State Champ Radio african music
Trending on Billboard
Nothing marks November better than Billboard African Rookie of the Year Odeal releasing a new project. In keeping his OVMBR tradition alive, the British Nigerian star dropped The Fall That Saved Us EP, a neo-soul/R&B-driven reflection of complicated romance and self-discovery that builds on the somber world he created in his November 2024 EP Lustropolis and that arrives four months after The Summer That Saved Me.
But what did come as a total surprise this month was Tems‘ Love is a Kingdom EP. Across seven tracks, she confronts the fickleness of love head-on, while embracing self-renewal. Tems, along with rising Afropop star Taves and more notable artists, also appear on Show Dem Camp’s masterful AFRIKA MAGIK album, which is deeply rooted in the timeless sounds of the continent.
We’ve highlighted 10 of our favorite new songs by African acts that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our Spotify playlist below.
Show Dem Camp & Ajebutter22, “Small Chops and Champers”
Tec and Ghost of Show Dem Camp toast to the soft life with alté leader Ajebutter22 on the celebratory “Small Chops and Champers” track from the Nigerian rap duo’s latest album AFRIKA MAGIK. Named after nibbles and bubbles, the laidback collab delights in their successes. “For us, AFRIKA MAGIK isn’t just an album; it’s a cultural document. A reminder that our stories, in all their beauty and chaos, are magic,” SDC said in a press statement.
Taves, “Popstar Party”
Taves gets the “Popstar Party” started with his electric new single from his forthcoming debut studio album Popstar. The Afropop star captures the intoxicating thrill of fame and late-night festivities with his melodic bravado, while SirBastien’s guitar solo on the outro further highlights Taves’ moment in the spotlight. “‘Popstar Party’ is me having fun in the sun – letting go, unleashing energy that’s been building inside me,” Billboard’s former African Rookie of the Month said in a press release. “I want people to move, to feel alive, and to see what kind of world I’m bringing in Popstar.”
Nonso Amadi, “Drown”
Nonso Amadi passionately pleads with a lover to not let him “Drown” in his deep affection for her on the highlight track from his To Cry a Flood EP. The Afro R&B trailblazer’s suave flow anchors the vulnerable number, which interpolates Amerie’s 2005 classic “1 Thing” on the chorus.
Odeal feat. Wizkid, “Nights in the Sun”
Amid Odeal’s wintry world of Lustropolis, the “Nights in the Sun” closing track from his The Fall That Saved Us EP radiates with a refreshing warmth. Odeal imagines sweet mornings with someone over P2J’s sweltering production, while Wiz dreams of “sipping on fine wine, a perfect whine.” “This is the glow, the nights that feel like they could go on forever, where everything is light and easy again,” Odeal told Clash. “[Wizkid] carries that feeling of effortless joy and nostalgia in his voice, and it brought another dimension to the world I was building.”
Tems, “What You Need”
Tems delivers a hauntingly beautiful epilogue about a relationship not worth salvaging on the “What You Need” standout track from her surprise EP Love Is a Kingdom. Her frequent collaborator GuiltyBeatz’s stripped-back R&B production gives her the floor to stand firm in rebuking a love that no longer belongs to her, singing, “Your love is not my lifeline, you love is not my home.” After Tems previewed it during an Instagram Live years ago, even declaring “this song is not coming out,” “What You Need” absolutely deserves a home in her discography.
Tems, “Big Daddy”
From its first notes, this latest single from Tems — off her new EP Love Is a Kingdom — grabs the listener, well before her distinctive voice invites you into her latest tale, a cutting takedown of an ex who has come crawling back. It’s a celebration of her own power over a person she used to love, and the ways in which she wields it. But more than anything it is also a song with a clear and nuanced vision, not unlike the star herself. A welcome return.
King Promise & Davido, “Bad Habits”
Davido is, of course, an established superstar by now, but King Promise is still on the rise, and he may have one of the best voices in the Nigerian pop scene right now, as evidenced by his breakout his “Terminator.” On this track, though, he trades in obvious vocal prowess for songcraft, and this song succeeds in every way, from the production to the vibe to the lyrics that celebrate the level of success that Promise is exuding right now. Davido adds to that effortlessly, creating one of the best African songs of the year.
LAX & Olamide, “Belinda”
L.A.X. has a strong track record now of crafting irresistible vibes, and “Belinda” is no different on that front. This one, produced by Davido collaborator Ragee, is a little more hard-driving than some of his previous work, but leans strongly on amapiano elements to hammer home its beat, while the legendary Olamide slides through with the assist on this lovesick yet confident cut.
Ayo Maff, “Tension”
Still just 20 years old, Ayo Maff is the next young Nigerian singer/songwriter to emerge on the scene overflowing with talent. He’s already got an EP (Maffian) and an album (Prince of the Street) under his belt, and “Tension” is his latest single to raise the bar on what he’s capable of. With ambitious production reminiscent of Fireboy DML’s Playboy album, “Tension” leans contemplative and emotional, but remains catchy and positive, with a pulsing undercurrent that keeps the song from slipping into melancholy. It’s a two-minute statement of intent: next year is his.
Omah Lay, “Waist”
Omah Lay has kept a relatively low profile since breaking out with his Boy Alone album a few years ago, but “Waist” feels like a return to form for the young artist — versatile, creative and unexpected in different ways, all of which keeps people coming back to his music again and again. He feels like a refreshing voice in a scene that at times can follow trends, and this track portends big things to come in his next era.
Trending on Billboard
When Mavo celebrated his 22nd birthday at the top of this month, he had “1” “2” and “3” LED marquee numbers to symbolize another significant figure. He had occupied the top three spots of the Apple Music Nigeria Top Songs chart with “Money Constant” with DJ Maphorisa, DJ Tunez and Wizkid, “BODY (danz)” with CKay, and the “Shakabulizzy (Remix)” with Davido.
“My friends actually did that for me. My friends did a surprise party for me,” he tells Billboard while on Zoom in Cape Town, South Africa, where he reveals he’s recorded another song with Davido (their “Galorizzy” collaboration with Scotts Maphuma, Morravey, Ecool and Iphxne DJ was announced less than a week after our interview and released the following week). “Davido is my friend. After I dropped the ‘Shakabulizzy’ remix, we’ve been always talking.”
Such an auspicious musical career is quite the extracurricular for someone who’s currently studying optometry at Afe Babalola University in Ekiti State, Nigeria, where Mavo (real name Oseremen Marvin Ukanigbe) will graduate in July 2026. But outside of wanting to specialize in eye care, he’s also taken a special interest in linguistics when it comes to his music.
His self-described “Burbur music” is an experimental hybrid of Afrobeats and rap that’s riddled with his idiosyncratic slang and unfiltered storytelling. “Burbur” – meaning “something that’s crazy, something that’s busting out speakers,” he describes – is one of 80 terms that Mavo has devised for his Bizzylingua vocabulary and defined in the Bizzpedia, A Native Bur Bur Dictionary that he worked on for two years and recently published with NATIVE Mag.
The “Bizzy” prefix is Mavo’s self-appointed nickname, which personifies his hustle as an independent artist and university student. He says listening to Wizkid at a young age inspired the semantic highlight of his music. “He’d start songs by saying ‘yaga.’ This guy’s feeling fly on the song. I’m like, ‘These are things I need to think about. How can I create words that when you say them, you’d be like, ‘What’s he saying?’ But they also sound cool at the same time,” he explains.
His favorite slang is “burti,” a “term referring to a great deal of swag and motion” as defined by the Bizzypedia. Many words in the Bizzylingua are suffixed with “izzy,” as popularized by his witty street-hop “Escaladizzy” hit with WAVE$TAR that BNXN co-signed, while ZerryDL put his own spin on it. Zerry’s brother and Plutomania Records boss Shallipopi individually reached out to contribute a verse to the remix, as did Ayra Starr and Zlatan, so Mavo combined their starpower on “Escaladizzy II.”
“I knew that anything was possible,” he reflects after “Escaladizzy II.” And while the stars continue aligning for – and collaborating with – Mavo, he’s determined to end his breakout year on a high note and continue his ascent into the new year.
Billboard spoke with November’s African Rookie of the Month about juggling his optometrist career goal and A-list artist ambitions, educating his listeners on the Bizzylingua, and cooking up the viral “Your body na meat pie” lyric from “BODY.”
When did you know music was your calling?
When I was in secondary school, there was a music club. So before I went to university, I had already written songs but not so full of metaphors or any form of literature, just basic lyrics. When I went to uni, I wanted to be more imaginative and innovative in my lyrics. I always try to trigger people with what I’m saying. I don’t want to say triggering, but that’s what it does. People [ask], “Why would you say this?” And that’s what works for me: the ability to make people want to know more.
How did your upbringing in Ekpoma, Edo State impact the music you listen to and the music you make?
It was a do-it-yourself thing. You had to be independent. I was in an all-boys school. There’s no impressing any girl. Nobody’s going to do anything for you because they like you. I was growing the habit of being independent for six years while I was in school before I went to uni.
Who are some of your favorite artists whom you grew up listening to?
Wizkid, Travis Scott, Playboi Carti, Burna [Boy], Lil Uzi Vert, Davido, Rema, Seyi Vibez, Omah Lay. Future and Young Thug are my greatest inspirations ever. I’ve not dropped a lot of music, so people can’t tell that, but in due time. I’ve worked on so much music. Right now, I have over 1,500 songs on my laptop.
You’ve recorded that many songs since you’ve started making music in general or just recently?
Over the past three years. I started recording commercial music when I was in 300 level optometry. When I got to 300 level, I had time to multitask by recording songs and reading my books.
As you’re recording and studying at the same time, what does your schedule look like these days?
I had to choose channeling my school energy into my music. I have some songs where I met this girl when I was coming from class, or I met this girl when I went to buy food last night and I just tell the story. What I could do during my leisure [time], when guys are going to play basketball, I just record in my room. I have my microphone and everything.
Most of my songs, like “Escaladizzy,” were recorded in my room in my hostel. I believed that me doing it in my room is actually better than me going to a bigger studio. But for “Shakabulizzy” and moving forward, I saw the importance of actually going into the studio and following proper engineering routes.
How did you learn to record music in your room?
In my 200 level, I had friends that did music as well. We bought the equipment then started recording. My friend already knew about FL Studio and he started telling me about it and setting me up. Because I was in medicine, I had to stay back in school for three months. I was practicing FL Studio every day and finally made one banger, the song was so sweet. I sent it to my manager like, “Bro, can you hear the song?” She’s like, “Yeah, this song is crazy.” I’m like, “Yeah, man, I just recorded it.” And that’s how everything started.
And what made you pursue optometry?
My mom had some issues. I don’t know what it was, but I knew it was some issues with her eye. That was when I was really small. It was really hard for me to juggle school and my mom. I already had it in mind I wanted to become a doctor but not an eye doctor in particular. I was studying medicine originally. After a while, I told my lecturers I wanted to change and study optometry.
I already knew I was going to do music. I just needed something to inspire my educational side. I didn’t want to study music. I was doing really, really well in science. And my parents didn’t really want me to do art. Funny thing is when I started studying optometry, I realized that it was so fun. It’s different from being an optician or a regular eye specialist. You have a lot of things in your hands, you are closer to the patients. You are next to the ophthalmologist. It’s a lovely opportunity to become an optometrist.
How do you envision your career path being post-grad?
It’s going to be very interesting. I’m not really a person that likes to spill tea. I have a song with Wizkid and Davido, and nobody actually knew about it until the day they were dropping. But I have a really, really big thing happening during the first quarter of next year. That’s all I can say. Serious music. What I’m going to do is going to actually blow minds by God’s grace.
Take me back through the making of “Escaladizzy.”
I wrote it when I was in school. I had classes that week and during the weekend, I had shows in Lagos. After writing the song on Thursday, I had to go to Homecoming [Festival] on Friday. I performed [it] in my set the next day, it was unreleased. [WAVE$TAR] was like, “You should come to the studio” the next day. I was like, “No problem. I’ll pull up to your studio tomorrow.”
I went to the studio, I recorded one song, then I’m like, “Yo, yo. I’m still feeling the vibes. I feel like we need to record another song.” He’s like, “Oh yeah, yeah, that’s calm. Let’s do it.” Then I recorded “Escaladizzy.” I had the beat on my phone already. I had already written my part before I came there. But we didn’t finish it. I had to finish it three weeks later when it was hitting on TikTok.
When did you know that that song was special? Were you caught by surprise by the fan reaction to the snippet you shared on TikTok?
Trust me, I have a lot of songs that I know would do a lot of things, like more than 100, but I didn’t know this one was going to do this. After I recorded “Escaladizzy,” the only way it was going to work out for me business-wise was if I made another song like “Escaladizzy.” So I went to make “Shakabulizzy.”
Between “Escaladizzy” and “Shakabulizzy,” what is the significance of your signature “izzy” suffix?
The Bizzy form of something is going to be “izzy,” so the Bizzy form of an Escalade is Escaladizzy. The Bizzy form of Shakabula is Shakabulizzy. The Bizzy form of a clock is a clockizzy. The Bizzy form of a socket is a socketizzy. It just depends on if you want to do this. I don’t use my words all the time. It’s like an alternate word if I want to joke with my friends or be funny.
How did you get Davido on the “Shakabulizzy” remix?
He just texted me on Instagram. He’s like, “Could you send me ‘Shakabulizzy’? I want to do something.” I sent it to him. And he sent it to me the next day. Then he sent me a lot of money for the video as well. He’s a really nice person.
When did you realize that you were going to have a song with Wizkid and a song with Davido come out on the same day?
I knew that a month before it happened. They came to me. DJ Tunez texted me in September saying, “Wiz and you should do a song. Can you send the chorus?” I’m like, “OK, can you send me the beat?” Then he sent it. I just did my thing.
What was your reaction to occupying Nos. 1, 2 and 3 on Apple Music Nigeria Top Songs chart with “MONEY CONSTANT,” “BODY (danz)” and the “Shakabulizzy (Remix)”?
We knew it was going to happen. My team already told me. Surprisingly, I felt like there was going to be some sort of shuffling, like it was going to come on, go off, maybe [Nos.] 1, 2 [and] 5. But the funny thing is my team already told me it was going to go [Nos.] 1, 2 and 3.
Speaking of “BODY (danz),” how did you come up with the viral lyric “Your body na meat pie?”
I initially was telling you about being more metaphorical in my music, being more literature-based, trying to make a body of work an actual art piece. Let’s just say “meat pie” is metaphorical.
Did you expect that line to get as much attention as it has?
That, I can’t say — because I’ve related the body to a lot of other foods, trust me.
One X user commended you as a “lyrical genius” and broke down the mathematical meaning behind “meat pie,” equating that to “she’s a ten.” What do you think of all the lyrical breakdowns?
I see a lot of crazy breakdowns. I didn’t even know this was happening. But it’s cool to know that if you do that, it actually works.
You performed “BODY” at a club where everyone was holding up meat pies. What was going through your head as that was happening?
[Laughs.] I was like, “Why are you guys holding up meat pies?” Yeah, I said, “Your body na meat pie.” But this doesn’t mean you guys [should] actually hold up meat pies. I think for my live show in December, I’m going to give free meat pies to everybody there.
Who would you love to collaborate with next?
SZA, Travis Scott or Drake. Future and Young Thug is going to happen, but I want to go step by step. The way original Afrobeats artists have already worked, I feel like it’s only right if I do a song with Drake or Chris Brown. My music doesn’t really go in line with Chris Brown’s music. But I love Drake so much.
What’s been the biggest “pinch me” moment of your career so far?
Wizkid calling me. Anytime Wizkid calls me, it still doesn’t feel like it’s him calling. It’s crazy. Somebody I’ve been looking up to can just call me like, “Yo, Mavo, I’m coming in December. Hold it down for me.”
You’ve had multiple causes of celebration recently, since you just turned 22. What’s at least one career goal you have for yourself in the new year?
In 2026, I’ll be a mainstream international artist, like A-list. I personally want to drop three projects next year. And I want to make sure I get the collaboration of the year award.
Trending on Billboard Just a few days after earning her second career Grammy nomination — best African music performance for “Push 2 Start” — Tyla called upon her pop music foremothers to launch her We Wanna Party at Tokyo’s Ariake Arena on Tuesday (Nov. 11). Mounted in support of July’s WWP EP, the We Wanna […]
Trending on Billboard
Tems‘ Leading Vibe Initiative and Native Instruments released a mini documentary on Thursday (Nov. 6) that follows three female producers in Lagos, Nigeria.
The 72 Hours in Lagos doc follows Saszy Afroshii, TinyBraz and Gbots around the “chaotic” city (as all three women, plus Tems, individually describe the hub) during the inaugural edition of the Leading Vibe Initiative, which “aims to support, connect and amplify the next generation of women in music,” according to the doc. Native Instruments contributes training, mentorship and industry-leading software and hardware. Tems is also on the Native Instruments artist board, a collective that also includes Alicia Keys, Noah “40” Shebib, Jacob Collier and Ludwig Goransson, among others.
Saszy Afroshii, who’s produced for Fave, Qing Madi and Tiwa Savage, says inspiration strikes anywhere in the midst of Lagos’ hustle and bustle, but opportunities aren’t always that easy to find. “I think it’s very important for females to support each other. This is an industry that is occupied by males and people think, ‘Ok, this is just a man’s world.’ When you walk into a session and they’re like, ‘So where’s the producer?’ And you’re like, ‘Hi! I’m here,’” she said. “It’s just trying to shift the mindset of people. Having to go the extra mile because sometimes they don’t give you as much opportunities. So it’s very, very good when you see a female doing something that people really thought, ‘Oh, maybe she can do it.’”
In her Billboard cover story earlier this year, Tems said she taught herself to produce and engineer her own music through YouTube tutorials while studying economics at IIE MSA in Johannesburg, South Africa. “Learning how to produce definitely made me solidify my sound because usually, you have a producer that gives you a beat and you have to go on the beat. But being a producer myself, it’s more authentic now. The music became more genuine and more true to me and more distinctive,” the Grammy-winning star said in the doc.
Tems launched the Leading Vibe Initiative this past August, which Billboard exclusively announced. She hosted a two-day seminar for approximately 20 women to gain hands-on training, access to world-class tools and connections to industry executives and creatives through a series of workshops, masterclasses and panel discussions. She also launched the Leading Vibe Initiative in Nairobi, Kenya in September.
Singer-songwriter TinyBraz (who’s also a DJ/producer known as Purple Halo) echoed Tems’ sentiments about authenticity, describing it as the core message behind the Leading Vibe Initiative. “That really cut deep to me because as an artist, you can tell I’m kind of androgynous. I’m in between being girly and being masculine. The label I was in really wanted me to be on that girly side. And to be honest, it wasn’t what I was feeling,” she explained. “I just wanted to find myself again because they were basically imposing their idea of what they think a female artist should be on me, and I didn’t want that. Hearing Tems say, ‘You have to double down on what you believe in’ made me realize that it was a good decision for me to say, ‘I don’t want to do this anymore with you guys. I want to go on my own. I want to be independent and find my way.’”
TinyBraz took the cameras from her current makeshift studio to her former apartment, which she called “Purple Island” “because it’s a creative space. It’s a space where I truly found the people that I was meant to align with,” such as dancers, graphic designers, engineers and artists, she explained.
Gbots, who’s worked with Olamide, CKay and P. Prime, described herself as “an outlier” because “I noticed I was one of the fewest female music producers. At that time, I even thought I was the only one making music.” In 2022, she founded the female music community, We Are ProducHERS. “Female music producers and artists and songwriters should just have a place and a safe space where they feel like because you can do it, I can do it,” she added.
Watch 72 Hours in Lagos below.
Trending on Billboard Tyla storms in at No. 1 on the Billboard U.S. Afrobeats Songs chart as “Chanel” bags the top spot of the list dated Nov. 8. The new champ, an Afrobeat, amapiano and pop composition, namechecks the iconic designer brand and centers on the repeated lyrical refrain “Say you love me, put me […]
Trending on Billboard
While Tyla is dripping in “Chanel” on her latest designer single, the South African star is making movies on the dancefloor with MOLIY on “Body Go” and holding onto remnants of a past relationship with Lojay on “Memories.”
And there’s no stopping what’s coming from Mavin’s golden children Ayra Starr and Rema on their hypnotic collab “Who’s Dat Girl,” which debuted at No. 3 on U.S. Afrobeats Songs this week (chart dated Nov. 1). The single arrives less than one month after Rema popped out as a surprise guest during Starr’s performance at this year’s Global Citizen Festival, where they duetted on Rema’s “Baby (Is it a Crime)” single from earlier this year and his 2022 international smash “Calm Down,” with Starr filling for Sade’s and Selena Gomez’s parts, respectively.
We’ve highlighted 10 of our favorite new songs by African acts that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our Spotify playlist below.
Lojay & Tyla, “Memories”
Lojay and Tyla cosplay as exes who are hesitant to let go of their haunted “Memories” of each other on this tantalizing highlight track from the former’s debut album XOXO. But their mellifluous “Eh-la-la-lo, eh-le-ah-no-ah” harmonies sound like a subtle hint that they’re still meant to be together. The Lagos loverboy reunites with his “Monalisa” collaborator, Afrobeats hitmaker Sarz, who brings his Sarz Academy protégé Twitch along for the duet’s sensual Afropop production.
MOLIY & Tyla, “Body Go”
Whether you’re in the back of the cab or in a “section full of baddies” at the club, MOLIY and Tyla command you to “dance, whine your body, go down” on their dancefloor filler. The infectious waist-whining rhythm of “Body Go” complements its come-hither lyricism. Months after releasing her U.S. Afrobeats Songs No. 1 “Shake It To The Max (Fly)” remix, the Ghanaian star continues to seize her moment.
Ayra Starr & Rema, “Who’s Dat Girl”
Mavin’s marquee stars Ayra Starr and Rema burn brighter together on their “Who’s Dat Girl” banger. Starr flaunts her It-girl status with poise, while Rema’s rapid-fire flow momentarily steals the spotlight from her – only for listeners to realize he’s spending his whole verse gassing up the gyal. And Ragee and The Elements’ dancehall-inspired and Middle Eastern-influenced production gives “Girl” a multicultural edge.
Young Jonn, “Full Control”
Young Jonn is giving up “Full Control” of his body tonight on his sleek and sultry single, which arrives ahead of his upcoming sophomore album Blue Disco. Producer Yung Willis’ electronic flourishes and subdued log drums help soundtrack Jiggy’s late-night rendezvous. “This one is about owning your space and moving with confidence. After so many collaborations, I wanted to drop something that’s purely me – my energy, my vision, my vibe,” he said in a press release about “Full Control,” which debuted at No. 42 on U.S. Afrobeats Songs.
Boj & Anaïs Cardot, “After Hours”
After delivering gorgeous verses on Asake’s “My Heart” and Wizkid’s “Slow” last year, French Gabonese singer Anaïs Cardot lends her lithe, featherlight vocals once more on Boj’s “After Hours” single ahead of his upcoming album Duplicity. Their intimate exchange floats over Genio Bambino’s guitar-driven production, which softens into an old-school R&B synth loop for an extra touch of romance.
The Cavemen. feat. Pa Salieu, “Gatekeepers”
The high-life masters just released their new album, Cavy In the City, today (Oct. 31), and on this latest single they brought Gambian-British singer Pa Salieu along for the ride. His contribution to the laid back track is less, singing, less rapping, than it is spoken word, adding a contemplative element to a track that is an engaging groove in the context of the overall album. The duo also announced a series of European dates for early next year, where they’ll take the new record on the road.
Shallipopi feat. Gunna, “HIM”
Shallipopi has been on an incendiary run of late, and this time he taps Atlanta MC Gunna for a street-to-street linkup that manages to feel like it lives simultaneously in both artists’ worlds. Shalli has an extended verse to open the track, using his slinking yet confident delivery to set the tone, before Gunna comes through to flow over the Spanish-inflected guitar that animates the brooding beat. It somehow manages to seem like a commercial hit, even though it’s still rooted in the streets. Another high-quality addition to both catalogs.
Flavour & Baaba Maal, “Afroculture”
Flavour — who also produced this song — often has a very distinct style, and this track embodies that, with driving percussion, traditional vocals and classic instrumentation that delivers a largely instrumental intensity that is lush with its different stylings and insistent in getting in — and staying in — listeners’ heads. It’s almost breathless, and feels much shorter than its three-plus minute run time, even as it fits in an avalanche of elements to create its sound. A real triumph, and a joy.
Lil Kesh feat. Balloranking, “TTGG”
Lil Kesh is one of the best and most consistent artists on the scene right now, and his vocals are distinct from anyone else out there. He’s so adept at melody and crafting catchy hooks that his verses can often fly under the radar, but he’s truly well-rounded in so many different ways that each release of his is a must-listen. Balloranking slides through with a different style on his verse, but it fits well within Kesh’s world on this ode to finding ways to get through tough times (which is one way of putting it).
Joeboy & Shoday, “Ring”
Joeboy is an effortless vocalist, one of the true crooners in the Afrobeats scene, and this is a twist on his usual love song — finally, after playing around with a number of women, he’s met someone who makes him want to cut off all his relationships to dedicate himself to getting married to the woman of his life. Accompanied by a hilarious music video which shows all that drama coming home to roost, this is another ear worm in his ever-expanding catalog of catchy hooks and varied takes on love songs.
Trending on Billboard Justin Bieber showed Odeal nothing but love and respect when the Nigerian-British star visited L.A. last week for his sold-out show at The Roxy. Both artists were seen casually hanging out in the video from Odeal’s The Shows That Saved Me tour vlog series posted Friday (Oct. 24) on YouTube, where Odeal […]
Trending on Billboard Tyla celebrated the release of her “Chanel” designer single drop on Friday (Oct. 24) by hosting a “Put Her in Chanel” Brunch “for the girls” in Los Angeles, California. Approximately 25 women, including journalists, influencers, and some of the “Chanel” music video stars, were greeted at Chez Mia in West Hollywood on […]
Trending on Billboard
As Afrobeats gains momentum outside of West Africa, where it originated, Latin artists are fully embracing the rhythm and fusing it with their own signature sounds. Such is the case for Goyo, Humby, Kapo, Ozuna and Venesti, who were part of the Afrobeats panel at Billboard Latin Music Week 2025 on Tuesday (Oct. 21).
Moderated by Billboard‘s Jessica Roiz, the conversation focused on respecting the culture, roots and pioneers that have fueled this genre in Africa, and how Afrobeats has influenced their latest projects, including Goyo’s debut album Pantera.
“This movement is so big and it has brought so many opportunities for Latin artists who sing Afrobeats but are not from Nigeria,” the Colombian star said. “It is important to respect the roots and culture; but restlessness has led to the Afrobeats movement that is being mixed with hip-hop, R&B, and Nigerian music. We have to give importance to Africa through this genre that unites us.”
Meanwhile, hitmaker Ozuna spoke candidly about how experimenting with Afrobeats opened doors for him and got him out of a comfort zone that reggaetón was becoming. “I didn’t know much about the rhythm, but I was interested in learning, I was into reggaetón, and this rhythm opened doors for me.”
He added that the key to continue growing the movement is unity and collaboration. “We did it with reggaetón and it worked for us. Afrobeats is a movement that needs unity. It needs artists like me to collaborate with new artists. I was given that opportunity when I began my career, and now it’s our turn to do it with the new artists, and with the newest artists. This is a chain; we’re all on the same boat.”
Have you played Billboard’s Latin Music Week Crossword?Play now!
Both Colombian artists Kapo and Venesti also dabbled in Afrobeats early on in their careers. After recording in other styles, it was Afrobeats that gave both these rising artists their biggest hits, including Kapo’s “Ohnana” and Venesti’s “Umaye.”
“This song marked a turning point,” Venesti explained. “I was going through a moment in the creative process where others would tell me, ‘This is what you have to do.’ But when I signed with AP Global, my label, they told me, ‘Be yourself.’ I recorded ‘Umaye’ with a $50 microphone. It was my first number one hit on Billboard. ‘Umaye’ is a poem turned into a song.”
“We are born with that feeling; it’s something I can’t explain,” Kapo added. “We created ‘Ohnana,’ and it connected with many people. It wasn’t my beginning, but it has contributed a lot. We have role models in the world who do it so well.”
Spanning more than 30 years, Latin Music Week is the largest gathering of Latin artists and industry executives in the world. This year’s event once again hosts panels, marquee conversations, roundtables, networking and activations, in addition to its celebrated Billboard En Vivo showcases.
Latin Music Week also coincides with the 2025 Billboard Latin Music Awards, set to air Thursday, Oct. 23, on Telemundo and Peacock, where Bad Bunny will be honored as Top Latin Artist of the 21st Century.
Burna Boy is already planning to take his upcoming album, No Sign of Weakness, on the road this winter with a headlining North American tour, he announced Wednesday (June 18).
The 17-date trek kicks off on Nov. 12 at the Red Rocks Amphitheatre in Morrison, Colo., becoming the first Nigerian artist to headline the iconic venue. The tour will also go through major cities including Los Angeles, Houston, Chicago, Boston and Atlanta before wrapping up with two dates at the Scotiabank Arena in Toronto, Ontario, on Dec. 17 and 18. With the exception of his history-making opening show at Red Rocks Amphitheatre, the No Sign of Weakness Tour will feature the African Giant performing on a 360-degree stage in the middle of the floor.
Burna is releasing his eighth studio album on July 11 via Spaceship, Bad Habit and Atlantic Records. So far, he’s released four singles ahead of the project: “Bundle by Bundle,” “Update,” “Sweet Love” and “TaTaTa” featuring Travis Scott.
Trending on Billboard
No Sign of Weakness will arrive two years after the Afro-fusion superstar’s last album, I Told Them…. The 15-track LP reached No. 31 on the Billboard 200 and No. 2 on World Albums, and earned a 2024 Grammy nomination for best global music album. Singles “Sittin’ on Top of the World,” featuring 21 Savage on the remix, and “City Boys” were also up for Grammys, for best melodic rap performance and best African music performance, respectively.
Fans can sign up for artist presale, which continues through Sunday, June 22, at 11:59 p.m. ET. Artist presales and VIP packages are available Tuesday, June 24, from 10 a.m. to 10 p.m. local time via Ticketmaster. General onsale starts next Friday, June 27, at 10 a.m. local time. Visit Burna Boy’s website for more details and ticket information.
See the dates for Burna Boy’s No Sign of Weakness Tour below.
Burna Boy
Courtesy Photo
