rozzz and Morello, Folasade marks another chapter in LADIPOE’s versatile evolution. His earlier hits, like 2021’s Feeling with BNXN, which racked up over 80 million streams, set a high bar, but Folasade holds its own with its intimate storytelling and polished production. As the first rapper signed to Mavin Records in 2017, LADIPOE continues to redefine Nigerian hip-hop, blending it with Afropop appeal.

Stream Folasade now on all platforms and catch LADIPOE’s lyrical magic in full bloom. Listen here.

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Nigerian sensation Zerrydl has dropped his latest single, Mi Amigo. Following the success of his chart-topping hit Back to Back, the new song sees Zerrydl’s knack for creating infectious, high-energy bangers that usually take the country by storm.

Mi Amigo is a smooth Afro-pop tune, infused with Zerrydl’s signature charisma and melodic flow. The song explores themes of loyalty, camaraderie, and living large, with lyrics that celebrate riding for your crew while exuding confidence. Produced with crisp beats and a catchy hook, it’s the kind of track that feels tailor-made for club playlists and late-night cruises. Zerrydl’s delivery is effortless, balancing heartfelt vibes with a playful swagger that’s become his trademark.

Fans on social media are buzzing about the single, with some calling it a “club banger” that stays true to Zerrydl’s Afrobeat roots, though a few noted they were hoping for deeper lyrical content. The track marks Zerrydl’s first release of 2025, building on the momentum from his 2023 debut EP Danger Zee and his 2024 sophomore EP Wara Wara Szn, which featured artists like Seyi Vibez.

As the younger brother of Afrobeats star Shallipopi, Zerrydl continues to carve his own lane under Plutomania Records, showcasing his versatility as a rapper and singer. Mi Amigo is a testament to his growing influence, offering a feel-good anthem that’s poised to dominate airwaves. Out now on all platforms, catch the vibe.

Listen to Mi Amigo here.

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South African hip-hop heavyweight Nasty C has released his highly anticipated single, Psychic, marking his first official solo drop of the year. The track signifies Nasty C’s return to the spotlight after going independent. The rapper, who also produced the song under his alias Czzle, has been teasing Psychic for weeks, building suspense with cryptic social media snippets and bold artwork, as noted in announcements from SA Hip Hop Mag and Zkhiphani on May 6.

Psychic is a hard-hitting, introspective track that showcases Nasty C’s lyrical agility and genre-blending prowess, a signature of his work since his 2015 breakout mixtape Price City. The song features vivid storytelling, with Nasty C flexing his experiences while navigating interactions with haters, fans, and his inner circle. A snippet shared earlier this week included the line “Hater on my dick, The whole thing not just the Tip,” hinting at the raw, confrontational energy fans can expect. Produced by Nasty C himself, the beat is described as “hard-sounding” by Zkhiphani, with a dynamic flow that highlights his evolution as an artist since his 2023 album I Love It Here, which solidified his global influence with over 120 million streams for Strings And Bling alone.

The release comes at a pivotal moment for Nasty C, who has been operating on a “higher plane” in 2025, balancing fatherhood, fitness, and frequent visual content. The move to independence aligns with his earlier statements on his website, where he emphasized maintaining creative control: “I am still me and no matter what deals I sign; I am not letting anyone dictate my sound or image.” Psychic reflects this ethos, offering a bold, unfiltered look at his journey while reinforcing his status as “The Coolest Kid in Africa.”

With a history of accolades—including being the youngest recipient of the Best Freshman Award at the 2015 South African Hip Hop Awards at age 18—and collaborations with global stars like A$AP Ferg and Davido, Nasty C’s latest single is poised to make waves. Fans expect Psychic to continue his streak of impactful releases, following his 2022 Ivyson Army Tour Mixtape and his role as the first African brand ambassador for Activision’s Call of Duty. As Nasty C embraces his roots and global audience, Psychic delivers a sound that’s both deeply personal and universally resonant, setting the stage for what’s next in his independent chapter.

Listen to Psychic here.

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Nigerian highlife duo The Cavemen, comprised of siblings Kingsley Okorie and Benjamin James, have released their latest single Dancing Shoes, marking their first offering of the year. Known for blending traditional highlife with contemporary soul, the duo, natives of Orlu, Imo State, dropped the track last night, building anticipation from teasers shared on social media earlier this week. Following their acclaimed 2020 debut album Roots, which won Best Alternative Album at The Headies, and their 2024 album Love and Highlife, Dancing Shoes serves as a vibrant lead-in to their upcoming third studio album, Cavy in the City, expected later in 2025.

Dancing Shoes is a rhythmic celebration of movement, love, and connection, rooted in the duo’s signature sound that fuses smooth guitar licks, earthy percussion, and soulful vocals. The track’s lyrics are light yet evocative, encouraging listeners to hit the dancefloor and embrace the joy of life, with lines that evoke nostalgia while feeling fresh and innovative. The song’s upbeat tempo and organic production make it an instant mood-lifter, ideal for live performances and communal celebrations, reflecting their reputation as modern custodians of the genre.

The release follows a strategic rollout, with the duo hinting at the track’s arrival through social media posts, urging fans to “get ready” for a midnight drop. Their live performance prowess, honed since forming in 2018, shines through, promising to bring Dancing Shoes to life on their upcoming Cavy in the City tour, which includes stops in Montreal on May 2 and Toronto on May 4. With a history of self-produced music and a philosophy rooted in love and heritage, avoiding the materialism often found in modern Afrobeats, Dancing Shoes reinforces The Cavemen’s unique place in Nigeria’s music scene, offering a sound that’s both a tribute to the past and a danceable step into the future.

Listen to Dancing Shoes here.

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Nigerian singer-songwriter Mr Eazi has released his first solo single of 2025, Love Me Now. Mr Eazi continues to push boundaries following his 2023 debut album, The Evil Genius, and recent ventures like the 2024 single Panadol. The release comes after a series of collaborative efforts, including his work with ChopLife SoundSystem, and aligns with his ongoing mission to mentor emerging African artists through emPawa Africa, an initiative praised by outlets like CNN and Forbes.

Love Me Now is a heartfelt Afrobeats track that delves into the complexities of love, vulnerability, and past mistakes, showcasing a more introspective side of Mr Eazi. The song, produced by P. Priime, features his signature laid-back delivery, with lush synths and rhythmic percussion creating a soulful backdrop. Mr Eazi’s use of Ghanaian Pidgin and Nigerian melodies, a hallmark of his Banku style, adds authenticity, making the song a stirring reflection of his journey.

While Love Me Now marks a return to solo work, it also hints at more to come, as Mr Eazi reportedly plans additional singles and an EP before year-end. With his global reach—evident from past collaborations with Beyoncé, J Balvin, and Bad Bunny—this track reinforces Mr Eazi’s ability to blend emotional storytelling with Afrobeats' infectious energy, offering a sound that resonates deeply with listeners.

Listen to Love Me Now here.

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Nigerian rapper, actor, and activist Folarin Falana, popularly known as Falz, has dropped his latest single Round of Applause via Bahd Guys Records. The release follows his 2024 collaboration with Simi on Borrow Me Your Baby, and comes amidst his recent candid revelations about art, activism, and personal life at the #WithChude Live event in Lagos on April 30, 2025. Known for his socially conscious tracks like Yakubu (2023) with Vector and his role in the #EndSARS movement, Falz takes a lighter yet reflective tone with this new offering, showcasing his versatility as an artist who can balance entertainment with depth.

Round of Applause is a vibrant track that blends Yoruba, Pidgin, and English, creating a captivating sound that oscillates between celebrating the good life and acknowledging grounded realities. The song, produced by Tuzi, features Falz’s clever wordplay and vivid imagery, with lyrics that paint a picture of life’s joys, like luxury and success, while staying rooted in the everyday struggles of Nigerians.

Thematically, Round of Applause reflects Falz’s ability to draw inspiration from his environment, a trait he emphasized during his #WithChude Live appearance, where he noted, “I’m the kind of artist who draws inspiration from my environment. I can’t help it.” While the song leans into a celebratory vibe, it subtly nods to his activist roots, balancing personal triumphs with a broader commentary on resilience. This duality aligns with Falz’s career trajectory—from his breakout Marry Me in 2014 to his politically charged Moral Instruction in 2019—where he’s consistently used music as a lens for both joy and justice.

Falz, a trained lawyer and son of human rights activist Femi Falana, has always been more than just a musician. His recent reflections on the emotional toll of the #EndSARS protests and the challenges of maintaining a healthy love life in the entertainment industry add a layer of authenticity to Round of Applause. The track feels like a moment of release for the artist, who has spent much of his career carrying Nigeria “on his head,” as he put it. With his forthcoming project on the way, Falz’s latest single is poised to add to his impressive catalog, offering a subtle nod to the realities that shape his artistry.

Listen to Round of Applause here.

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South African pop sensation Tyla has released her much-anticipated single Bliss, marking her first solo drop since the deluxe edition of her self-titled debut album in October 2024. The track, produced by NOVA WAV and Sir Nolan, serves as the lead single for her upcoming sophomore album, which Tyla hinted will showcase a fresh sound while retaining her core identity. Following her global breakout with Water in 2023 and recent features like the Show Me Love remix with WizTheMc, which hit No. 11 on Billboard Global Excl. US, Bliss arrives amid high expectations, fueled by Tyla’s Coachella 2025 preview and her stunning Met Gala appearance on May 5.

Bliss is a smouldering Afro-pop ballad that intertwines R&B’s emotional depth with amapiano’s euphoric undertones, exploring the transcendent power of love. Tyla’s lyrics, like “I don’t wanna be in the world without you / Baby, I don’t wanna let out my sight,” reflect an all-encompassing desire to stay connected, while the chorus—“You take me to bliss / Never felt a love like this / Never found it, never found it”—captures the euphoric escape love offers. Her vocals glide over a rich, melodic soundscape, with lines such as “Let my smile bring you peace of mind / Burnin’ desire when you throw your arms all around me” evoking a spiritual and physical closeness. The track’s ethereal vibe is amplified by its visual rollout, featuring Tyla with angelic wings, a motif that first appeared in her April 29 teaser and aligns with the song’s theme of transcendence.

The single’s release follows a strategic buildup, starting with a Coachella performance on April 18, where Tyla debuted the track to an electrified crowd, and a pre-save campaign that sent fans into a frenzy. Social media buzz has been intense, with listeners calling it a “summer vibe” and praising its “poppy” energy, suggesting Tyla’s evolution into a more diverse soundscape. The song’s title also ties into her Erewhon smoothie, Bliss by Tyla, with proceeds supporting 18twenty8, a South African non-profit empowering young women—a nod to her commitment to social impact. With Bliss, Tyla continues to blend her Johannesburg roots with global appeal, delivering a track that feels deeply personal and universally resonant, setting the stage for her next chapter.

Listen to Bliss here.

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Nigerian Afro-fusion star BNXN, formerly Buju, has released his brand new single Cutesy, via EMPIRE, marking his first solo release of the year. Following his 2024 hits like Phenomena and the Rema-assisted Fi Kan We Kan, BNXN continues to solidify his status as one of Nigeria’s most compelling voices with the new track, produced by Jiggy. The single, part of his forthcoming project, arrives after a successful run with his debut album Sincerely, Benson (2023) and the collaborative EP RnB with Ruger.

Cutesy is a melodic love anthem that radiates warmth and affection, blending BNXN’s signature soulful vocals with soft percussion and warm harmonies. The track captures the playful thrill of romance with lyrics like “Cutesy (cutesy), Fun size (fun size), The shit I’ll do for your love, It’s like a movie (movie), Oh my (oh my),” painting a picture of a love so enchanting it feels cinematic. BNXN’s emotional delivery shines as he sings, “I’m sitting here, I’m fucked up, You don’t know me (know me),” revealing vulnerability beneath the song’s sweet exterior. The fusion of Afrobeats rhythms with R&B sensibilities creates a feel-good vibe perfect for cozy, intimate moments.

BNXN, born Daniel Benson in Lagos, has been a force in Afrobeats since his 2019 breakout Spiritual with Zlatan, later collaborating with global stars like Wizkid, Burna Boy, and Dave. His ability to weave raw emotion with infectious grooves, as seen in past hits like Finesse and GWAGWALADA, is on full display here. Cutesy adds to his impressive catalog and sets the stage for his next project, hinting at more explorations of love and connection. With over 2.1 billion career streams, BNXN’s latest release is poised to captivate fans, offering a charming mood that’s hard to resist.

Listen to Cutesy here.

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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.”