Fresh Picks
Between the ten-year anniversary of Tyler, The Creator‘s Camp Flog Gnaw festival and Netflix’s announcement that Beyoncé would headline the Christmas Day NFL halftime show in Houston, this was a prime week for those who love the medium of live performance.
Featuring performances from the likes of SZA and Doechii, a shade-throwing DJ set from Mustard and fiery renditions of nearly every song from his Billboard 200-topping Chromakopia LP, Tyler enjoyed a much-deserved victory lap at Dodger Stadium in Los Angeles on Saturday (Nov. 16). Over in Las Vegas, another Billboard chart-topping rap superstar was headlining a festival. Travis Scott played ComplexCon on Sunday night (Nov. 19), which birthed Netflix’s announcement that he would provide new music as the theme song for RAW’s new era on the streamer. Of course, Netflix then one-upped itself with the announcement of Beyoncé’s forthcoming halftime performance, which is expected to feature the live debut of tracks from her historic 11-time Grammy-nominated Cowboy Carter album.
Although live performances dominated the news cycle, new albums from FLO (Access All Areas), Cordae (The Crossroads), Maxo Kream (Personification), Young Nudy (Sli’merre 2), Kash Doll (The Last Doll) and Mary J. Blige (Gratitude) kept the worlds of hip-hop and R&B well-fed.
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With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Destin Conrad’s soul-baring “Nosebleed” to Cordae and Ye’s latest team-up. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Destin Conrad, “Nosebleed”
Destin Conrad kicked off 2024 with his Submissive2 project, and now he’s closing out the year with a new single titled “Nosebleed.” Co-produced by Louie Lastic & Astyn Turr, “Nosebleed” finds Destin crooning of the innately conflicting feeling of being perceived amid love completely overtaking your every thought. “It happens all the timе, your world and mine collide/ And the memory of you stays on my skin/ It doesn’t fade, it gets stronger than it seems/ Creeps into my bloodstream, please, don’t look at me,” he coos over little more than dry, acoustic guitar, his voice taking on the slightly hoarse feel of a person recovering from a fit of tears. Concealing emotions is a deceptively difficult thing to do, and Destin beautifully captures the moments of bargaining when the mask begins to slip. — KYLE DENIS
070 Shake & Courtney Love, “Song to the Siren”
Who expected Courtney Love to pop up on 070 Shake’s Petrichor album? If anyone answered yes then it’s time to play the lottery. Shake and Love pay homage to Tim Buckley with a dark cover of his oft-revisited 1970 classic “Song to the Siren.” The intoxicating collab with the Hole lead vocalist came as a pleasant surprise on the LP, as listeners are left floating to space while simultaneously feeling paralyzed and sinking to the depths of the ocean. “Here I am, here I am/ Waiting to hold you,” Love sings to close out the woozy cover. — MICHAEL SAPONARA
FLO, “Soft”
AAA, British girl group FLO’s debut studio album, has been many years in the making, and tracks like “Soft” prove that sometimes taking your time really does yield stronger results. Under the soulful rule of R&B architects Camper and MNEK, “Soft” finds the trio capturing the ’90s R&B-informed sultriness they spend most of their debut chasing. Airtight, melismatic harmonies smartly contrast with raunchy lyrics like, “‘Bout to make a movie, Spike Lee/ Try me, it’s godly/ That’s why you wanna be inside me.” Titillating start-stop production, rousing string arrangements and sexy snaps and guitar all combine for one of the best R&B deep cuts of the year. — K.D.
Cordae & Ye, “No Bad News”
The Crossroads is all about Cordae pushing his pen like it’s a fan’s first time hearing him rap. When the DMV native revealed Kanye West was on a song called “No Bad News,” some thought it would just be a sample of 808s & Heartbreak deep cut “Bad News,” but that wasn’t the case as Ye helmed hook duties on the joyful track. Cordae takes the baton referencing conversations with an incarcerated childhood friend who’s remaining upbeat even with an extensive sentence. He gives a rare glimpse into his family life while gloating about his daughter being “fly” but keeping the humbleness of her tennis superstar mother Naomi Osaka. Cordae has long looked up to West and “No Bad News” checks off another bucket list item for him. — M.S.
Odeal, “Blame U”
“Gorgeous, gorgeous girl, but you ain’t happy/ Channel all them words of affirmation at night/ ‘Cause someone somewhere’s hoping you ain’t happy/ And that’s me,” proclaims Odeal at the very beginning of “Blame U,” the closer from his latest project, Lustropolis. Co-produced with Ezra Skys, “Blame U” combines understated bass, haunting layers of falsetto, subtle synths and Afrobeats-nodding percussion to soundtrack Odeal coming to terms with the helplessness and hopelessness feels in the aftermath of his relationship’s demise. More of a SAD (seasonal affective disorder) anthem than a cuffing season heater, “Blame U” relishes its coldness, making it all the more alluring. — K.D.
Mudbaby Ru, “Button”
Come for Mudbaby Ru and stay for the Brandon Buckingham cameo. The Arkansas rapper is getting sharper with every song he drops as he continues to hone his skill set that feels like a savvy veteran who’s been at this for much longer than he’s been in the game. A warning message pre-empts the ominous clip featuring Ru with his crew brandishing weapons on the block. “I don’t give a f–k if we cousins/ Everybody in that b—h getting hit,” Mudbaby promises in menacing fashion. “Button,” he shouts like an exclamation point, to make certain bars hit harder and the formula works for Ru again within the addicting tune. The Geffen Records rapper is a definite artist to watch in ‘25. — M.S.
In the wake of Donald Trump’s victory in the 2024 U.S. presidential election and the official unveiling of the 2025 Grammy nominations, hip-hop and R&B have had nary a moment of stillness over the past week.
Notably, Beyoncé leads all artists with a jaw-dropping 11 nods for Billboard 200-topping Cowboy Carter LP, including a look in best melodic rap performance for “Spaghettii” (with Shaboozey and Linda Martell). Muni Long leads the R&B field with one nomination in each of its four categories, while AverySunshine and Durand Bernarr earned their first career Grammy nods (both for best progressive R&B album). On the rap side, Kendrick Lamar predictably dominated, with seven nominations for his Billboard Hot 100 chart-toppers “Not Like Us” and “Like That” (with Metro Boomin and Future). It was also a watershed year for female rappers, with several of the genre’s leading ladies landing nominations, including Doechii (three, including best new artist), GloRilla (two), Rapsody (two), Cardi B (one), Latto (one) and Young Miko (one, best música urbana album).
Grammy nominations didn’t slow down the waves of new music, which included new albums from Ab-Soul (Soul Burger), Ferg (Darold), SahBabii (Saaheem), BabyTron (Tronicles), Real Boston Richey (Richey Rich) and more.
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With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from SahBabii’s electric “Viking” to Mac Ayres’ plaintive “Blue Skies.” Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Ferg feat. Coco Jones, “French Tips”
Darold, Ferg’s latest album, is the latest in a string of 2020s releases that find the brightest stars of mid-2010s/Blog Era hip-hop healing parts of themselves through tough introspection and general maturation. Between Coco Jones’ soulful, sultry vocals, a lift of Brandy’s classic “I Wanna Be Down” and ’90s-evoking production from Mario Winans and Tropkillaz. “When you wet, I start to tingle ’cause it’s too warm/ I ain’t put the condom on ’cause you got me stuck/ I’m pullin’ out, I ain’t ready to shoot the club off,” Ferg spits, simultaneously delivering a classic (slightly X-rated) hip-hop love song and a reminder of one of the remaining available methods to mitigate unwanted pregnancies. — KYLE DENIS
SahBabii, “Viking”
SahBabii was one of the leaders of the melodic rap movement in the mid-2010s, and he’s making another splash with his Saaheem comeback album. SahBabii’s rhymes are raunchier than ever as he raps over ethereal production that soundtracks his deep sea exploration. “Viking” has proven to be one of the early standouts from the project and even earned him a co-sign from Tyler, The Creator, who dubbed the intoxicating track to be “incredible.” He’s still doing things his way and “doesn’t give a f–k who like me.” Welcome back, SahBabii. — MICHAEL SAPONARA
Mac Ayres, “Blue Skies”
For his latest project, Mac Ayres went back to the beginning. With Cloudy, the Long Island-bred crooner compiled some of his most beloved SoundCloud cuts from the past eight years and sequenced them in a tender coming-of-age narrative. “Blue Skies,” the set’s ethereal, Chris Anderson-helmed closer, finds Mac pining for brighter days while balancing the warring energies of wanting to be understood without wanting to beg for acknowledgment. A deceptively heavy song, “Blue Skies” soars thanks in large part to Mac’s structuring of the song; his hushed delivery in the verses perfectly sets the stage for his impassioned belts of “Feels like forever got a hold on me/ Forever got a hold on me my friend” — a pair of lines that put many proper torch songs to shame. — K.D.
Jorja Smith, “Don’t Let Me Go”
A stripped-down instrumental with an acoustic guitar that could score a poignant scene in a movie is only amplified by Jorja Smith’s honeyed vocals. J-Money gets pensive about the pain of letting someone go, but her voice coddles emotional listeners to lay their heads collectively down on a soft cloud rather than a rock. “The wishing wells got all my coins/ But nothing seems to drift me back to you,” Smith sings. “Don’t Let Me Go” arrived as a two-pack featuring help from fellow British singer-songwriter Maverick Sabre, and it appears the tracks were several years in the making before receiving an official release in 2024. — M.S.
Hitkidd & Mello Buckzz, “Pardon Da Body”
Chicago emcee Mello Buckzz has been making waves for quite some time, and her latest collaboration is sure to add to that hype. “Pardon Da Body,” a boisterous link-up with Grammy-nominated producer Hitkidd for his Hitkidd for President album, finds Mello spitting standard braggadocious fare (the “body” in question refers to her figure, her SUV and her racks) over a piano-inflected dance-trap beat. With ample remix potential that can take this song anywhere for a ballroom-minded house set or a Jersey club compilation, “Pardon Da Body” harnesses the power of unbridled fun while keeping Mello front and center. — K.D.
Wolfacejoeyy & A Boogie Wit Da Hoodie, “Dallas”
A Boogie Wt Da Hoodie dances into the sexy drill scene thanks to an invite from fellow New York captain Wolfacejoeyy, who is stamping his 2024 with “Dallas” and a major co-sign from the Bronx native. “Me and Boogie in a town bae, you know it’s going down,” Joey raps in his smooth yet soft-spoken flow. Young Jrue Holiday’s emotive rhymes have allowed him to continue to build off Valentino and have set up 2025 as his time to make a quantum leap to stardom. — M.S.
Ab-Soul, “9 Mile”
Ab-Soul wanted the introduction of his Soul Burger album to feel like the Belly, and he did justice by the Hype Williams classic. Soulo weaves through Soul II Soul’s “Back to Life” while opening up about his elusive yet militant approach. “Ain’t really confrontational but I crave chaos,” he admits. “9 Mile” then pivots to channeling his inner Eminem while calling back to B-Rabbit’s 8 Mile rap battles as Soulo gets candid about his suicide attempt. “I did jump off a bridge on Del Amo Boulevard/ I’m blessed but question why God would have mercy on a junkie,” he wonders. It’s a cinematic opener for the TDE rapper’s best project in a decade. — M.S.
With just days to go before the reveal of the 2025 Grammy nominations, a few of the hottest stars from across Caribbean music could earn their first nomination for best reggae album.
This year, Teejay (I Am Chippy), Masicka (Generation of Kings), Jah Lil (Can A Man Cry), Govana (Legacy), Shenseea (Never Gets Late Here), Gyptian (Guarded), Stalk Ashley (Stalky the Brat), Romain Virgo (The Gentle Man) and Vybz Kartel (Party With Me) are among the artists who have submitted their eligible albums from consideration. Previous nominees such as Spice (Mirror 25), The Wailers (Evolution) and Protoje (In Search of Zion) are also in contention.
If the final slate of nominees once again includes American reggae band SOJA — who’s contending this year with Beauty In the Acoustic — stay tuned for a repeat of the controversy that their 2022 triumph (for Beauty in the Silence) sparked.
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Outside of Grammy news, all eyes are on the United States presidential election (Nov. 5), where Vice President Kamala Harris, who is of Jamaican and Indian descent, could become the first Asian-American and first woman president.
Naturally, Billboard’s monthly Reggae/Dancehall Fresh Picks column will not cover every last track, but our Spotify playlist — which is linked below — will expand on the 10 highlighted songs. So, without any further ado:
Freshest Find: Protoje, “Barrel Bun”
On Oct. 18, two-time Grammy nominee Protoje released a collection of tracks previewing the full soundtrack to a forthcoming short film. Stacked with songs specifically written to accentuate the film’s storyline, The Jamaican Situation: Side A houses several knockout tracks — including the fiery “Barrel Bun.” A straightforward, brass-accented reggae jam, “Barrel Bun” finds Protoje calling for radical systemic change in a country marred by government corruption and violence, with Ziah.Push’sstine production beautifully complementing Protoje’s narrator-esque delivery. “It depends pon what you choose/ Fi make it out or make it pon the news/ The system ya rough/ Everybody wicked and tough,” he croons in the chorus, between verses that follow different characters as they fight to survive and live with themselves under varying systems of oppression.
Skip Marley, “Close”
Maxi Priest’s “Close to You” — which topped the Billboard Hot 100 in 1990 — already put the “pop” in reggae-pop, and Skip Marley’s reimagining of the track doubles down on its dancefloor bonafide. Produced by Rykeyz, Marley ups the reggae feel of Priest’s original chorus, his raspy upper register playing well against the groovy percussion that grounds the smoldering verses between each party-ready hook. Marley has already visited the top 10 of the Hot 100 (alongside Katy Perry with 2017’s No. 4-peaking “Chained to the Rhythm”), and “Close to You” has the potential to bring him back there.
Teejay feat. Masicka, “Never Complain”
You know it’s serious business when two of dancehall’s hottest stars join forces. With “Never Complain,” Jamaican powerhouses Teejay and Masicka a menacing dancehall track that finds the former delivering a smooth, coolly confident hook, while the latter spits rugged, rapid-fire verses that offer a peek into how fame and success have altered the outlook of both stars. With slinky guitar riffs providing a lighter complement to the brooding lyricism and overall production, “Never Complain” is a surprisingly texturally rich offering that previews just how incredible a joint project between Teejay and Masicka could sound.
Beach Boii & Simon Said, “Bad Gyal”
Who has the time to be worried about colder weather when Beach Boii and Simon Said are dropping sizzling joints like this one? “Bad Gyal,” a sultry trap-infused dancehall slow-burner, continues the genre’s long-standing tradition of tributing beautiful women, but Simon Said’s relaxed delivery and his and Beach Boii’s lyrics prioritize praising women’s independence as much as they express their desires to be with her. “Anything yuh want, baby girl that’s it/ Gucci from Milan, Louis Vuitton, Français/ Put it pon di Gram, make these hoes upset/ Real bad gyal, so mi know yuh don’t play,” Simon croons over Beach Boii’s string-inflected beat.
Major Lazer & Vybz Kartel, “Nobody Move”
Originally teased back in 2017 — with an additional Lorde feature, no less! — “Nobody Move” is finally here. Released as a part of the 15-year anniversary reissue of Major Lazer’s 2009 debut album Guns Don’t Kill People…Lazers Do, “Nobody Move” finds Kartel interpolating bits of Yellowman’s 1984 dancehall classic “Nobody Move, Nobody Get Hurt.” A far more traditional reggae joint than 2009’s “Pon De Floor” — the last time the two acts linked up for a collaboration with no other guests. It’s a brief track with just one full verse, but it’s prime for easy listening. “Nobody move, nobody get hurt/ Mi feel di vibes, put in di best work/ Jamaica land we love/ I love fi see di gyal dem inna short mini skirt,” Vybz proclaims in a curiously wistful cadence.
Juls, Black Sherif & Projexx, “Timing”
Released as a single from Juls’ Peace & Love album, “Timing” is a world-bridging collaboration between the British-Ghanaian producer, Ghanaian singer Black Sherif and Jamaican artist Projexx. Juls’ ethereal soundscape pulls from Afrobeats as much as it pays tribute to dancehall rhythms and grooves, with Black Sherif’s buoyant energy playing well against the laid-back, reserved approach Projexx takes, each style accenting different pockets of the airy beat.
Jada Kingdom, “Somebody Else”
Jada Kingdom kicked off the year with one of dancehall’s fiercest clashes, and now she’s back with “Somebody Else,” her first release under her new independent entity Kingdom Mab. A characteristically seductive kiss-off, “Somebody Else” finds Twinkle purring her way through an R&B-infused track that balances vulnerability with strength sourced from introspection. “Cause after all the heartbreak, I still gained nothing/ Best of luck, I’m sorry/ It’s too late to want me/ I got my eye on somebody else,” she declares.
Nailah Blackman, “Banana”
Nailah Blackman literally has soca history cousing through her veins — and she does her lineage proud with each successive release. “Banana,” Nailah’s take on the “Double Dip” riddim, brings her over to the power soca as she sings, “A girl no want no soft man/ Gimme a roughneck/ A man to slap it up and/ Gimme some roughness/ Want a man with strong back.” Tailor made for the road, “Banana” is sure to soundtrack some of the wickedest wines in the West Indies and beyond come next Carnival season.
Kenroy Mullings, “Brighter Days”
Analog instrumentation will never go out of style — and Kenroy Mullings is here to remind us of that. A renowned guitarist who works frequently with Buju Banton released his highly anticipated instrumental album, Brighter Days, on Oct. 23, and the title track is one of the strongest offerings. Centered on a sunny guitar melody and accented with ebullient horns and steady, earthy percussion, “Brighter Days” positions itself as the musical equivalent of the first few sun rays breaking through the clouds. There’s hope coursing through every chord, so much so that lyrics feel like a bonus accessory here as opposed to a necessity.
Patrice Roberts, “Kitty Cat”
At the top of October, Trinidadian soca icon Patrice Roberts put her own spin on Suhrawh’s “Cat Attack” riddim. “Yuh have a weakness for sweetness/ Beggin’ for the kitty cat/ So, you have a weakness for sweetness/ I have the sweetness,” she coos over the beat, which sounds just a step or two away from something you might hear on a poppier Brazilian funk track. A tantalizing ode to the power of the kitty and a sultry showcase of both Patrice’s power and sexual prowess, “Kitty Cat” is the perfect song to channel the flirtatious energy of Carnival — even if the season may be over.
Between the Election Day (Nov. 5) and the 2025 Grammy nominations reveal (Nov. 8), the week ahead promises to be one of the busiest in recent memory. The worlds of hip-hop and R&B are sure to be central to both of those events, but major cross-generational news has already made this week a heavy one.
According to his publicist, Quincy Jones, a 28-time Grammy-winning giant across entertainment, passed on Sunday night (Nov. 3) at his Bel Air home surrounded by his family. The producer behind Michael Jackson’s historic LP as well as iconic films such as The Wiz and The Color Purple, Jones’ contributions across music, film, television, and music journalism are immeasurable and his impact will continue to be felt for generations to come.
The news of Jones’ passing comes just days after the shocking conclusion to Young Thug‘s highly-publicized criminal trial. The Hot 100-topping rapper was sentenced to 15 years probation and no prison time after pleading guilty in the long-running case accusing him of leading a violent Atlanta street gang. The decision rocked the hip-hop world, with everyone from Sexyy Red to T.I. reacting to the news. R&B singer Mariah the Scientist, Thugger’s girlfriend, even skipped out on one of her shows on Latto’s Sugar Honey Iced Tea tour to go spend some time with her man.
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With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Jordan Hawkins’ rollicking ode to a “Love So Good” to Big Moochie Grape and Key Glock’s latest link-up. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: J.I the Prince of N.Y, “Get to Know Me”
Nearly a decade after he first appeared on The Rap Game, J.I the Prince of N.Y is still dropping heat. The Brooklyn emcee is always good for a track that seamlessly blends emotional vulnerability with New York braggadocio, and “Get to Know Me” is another winning addition to his catalog. “I know you brushing off ya pain, if you afraid to fall in love can you at least try to love me coldly/ You used to tell me bout ya day, now we dancing in the rain, do you really wanna get to know me?” he somberly sing-raps over a downcast R&B-inflected trap beat, courtesy of DopeBoyz and Buckroll Beats. “Get to Know Me” clearly positions J.I in the lane of A Boogie wit da Hoodie — and, in turn, the legacy of NY rap ballads (shoutout LL Cool J) — but his wordy hooks and stream-of-consciousness verses push him somewhere slightly different. J.I’s new track plays like a rambling apology, sometimes a pre-emptive atonement and other times he knows he’s already too late.
Nippa, “Pride”
London native Nippa has been steadily making waves on both sides of the pond with his slinky mixture of rap and R&B for some time now. “Pride,” a sultry Afrobeats-influenced ode to letting your guard down and giving into love, deserves to be his biggest hit yet. Over lovelorn guitar and a drum pattern that begs every waist in the room to start wining, he sings “Wonder if I try/ Take off my disguise/ Wonder how it feels to be you/ Feeds my ego, play and pick two.” The Louddaaa-helmed track is quite short, which perfectly positions it for endless remixes and extended version to further build out its atmospheric vibe.
Jordan Hawkins, “Love So Good”
Between Leon Thomas’ stunning Mutt LP and the ever-growing rumors of an impending rock album from Beyoncé, the union of rock and R&B has been growing notably stronger this year on the mainstream level — and North Carolina native Jordan Hawkins has something to say. “Love So Good,” a brash, raucous amalgamation of soul, rock, and gospel is a beautiful breath of fresh air. Beginning at the very apex of his falsetto, Hawkins tears through his ode to a life-changing love with an impassioned vocal performance that peppers his slight drawl with histrionic growls, effortlessly matching the rousing energy of the track’s instrumentation. Not too shabby for Hawkins’ first solo single of 2024.
Big Moochie Grape & Key Glock, “Manifest”
Big Moochie Grape is back. The Memphis rapper returned with his Eat or Get Ate 2 sequel project on Halloween. It’s a Paper Route Empire affair on “Manifest” with BMG calling on PRE honcho Key Glock for the braggadocious “Manifest.” Big Moochie manifested this life of luxury with some potent “za” in his pocket and $300,000 worth of ice around his neck. For him, it was always about the dollar signs. “All of these cap-a– rappers trying to fit in,” he raps over Bandplay’s cinematic production. “All I want is money, I don’t need friends.” Glock takes the baton and slows down the pace to balance out Big Moochie’s fervor.
BabyTron, “Nightmare On Yo Street”
Instead of Nightmare on Elm Street, BabyTron’s bringing a nightmare right to your block. With spooky season in full swing, Babytron adds to the terror with “Nightmare On Yo Street.” The Detroit rapper has carved out his own lane with a signature flow that feels like he’s talking directly to you while punching in every haunting bar. “This a f–king gun fight/ Why you bringing a knife,” he asks from the middle of a creepy cemetery in the official visual. It’s a welcomed addition to any ghostly playlist as BabyTron heads into his Tronicles album dropping on Friday (Nov. 8).
Ella Mai, “One of These”
An artist like Ella Mai wouldn’t typically appear in this column with hits on her resume, but “One of These” is an exception to the rule. The British singer may have found her next radio smash with the romantic tribute to her boyfriend and Boston Celtics forward Jayson Tatum. Mustard samples Timbaland’s hollow bounce from CeeLo Green’s “I’ll Be Around” while Ella Mai implores women to get them “One of These.” “Wake up in the morning, he got flowers at my feet,” she sings. Although — there’s just not many 20-something-year-old NBA stars walking the earth who could already waltz to the Hall of Fame.
Seven months after Tyla released her self-titled debut album, which spent five weeks at No. 1 on Billboard‘s World Albums chart, the popiano princess returned with the deluxe edition TYLA +. And after gaining co-signs from SZA, Ciara and more from his “Soh-Soh” cut from his Sunday’s At Zuri’s EP this summer, Afro-R&B artist Odeal is feeding his growing fanbase with more new songs.
And those are just two of the best tracks of the month in African music, which in this edition of the column spans from Nigeria to Ghana to Zimbabwe to South Africa and back again. There’s the deep baritone of the rapper Holy Ten, the distinctive crooning of Ckay and BNXN, the aggressive stylings of Black Sherif and Stonebwoy and a high-profile guest spot from Afro Raver Rema, among several others.
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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 latest Spotify playlist below.
Phyno, “It’s Nothing”
Nigerian rapper Phyno doesn’t come to play on “It’s Nothing,” the opening track of his fifth studio album Full Time Job. He proclaims how his money and legacy are untouchable in his infectious Igbo flow. And Major Bangz’s ’90s hip-hop-inspired production, interspersed with a triumphant horn section, gives Phyno extra pep in his step.
Tyla feat. Tony Duardo, Optimist & Maestro, “SHAKE AH”
Tyla already had our booties shaking to her breakthrough smash “Water” last summer, and she’s bringing us back to the dancefloor with “Shake Ah,” the first of three new songs featured on the deluxe edition of her eponymous debut album. With producer Tony Duardo (who frequently works with fellow amapiano star Uncle Waffles) and vocalists Optimist and Maestro in tow, the Grammy-winning artist stays true to her amapiano roots with the track’s bustling log drums and folk-tinged melody. “Too serious, too serious/ Hands on my hips, he don’t wanna let go,” she breathily coos. Only a handful of the lyrics are sung in English, proving that Tyla can continue breaking through the mainstream without breaking away from the sounds of her native South Africa.
Odeal, “Temptress”
Following the success of his viral “Soh Soh” single, Odeal keeps his momentum going while sonically slowing things down on his latest enchanting offering “Temptress.” He croons about being in love with a woman whose lifestyle (“purple lights,” “cash on the bedroom floor,” you get the picture) clearly indicates the feelings aren’t mutual, while cleverly interpolating Aaliyah’s “Boy, I gotta watch my back, ‘cause I’m not just anybody” line from the chorus of “Are You That Somebody.” (“Friends told me to watch my back, ‘cause I’m one of many bodies,” he sings.) And Harry Westlake’s ‘90s R&B-inspired production has listeners as deep in their feelings as Odeal is in his.
Wizkid feat. Brent Faiyaz, “Piece of My Heart”
Wizkid and Brent Faiyaz are a pair of amorous, yet slightly misleading heartthrobs on the sexy “Piece of My Heart” single, which arrives ahead of Wiz’s sixth studio album Morayo that’s due Nov. 22. Both artists remind their lovers how inseparable they are (“Nothing can tear us apart,” Faiyaz reassures before delivering the track’s titular line) over a sultry guitar hook and bubbling percussion. The Afrobeats superstar playfully nods to his and Drake’s Hot 100 No. 1 smash “One Dance” before the track slows down in its second half. Here, Wiz and Faiyaz croon about how hard it is for their women to catch feelings for them when they’re always catching flights. “Stressful, I know/ Every other day, another timezone,” Wiz expresses. Maybe having only a piece of their hearts isn’t enough.
Nasty C, Lekaa Beats, ODUMODUBLVCK & Chip, “Trouble”
South African rapper Nasty C and Nigerian producer Lekaa Beats blend hip-hop, trap, Afrobeats and amapiano on their joint EP Confuse the Enemy. On the highlight track “Trouble,” Nasty C emphasizes the “pressure” he’s facing from all corners of his life, while featured guests Nigerian MC ODUMODUBLVCK and UK rapper Chip spit verses about their own hardships and how their hustle helped them persevere (“That’s why I let my heart pour every time I rhyme/ ‘Cause I never know who’s listening to me on the other side,” Chips raps). And Lekaa’s affecting Afrofusion production makes those listening to “Trouble” feel at ease.
Holy Ten feat. MrCandy, “Kilimanjaro”
Zimbabwean rapper Holy Ten’s deep baritone anchors this track off his new album Proud Father, with a plaintive acoustic guitar over a driving low-end beat providing a bouyant backbone for the song to soar. Alongside frequent collaborator MrCandy, who delivers a soaring guest verse, “Kilimanjaro” is a standout on the new album, which only suffers from being just 24 minutes long. The entire project is worth a listen.
Black Sherif, “Rebel Music”
Sherif’s aggressive vocal style is on full display on this latest single, with production that feels as big as his ambition and defies any easy categorization. There is something magnetic about Sherif’s confidence on the microphone, not the least because his lyrics center on defiance in the face of adversity and his own sheer force of will — not something to be taken lightly. If his last few singles are any indication, this next album will be an achievement.
BNXN & Rema, “Fi Kan We Kan”
Two of the most distinctive young voices in Nigeria teamed up for this new one, which features BNXN’s signature falsetto floating over the first verse and hook before Rema comes through and delivers a verse so slick that it’s hard to tell if he’s even taking a breath with a confidence that is infectious. The track grows in momentum throughout, with amapiano log drums becoming more pronounced as it goes along — with a cinematic music video that ties it all together.
Stonebwoy feat. Ir Sais, “Memories”
With an old school R&B feel, Ghana’s Stonebwoy delivers an infectious track that both shows off his vocal prowess and distinctive style, while Ir Sais croons over the hook. It’s a song that feels out of another place and time, but works because there’s nothing out like it right now — and is a great primer for his just-released album UP & RUNNIN6 which he dropped last week.
Ckay feat. The Cavemen., “Addicted”
Ckay’s emotional vocal stylings take a detour out of his usual minor-keyed environment into the much brighter highlife world of The Cavemen., resulting in a track that feels like watching an intimate performance at a late-night jazz club, something that’s completely different from what the young singer has done in the past. The band’s percussion gives the song a different vibe, while Ckay’s voice fits in effortlessly, for one of the strongest collaborations this year.
With just over a week to go until the 2024 U.S. Presidential Election and the announcement of the 2025 Grammy nominations, Q4 is living up to its reputation as the most hectic time of the year. To ease us into what’s sure to be a tumultuous next few weeks, stars across hip-hop and R&B have stepped up to keep us entertained and engaged.
Last week, music icon Beyoncé delivered a powerful speech in support of Vice President Kamala Harris‘ bid for the presidency, alongside Kelly Rowland, Tina Knowles, Willie Nelson and Willie Jones. The Oct. 25 rally in Houston activated both the Beyhive and the K-Hive, with around 30,000 people in attendance, according to the Harris campaign.
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Megan Thee Stallion, another H-Town superstar, used last weekend to launch Act II of her Megan LP, which topped R&B/Hip-Hop Albums back in June. Her new release features the breakout hit “Bigger In Texas,” whose hometown-hailing music video features HTX legends like Scarface, Paul Wall and Slim Thug. Opting for an non-traditional Monday release (Oct. 28), Tyler, the Creator dropped off Chromakopia, his seventh studio album, which features appearance from Daniel Caesar, Childish Gambino, GloRilla, Lil Wayne, Teezo Touchdown, ScHoolboy Q, and Sexyy Red.
In more somber news, hip-hop legend DJ Clark Kent — a Brooklyn giant who worked closely with hip-hop heavyweights like Jay-Z and The Notorious B.I.G. — passed away last Friday (Oct. 25) after a three-year battle with colon cancer.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Jordyn Simone and Joseph Solomon’s new wedding anthem to Ms Banks’s fiery comeback track. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Melanie Fiona, “Say Yes”
For the first taste of her forthcoming EP (due next year), Grammy-winner Melanie Fiona is preaching the gospel of saying “yes.” With Thundercat on bass, SiR on backing vocals and longtime collaborator Andre Harris overseeing production, “Say Yes” finds Fiona crooning, “I lay my cards, out on the table / Showing hearts like never before / Tell me will you be ready willing and able / When I come knocking at your door.” As a veteran soul singer, Fiona expertly finds the pockets of groove in the track’s live instrumentation. Inspired by her mental health journey over the past decade and the freedom she internalized after the birth of her son in 2016, “Say Yes” is a gorgeous ode to the perseverance of the human spirit — and the beauty that comes with keeping yourself open when you most want to shut out the world.
Ms Banks, “Boss B—h”
After a two-year break, Nigerian-British MC Ms Banks is back with a fiery new single titled “Boss B—h.” “They tryna rub me out, but I don’t see a b—h fit/ Running up ya lips, but in school you was a prick/ Looking for some shit on me that could get me eclipsed/ But like an Air Force with no tick, it don’t exist,” she spits over a bass-heavy A Class beat that takes a few sonic cues from Detroit rap. Fresh off serving as the opener for the European leg of Megan Thee Stallion’s Hot Girl Summer tour, Ms Banks is poised for a stellar run in 2025 — and “Boss B—h” is a very promising preview.
Dc the Don & Ambré, “Knock Me Off My Feet”
Milwaukee rapper DC the Don’s latest album is finally here, and this Ambré duet is one of the best tracks. Rebirth continues his melding of hip-hop, rock and trap, with “Knock Me Off My Feet” offering an Afrobeats-inflected, romance-minded feel to his musical mosaic. “You was runnin’ ’round the city off no sleep when you met me/ Knock me off my feet when you met me/ That put me on defense/ Back against the curb, now I’m OD, OD,” he croons in the refrain, flaunting an unexpected affinity for slick pop melodies. Ambré’s ethereal tone provides a smart complement to DC’s more grounded delivery that’s filled out by a slightly raspy edge. This link-up arrived in just in time for cuffing season.
Mereba, “Counterfeit”
Buzzy R&B star Mereba has a new project due next year called The Breeze Grew a Fire, and “Counterfeit” is her first offering. Over twinkling, barely-there synths and neo-soul percussion, Mereba’s airy tone soars: “You’re the original/ You never do what they do/ You’re the original/ Don’t let ’em counterfeit you,” she sings in the chorus. For its cinematic outro, the song loses its beat and opts for acoustic guitars wrapped in a swelling string arrangement. “We’re all high, whole function flying/ Look up high, wild sky,” she repeatedly coos, each recitation broadening the expanse that the “original” can claim dominion over.
Jordyn Simone & Joseph Solomon, “I Do”
There’s been some talk about a lack of traditional love songs in modern R&B, but Jordyn Simone and Jospeh Solomon have something to say. A formidable contender for the best wedding anthem released in 2024, “I Do” finds the two vocalists redefining chemistry. “I never thought a love like this would find me/ All on my own, oh, I was just fine when/ You pulled me close, and then I couldn’t fight it/ Deep inside, I knew I couldn’t let go,” they harmonize in the pre-chorus, with Jordyn’s lovestruck timbre blending beautifully with both Joseph’s gentle falsetto and the production’s soulful strings. Love songs about the little things — with a little modulation, to boot! — will never go out of style.
Leo Waters & Kaash Paige, “Smoke + Mirrors (Remix)”
Ever the dependable R&B collaborator, Kaash Paige brings new life to Leo Waters’ “Smoke + Mirrors” with her sultry new remix. Waters dropped the original version of the song last Decemeber, and its plucky piano-inflected groove proved the perfect soundscape for Paige. “Baby, pull up on me/ I’m just tryna feel ya, hear ya/ I’ve been loving you better/ Touching you better than he ever could, ever would/ Now I see smoke and mirrors,” she haughtily promises, blurring the dual metaphors of steamy post-sex mirrors and the lightweight “smoke and mirrors” excuses we lean on to avoid giving into the things we want and fear the most.
Between Megan Thee Stallion‘s “Hiss” and Future, Metro Boomin and Kendrick Lamar‘s “Like That,” hip-hop rang in 2024 with war. Now, as Halloween approaches, peace might be the new name of the game.
On Friday (Oct. 18), Young Thug wrote on X, “@Drake @1future @MetroBoomin we all bruddas. Music aint the same without us collabin.” The Billboard Hot 100-topping rapper — who has collaborated with all three of the rappers he mentioned — appeared on We Don’t Trust You, the Billboard 200-topping joint album between Future and Metro, which ignited the Lamar-Drake feud by way of “Like That.” Future did not respond to Thugger’s post, but he did share it on his own page, prompting fans to speculate about a truce that would bookmark one of the most shocking battles in modern hip-hop.
Lamar, for his part, did not acknwoledge the post — but he did sit with SZA for an interview in the latest issue of Harper’s Bazaar, in which he details what “Not Like Us” means to him. Megan, whose “Hiss” also took aim at Drizzy, announced the release of Megan: Act II, a deluxe reissue of her self-titled June LP, which topped R&B/Hip-Hop Albums. Out Oct. 25, the revamped set will arrive just six days before her In Her Words documentary premieres on Prime Video on Halloween (Oct. 31).
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In legal news, Diddy was hit with yet another round of lawsuits on Sunday (Oct. 20), including one shocking allegation that he “drugged and raped a thirteen year-old girl at a house party” in the presence of unnamed celebrities (who also participated in the assault) following the 2000 MTV Video Music Awards.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Dajah Dorn’s ode to the ’90s to Jordan Adetunji and Lil Baby’s new link-up. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Dajah Dorn, “90s Fine”
The current era’s obsession with the ’90s is already insufferable, but if it gives us more records like Dajah Dorn’s “90s Fine,” then, by all means, let it continue. “They love my Southern demeanor/ Doing what I want, I’m a R&B diva, okay/ I’m just having my way/ Ain’t nothing bringing me down, I’m up now,” rap-sings over a laid-back drum-heavy hip-hop soul beat reminsicent of the subtle sensuality of ’90s Mary J. Blige. As the pre-chorus comes in and morphs into the hook, Dajah sharpens her delivery into straight singing, her honeyed tone and gentle vibrato complementing Buda and Grandz & Saint Cassius’ unfussy soundscape. It’s not often that a song inspired by the ’90s doesn’t sound like paint-by-numbers creation of a track from that era, but leave it to Dajah to truly deliver.
Nija, “Unruly”
In between penning Hot 100-topping hits for Ariana Grande (“Positions) and tracks for Beyoncé’s Grammy-winning Renaissance LP (“Cozy”), New Jersey multi-hyphenate Nija still finds time to write some bangers for herself. “Unruly,” her first solo offering since 2022’s “Love Like This,” extends her stay in the moody drill-meets-R&B lane she helped cultivate with 2022’s Don’t Say I Didn’t Warn You. “Rude, unruly/ They don’t come as bad as this, no/ One of one,” she proclaims over a skittering beat that nods more to sexy drill than its brasher forefather. With her lyrical embrace of raucous freedom when it comes to her love life — and life in genreal — Nija offers up a worthy female perspective to the still-raging slizzy era of New York drill.
Ari Lennox, “Smoke”
Back with her first solo singe of the year, Ari Lennox is throwing it back to Motown. Lennox has been open about both her struggle with social media and her sobriety journey, and she lets out all of her frustration on “Smoke.” “Talk shit now/ I might just slap a bitch in the face/ It could blow up/ You’re lucky I’m just lightin’ my sage,” she promises in the second verse of the doo-wop-infleceted, BongoByTheWay-helmed track. The driving force of “Smoke” is Ari’s impassioned vocal performance, her piercing timbre ringing across the track and nailing the sense of urgency that the hook is anchored by. “Save all your f—s for me/ I want all the smoke,” she proclaims — and she gives us no choice but to wholeheartedly believe her.
Lexa Gates & Zeelooperz, “Sweet.. Time”
Lexa Gates is here with her Elite Vessel debut album after spending the final 12 hours until the project’s arrival inside a glass box case in the middle of an NYC park. Brass woodwinds produce a jazzy backdrop for Gates to nestle her way through a timeless beat that could’ve arrived any of the last few decades. “Sweet.. Time” displays Gates’ full repertoire as a talented singer-rapper and she doesn’t waste a second packing a punch through listeners’ chests. “I love you so much I want to kill myself,” she pleads, before eventually handing the baton to Detroit’s Zeelooperz for a spicy assist.
Jordan Adetunji & Lil Baby, “Options”
If something’s not broken, don’t fix it. Jordan Adetunji builds off of the massive success of his Billboard Hot 100 hit “Kehlani” with “Options,” featuring an appearance from Lil Baby. JA continues experimenting with melodies, but installs a similar bass drum pattern that became looped in fans’ heads on “Kehlani.” Partners are only as faithful as their options and Adetunji has plenty of avenues to explore, but he prefers to hone in on a certain love interest. Lil Baby makes it two for two when connecting with singers recently following his 4batz collaboration last month.
Sofia Ly, “Needy”
Romance and an acoustic guitar have been a cathartic formula for R&B success throughout the genre’s existence. Sofia Ly returns with her second single “Needy” as the Cambodian-Canadian singer peels back the layers of a turbulent relationship while vulnerably sifting through her insecurities. “I wanted Needy to feel like having a conversation with myself,” she says about the poignant track. “It’s about battling that inner voice when you’re not sure if someone still cares, and how easy it is to second-guess everything when they start pulling away.” Essentially, love fades but the scars last forever. The 19-year-old recently inked a deal with LiveHelpLive/Pulse Records and is a name to keep an eye on going forward.
We’re in the full swing of autumn, which means it’s “sliding down the wall” season — and that calls for a new Summer Walker album. On Friday (Oct. 11), the Billboard chart-topping crooner announced her third studio LP, Finally Over It, alongside the pre-save for its lead single, “Heart of a Woman.” The new set will follow 2019’s Over It and 2021’s Still Over It, which debuted at No. 2 and No. 1 on the Billboard 200, respectively.
GloRilla, another beloved Southern female artist, dominated music news this week with the release of Glorious, her highly anticipated debut studio album featuring collaborations with Megan Thee Stallion, Kirk Franklin, Latto, Sexyy Red, Muni Long, and more. Fellow MC J. Cole also grabbed some of the spotlight; last Wednesday (Oct. 9), he released a new track titled “Port Antonio,” in which he detailed his thought process behind stepping out of the year-defining Kendrick Lamar–Drake feud.
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In other news, Ye (formerly Kanye West) is being sued by former assistant Lauren Pisciotta, who alleges the rapper drugged and sexually assaulted her during a studio session he co-hosted with embattled mogul Diddy.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Cordae’s blazing new track to Elijah Blake and Sevyn Streeter’s smoldering duet. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Freshest Find: Elijah Blake & Sevyn Streeter, “Stuck in My Ways”
Earlier this year (Aug. 2), R&B singer-songwriter Elijah Blake dropped one of the year’s most stellar albums. Now, he’s back for a victory lap with the deluxe edition of his self-titled set. Assisted by a passionate co-lead vocal courtesy of fellow R&B heavyweight Sevyn Streeter, Blake delivers “Stuck in My Ways,” a heartwrenching duet that equally explores the throes of love and pain like only R&B can. “I miss my friend/ Stay the night/ And love me out/ Of these chains/ Got me stuck in my ways,” they croon in the final chorus, Blake’s forlorn falsetto and Streeter’s skittering rap-inflected cadence beautifully coalescing across a sweeping, string-laden soundscape cultivated by Eric Hudson.
S!MONE, “Short Notice”
Led by Grammy winner Coco Jones, the cast of Peacock’s Bel-Air has ample music crossover — and S!MONE (aka Simone Joy Jones, the actress who portrays Lisa Wilkes) is looking to continue that streak. Over neo-soul-evoking bass and swinging percussion, S!MONE sweetly sings of the cat-and-mouse game of the early stages of infatuation. “I left my T-shirt in your car/ Something in the shower/ Thought I left my heart, be there in an hour,” she croons, camping out in her sensual falsetto and occasionally decorating the lead vocal line with tasteful riffs and melisma.
Dave East feat. Jozzy, “Ain’t Get Caught”
New York rapper Dave East has been dropping heat for nearly a decade and a half, and his new Jozzy-assisted “Ain’t Get Caught” is the latest addition to his collection. Nearly four minutes of nuanced self-reflection on his younger, rowdier days, “Ain’t Get Caught” finds East effortlessly flying through a combination of flows that highlight the different pockets of the breezy, bass guitar-inflected Scott Storch production. “I was hiding evidence while they was looking for proof/ Marble floors, elegant, such a heavenly view/ I wake up and hear the birds singing/ Such a beautiful song/ Was guilty to proven innocent but knew I was wrong,” he spits, before Jozzy croons, “Feels so good that we didn’t give up/ Feels so good that we didn’t get caught,” offering a bird’s eye view to complement East’s cerebral verses.
Big Boogie feat. 42 Dugg & YTB Fatt, “Pool Party”
Everyone should want an invite to Big Boogie’s “Pool Party.” The CMG rhymer lifts the spirits of any room he steps in with his jovial personality and cheeky bars. After emerging from underwater, Boog’s raspy flow paints a picture of his ratchet pool party filled with booze, women and money raining from the sky. He then tags in his teammates 42 Dugg and YTB Fatt to complete the 100-meter rap freestyle relay race. Building on the momentum of his Gangsta Grillz Redrum Wizard mixtape from earlier this year, Boogie will deliver a second 2024 serving with his ETHER project on Oct. 18.
Cordae, “Mad as F*ck”
The Crossroads era is here and Cordae unleashed another single with “Mad as F*ck” finding the DMV spitter taking his frustrations out over starry Smoko Ono production. He raps “Took your dream girl on a f–king date/ I still show up late like Lauryn Hill/ Then I hit her good in my penthouse/ Told her, Get out, like Jordan Peele” like the rent is due. It’s a three-minute lyrical masterclass, with Cordae making his bar exam look easier than a Steph Curry jumper. The 27-year-old hopes to leave his mark on the year’s fourth quarter, with his third studio album arriving on Nov. 15.
Wynne & Conductor Williams, “Bad Girl”
Wynne is letting her guard down and getting even more personal heading into her next body of work. The Portland native delivers a raunchy ride-or-die anthem with “Bad Girl.” Wynne really has an affinity for nailing relationship issues and relatable romance situations that millennials and Gen-Z are struggling to navigate. There are times it feels like looking in a mirror with just how accurate she is. The potent MC doesn’t flinch when coloring in the lines of Conductor’s dusty boom-bap drums as his hard-hitting beats continue to stand out among the pack.
Big Moochie Grape, “Trollin”
It’s a dog-eat-dog world out there. Big Moochie Grape goes after his opposition, who turn to trolling and other online antics, which he’s not part of at all compared to some other 20-something artists roaming the music industry. “I don’t give a f–k how I say it, just know everything facts,” the PRE rapper declares in his husky voice. With his legal issues behind him, Big Moochie’s larger-than-life personality will shine through on his Eat or Get Ate 2 sequel project, which arrives on Halloween.
Wolfacejoeyy feat. BEAM, “Nympho”
A viral snippet fans have been bumping for a couple of months finally received a proper release on DSPs. After Missy Elliott didn’t give Wolfacejoeyy sample clearance, he went back to the drawing board on the woozy production for the BEAM-assisted “Nympho.” The sultry yet intoxicating track feels like something out of the PartyNextDoor or Bryson Tiller playbook with Joeyy’s melodic sauce bringing the steamy composition to another level. “You my main, you never the side-piece/ I’ll make it real for you like Spike Lee,” Joeyy coos. Even after Valentino’s impressive arrival earlier this year, the Staten Island rapper isn’t letting up to close out 2024.
Buju Banton’s viral Afrobeats-lambasting Drink Champs appearance (Aug. 28) previewed a particularly contentious month for reggae and dancehall music, and September did not disappoint.
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After announcing the removal of the reggae recording of the year category from the forthcoming 2025 JUNO Awards, the Canadian Academy of Recording Arts and Sciences (CARAS) has reversed its decision, allowing a new crop of competitors to join past winners like Leroy Sibbles, Exco Levi and Kirk Diamond. The news came just a few weeks before an update in the curious removal of Drake‘s “Blue Green Red” from streaming services. The dancehall-inflected track — which peaked at No. 63 on the Billboard Hot 100 as a part of the rapper’s 100 Gigs EP — allegedly lifted elements from Tiger’s “When” (1991) without proper clearance. Later disputes about who actually serves as Tiger’s publishing representative continues to keep the song off streaming services, but producer Boi-1da asserts that the song could “possibly be back up” once those issues are resolved.
In live performance news, R&B icon Usher brought out a pair of Jamaican powerhouses for his Past Present Future Tour: Grammy-nominated reggae star Barrington Levy delivered renditions of “Here I Come,” “Black Roses” and “Tell Them A Ready (Murderer)” at the trek’s final Brooklyn show (Sept. 10), while Caribbean Music Award winner Masicka performed “Fight For Us” at the final Toronto Show (Sept. 3). At the latter stop, Canadian rapper and producer Kardinal Offishall also joined forces with Usher for a special cover of Chaka Demus & Pliers’ “Murder She Wrote.”
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Naturally, Billboard’s monthly Reggae/Dancehall Fresh Picks column will not cover every last track, but our Spotify playlist — which is linked below — will expand on the 10 highlighted songs. So, without any further ado:
Freshest Find: Azato, “Disconnect to Connect”
As a global society, we’re probably past the point of no return when it comes to the unhealthy amount of time and energy we collectively give to technology and social media. With “Disconnect to Connect,” a warm, full-bodied mélange of soulful roots reggae and notes of soft rock and jazz, Hawaiian reggae band Azato deliver something greater than a finger-wagging “get off your phones” anthem. “Are we truly free, or just followers of likes?” he questions us, urging us to detox, if only for a moment. Roots reggae has proven to be rich soil for sociopolitical commentary for decades, and Azato offers up a distinctly 21st-century lens through “Disconnect to Connect.”
Runkus, Royal Blu & Kush Arora, “No Long Talking”
“Life In the Jungle” might be the main attraction, but “No Long Talking” is a much more intriguing offering from Jamaican artists Runkus and Royal Blu and Bay Area producer Kush Arora. A fiery amalgam of drill and dancehall, complete with machine gun sound effects, rapid fire flows, and a promise to get “straight to the action, don’t wanna play.” Built around Kush’s “Desi Cowboy” riddim, both Runkus and Royal Blu embody the lawless spirit of the Wild West with this slinky gun chune.
Morgan & Byron Messia, “Wheel Up”
It’s been over a year since “Talibans” dominated the summer across the Caribbean diaspora, and Byron Messia still stands as one of the biggest dancehall breakout stars in recent memory. On his new collaboration with U.K. pop/R&B arist Morgan, Messia proves himself a surprisingly strong supporting player. A sleek fusion of R&B and dancehall, “Wheel Up” is a sultry ode to Jamaican sound clash culture and the heated nights of passionate dancing and flirting that follow. “One more sin inna mi cup/ Dis ting we affi wheel up,” Morgan croons in the chorus of the Slim Typical-helmed track. Ain’t nothing with rewinding those fleeting moments of connection to make them last a little while longer!
Gyptian, “In the Dark”
Gyptian has been cranking out love and lust-minded dancehall classics for years now, and he’s showing no signs of letting up anytime soon. With his latest single, “In the Dark,” the Billboard chart-topping star zeroes in on the love affairs that thrive when the night falls. “She said, ‘I can come over tonight’/ ‘And do with you whatever’/ Wait till it’s dark outside/ And just make your way over,” he sings over the guitar-inflected reggae-pop beat, painting a thrilling narrative of a secret relationship that can only live in the darkness. It’s a less heartwarming story than the one he tells on “Hold Yuh,” but it’s equally enthralling because of the forbidden spaces it pushes his songwriting to.
Shenseea, “Dating SZN”
It’s wild to think that in 2024, people still (figuratively) clutch their pearls when women speak about balancing different partners, but leave it to Shenseea to render that faux outrage null and void. “You a nuh mi man, mi nah haffi explain/ Mi nuh have no obligation/ Journey might be slow/ But mi haffi sure say you’re the one/ So mi have couple a unuh inna rotation,” she explains in the first verse, letting it be known that she sets the terms of all these arrangements — nobody else. The Supa Dups-produced track references the iconic instrumental hook from TLC’s Hot 100-topping “No Scrubs,” an increasingly rare instance of a newer song referencing a classic track and building on that song’s narrative and concept. These guys are scrubs, why would Shenyeng ever lock herself down like that?
Jahmiel & Minto Play Da Riddim, “Self Worth”
Always good for a poignant, introspective track, Jahmiel delivers yet again with “Self Worth,” a tender collaboration with Minto Play Da Riddim. Emphasizing themes self-empowerment, the track balances somber piano keys, a spoken interlude, and an undercurrent of gospel melodies to create a sonic comforter of hope and reassurance. “A user nah go ever love you like you love yourself,” he croons, reminding us all that our sense of self should always be grounded in an intimate understanding of our own individual self-worth.
Popcaan, “Show Me”
The Unruly Boss is back with a new drop. “Show Me,” the dancehall icon’s latest offering is standard sexed-up dancehall fear, and that’s perfectly fine. Produced by Teejay of TJ records, “Show Me” is as playful as it sensual, with Popcaan begging his prospective lover to “show me what you can do.” His smooth delivery offers a nice complement to the hip-hop-inflected riddim, but there’s just enough fire in his exclamations and ad-libs to make sure the flame never dies.
Vybz Kartel, “The Comet”
As the whole world knows by now, Vybz Kartel is finally free. He’s already dropped off a collection of new bangers since his release and in a wholly characteristic move, he’s given us some more. If anything, “The Comet” feel like a foreboding prelude to a new set of bangers ahead of his highly anticipated return to the stage in Jamaica later this year. “Mi f–k yuh madda thru di prison grill/ Mi f–k yuh gyal thru di prison window/ Wet up ‘e p—y wid mi middle finger/ Then mi dig it out hard wid di timber,” he snarls in trademark badman fashion before chanting, “I thought I told you that the comet is comin’” in the chorus. Who knows what “The Comet” is warning for, and, honestly, it doesn’t even matter — it’s a heater all on its own.
Bamby, “Guyane”
Guyanese dancehall and shatta singer Bamby infuses those two Jamaica-indebted genres with a healthy dose of her own Creole roots. Complete with a video shot in her home country, Bamby sings in both French and Creole as she waxes poetic about the beauty, strength and virtue of Guyana. “Yé ka mandé pou kissa nou fâché (They ask why we are angry)/Babylon pa pé rété (Babylon can’t stay)/ Malè ki zot voyé (This misfortune they sent)/ Lanmè ké fine pa chariél (The sea will no longer carry it),” she croons over a sparkly, thumping dancehall beat.
Amanda Reifer & Sean Paul, “Sweat (Part II)
A sequel to the opening track from her Island Files project earlier this year, “Sweat (Part II)” finds Barbados’ Amanda Reifer joining forces with Jamaica’s Sean Paul for a sexy reggae-pop jam. The new version of the song changes very little from the original, but Sean Paul’s mellow guest verse offers a nice male perspective to complement both Amanda’s POV and her loftier vocal register. “You waan me touch it girl/ Me well conscious me want you trust it girl/ The stars and the moon shine for us girl/ You are my Isis , I am Osiris girl,” he proclaims to close out his verse. Who said the breezy reggae love jams have to stop when the weather gets chillier?
It’s officially fall, and these African artists have plenty of new music to usher in the new season with.
Oxlade transcends the continent’s borders with a vibrant combination of old-school African music and modern-day Afrobeats — and an international array of guest artists, from Jamaican dancehall star Popcaan to U.K. rapper Dave to legendary Nigerian singer-songwriter Wande Coal and Congolese icon Fally Ipupa — on his long-awaited debut album OFA (Oxlade From Africa). And Fireboy DML puts his heart on his sleeve and stays true to the sounds he grew up listening to on his self-titled fourth studio album Adedamola.
We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our latest Spotify playlist below.
Mofe., “Good Day”
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Mofe. fuses Afrobeats and disco for his self-branded Afrodisco jam “Good Day.” The Nigerian American artist behind the viral track “Prince of Egypt” – which Destroy Lonely sampled on “Cadillac,” from his latest Love Lasts Forever album – adds a funkier groove, assisted by shimmering synths, to Afrobeats’ syncopated percussion and overall feel-good vibe. It’s kind of impossible to not have a good day while listening to this song.
Fireboy DML feat. Seun Kuti, “ecstasy”
Fireboy DML craves a woman’s body like “ecstasy” on this erotic number from his eponymous fourth album Adedamola. Producer Bassiqally’s ebullient percussion occasionally dotted with log drums and chanting ad-libs, paired with featured artist Seun Kuti’s sexy and soulful saxophone melodies, make “ecstasy” sound as addicting as the real deal. “It’s a song that sounds like sex – I always have a record like that on every album, because it’s somewhat a part of my personality,” he told Apple Music, adding that he “had an image of [Kuti] on the sax for the record…. He’s an amazing person with a very crazy and colorful personality that resonates with me.”
Odunsi (The Engine), “BACK IN OFFICE”
Odunsi (The Engine) makes being “BACK IN OFFICE” much more amusing in the opening track of his latest EP Nigerian Boyfriend. The alté artist assumes the position of a boss who entices women with his “tune and bounce,” this time with a swelling orchestral intro and outro that bookend the song’s polyrhythmic production (courtesy of OTE, who’s also the sole songwriter). And with its corporate-themed visualizer, “BACK IN OFFICE” would’ve been the perfect campaign song for I AM GIA’s new Gia Office.03 collection.
Minz, “mo de ma [by any minz]”
Minz becomes a soothing voice of reason on his “mo de ma [by any minz]” single that dropped ahead of his debut album By Any Minz, due Oct. 4. He reflects on his journey to the spotlight, including the “dark days when man never glow,” over Puffy Beatz’s relaxed production. Grammy-winning singer Angélique Kidjo is heard in the outro, calling out his album title within seconds of meeting Minz. “This felt like a revelation…. Sometimes, the signs show up exactly when you need them, and they make everything make sense,” he wrote on Instagram underneath a clip that captured the kismet moment.
Oxlade, “RMF”
Oxlade is “all about that life” on “RMF” from his debut studio album OFA (Oxlade From Africa). “RMF,” which stands for “Rich Motherf—er,” finds the Nigerian hitmaker relishing in his new luxe lifestyle while going back to his rapping roots. “When I was in secondary school, I stopped singing because of peer pressure. I had to learn how to rap to fit in. I’m grateful now cos [sic] it’s affected my pen!” he told Wonderland. And its Fela Kuti-inspired Afrobeat production, from the grandiose horn melody to the dizzying saxophone outro, pays homage to the vintage African sound.
Fireboy DML, “Change Your Life”
The YBNL crooner gets into the groove on “Change Your Life,” off his latest album adedamola. Propelled by an insistent backbeat, an adventurous bassline and a track-opening trumpet solo — that’s right — producer Bassiqally quickly sets a tone that makes “Change Your Life” stand out from the rest of the project musically, even if it remains firmly within the romantic love-life stories that populate the album. But “Change Your Life” continues to surprise throughout, with Fireboy bringing melody on top of melody and proving adept at riding the rhythm.
Oxlade feat. Sarkodie, “OLOLUFE”
There are plenty of standouts on the latest Oxlade album OFA, which essentially serves as a clearinghouse for his best singles of the past 18 months. Oxlade himself is adept at setting the vibe, with his vocals soaring over the production, a mix of doubled-melody and falsetto that reaches into the stratosphere. This track really shines, however, with the forehand punch that is Sarkodie’s verse, which punctuates the ambiance and brings a renewed energy and a swagger to the track that sets it apart.
Morravey, “Ifineme”
One of the breakout stars of Davido’s phenomenal Timeless album from 2023 on the track “The Garden,” Morravey — also signed to David’s Davido Music Worldwide label — is a dynamic singer with a gorgeous voice, and this new cut “Ifineme” is another from a similar mold. The song came hand in hand with another single, “Upstandin,” that also showcases her vocal prowess, but it’s “Ifineme” that truly feels transcendent: a track that builds organically with its feeling of the early days of love, until reaching a soaring hook complete with a full choir that fills to the rafters. It’s a great song, and her winking metaphors demand repeat listens.
LADIPOE & taves, “Compose”
A low key intro and a reverb-soaked background quickly give way to a tight groove on this latest collab, with LADIPOE flowing effortlessly over the beat, bouncing in time, as he raps about his latest romantic interest. Featured guest taves makes little more than a cameo, but it’s really the hook that makes the song such an earworm — “You wan make my head explode” — with a catchy melody that burrows into the brain. There’s a joy to this one that bubbles under the surface but comes through nevertheless, and which stamps itself on the listener.
Khaid feat. Olamide, “Way Back”
Few young singers have made as much of an impact in the past two years as Khaid, who despite his string of infectious singles is still just a teenager. But this track sees him linking up with one of Nigeria’s OGs, as Olamide comes through with a verse in his classic style — cocky, on and off the beat, always dripping with swagger and effortless cool — before ceding the floor back to Khaid and his penchant for crafting melodies that seem timeless, despite his years. It helps that the music video is pure fun, too, with the duo clearly enjoying themselves in the studios. Khaid hasn’t missed yet.