Category: Music

Pop superstar Justin Bieber has surprised fans yet again with the unexpected release of his eighth studio album, Swag II, on September 5, 2025. The project arrives less than two months after the launch of his previous album Swag, signaling one of the fastest turnarounds between albums in his career.

A Surprise Rollout

The album was announced in typical Bieber fashion; with cryptic billboards lighting up major cities including New York, London, Seoul, and Sydney, followed by a social media reveal just hours before release. However, some fans reported brief delays on streaming platforms, with the album appearing several hours later than its scheduled midnight debut.

Despite the hiccups, the rollout generated massive buzz online, amplified by the album’s striking pastel-pink cover art and a matching capsule collection from Bieber’s clothing brand SKYLRK.

A Double Album with 44 Tracks

Swag II arrives as a double album, featuring 23 brand-new songs alongside the 21 tracks from Swag. Together, the project runs for more than two hours, offering fans a marathon of Bieber’s evolving sound.

While Swag leaned heavily into R&B textures, its sequel embraces a more pop-oriented direction. Bieber’s vocal performances shift from soulful ballads to high-energy anthems, showing both his versatility and confidence as a performer.

Collaborations Across Genres

The new record is loaded with star-studded collaborations:

• Tems brings her soulful Afro-fusion touch to “I THINK YOU’RE SPECIAL”.
• Hurricane Chris injects Southern flair into “POPPIN’ MY S***”.
• Eddie Benjamin delivers one of the most intimate moments on “OPEN UP YOUR HEART”.
• Gunna, Cash Cobain, Bakar, Druski, Sexyy Red, Dijon, Lil B, and Marvin Winans all make appearances across various tracks.

The album’s production credits are equally diverse, with names like Mike Will Made It, Carter Lang, Dijon, Mk.gee, and Buddy Ross shaping its eclectic sound.

Beyond its collaborations, Swag II reflects Bieber’s current life stage; balancing global superstardom with his journey into fatherhood and self-discovery. Many songs highlight themes of intimacy, healing, and creative rebirth, contrasting with the swagger-heavy energy of its predecessor.

Despite release delays on certain platforms, Swag II is already climbing the charts and sparking discussions across social media.

Key Fact Box:

• Artist: Justin Bieber
• Album: Swag II
• Release Date: September 5, 2025
• Format: Double album (44 tracks, 2 hrs 11 mins)
• Notable Features: Tems, Gunna, Bakar, Hurricane Chris, Eddie Benjamin, Sexyy Red
• Style: Pop-driven with R&B and hip-hop influences
• Merch: SKYLRK pastel-pink capsule collection

Hip-hop in the 21st century has been defined not only by artistry but also by commercial dominance, Billboard chart records, streaming power, and cultural influence. To capture this fully, the following; chart performance, longevity, commercial reach, and global impact; while keeping the focus squarely on hip-hop.

1. Drake

Drake stands as the undisputed leader of 21st-century hip-hop. His Billboard chart dominance is unmatched, holding the record for the most Billboard Hot 100 entries and numerous R&B/Hip-Hop chart milestones. Albums such as Take Care, Views, Scorpion, and Certified Lover Boy broke streaming records and produced anthems that defined entire eras. Beyond the numbers, Drake’s ability to merge rap with R&B and pop melodies reshaped hip-hop into the most accessible genre of modern music. His global tours and collaborations have only reinforced his status as the most commercially successful rapper of this century.

2. Jay-Z  

Jay-Z’s career began before the 21st century, but his influence and dominance extended deeply into it. The Blueprint (2001) and The Black Album (2003) are benchmarks in rap history, while 4:44 proved his relevance well into his late career. His Billboard credentials include 14 No. 1 albums on the Billboard 200, making him one of the most charted rappers of all time. More than just a musician, Jay-Z set the template for hip-hop as enterprise, showing how artistry, business, and cultural leadership can intersect. His impact resonates through music, fashion, and even sports ownership.

3. Eminem

Eminem remains one of the best-selling rappers ever, with multiple diamond-certified albums. The Eminem Show and Encore dominated the early 2000s, while songs like “Lose Yourself” and “Love the Way You Lie” became cultural fixtures. Billboard numbers back his legacy—he has over 10 No. 1 albums and numerous chart-topping singles. While his commercial dominance slowed in the 2020s, his legacy as a lyrical giant and crossover superstar secures his place in the upper echelon of 21st-century hip-hop.

4. Kanye West  

Kanye West’s legacy is built on both chart success and innovation. The College Dropout (2004) shifted rap’s narrative, while Graduation (2007) marked his global rise. 808s & Heartbreak reshaped rap’s emotional language, and My Beautiful Dark Twisted Fantasy is widely considered a masterpiece. His 10 Billboard 200 No. 1 albums and cultural influence across music, fashion, and art make him an essential 21st-century figure. Despite controversies, his artistic contributions remain undeniable.

5. Lil Wayne

Lil Wayne dominated the mid-to-late 2000s with his relentless mixtape output and the Tha Carter album series. At his peak, Wayne was releasing music that saturated Billboard charts and influenced nearly every rapper who came after him. His role in discovering and mentoring Drake and Nicki Minaj through Young Money cemented his importance in shaping the next generation. With Grammy wins, countless Billboard hits, and unmatched influence on modern rap slang and flows, Wayne’s legacy is undeniable.

6. Kendrick Lamar

 Kendrick Lamar represents the bridge between commercial success and critical acclaim. While he does not match Drake in Billboard chart numbers, his albums (good kid, m.A.A.d city, To Pimp a Butterfly, DAMN.) are regarded as cultural landmarks. DAMN. even earned him the Pulitzer Prize, the first for a rapper. His singles such as “HUMBLE.” and “Alright” are both Billboard successes and cultural touchstones. Kendrick’s ability to balance mainstream success with social commentary makes him a unique figure in 21st-century hip-hop.

7. Nicki Minaj

Nicki Minaj is the most successful female rapper of all time, both commercially and culturally. Her Billboard stats include dozens of Hot 100 entries and multiple No. 1 singles. Beyond numbers, she broke barriers for women in hip-hop, sustaining dominance in a male-dominated space for more than a decade. Her albums (Pink Friday, The Pinkprint, Queen) brought her global fame, and her persona influenced an entire generation of rappers. Nicki’s combination of lyrical skill, mainstream success, and cultural imprint places her firmly in this ranking.

8. Future  

Future reshaped trap music into a dominant sound of the 2010s. His Billboard presence is substantial, with multiple No. 1 albums and Hot 100 hits. Albums like DS2 and HNDRXX defined modern trap, while collaborations with Drake (What a Time to Be Alive) expanded his reach. Future’s influence is clear in the melodic, auto-tuned style adopted by today’s rising rappers. His consistency across mixtapes, albums, and collaborations solidifies him as one of the most important hip-hop voices of this century.

9. J. Cole  

J. Cole embodies the self-sufficient rapper, often producing his own work and rarely relying on guest features. Despite this, he has achieved remarkable Billboard success, with every studio album debuting at No. 1 on the Billboard 200. Albums like 2014 Forest Hills Drive and KOD resonate both commercially and critically, making him a rare figure who balances introspection with chart performance. His “platinum with no features” narrative underscores his unique place in hip-hop history.

10. Travis Scott

Travis Scott brought spectacle to modern hip-hop. His Billboard breakthrough came with Astroworld (2018), which included “Sicko Mode,” his first Hot 100 No. 1 single. His live performances, particularly the Astroworld Festival, redefined hip-hop shows as immersive experiences. Scott’s collaborations with Nike and his influence on fashion and youth culture expand his cultural dominance beyond music. While his career is still evolving, his chart presence and cultural influence secure him a spot in this top 10.

This ranking reflects the dual lens of Billboard-inspired metrics; chart performance, longevity, and commercial power, combined with artistry and cultural significance. These 10 artists shaped the 21st-century hip-hop landscape, and their impact continues to define the genre globally.

After five years away from her last album release, Tiwa Savage returns with This One Is Personal; a 15-track body of work that pulls her away from Afropop dominance into a stripped-down, deeply vulnerable space. Where 2020’s Celia was bold, global, and radio-ready, This One Is Personal feels like the diary entries Tiwa never intended to share but bravely did anyway.

Sound & Atmosphere

The first thing you notice is what’s missing: the high-energy beats that once powered hits like “All Over” or “Ma Lo.” Instead, the production here is minimal, at times skeletal—pianos, soft percussion, and spacious R&B backdrops.

This shift is deliberate. On “I’m Done,” the piano feels like a stage light focused solely on her voice. “You4Me” reworks Tamia’s So Into You into a breezy Afrobeats-R&B hybrid. “On the Low” carries a smoky sensuality, its Afro-groove subdued to make room for Skepta’s rap.

It’s intimate, yes but also risky. The quieter sound creates room for her voice to shine, but it also strips away some of the dynamism that made her previous projects more versatile. For some listeners, the pacing may drag after a few tracks, as the emotional weight leans heavily toward sorrow and reflection.

Themes & Storytelling

Tiwa promised vulnerability, and she delivers. The lyrics carry raw honesty, often exposing cracks instead of polishing them over.

• Toxic Love: “Angel Dust” paints love as an addiction, seductive but destructive.
• Heartbreak & Bitterness: “You’re Not the First (You’re Just the Worst)” might be her bluntest song yet, sharp, even petty, but undeniably human.
• Faith & Spirituality: On “Change,” featuring James Fauntleroy, romantic yearning blurs into a conversation with God—a rare pivot that elevates the record’s depth.
• Emotional Fatigue: “Pray No More” feels like a sigh of exhaustion, a prayer from someone tired of constant battles.

The narrative arc is heavy: heartbreak, disillusionment, attempts at healing. It’s moving but narrow. One missing element is contrast; there are few bright or hopeful moments to balance the melancholy.

Collaborations That Complement

One of the album’s smartest choices is restraint with features. Skepta’s appearance on “On the Low” feels organic, adding grit without stealing attention. Rising star Taves fits seamlessly into “Addicted.” James Fauntleroy on “Change” provides the record’s spiritual climax.

In an era of feature-stuffed albums, this discipline gives This One Is Personal cohesion. Every guest feels like part of the story, not a marketing checklist.

What Works

• Honesty: This is Tiwa at her most unguarded. She doesn’t hide behind pop gloss.
• Cohesion: The album feels like one body of work, not a random playlist.
• Intentional Features: Skepta, Taves, and Fauntleroy serve the music, not the hype.

What Doesn’t

• Pacing: The mid-tempo mood rarely shifts, making some tracks blur together.
• Limited Emotional Range: Almost all songs sit in heartbreak and reflection. A moment of joy or defiance would have added balance.
• Commercial Appeal: Fans wanting another “Koroba” will find little to dance to here.

This One Is Personal is not a flawless album, but it’s a brave one. Tiwa Savage steps away from her comfort zone, risking commercial momentum to reveal her humanity. The result is a project that may not dominate charts but will resonate with those who crave authenticity in music.

It’s a record for headphones, quiet car rides, and solitary nights—not for the club. And maybe that’s the point.

Rating: 8/10

The South African Music Awards 2025 (SAMA31) have officially unveiled their nominations, spotlighting the best in South African music across genres such as amapiano, afro pop, hip hop, jazz, gospel, rock, and traditional music. Scheduled for November 2025, the awards will recognize both established stars and rising voices, while also celebrating African artists through the Rest of Africa Award.

The Rest of Africa Award brings continental powerhouses into the mix, including Wizkid, Tems, Ayra Starr, and Fireboy DML.

These nominations emphasize the diversity and global influence of South African music, while also aligning the SAMAs as a continental benchmark for excellence.

Full List of SAMA 2025 Nominees

Best Adult Contemporary Album

• Just 6 – uKhisimusi – An African Christmas
• Melanie Scholtz – Seven
• Tony Drake – Room For Everyone
• Nue Sam – Nonyezi
• The Morning After – Look At You Now

Best African Adult Contemporary Album

• Zamajobe – UMI
• Thandiswa Mazwai – Sankofa
• Zoe Modiga – Nomthandazo
• Ndu Shezi – Isibusiso Sami
• Mthuthu – Indumiso YabeNguni

Best Afro Pop Album

• Nomfundo Moh – Twenty Four
• Malik – Malik
• Sjava – Isibuko (Deluxe)
• Sjava – Inkanyezi (Live)
• Dalom Kids – Collaborations With Friends

Best Alternative Album

• Yoav & Jabulile Majola – Unyazi
• Zādok – Perspective: Black
• Francis Soal – Hindsight 2020
• Th&o – Emlotheni
• Spoegwolf – Berge

Best Amapiano Album

• Vigro Deep – Your Piano Is Not My Piano
• Kelvin Momo – Sewe
• Kelvin Momo – Ntsako
• Mellow & Sleazy – Midnight in Sunnyside
• Zee Nxumalo – Inja Ye Game

Best Classical/Instrumental Album

• John Lundun – In the Morning
• Chris Vale, Eugene Joubert, Franco Prinsloo, MarlizeHattingh – By Alle Skone Dinge
• Derek Gripper – Ballaké Sissoko & Derek Gripper
• Vox Chamber Choir & Franco Prinsloo – A Season in Paradise
• Orecchiette – Awake for 22 Hours

Best Collaboration

• Kelvin Momo – Waze Wamuhle
• Black Motion – Takala
• Kususa – Ematshwaleni
• Matt Davies – Stay With Me
• Mas Musiq, Lawd Weezy & DJ Maphorisa ft TO Starquality, Chley & Kabza De Small – Amalanga

Best Dance Album

• Black Motion – The Cradle Of Art
• Dlala Thukzin – FINALLY FAMOUS TOO
• MÖRDA – Cr4zy!!..
• Shimza – Dreaming
• Caiiro – Caiiro

Best Engineered Album

• Black Motion – The Cradle Of Art
• Thandiswa Mazwai – Sankofa
• Sjava – Isibuko (Deluxe)
• Keenan Meyer – Reawakening
• Jeremy Loops – Feathers & Stone

Best Gqom Album

• Mr Thela – Tronics Land 3
• DJ Lag – The Rebellion
• Goldmax – Play At Your Own Risk
• DJ Sandiso – NANDE 3.0
• Lelowhatsgood – Next Level

Best Hip Hop Album

• Blxckie – See U Soon Delux
• Tony Dayimane – Red October: Induction
• Loatinover Pounds – Pray 4 Pitori
• Sizwe Alakine – Audio 2D; Dear Darkie
• 25K – Loyal To The Plug: The Life & Times of Don Kilograms

Best Jazz Album

• Nduduzo Makhathini – uNomkhubulwane
• Nick Ford – Terra Solus
• Nomfundo Xaluva – Ndilapha
• Last – Hope Dies Last
• Ncesh Nonxishi – Apho Kungenje

Best Maskandi Album

• Umafikizolo – Ngathi Nguye
• Phuzekhemisi – iPolotiki
• Khuzani – Angidlali Nezingane
• Ntencane – Alingeni
• Imithente – Amathambo Kagogo

Best Produced Album

• Zamajobe – UMI
• Black Motion – The Cradle Of Art
• Thandiswa Mazwai – Sankofa
• Qü – Reprise on 2nd Avenue
• Linda Sikhakhane – iLadi

Best Produced Music Video

• Soa Mattrix – Umbuzo
• MaWhoo & Mthandeni SK – Gucci
• TitoM & Yuppe – Tshwala Bam (Remix)
• Blxckie – South
• Shekhinah ft Moliy – Risk

Best R&B/Soul Album

• Mikhalé Jones – Too Many Promises
• Elaine – Stone Cold Heart
• Filah Lah Lah – On Air
• Clxrity – It’s Clear To See
• The Big Hash – Heartbreak Hotel (Deluxe)

Best Reggae Album

• Dread Lloyd – Mekwei
• Anela Jahmena – The Rise
• Dimahr – Flaws in Frame
• LUWE DA LION – After All
• Botanist – Area Code

Best Rock Album

• Bloumoord – VIR MEKAAR
• MaxX & Love – These Blues Might Get You Too
• Prime Circle – The World We Know
• The Man Motels – Old Wounds
• The Morning After – Look At You Now

Best Traditional Faith Music Album

• Betusile – Uyinqaba Yam (Jehovah Nissi)
• David Tebogo – The Journey (Part 1)
• Malusi Mbokazi – The Full Circle Revival
• Rofhiwa Manyaga – Rofhiwa Dzina
• Ayanda Ntanzi – According to Grace, A One Man Show

Best Traditional Music Album

• Keitumetse Mangate Production – moleele
• MmaAusi – Mmakgodu
• Makhadzi Entertainment – Miracle Child (Deluxe)
• Sabu Jiyana – Kwanomthandazo
• Pleasure Tsa Manyalo – Bakokota (EP)

Beste Kontemporêre Musiek Album

• Pietman Geldenhuys – Vaalsand
• Ampie – Niemandsland
• Spoegwolf – Eindbestemming
• Neil Sandilands – Land & Sand
• Majo – Geraamtes

Remix of the Year

• TitoM – Tshwala Bam
• Woodblock DJs – Skuta Baba
• Jnr SA – Mngani
• Tycoon – Iza Mawala
• Mpho.Wav – Hlala

Rest of Africa Award

• Ayra Starr – The Year I Turned 21
• Bensoul – The Party & After Party
• Wizkid – Morayo
• Tems – Born In The Wild
• Fireboy DML – Adedamola

Best African Indigenous Faith Album

• Wacha Mkhukhu Wachumlilo – Re Kgoeletsa Magodimong
• JTG Gospel Choir – Morena Re Ya Leboga
• House Of Mercy – Busa Jeso
• Barongoa Ba Morena – Ikutana
• Di Bruin Gospel Projects – Nkapese Ka Maatla

Best Contemporary Faith Music Album

• SbuNoah – Heavenly Psalms – Level 2 (Live at Goshen City Church 2023)
• Nontokozo Mkhize – Lindiwe
• Mmangaliso – Living Word
• Jabu Hlongwane – Crosspower Experience 4
• Takie Ndou – The Glory

The All Africa Music Awards (AFRIMA) 2025 nominations are out, and the competition is fiercer than ever. With 343 nominees across 40 categories, this year’s edition highlights Africa’s biggest icons, rising talents, and diaspora voices shaping global music culture.

AFRIMA 2025 made history with 10,717 entries, the highest in its 12-year existence. After a rigorous 10-day screening by a 13-member international jury, the final nominees list was unveiled, representing all five African regions and the diaspora. The award ceremony will run from November 25 to 30, 2025, in Lagos, Nigeria, culminating in the main event on November 30. Fans will also have their say when public voting opens on September 10 via the official AFRIMA website.

Artists with the Most Nominations

Five Nominations Each

• Burna Boy (Nigeria) – Album of the Year (No Sign of Weakness), Song of the Year, Artiste of the Year
• Davido (Nigeria) – Album of the Year (5ive), Best Collaboration, Song of the Year
• DJ Maphorisa (South Africa) – Key nods in production and collaboration categories
• El Grande Toto (Morocco) – Album of the Year (Salgoat), Best Male Artist North Africa
• Mia Guissé (Senegal)
• Moliy (Ghana) – Leading the female Afropop charge

Four Nominations

• Shallipopi (Nigeria) – Artiste of the Year and Song of the Year for “Laho”
• Amr Diab (Egypt)
• Diamond Platnumz (Tanzania)
• Tyla (South Africa) – Riding global fame with Amapiano fusion
• Uncle Waffles (Eswatini) – Reinforcing female dominance in the DJ scene

Three Nominations

• Ipupa (DRC)
• Ferre Gola (DRC)
• Himra (Côte d’Ivoire)
• Didi B (Côte d’Ivoire)
• Eboloko (Gabon)
• Emma’a (Gabon)
• Jaylann (Morocco)
• Juma Jux (Tanzania) – Song of the Year for “Ololufe mi”
• Mawhoo (South Africa)
• Nasty C (South Africa)
• Rema (Nigeria) – Also contending for Artiste of the Year

Two Nominations

• Ayra Starr (Nigeria) – Facing Burna Boy, Davido, and Rema in the Artiste of the Year category

AFRIMA 2025 extends beyond the continent, celebrating African talent abroad. Notable nominees include:

Male: DJ Snake, Niska, Tayc, Tiakola, Odeal
Female: Aya Nakamura, Darkoo, Deborah Lukalu, Faouzia, Ronisia

The 2025 AFRIMA nominations prove once again that African music is not just thriving, it’s leading global soundscapes. With icons like Burna Boy, Davido, and Rema battling it out alongside rising stars like Shallipopi, Moliy, and Ayra Starr, this year’s awards promise unforgettable moments. As voting begins on September 10, fans will play a crucial role in deciding who takes home Africa’s biggest music honors.

The Recording Academy has announced the appointment of J. Ivy and Torae as the new Co-Chairs of its Black Music Collective (BMC), signaling a continued commitment to amplifying Black voices and shaping a more inclusive music industry.

J. Ivy is a three-time Grammy Award-winning poet and recording artist celebrated for works such as The Poet Who Sat By The Door (2023) and The Light Inside (2024). He also serves as Governor of the Recording Academy’s Chicago Chapter, where he has championed creator advocacy and educational programs.

Torae, an artist, songwriter, and media personality, has played an active leadership role within the Academy, serving as President of the New York Chapter and currently as a National Trustee. His work spans music performance, songwriting credits on charting records, and broadcasting, including hosting shows on SiriusXM.

Together, Ivy and Torae will act as thought leaders for the Black Music Collective, helping design and implement programs that foster advocacy, education, wellness, innovation, and investment, particularly in Historically Black Colleges and Universities (HBCUs).

What Is the Black Music Collective?

The Black Music Collective (BMC) is an advisory group within the Recording Academy established in 2020 to address equity and representation gaps in the music industry. Composed of prominent Black artists, executives, and industry professionals, the BMC serves as a hub for collaboration and action under the Academy’s umbrella.

Its mission is to uplift Black music creators, expand access to opportunities, and ensure the contributions of Black artists are fully recognized. The group operates through initiatives such as:

1. Scholarships and Education: Programs like the “Your Future Is Now” scholarship, launched with Amazon Music, provide financial and mentorship support to students at HBCUs.
2. HBCU Love Tour: Engagement programs that bring GRAMMY U and industry experts to campuses, exposing students to music business careers.
3. Global Impact Awards: A pre-GRAMMY celebration honoring artists and executives such as Missy Elliott, Dr. Dre, Lil Wayne, MC Lyte, John Legend, and Sylvia Rhone for their cultural influence.
4. Leadership and Advocacy: Guided by Honorary Chairs including Quincy Jones, John Legend, Jimmy Jam, and Yolanda Adams, the BMC drives dialogue and action around systemic change.

Why the Appointment Matters

In a statement, Recording Academy CEO Harvey Mason Jr. praised Ivy and Torae as “stalwart voices for representation and integrity,” noting that their leadership will deepen the Academy’s commitment to celebrating and supporting Black music creators.

The move underscores the Academy’s broader efforts to align with diversity and inclusion goals, ensuring that Black voices are seen, heard, and valued within the music industry’s most influential institution.

As co-chairs, J. Ivy and Torae are expected to shape programs that not only recognize past contributions but also build pipelines for the next generation of creators, particularly in communities that have historically lacked access to resources.

Billboard has officially released its list of the 50 greatest Afrobeats songs of all time, highlighting some of the most iconic and groundbreaking tracks that have shaped the genre. Afrobeats, which has its roots in Nigeria and Ghana, has now become a global sound influencing artists worldwide. The list features a mix of legendary classics and recent international smashes that propelled the genre beyond Africa.

Spotlight on the Top 10 Afrobeats Songs of All Time

1. African Queen – 2Face Idibia (2004)
This timeless love ballad remains one of the most iconic songs in African music. 2Face’s “African Queen” put Nigerian music on the global map and is celebrated as a masterpiece that helped pave the way for Afrobeats’ worldwide success.

2. Ojuelegba – Wizkid (2014)
Wizkid’s “Ojuelegba” tells the story of struggle and triumph, capturing the spirit of Lagos. The remix featuring Drake and Skepta further expanded its global reach, solidifying Wizkid as one of the biggest Afrobeats stars.

3. Nwa Baby (Ashawo Remix) – Flavour (2005)
Flavour’s highlife-infused anthem became a cultural staple, known for its infectious rhythm and relatable lyrics. It cemented Flavour’s place as a household name in African music.

4. Calm Down – Rema (2022)
Rema’s “Calm Down” took the world by storm, especially with the Selena Gomez remix. It became one of the most streamed Afrobeats songs globally, highlighting the new wave of Nigerian artists pushing Afrobeats into the mainstream.

5. Essence – Wizkid ft. Tems (2021)
Dubbed the “song of the summer,” “Essence” is the first Nigerian song to chart on the Billboard Hot 100. Tems’ soulful delivery and Wizkid’s smooth style created a masterpiece that captured hearts worldwide.

6. Love Nwantiti – CKay (2019)Initially a slow-burn hit, “Love Nwantiti” exploded through TikTok, becoming one of the most remixed and viral Afrobeats songs of all time. It solidified CKay’s place in the global music scene.

7. Oliver Twist – D’banj (2012)
A song that marked Afrobeats’ breakthrough into the UK charts, D’banj’s “Oliver Twist” was a game-changer. It proved Afrobeats could thrive on the international stage.

8. Fall – Davido (2017)
“Fall” became one of the longest-charting Nigerian pop songs on Billboard. Its fusion of Afrobeats and international pop influences helped Davido gain worldwide recognition.

9. Ye – Burna Boy (2018)
“Ye” is widely regarded as Burna Boy’s breakthrough international hit. With its catchy hook and relatable themes, it became an anthem that transcended borders and genres.

10. Chop My Money (Remix) – P-Square ft. Akon (2012)
This collaboration between Nigerian duo P-Square and Akon showcased Afrobeats’ crossover appeal. The track gained massive popularity and became a fan favorite across Africa and beyond.

Full Ranking: Positions 11–50 (with Release Dates)

11	Olufunmi	Styl-Plus	2003
12	Gongo Aso	9ice	2008
13	Do Me	P-Square	2007
14	Dami Duro	Davido	2011
15	Johnny	Yemi Alade	2013
16	Fall in Love	D’banj	2008
17	Bumper to Bumper	Wande Coal	2008
18	Adonai	Sarkodie ft. Castro	2014
19	Azonto	Fuse ODG ft. Itz Tiffany	2012
20	Fada Fada	Phyno ft. Olamide	2016
21	Eminado	Tiwa Savage & Don Jazzy	2013
22	Last Last	Burna Boy	2022
23	Bobo	Olamide	2015
24	Drogba (Joanna)	Afro B	2018
25	Pakurumo	Wizkid	2011
26	Skin Tight	Mr Eazi ft. Efya	2015
27	Iskaba	Wande Coal & DJ Tunez	2016
28	Peru	Fireboy DML	2021
29	Sad Girlz Luv Money	Amaarae & Moliy	2020
30	Killin Dem	Burna Boy & Zlatan	2018
31	Rush	Ayra Starr	2022
32	Dorobucci	Mavins	2014
33	Mad Over You	Runtown	2016
34	Personally	P-Square	2013
35	Pana	Tekno	2016
36	Kontrol	Maleek Berry	2016
37	Ku Lo Sa	Oxlade	2022
38	Monalisa	Lojay & Sarz	2021
39	Shake Body	Skales	2014
40	UNAVAILABLE	Davido ft. Musa Keys	2023
41	Peace Be Unto You	Asake	2022
42	People	Libianca	2022
43	Buga	Kizz Daniel & Tekno	2022
44	Oleku	Ice Prince ft. Brymo	2010
45	Yahooze	Olu Maintain	2007
46	Soweto	Victony & Tempoe	2022
47	Raise Da Roof	Jazzman Olofin & Adewale Ayuba	2004
48	Dem Mama	Timaya	2005
49	Tonight	Nonso Amadi	2016
50	Ijoya	Weird MC

Billboard’s list of the 50 Best Afrobeats Songs of All Time is more than a ranking—it’s a history of Afrobeats itself. From 2Face Idibia’s classic African Queen to Rema’s global smash Calm Down, it captures how a genre rooted in African rhythms has become a universal language.

The diversity of the list, spanning pioneers like Weird MC and contemporary stars like Ayra Starr and Asake, proves that Afrobeats is not only here to stay but also destined to keep evolving as one of the world’s dominant genres.

Personally I will make some few changes to this List. Will you? Drop a comment

If you’ve ever noticed that your favorite Nigerian and international artists seem to release new tracks almost every Friday, you’re not alone. This pattern isn’t a coincidence it’s a global industry strategy. Welcome to the world of Music Friday, the unofficial launchpad for new music drops.

But why Friday? Why not Monday or even the weekend like Saturday?

Let’s break down the real reasons behind this popular music release trend and why Friday has become the industry’s favorite day to drop heat.

The Global Standardization of Release Days

In July 2015, the International Federation of the Phonographic Industry (IFPI) announced a global shift in music release schedules. From that point forward, Friday became the official global release day for new music in over 45 countries.

Before this move, countries had their own music release days—Tuesdays in the U.S., Mondays in the U.K., and Fridays in Australia. This lack of coordination led to staggered releases, early leaks, and piracy.

A global Friday release day helped:
– Combat piracy
– Synchronize promotion efforts worldwide
– Make tracking easier for streaming platforms and charts

It Maximizes Chart Performance

Most official music charts like Billboard, Apple Music Top 100, Spotify Nigeria, Boomplay Charts, and more—track activity from Friday through Thursday.

Dropping a song on a Friday gives artists and labels:
– 7 full days to accumulate streams, sales, and radio plays
– A better shot at debuting high on the charts
– More time for a song to go viral and gain traction before the next chart cycle

Releasing music midweek shortens this window—and could cost valuable charting points.

People Listen More on Weekends

There’s a reason why parties, club nights, weddings, and road trips spike from Friday to Sunday the weekend is when most people actually have time to vibe.

This consumer behaviour benefits artists because:
– Streaming increases on Fridays and weekends
– Fans are more likely to discover and share new music when they’re not working
– DJs, event planners, and radio hosts look for fresh songs for weekend sets

Dropping music on Friday means it has a better chance of becoming “that new jam” everyone’s playing by Saturday night.

Playlist Power: Catching the Friday Update Wave

Major streaming platforms like Spotify, Apple Music, Audiomack, Boomplay, and YouTube Music refresh their top playlists every Friday. These playlists include:
– New Music Friday
– Fresh Naija
– Africa Now
– Afrobeats Hits
– Hot Rotations

Artists who drop music on Fridays are more likely to be considered for playlist features, which can dramatically boost visibility and streaming numbers.

Marketing Works Better on Fridays

Labels and independent artists alike align their PR campaigns, interviews, press releases, and social media teasers to peak on Fridays.

A Friday release allows an artist to:
– Drop the music
– Post behind-the-scenes content over the weekend
– Build momentum with media and fans into the following week

From TikTok challenges to lyric breakdowns and music video teasers, the Friday launch creates a marketing rhythm that’s hard to beat.

In Nigeria: A Growing Tradition

In Nigeria, Music Friday is becoming a cultural habit:
– Afrobeats stars like Rema, Ayra Starr, Burna Boy, and Davido consistently schedule Friday drops
– Fans anticipate new releases every Friday—making the day a mini music holiday online
– Blogs, DJs, and music platforms curate Friday playlists, amplifying each new release’s reach

Music Friday is not just a trend; it’s a well-oiled global strategy. Releasing on Fridays means more eyes, more ears, better streaming numbers, and a solid shot at chart success. For artists, especially in the ever-competitive Nigerian music scene, timing can make all the difference—and Friday is the magic day.

South African star Tyla is clearly not here for one-dimensional artistry. Just a year after her self-titled debut album and a whirlwind global breakout with “Water,” she’s switching gears again and this time with a tight, bold, and experimental EP titled We Wanna Party, released under FAX and Epic Records.

The 4-track project is short, but far from small. It’s playful, confident, and rhythm-heavy — giving us a version of Tyla that isn’t trying to prove anything, just enjoying her growth in real time. If Tyla the album was her formal debut, We Wanna Party is her pulling up to the function in silk and sunglasses, telling us she’s not only ready to party — she’s hosting it.

The EP in Four Tracks

1. Dynamite ft. Wizkid

This is the moment. “Dynamite” is smooth, slow, and sexy — the kind of track you want to put on repeat during a humid evening. Tyla and Wizkid deliver chemistry without doing too much. The beat doesn’t rush, the lyrics don’t beg, and the vibe is locked in. For fans of laid-back Afropop and effortless energy, this is gold.

2. Mr. Media

This track is Tyla at her cheekiest. She calls out gossip culture, online noise, and the obsession with image — all while sounding unbothered and fabulous. “Mr. Media” is fun and shady in the best way, with production that snaps and bounces like a digital catwalk. It’s a clapback, a wink, and a flex — all wrapped in one.

3. Is It

A more emotional, slowed-down moment. “Is It” has that late-night feel where the party fades and questions start rising. Tyla’s delivery is soft and vulnerable here, and the production gives space for that honesty. She doesn’t just sing — she questions, she hesitates, she wonders out loud. And we feel it.

4. Bliss

Ending the EP on a floaty, reflective note, “Bliss” lives up to its name. It’s dreamy and mellow, like the last scene in a coming-of-age movie. Tyla lets her vocals glide over airy production, giving us a gentle close that lingers after the beat fades. Not flashy — just beautifully calm.

The Sound & Mood

We Wanna Party isn’t trying to follow the same path as her debut album. Where Tyla was sleek and full of world-building, this Mixtape is more vibe-first, more experimental, and definitely less polished. 

Why It Works

Tyla has always known how to balance softness with strength, and We Wanna Party proves it again. She’s giving attitude without arrogance. She’s calling out the media, teasing desire, showing some emotional depth — all within four tracks. It’s cohesive without being predictable.

And that Wizkid collab; Honestly, overdue because we all know Tyla is a big fan of Wizkid and has been looking forward to working with him. “Dynamite” feels like a natural meeting of two calm-but-commanding stars. No overproduction, no gimmicks — just quality.

My Rating 8.5/10 

It’s short, stylish, and quietly bold — exactly what an artist in her position should be dropping right now. She’s not doing too much, but she’s doing just enough to remind us: the party’s not stopping anytime soon.

Wizkid turns a year older today, and while social media is flooded with tributes and throwbacks, we’re taking a different route. It’s time to rank every Wizkid album;the highs, the lows, and the game-changing moments that have defined his journey from Ojuelegba to the O2.

This isn’t just fan love. It’s a critical deep dive, praising what deserves praise, and calling out what could’ve been better. Because even legends have missteps, and that’s okay.

Note before you Proceed!

This list is based on:
– Artistic quality
– Cohesion and originality
– Cultural impact
– Replay value
– Growth and boldness

6. Sounds from the Other Side (2017)

Highlight Tracks: “Come Closer” ft. Drake, “Daddy Yo,” “African Bad Gyal”

Wizkid’s “Sounds from the Other Side” was his first major leap into the international market. It had ambition, dancehall, Caribbean-infused pop, and big-name collabs like Drake, Major Lazer, Chris Brown. But the album lacked soul.
Yes, it gave him global visibility. But it felt like Wizkid trying to fit into Western radio instead of bending them to his rhythm.

My thought: A strategic move but not a masterpiece. The most forgettable album in his discography.

5. More Love, Less Ego (2022)

Highlight Tracks: “Money & Love,” “2 Sugar,” “Frames (Who’s Gonna Know)”

The follow-up to Made in Lagos was always going to be tough. But “More Love, Less Ego” felt like a beautiful shell with no core. The production was elite, clean, vibe-heavy. But the writing lacked what Wizkid was more about compared to other Albums released by the music Icon.
It’s Wizkid at his smoothest, but also his most emotionally distant. The album didn’t push boundaries, nor did it feel like he had much to say. In many ways, it was a continuation of Made in Lagos, just less hungry.

My thought: Sonically pleasing, but too safe. For an artist of his calibre, we wanted more.

4. Ayo (2014)

Highlight Tracks: “Ojuelegba,” “Show You the Money,” “Jaiye Jaiye,” “In My Bed”

Ayo was a comeback and a stamp. Coming after Superstar, this project showed a Wizkid with more control, more polish, and bigger ambition. It had the hits, the hooks, the spiritual storytelling of “Ojuelegba.”

But it was also a bloated album, with too many tracks (19) and some clear fillers. A lot of it felt like a compilation of singles, not a cohesive project.

My thought: Imperfect but pivotal. An album that balanced fame and faith.

3. Superstar (2011)

Highlight Tracks: “Holla at Your Boy,” “Tease Me,” “Don’t Dull,” “Love My Baby”

This is where it all began — Wizkid’s breakout. He was young, hungry, cocky, and vibrating with potential. Superstar wasn’t just an album, it was an era that even the superstar we have today will never forget.

It changed Nigerian pop forever. The swagger. The slang. The sound. From “Pakurumo” to “Oluwa Lo Ni,” this was the soundtrack of a generation.

But let’s be honest; even as good as the album it isn’t his best project. The album hasn’t aged perfectly. Some tracks feel dated, and there’s a juvenile tone that’s natural for a debut.

My thought: A cultural classic. Not his best technically, but you can’t overstate its importance.

2. Made in Lagos (2020)

Highlight Tracks: “Essence,” “Ginger,” “Blessed,” “True Love,” “Reckless”

This is the album that redefined Wizkid for the world. Made in Lagos was sleek, patient, grown. It wasn’t chasing the charts — it was building a mood. And it worked. Globally.
Essence became the first truly global Afrobeats love song, and the album showed a matured artist comfortable in his skin.
Still, the album gets criticism for being too chill, not enough tempo variation, little experimentation. But that’s the point. Made in Lagos wasn’t made for the club. It was made for late nights and great moments.

My thought: A timeless piece of mood music. The moment the world took Afrobeats seriously and Wizkid led the charge.

1. Morayo (2024)

Highlight Tracks: “Morayo,” “Energy,” “Palm Trees,” “Sade,” “Better Days”

After years of smooth, laid-back vibes, Wizkid finally returns with clarity, heart, and hunger on Morayo; a title that feels personal, almost spiritual. 

The project is named after Wizkid’s late mother, Jane Morayo Balogun, who passed away in 2023. Her death left an open wound in the heart of an artist who, until then, had rarely spoken so openly about grief, loss or legacy in his music.

This album is Wizkid at his most honest and intentional since Ojuelegba first release.
“Morayo” (the title track) is a reflective, emotionally stirring opener that sets the tone. He’s not just singing; he’s telling stories. About love, Lagos, loss, legacy. There’s an intimacy to the lyrics we haven’t heard from him in years.
Sonically, Morayo balances mellow Afrobeats with bolder experiments — it’s smoother than Superstar, deeper than More Love, Less Ego, and less commercially calculated than Sounds from the Other Side.

My thought: Morayo is Wizkid’s most complete and cohesive album. It merges growth with grit, melody with message. After all these years, he still finds new ways to surprise us.

Final Thoughts:

Wizkid has evolved in real-time, from a young Nigerian singer to a global legend. His discography shows the growth, the experiments, the setbacks, and the wins.
Whether you miss the energy of Don’t Dull or prefer the silkiness of Essence, one thing is clear:
Wizkid is not done yet.

Happy Birthday to the Biggest Bird!

What do you think about this list?
Drop your rankings in the comments if you think otherwise.