Èkó Groove is a fun listen. Its energy, its fluid mix of genres, and its vocal star power make it flow quickly despite its length. Spinall ties it all together with the presence and pacing of a live set, curating an experience that is both eclectic and cohesive in spirit if not in theme…

By Yinoluwa Olowofoyeku

Oluseye Desmond Sodamola, known simply as Spinall, is a Lagos-born DJ, producer, and label head whose career has evolved from mixtapes and club nights into a defining voice in Afrobeats. He founded TheCAP Music in 2014 and began releasing full-length projects shortly afterwards. His debut studio album My Story: The Album arrived in 2015, followed by Ten in 2016, Dreams in 2017, Iyanu in 2018, Grace in 2020, and Top Boy in 2023. Each covers a range of styles, from dancefloor anthems to soulful Afro-Pop, consistently showcasing his ability to curate major collaborations and diverse sounds.

Across these albums, Spinall has built a reputation for blending Afrobeats with House, electronic textures, and global club influences, while remaining rooted in Lagos’s energy. Tracks like “Palazzo” with Asake and “Loju” with Wizkid highlight both his commercial reach and his knack for creating songs that resonate locally and beyond.

Now, with Èkó Groove, Spinall returns with a project designed to both reflect and expand his legacy. Èkó Groove is rooted in the rhythms, chaos, and vibrancy of Lagos, while also reaching outward, with features from artistes such as Tyla and Dre, and production that leans into the city’s grooves while embracing international colour. 

It stands as both a tribute and a statement: that after nearly a decade of steady growth and numerous high points, Spinall is still defining what it means to be a groove curator in Afrobeats, while pushing his sound further.

The album opens with the titular “Èkó Groove”, a thematic and sonic overture where rattling shakers and clacking triplet Afrobeats percussion merge with brass and bright guitars. A sample from Ayinde Bakare weaves the city’s history into the music, transforming the track into an ode to Lagos that establishes both the rhythm and the atmosphere shaping the entire project.

That energy carries seamlessly into “Want You”, which builds instrumentally on the same shakers, percussion, guitars, and horns, now joined by filtered key chords. Jayo delivers a loose, patois-inspired flow—sensual and full of whispered accents—while Destiny Conrad layers his soft R&B tone over the Afrobeat pulse. 

Together, their performances embody desire, teasing out intimacy in lyrics such as “Come on and tease and turn/ Watch how you make me freeze and twist and turn/ A little bit of eye contact turn me on”, carrying the song’s simplicity with a sensual intensity.

“Early” continues this mood but infuses it with an electronic edge, opening with thumping synths, floating hi-hats, and a groovy Afrobeats rhythm. Pulsing electronics support Victony’s airy vocals, while a sharp guitar riff links the chorus to string pads. 

His playful lyricism disguises raunch with sly wit, singing, “I just dey give am for ealy morn’/ Her bobo dey call am for early morn’/ Girlie no know say my ting e go reach her belly button/ Easy to shout, I go ta-na-na Selena”. The cheeky tone dances across the synthetic textures, pushing the record’s sensual arc further.

With “Struggle”, however, the mood shifts, adopting Reggae instrumentation with steady drums and a rich bass guitar that grounds the track in something spiritual. Buju Banton’s gravelly voice anchors the chorus with heft, while Summer Walker’s soft, solemn tones smooth the edges, harmonising delicately over hard truths. “One time for the hardworking/ You smile but your eyes are hurting/ The life all up your desert/ ‘Cause we wake to the sunset, no no,” they sing together, their contrasting energies uniting in the shared language of perseverance.

The Ghanaian Highlife tradition animates “Aunt Mary,” its triplet clavs, shakers, and lively rhythm guitars paired with a bassline that refuses to sit still. Shine TTW offers soft, airy vocals that glide across the melody, while Darkovibes provides deeper contrast, weaving Twi lyrics and playful effects through the track. Their interplay is buoyed by spirited ad-libs and backing vocals, forming a bright celebration of beauty as Shine sings, “Aunty Mary wey I see for tele/ She say her body be na o gbona feli/ Mo ti moti but I see you clearly”.

From there, Spinall pares back the instrumentation on “Forward”, leaving rattling shakers, percussion-heavy drums, and a restrained palette of guitars and bass synths to create space for Tay Iwar’s agile vocals. His layered delivery carries an uplifting message, urging resilience with lines such as, “One thing that I know is that I love my life/ Through the highs and lows, I survived/ No regrets, no looking back, only forward/ I know yeah, keep moving forward, I know yeah”. The positivity is heightened by sprightly rhythm guitars that dance through the groove, keeping the track buoyant.

“Waiting” sets its pulse with four-to-the-floor drums, syncopated percussion, and a brass section that cuts through smooth, jazzy piano chords. A lively bass guitar riff runs like an undercurrent, elevating Taves’ energetic vocals as he sings of longing for a lover to meet him halfway. His chorus, “I’ve been waiting for you/ Say me, and my patience can’t deal/ Your heart that I wan come steal/ Me I want love, love like nobody else’s love”, captures the impatience at the song’s core. Jayo reappears, versatile and insistent, contrasting Taves’ breezy lightness with a sung flow full of drive, their voices together amplifying the tension between yearning and impatience.

“Kerosene”, one of Èkó Groove’s earlier singles, rides on bright pianos and smooth drones, with shakers and syncopated percussion leaning into Street-Hop but hinting at Amapiano once the log drums drop in. Young Jonn’s playful lyricism and buoyant delivery carry lines such as, “Baby mi, let’s faaji tongolo/ Body magic, okoro/ Last night was fun, ololo … You dey high me, ogogoro”, his signature style burning bright over Spinall’s layered groove.

On “Loju”, another pre-released single, Wizkid slips back into his effortless zone, gliding over energetic Afrobeats drums, plucked synths, and subtle electric piano chords. He rides the rhythm with nonchalance, flexing lyrically rather than narrating, singing, “Na we the girls wan follow go oo / Make the girl change area code / Till you follow me I no go go / Follow bounce if you get stamina”. His flow is instinctive, the vibe undeniable—proof of his mastery at bending Afrobeats cadences to his will.

That energy escalates on “Excited”, where triplet claps and pulsating synths signal Afro-House terrain. Ami Faku opens with soft, subdued vocals, painting visions of joy and responsibility over rhythm guitars, brass passages, and pads. Her chorus lifts brightly: “I just want this money/ I’ve been saving, praying about it/ Taking care of family/ With Spinall we rounding/ Come on be honest. We we wo let’s jolly yo”. 

Niniola stamps her signature on the second verse with powerful Yoruba lyrics, agile melodies, and a unique timbre, adding vibrance and vocal force alongside Heavy-K’s steady Afro-House imprint.

“Miami” brings cinematic strings into collision with Street-Hop percussion and hard-hitting Afrobeats drums. Olamide plays both roles, softly crooning the refrain, “When you wake in the morning / When you be yawning, I’d be in Miami”, before switching into rapid Yoruba rap with commanding confidence. T.I. enters with his Southern flow, marrying his cadences to the Afrocentric production seamlessly, never missing a beat as the transatlantic collaboration blurs genre borders. 

“One Call” follows with tender guitar chords and light percussion ushering in Omah Lay’s drawn-out, emotive voice. He pours himself into the promise of closeness, singing, “I’m on my way to you/ But time is on the loose/ I will always fight for truth/ If I have the chance to choose … ‘Cause no me without us”, drawing intimacy from restraint. Tyla’s entrance lifts the energy, her bright ad-libs and group vocals layering over Omah’s more subdued tones. The thumping log drums risk overwhelming the track’s gentleness, but her melodies bring a contrasting vibrance that reshapes its mood.

Returning to South Africa, “Living” builds on Afro-House foundations with thumping kicks, riding shakers, and smooth chords augmented by subtle flutes and mallet runs. Murumba Pitch and Tony Duardo weave their expertise into the evolving instrumental, with filtered kicks and swelling percussion amplifying the track’s meditative dance energy. 

Their lyrics crave simple freedom: “I wanna dance, let me see the speakers blow now/ Liquor running fast inside my veins yeah/ I ain’t tryna get drunk, I’m just tryna live my life/ The power is yours now/ You could do greater things, the power lies in your mind”. The song’s dance break leans inward rather than towards climax—an introspective release before the outro affirms a joy in living.

Finally, “Psalm 23” closes Èkó Groove with a return to Street-Hop’s high voltage. Thumping kicks, log drums, rifling snares, a rich bassline, bright chords, and saxophone riffs set the stage for Teni, whose infectious energy bursts through every word. She ends Èkó Groove on a triumphant note, proclaiming, “I’m so thankful ‘cause I’m so blessed/ Got me shouting seven halleluja/ Psalm 23 for you haters, fuck y’all”, her defiance sealing Spinall’s Lagos-inspired vision with gratitude, resilience, and fire.

Èkó Groove plays less like a tightly bound thematic album and more like a well-curated collection of songs. The theme of Lagos, introduced in the opening track, feels nominal and is scarcely revisited, as most of the songs turn instead to the well-worn but effective subjects of love, life, and gratitude.

What the record lacks in narrative cohesion, however, it makes up for in breadth. The tracklist spans a wide range of genres, pulling together strands of Afrobeats, Afro-House, Reggae, Amapiano, and Street-Hop into a lively mix that reflects the multiplicity of contemporary African pop.

The production is strong and versatile, showcasing the craft of a talented team. Beats are energetic and genre-appropriate, bringing the right sonic palette to each song and tailoring the mood to the featured artistes. At times, the light touch works best, allowing vocalists the space to shine against leaner backdrops. 

At other moments, the layers verge on overproduction, creating clashes of tone and energy that slightly blur Èkó Groove’s balance. Still, the engineering remains sharp and professional, maintaining clarity and polish throughout, ensuring that even the busiest arrangements feel clean.

The featured artistes are Èkó Groove’s real stars. Spinall has assembled a cast that is not only stacked with heavyweights but also cleverly balanced. Most are kept within their comfort zones, delivering exactly the kind of performances that earned them their reputations. Others are nudged into new spaces, and those experiments enrich the record, adding surprise and variation. 

Across the board, the vocals are strong—as expected—but what stands out most is the cross-pollination. The contrasts and harmonies, the way artistes bounce off one another’s styles, create sparks that keep the album engaging. It is less about discovering something entirely new in them, and more about the pleasure of hearing them in dialogue, riffing off one another in a shared space.

As a whole, Èkó Groove is a fun listen. Its energy, fluid mix of genres, and vocal star power make it flow quickly despite its length. Spinall ties it all together with the presence and pacing of a live set, curating an experience that is eclectic yet cohesive in spirit, if not in theme. 

By pulling together a little of everything his audience loves, he delivers a project that—while uneven in places—remains a milestone in his career. It is a work that should be celebrated, one that underscores his longstanding influence in the industry, showcases his instincts as an A&R, and creates collaborative moments unlikely to be found anywhere else.

Lyricism – 1.4

Tracklisting – 1.3

Sound Engineering – 1.5

Vocalisation – 1.6

Listening Experience – 1.5

Rating – 7.3/10

Yinoluwa “Yinoluu” Olowofoyeku is a multi-disciplinary artist and creative who finds expression in various media. His music can be found across all platforms and he welcomes interaction on his social media @Yinoluu.

The post “Èkó Groove” Review: Spinall Assembles Star-Studded Cast on New Album first appeared on Afrocritik.

Nigerian music icon Olamide Adedeji, widely celebrated as “Baddo”, hosted an exclusive breakfast listening session on Thursday, June 19, 2025, to unveil his highly anticipated eleventh studio album, Olamidé.

The intimate event, held at a luxury venue in Lagos, was produced in partnership with The Breakfast Club, an exciting platform that curates unique early-day breakfast and music experiences, and is one to watch on the Lagos social scene.

A Morning of Music, Culture, and Connection

Guests were treated to a first and immersive physical listening of Olamidé featuring standout tracks like “Indika” (with Dr Dre & Spinall), “99” (with Asake, Seyi Vibez, Young Jonn, and Daecolm), “LuvaLuvah” (To mention a Few).

Produced by hitmakers including Eskeez, Semzi, Yung Willis, and Spinall, the album reflects Olamide’s evolving artistry, blending Afrobeats, street-hop, and global sounds into a bold sonic statement.

Family, Friends & Colleagues grace the event.

Adding to the warmth of the occasion, Olamide’s wife and children were present, making it a truly personal celebration. The event drew notable figures. From music, sports, and entertainment, including Super Eagles stars Victor Osimhen and Victor Boniface, football legend Obafemi Martins, and fellow artists Fireboy DML, Odumodublvck, Lil Kesh, DO2DTUN, Toolz, ID Cabasa, and Elozonam.

Key influencers, media personalities, and industry stakeholders round off the guest list, creating a vibrant cross-section of Nigeria’s creative community.

Powered by The Breakfast Collective Club (TBC)

The partnership with The Breakfast Club helped shape the event’s fresh, morning-centric vibe, blending good music, great company, and signature breakfast and coffee experiences that set the tone for a new kind of listening event in Lagos.

It’s a collaboration that signals The Breakfast Club as a fresh force in the city’s lifestyle and entertainment space.

A Social Media Moment

Hosted by Bisola Aiyeola & VJ Adam, highlights from the event were posted across social platforms, with guests sharing snippets of performances, heartfelt speeches, and the dynamic atmosphere that defined the morning.

Olamide described Olamidé as “a project from the heart”, “a celebration of where I’ve been, where I am, and where I’m going.”

Olamidé is now streaming across major platforms, with a formal album launch.

Concert and international tour dates to be announced soon.

With backing from YBNL Nation and Empire, the album is making waves globally.

Sponsored Content

The post Olamide Unveils “Olamidé” at Star-Studded Breakfast & Coffee Listening Event in Lagos appeared first on BellaNaija - Showcasing Africa to the world. Read today!.

Nigerian rap icon and YBNL Nation boss, Olamide, has officially unveiled the tracklist for his highly anticipated album titled Olamide, scheduled for release on June 19, 2025.

The announcement, accompanied by a striking album artwork, reveals an impressive lineup of collaborations that promise to make this project one of the most exciting releases of the year.

The 17-track album features a diverse mix of local and international heavyweights, with multiple appearances from Afrobeats superstar Wizkid, who is featured on tracks Kai and Billionaires Club. Street-hop sensation Seyi Vibez also makes a double appearance alongside Muyeez on Free and on the all-star anthem 99, which also includes contributions from Young Jonn, Asake, and Daecolm.

In a surprising crossover move, legendary American producer Dr. Dre joins forces with Nigerian DJ and producer Spinall on Indika, marking one of the most unexpected collaborations on the project. Other notable guest appearances include British rapper Darkoo, reggae-dancehall star Popcaan on Rain, BOJ on Stronger, and rising star Fadi on Paris.

The tracklist suggests a rich blend of sounds ranging from rap, street-hop, Afrobeats, and dancehall to international hip-hop influences. Titles like Prelude, Hasibunallah, Luvaluvah, Hybrid, and Lalakipo hint at a fusion of introspection, street credibility, and melodic experimentation that fans have come to expect from Olamide.

This marks another milestone in Olamide’s illustrious career, reinforcing his reputation for pushing sonic boundaries and bridging genres while nurturing young talents within and outside Nigeria.

With the album due out in just a few days, the excitement within the Afrobeats community is palpable. Fans eagerly anticipate what promises to be a landmark project from one of the genre's most consistent hitmakers.

Lastly, with the tracklist out, the album Olamide officially drops on June 19, 2025.

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The post Olamide unveils star-studded tracklist for upcoming album Olamide appeared first on NotjustOk.

Every week, OkayAfrica highlights the top Afrobeats and African music releases through our best music column, Songs You Need to Hear This Week.

Read ahead for our round-up of the best new African music tracks and music videos that came across our desks this week.

SPINALL – “Want You” feat. DESTIN CONRAD & JayO

With his first release of the year, veteran tastemaker SPINALL goes the sensual, mid-tempo route. The production swirls with a drum and guitar base that sets the body moving, resembling the lush soundscapes of Wizkid but with even more urgency. On singing duties, the duo of DESTIN CONRAD and JayO deliver in tune with the innuendo-leaning direction of the song, painting imagery that shows how badly they want the girl. It’s a song that sounds ready-made for intimate settings, but its progression could also lend itself to more open events. – Emmanuel Esomnofu

DJ Lag, Sir Trill, Sykes - “Woza”

Sir Trill is on a roll. He kicked off the year deep in his amapiano bag with “ iMpumelelo,” then took it up a notch by returning to his rap roots on “iBele” alongside 25K and Maglera Doe Boy. Now, he’s launched a daring incursion into Gqom with DJ Lag’s thunderous “Woza.” Joining him is Sykes – the voice behind hits with Dlala Thukzin (“iPlan,” “Imoto”) and Kelvin Momo (“Bala”), a perfect partner-in-vibe. It’s a match forged on gqom dance floors, streaming platform playlists, public taxi speakers, and everywhere else, the sgubhu lands the hardest. In a press release, the producer shared that he started making the 3-Step-inspired beat while playing back-to-back sets with Thakzin, a mainstay in the 3-Step scene. “I wanted to capture my take on 3-Step while channeling Afro-Tech influences I’ve been spinning during live sets. When Sir Trill and Sykes added their magic, I knew I had something that merged my Gqom roots with a new sonic direction; it just felt right,” he said. – Tseliso Monaheng

BNXN & FOLA – “Very Soon”

When they first linked up, it was clear that BNXN’s saccharine vocals beautifully complemented the brooding tones of FOLA. On “Very Soon,” they capitalize on that artistic similarity to craft another song of remarkable emotional power, as they sing about the aftermath of a breakup, promising to be better soon despite the lingering pain. With a melancholic soundboard, it’s a detailed view into the world of a character that’s going through the rubble with nothing but the resolute hope they’ll get on the other side. – EE

Kwesta - “Nyakanyaka”

Kwesta’s becoming, from a young gun ready to tear up any stage, collaborating across genres, to a grootman (elder) of the game, is the stuff of legends. Despite his longevity, he’s kept a youthful curiosity and a pen as sharp as the needles he steps on when the raps emerge. “Nyakanyaka,” off his latest album, The Big Bro Theory, is a masterclass in lyrical control. The way he bends words, forces them to obey him, and crafts rhyme schemes out of thin air is pure wizardry. His content is deeply local yet resonates globally. “I’m on my Tito, I’m in my bag,” he raps on the chorus, a slick (perhaps unintentional) nod to the late Tito Mboweni, South Africa’s former finance minister and first Black governor of the Reserve Bank. But he doesn’t stop at clever punchlines; he breaks syllables down, invents cadences, and feeds the ear pure gold. Rhyming “as we raise” with “temperature”? Just unfair. Kwesta remains an unmatched emcee. A superior artist. – TM

Simi – “Day By Day” feat. Kizz Daniel

It makes perfect sense that Simi and Kizz Daniel would do a song together. They both create music from the mundane elements of life, and the latter is in his most collaborative phase ever, stretching his distinct style to accommodate the musings of his talented peers. On “Day By Day,” the warm, percussive-driven production gives both artists the space to reflect on their blessings, even referencing Fido’s classic, which shares some sonic semblance with the newer record. It’s quite the feel-good affair we have here. – EE

Mashbeatz - “Nobody” (feat. Nasty C and Usimamane)

Earlier this week, a mix by Mashbeatz and DJ Sliqe was released online, featuring exclusives and unreleased heat that quickly went viral. One standout was “Nobody,” a lethal link-up between two of Durban’s finest in Nasty C and Usimamane. The former needs no introduction and, in the past decade that he has been active, has become somewhat of a figurehead for the new wave of South African hip-hop. The latter is a student of the game who’s carved his own lane with tracks like “Cheque” and “Uvalo” and delivered scene-stealing verses, most notably on Mashbeatz and Wordz’s 2024 epic, Only The Brave. On “Nobody,” we get two sentient emcees, high off their own brilliance, swaggering on a beat like it owes them money. “Can’t even jump in no mosh pit / PTSD, I’m from the kasi,” spits Nasty C, a reminder that his pen remains elite, and his run is far from over. – TM