Shmu and Ziller Bas turn their attention to love, intimacy and resistance on “Njoroge,” the third single from their upcoming album Safari ya Bamba.
The song follows two people who find a connection despite opposition from those around them. Rather than treating love as a purely emotional experience, “Njoroge” frames closeness as a choice that sometimes requires courage.
Samaal responds to Shmu’s composition with a vocal performance that gives the song its emotional centre, while Shmu and Ziller Bas keep the production relatively restrained. That restraint leaves room for the relationship at the heart of the song to unfold without losing its physical, danceable quality.
“Njoroge” forms the third stage of Safari ya Bamba, a seven-single project built around themes of movement, friendship, departure and the connections formed along the way. The album continues the musical relationship between Swiss rapper and producer Shmu and Kenyan rapper Ziller Bas, whose sound brings together hip-hop, Afrobeats, reggaeton, electronic textures and East African influences.
Their collaboration began after the two connected at a concert in Winterthur and continued with Shmu’s visit to Kilifi, Kenya, in February 2025. Their first album together, Mekatilili, was inspired by Giriama freedom fighter Mekatilili wa Menza.
On Safari ya Bamba, Swiss German meets Ziller Bas’ combination of Swahili, English and Giriama. Across the project, the duo uses their musical exchange to explore different forms of connection and the realities surrounding them.
With “Njoroge,” that journey becomes more intimate, asking what it means to remain close to someone when that connection is challenged by the people around you.
Mozambican singer-songwriter Nilsa Mosele has released “Sofala,” a song that looks back to her childhood in rural Mozambique and the musical traditions that shaped her.
The track draws from memories of growing up with her grandmother, in a setting without television or telephones where community, music and dance were central to everyday life. At the heart of “Sofala” is Utsi, a traditional Mozambican dance accompanied by drummers.
For Mosele, the song is an exploration of where her musical identity began. “In Sofala, I search for my musical roots,” she explains, describing the track as a reflection of her childhood and the cultural environment surrounding it.
Mosele’s connection to music began early. Born and raised in Beira as one of eight children, she made homemade instruments and performed with her siblings before winning her first music competition at 14. At 16, she joined Djovana, a collective that became part of Mozambique’s hip-hop scene in the late 1990s and later toured internationally across Switzerland, Germany and South Africa.
Now based in Switzerland for more than two decades, Mosele has developed a career spanning jazz, songwriting and Mozambican musical traditions. She studied jazz in Bern and has released four albums: Mamã (2005), Aphale (2010), Eu Sou de Cor (2012) and Salada Moçambicana (2018).
“Sofala” is accompanied by another recent single, “Emilia,” which takes a different approach to personal storytelling. Inspired by a conversation with her niece, the song reflects on beauty, self-confidence, education and independence.
Across both releases, Mosele draws from personal experiences while remaining connected to the cultural traditions that have informed her work. With “Sofala,” that connection leads back to rural Mozambique, childhood memories and the music and dance she encountered growing up.
Caleb Myles, also known as CAYZEE, has released a new single, “One More Time,” an Afrofusion track that explores the possibility of giving a relationship another chance.
The song centers on lingering feelings after a relationship has changed or ended, with its lyrics addressing desire, connection, nostalgia and the hope of revisiting a meaningful moment.
Musically, “One More Time” combines Afrobeats-inspired rhythms with smoother pop elements. Soft vocals and melodic production give the track an intimate feel, matching its focus on romantic longing and second chances.
Rather than presenting love as something straightforward, the song sits in the uncertainty of wanting to reconnect with someone who remains on your mind.
Cyprus Mafia Project has released a new single, “Ayia Napa,” an Afro House track named after the Mediterranean resort town.
The production combines deep percussion with warm synth textures and a vocal hook, giving the track a club-oriented sound with a summery feel.
The track draws on the nightlife association of its namesake, with its arrangement centered on rhythm, melodic textures and a steady electronic groove. Rather than relying on a narrative, “Ayia Napa” is primarily concerned with creating an atmosphere through its production.
The song places Afro House within a distinctly Mediterranean setting, connecting the genre’s rhythmic foundation with the sound and imagery associated with Cyprus’ club culture.
The title also connects the track to Ayia Napa’s association with nightlife and electronic music, giving the production a clear sense of place.
Samant D’legend is out with “Collect,” an Afrobeats/Afrofusion track about setting boundaries and dealing with the expectation to constantly give to others.
The song draws from everyday experiences of being asked for time, money, energy and emotional support, while questioning the idea that these things should always be freely given.
Its lyrics take a direct approach to the subject, including lines such as “I no dey carry your burden,” as the song pushes back against entitlement and one-sided expectations.
“Collect” pairs the subject with an upbeat production, creating a contrast between its danceable feel and its more serious message about protecting your time and peace.
Ricky Sky’s new track “Sikasso” began with an early version that ultimately did not match the direction he wanted.
The project started in 2025, as Sky experimented with rhythmic patterns, atmospheric elements and different sounds in his studio. After completing an initial version, he decided that the structure and energy were not quite where he wanted them to be.
Rather than continuing to make minor adjustments, Sky returned to a blank project. He kept only the elements from the original session that he felt were worth developing and rebuilt the track around them.
That process allowed him to rethink the arrangement, dynamics and overall direction without being tied to the decisions made in the first version. The production was then constructed, mixed and mastered independently in his own studio.
For Sky, the process reflects his view of music creation as a continual process of transformation. Instead of forcing a version that did not feel right, he chose to start again and build “Sikasso” around the ideas that still felt true to his original vision.
The single is now available on streaming platforms.
BOYRECK thinks an Ayra Starr collaboration would be a hit. The artist tells Afrobeats Head about finding his sound, the music that shaped him, his latest single “Genuine,” and why he considers himself “experimental, versatile and unrepeatable.”
Having spent time in Ibadan, Abeokuta and now Lagos, how would you describe the personality of each city? Which one feels most like home, and how have they influenced your music?
BOYRECK: Ibadan is a city I grew up in, that is home. I’d describe its personality as lovely and friendly. Abeokuta is a great city, I was born there, I am from there. I’d describe its personality as energetic and youthful especially because I am currently schooling there too. I haven’t really been to Lagos that much but from my experience while I was there, Lagos is a very interesting and energetic city.
Each city has its uniqueness which in a way has influenced my sound.
You started out as a rapper before finding your lane in Afro-fusion, R&B and Neo soul. Was there a particular moment or song that made you realise your sound was evolving?
BOYRECK: Yes! The story actually goes back to 2020, when I was hospitalized for more than a month. It was during that period Omah Lay dropped his debut album, Oxlade started getting recognition. I loved their sound so much and I said to myself that if they can pull off this kind of sound, I can surely do so too. Their songs kept me going while I was hospitalized and it became an inspiration for me during that period.
Olamide was one of your earliest influences. Who are some of the artists, past or present, that have shaped your music, and what have you learned from them?
BOYRECK: Yes, there are a few of them: Omah Lay, Oxlade, Buju.
From them, I learnt that there isn’t one way to create music. There’s always room for creativity, experimenting and improvement in whatever you do.
Give to people something they have been starved of and they will love you unconditionally and that is something I hold dearly as an artist. I want my people to be able to connect to my craft with a pure soul and love me unconditionally.
Your latest single, “Genuine,” is out now. What’s the story behind the record, and what were you feeling when you wrote it?
BOYRECK: Honestly, I had something different in mind when I heard the beat, I sang an entirely different melody on it. It was my producer, Chuksmagic, who told me to go home and rewrite the song.
I had many trials and errors before I finally managed to compose the intro of the song. I felt a different kind of peace when I composed the intro. It was like a man meeting his fated woman😂. I was in that feeling till I finished the song.
When you’re not making music, what does a perfect day off look like for BOYRECK? How do you usually relax and recharge?
BOYRECK: If I am in Ibadan, there are only a few things I do.
I usually go and help my mum at her shop. Honestly, I am not the type that goes out, if I am not at shop then I am at home😂
When I am in Abeokuta, it feels more youthful for me because I have my friends and coursemates around. There are more things to do.
Your music is full of emotion. Has love or being in a relationship influenced the way you write songs, or do you draw inspiration from other people’s experiences too?
BOYRECK: I get asked this question a lot, but I honestly think it is the way I was brought up. I have this calm, gentle and loving personality I’d say. I was brought up with love around me. And yes I draw inspiration from other people’s experiences too.
If you could collaborate with any three artists, Nigerian or international, who would make your dream collaboration list, and why?
BOYRECK: First and foremost, Olamide.
I love that man a lot, he made me fall in love with music.
Arya star, I can feel the connection in our sounds. I believe whatever song we make will be a hit. The scenes!!!
Lastly, Dave. Imagine me dropping a crazy hook and Dave coming in with those verses. It’s madness😂
You’ve been building your career steadily rather than chasing overnight success. What’s the biggest lesson you’ve learned about patience and consistency in the music industry?
BOYRECK: “Consistency, consistency I promise to remain consistent In my positive version”
In this music industry, I have learnt that consistency cannot be underestimated. You have to keep doing your thing and improving.
Patience is a virtue but don’t overplay it, you shouldn’t be too patient, hunger has to override it but it needs to be balanced.
What’s one thing people assume about BOYRECK that isn’t actually true?
BOYRECK: People think that I am gentle because I don’t talk too much😂
As you continue to grow as an artist, what can fans expect from you over the next year? More singles, collaborations, a project, or something completely unexpected?
BOYRECK: Expect the unexpected, what if I bring Beyoncé out of retirement or I have a joint project with Drake or BTS?
Afrobeats Head Quick Fire
• Coffee or tea? Warm water
• Morning or late-night studio sessions? Late night
• Ibadan or Abeokuta? Abeokuta
• Rap or R&B? R&B
• One Nigerian artist you’d love to collaborate with? Taves
• One international artist you’d love to collaborate with? Dave
• A song you wish you had written? Honestly, there’s no particular song I wish I had written, I listen to all types of music😂 i could be jamming Fuji today, American old school tomorrow, RnB the next day, Apala, Trap, Hip hop, Beautiful Nubia, Reggae and so on…
I am not limited to one particular genre, I love exploring different sounds so it hard to say I wish I wrote a particular song.
• What’s currently on repeat in your playlist? Would I be selfish if I say Genuine? 😂 Okay seriously now “How do you do? by Beautiful Nubia”
I play the song almost every morning, I love it.
• Three words that describe BOYRECK.
Experimental, Versatile and Unrepeatable.
• What’s one thing people would be surprised to learn about you?
That I stammer a little bit, it’s been part of me since childhood but I don’t let it get the best of me.
• Finish this sentence: “In five years, BOYRECK will be a phenomenal artist, one that you get to experience once in a lifetime with a sound so unique to my identity alone.
”Genuine” by BOYRECK is out now on streaming platforms.
Eylsia Nicolas returns with “They Call It Love,” a new recording that reflects on her return to music after a difficult period that left her questioning whether she would be able to sing again.
The song has been recorded in several styles and languages, with this version taking a less commercial approach. Nicolas worked with a full orchestra for the recording, using the arrangement to give the song a broader and more reflective character.
The release comes after Nicolas says complications from long COVID affected her lung capacity and vocal cords, making music feel out of reach for a time. Through work involving spatial audio restoration, samples from her earlier recordings and AI-assisted technology, she was able to reconstruct the sound of her voice and return to recording.
That experience informs the context around “They Call It Love.” Rather than presenting the song simply as a comeback statement, Nicolas describes the ability to create music again as something deeply meaningful after believing she might not be able to sing.
Her path back to music follows a career that has taken several turns. Before returning to recording, Nicolas pursued tennis from a young age, later working in the record business and education before moving into fashion and other ventures. Music, however, remained a recurring part of her life.
On “They Call It Love,” she takes that return in a more expansive direction. The orchestral version places the song within a different musical setting from its more commercial counterparts, allowing the arrangement and vocal performance to carry the emotional weight.
For Nicolas, the recording is ultimately connected to the idea of being able to create again after an unexpected interruption. “Being able to create again has meant more to me than I can express,” she says.
“They Call It Love” is part of Nicolas’ continuing return to music and her exploration of the song across different styles and languages.
The single is now available on streaming platforms.
Texas artist takenonote returns with “MENACE,” a hip-hop and Afrofusion track centered on ambition, self-belief and staying connected to the people who have been part of his journey.
The song reflects on the mindset of continuing to pursue new opportunities regardless of previous achievements. Its lyrics draw from takenonote’s experiences across music, business and his relationships with the people around him, framing ambition as something shared rather than purely individual.
Musically, “MENACE” combines hip-hop with Afrofusion influences, incorporating Ghanaian slang into takenonote’s writing. The cultural references connect the track to his Ghanaian roots while its rap-driven foundation keeps it within his broader hip-hop sound.
The Ghanaian connection also comes through in the cover art, which references “233,” Ghana’s international dialing code, alongside visual elements drawn from the country’s flag and cultural identity.
“MENACE” follows takenonote’s recurring interest in personal growth, identity and cultural connection. It also continues the blend of rap, R&B and Afrofusion that runs through his work.
