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Forbes
06-06-2025
- Entertainment
- Forbes
Sabrina Claudio's New Album: A Soulful Step Into Story, Self And Sound
(Having met singer/songwriter Sabrina Claudio a few years ago, fellow singer/songwriter Sage Bava was the perfect person to sit down with Claudio for an extended chat on Claudio's highly anticipated new album. – Steve Baltin) With Fall in Love with Her—out June 6 via EMPIRE—Sabrina Claudio steps into her most expansive era yet. Known for her intimate, sultry sound, Claudio now pushes past her established aesthetic, creating a sweeping, conceptual world that mirrors her personal and artistic evolution. 'This is the most conceptual album I've ever had,' she says. 'I made sure that every song in the album made sense to the story that she wrote.' For the first time in her career, Claudio wrote almost entirely from lived experience. 'I actually felt more inclined to write from personal experience—because I'd already used up so many of my storytelling concepts,' she explains. 'I had to pull from what I was really going through, which I'd never fully done before.' The result is a body of work that feels both vulnerable and elevated. That emotional risk is matched by sonic exploration. After spending a year writing with other artists across genres like indie, dance, and alternative, Claudio found herself inspired to experiment. 'I must have done at least 200 sessions in one year,' she says. 'Usually, I'm in other people's worlds when I'm songwriting, but I was like, damn, I can't wait till it's my turn and I can do exactly what I hear in my head.' The shift also shows up in her vocal delivery. 'I'm almost belting in some songs,' she says. 'It's something that I've not done before.' Even as she expands creatively, Claudio remains meticulous in her process. 'I'm a very routine-based person,' she says. 'When I go into a session, I work from 1 to 7 p.m.—very strict for some reason—and it has to be in a studio. I don't like taking breaks. If I walk out, I feel like the energy leaves with me.' Still, she allows space for instinct. 'Sometimes I honestly feel like I'm just a vessel. Concepts and melodies just flow through me and I kind of black out.' The turning point for the project came with a single song—'Fall in Love with Her'—originally written for another artist. Claudio was so taken with it, she asked to keep it. 'I completely fell in love with it,' she says. 'I had this one song that I loved, and when I make the album, it's definitely going on there.' That song sparked a larger narrative, written by her best friend, which became the quiet foundation for the album's visuals and themes. Still, Fall in Love with Her is more than a story—it's a self-portrait in motion. 'The future me will—it'll be forever, right?' she says. 'It's always going to be the future me. I'm always trying to evolve, always trying to be better, and I'm always looking forward to the version I'm going to become.' With this album, Claudio lets us hear that evolution as it unfolds—unfiltered, emotional, and fully her own. Sage Bava: Absolutely stunning; I love this music—and the sonic world you've created is so captivating. You always craft such uniquely personal soundscapes, but this one feels like an entirely new universe within the greater Sabrina Claudio multiverse. Sabrina Claudio: Oh, thank you. Bava: I'd love to hear about your creative process—how did it unfold for this project, and in what ways has it evolved since your earlier albums? Looking back as far as Confidently Lost, I imagine your approach to making music has taken on many different forms. Claudio: Well, this one was interesting because I had taken a long break from working on my own music. During that time, I was writing a lot for other artists. I took the break mainly because I didn't really know what else I wanted to say anymore. As an artist, I felt like I had reached a peak in my creative journey, especially because I was doing most of it alone. I wasn't big on collaborating—with songwriters or other people who could potentially add to my creative process. Obviously, I had my producers and people I've worked with for years who inspire me in so many ways, but I just wasn't finding inspiration within myself. I didn't want to keep putting things out if I wasn't evolving—as a musician, as a woman, as a person. So I took a break. But I still wanted to stay creative, and writing for other people felt like the perfect balance. That process—actually, all the different processes I experienced while working with so many different types of artists—allowed me to experiment in ways I wouldn't have if I were just focused on my own music. These artists taught me so much about different sounds, melodies, concepts, and approaches to making music. So when it came time to write my own album, I was able to bring all of that into it. I think I just naturally absorbed so much that I started gravitating toward new sounds and things that inspired me in ways they hadn't before. Of course, melodically and conceptually, I still tend to lean toward the same themes—but sonically and production-wise, as you mentioned, this album is very different for me. I think it's genre-bending in some ways. It still feels familiar, but this is the most excited I've been about an album in a really long time. Bava: That's amazing—and it's so interesting to hear about your songwriting process: how you stepped into the role of seeing through other people's eyes, and then, for this album, made the shift to looking through your own. I'd love to hear more about that transition and how creating from that place led you to discover new parts of yourself. Claudio: Well, it's interesting because I thought that, since I was writing so much for other artists, I wouldn't have anything left to say when it came to my own music. I figured I'd already given all my ideas away. But the interesting part is that I've always been more of a storyteller-type writer—I never naturally wrote from personal experiences. I've always drawn from things I made up, conversations I've had, movies I've watched, or even just a quote I came across. That's just what I naturally did in my songwriting sessions. For this album, I actually felt more inclined to write from personal experience—because I'd already used up so many of my storytelling concepts. I had to pull from what I was really going through, which I'd never fully done before. I mean, there are some exceptions—Confidently Lost was written from personal experience, and a couple of other songs were vaguely based on relationships I'd had—but I've never dedicated an entire album to things I've actually lived through, especially from the past two years. So I really give credit to all those artists I worked with—because after giving so much away, I had to dig deeper into my own life. And in a way, writing for other people ended up inspiring and encouraging me to go there. It was definitely an interesting shift. Bava: I love that you've been sharing more of your creative process with your team—the mini-series is such a fun way to get a glimpse into that world. Why did it feel important to open that up now and connect it to this project? Claudio: Well, because I think a big part of what this album represents for me is digging deeper. I wanted to make sure that visually—and really everything tied to the album—felt just as vulnerable as the music itself. I don't think people would fully connect to the music I'm making now if they didn't get a glimpse into my life, my personal relationships, and who I really am. I've always been more of a mysterious, private artist—not a lot of people know much about me. But I have so much love, support, and long-term relationships in my life that are vital to my growth as an artist. My friendships are super important to me. So for Memory Foam, I involved my best friend. And this mini-series was important because I wanted to give credit to the people in my life—to you, and to everything they've given me emotionally. Their loyalty has been pivotal. I also just wanted to show my fans more of who I really am. I love deeply. I'm a loyal person. I care deeply about the people in my life. I'm emotionally intense in those ways. So I think if people are able to see that on a human level, then when they hear the album, they're able to connect the dots—and connect with it in a much more personal way. I don't know... I'm just in this vulnerable era of letting people into my life and showing the relationships that have made me who I am today. Bava: I feel like one of the things you've given your fans and listeners is this connection to a deeply feminine, empowering space. And with the title Fall in Love with Her, I have to ask—who is 'her'? Is she the muse? Is she you? Or is she more of a symbolic entity? Because to me, that's what it feels like it's unlocking. Claudio: I think for me personally, 'her' is me in the future. Side note—the reason why I called the mini-series Fall in Love With is because I feel like when people listen to the album, they're going to relate to it in their own way. It could be Fall in Love With—and you fill in the blank, you know? But for me, it's definitely about the future me. And the future me will—it'll be forever, right? It's always going to be the future me. I'm always trying to evolve, always trying to be better, and I'm always looking forward to the version I'm going to become—in a year, or five years, or ten. But this album is strictly about me looking ahead toward that better version of myself—whether that's tomorrow, the next day, or the next year. And it's about everything I've had to—or still have to—leave behind: decisions I've made, people who weren't serving me, anything that wasn't serving me. It's about staying aligned and committed to this path toward becoming my best self. And yeah, I think throughout the album, the way I structured the track list tells that story. In the end, it's the person I strive to be. The last track on the album is 'Memory Foam' —and to me, it's a song about resilience, a song about strength, about pushing through the heartaches and hardships. You know, as you listen, you'll hear that evolution—where I've been, where I hope to go—and hopefully, fall in love with that version of me too. Bava: That's really interesting. So many artists talk about how some of their best songs just kind of flow through them—that it's almost subconscious. Then, later on, when they look back, they start to realize what the song was really about or what it was trying to tell them. I love that idea of the past self and future self—that dynamic feels really present in your music. Do you ever look back on your songs and think, 'Oh, that's what I was feeling,' or 'That's what I was processing,' and have that kind of relationship with your own work over time? Claudio: Absolutely, and I think with this album in particular, that sentiment is really strong—because it's the first album where I'm actually writing everything from personal experience. Some of these songs I wrote during a heartache, or I would listen to them while I was going through something, and I've cried to many of them, many times. And now, some of the songs I wrote maybe a year ago, I listen back and think, 'Wow, I can't believe I was going through that at the time.' Now I can hear it from a totally different perspective. It's really interesting—even with songs I've written in the past. The song 'I Didn't Think' is one that's interesting for me, cause sometimes I honestly feel like I'm just a vessel. Concepts and melodies just flow through me and I kind of black out. Then I'll go back and listen and think, 'Damn, how did I do that? That's wild.' And I don't even remember what my headspace was. I'm telling you—sometimes it really does feel like a spiritual thing. So there's that. And then yeah, I don't know—I'm always listening back to things. It's just interesting to see how we evolve as people and as artists. There are things I would have done differently, or things I hear now and realize I might not even be able to tap into that same place again, even if I tried. It's always interesting. But yeah—I look back a lot. Bava: It's so fascinating to hear about the ritualistic side of writing and making music. Do you have certain things you do to help you get into that creative space, or is it something you can usually access anytime? Claudio: No, I definitely don't always have access to it. I can really only tap into that space when I'm in a studio environment. I'm not the kind of artist who writes at home or just anywhere—I find it really hard to get into that headspace outside of the studio. I need to be mentally prepared. I can't just book a last-minute session and say, 'Okay, I'm ready to go.' It also really depends on who's in the room. I go off of energy—I'm super sensitive to people's energy, what they're going through, or if the vibe just feels off. That's why I prefer working with the same people when it comes to my own music. With other artists, if I'm in the room as a songwriter, it's easier for me to adapt. But for my own stuff, I like the consistency—I like knowing what to expect. I'm a very routine-based person. When I go into a session, I work from 1 to 7 p.m.—very strict for some reason—and it has to be in a studio. It can be a home studio or any studio, but it has to be a studio space where I can lock in. I don't like taking breaks. If I walk out, I feel like the energy leaves with me, and when I come back, it's weird. It's strange—I know—but it kind of has to feel like work for me. And I like to work with the same team, and I need a few days' notice before a session. Honestly, it's kind of stressful if you think about it. It's not as free as people might assume, especially because my music feels really free. But I'm super regimented. Like, yeah—I don't play. Bava: Yeah, I mean—combining all the aspects of who you are—your music, your visual identity—I feel like you really embody that fully. You seem so connected to your intuition that if you waver from it even a little, it probably feels hard to stay aligned, like staying on that arrow. Claudio: Totally, totally. Bava: Speaking of the visual aspect—I feel like that's such a big part of your creative inspiration. When I think of your music, I also enter this rich visual world. How has that evolved and influenced this album? I'd love to hear more about the inspirations behind the new world you've created, because this feels like a completely different space. Claudio: It is. This whole album was inspired by something that my best friend and I wrote. So, there is—I'm trying to be discreet about my verbiage because I don't know when this is coming out. But anyways, by the end of it all, there's a much bigger picture. There's like this story of the album. And every visual that has been released is connected to that one story. But that story was written by my best friend before I even decided that I was ready to make an album. And essentially, the story that she wrote for me is what has inspired pretty much every concept, because I've made sure that every song on the album made sense with the story that she wrote. And then, when it came to the visuals, the visuals told enough of the story so that when you watch what is yet to come, you can watch it from the first music video all the way to the end of the bigger thing—and it will all make sense. I don't know how much sense that just made, but essentially, this is the most conceptual album I've ever had. And it was interesting—the process of it all—because I was... it was all very methodical, and it was like a project almost. And I was trying to make sure... it was kind of restricting a little bit when it came to the creating of the music and then the visuals, because I'm just like trying to make sure that it all makes sense by the end of it all—when everything is released—that the whole story, the whole world that we created, makes sense. But it's hard to talk about when I haven't announced what the actual theme is. But just know that it's huge—a huge world that we've created—which I've never done something like that before. So that is what has inspired all of these visuals. It's one big love story. Let's just say that. Bava: That's so exciting I can't wait to see what you're talking about. But it's so interesting to hear like the catalyst of how these seeds are planted. Was there a song that you feel was a catalyst both sonically and story-wise? Claudio: Yes, actually. So, 'Falling in Love with Her' is a title track, and it's a song that I wrote. I started creating this album in January of 2024, but "Falling in Love with Her," the song, I actually wrote for another artist in the middle of 2023—before I even decided I was ready to make an album. I had this one song that I wrote for someone else, but I completely fell in love with it, and I asked if I could keep it for myself for when I was ready to make my album. That's going to be one of the songs on the album. I had that song for like six months, and I was talking to my best friend, and we were talking about just creating something together—because she's a scriptwriter, and she does so many things. But one of the things she does is write scripts, and she wanted to do something with me. And I was like, 'Well, I haven't started on my album, but I do have this one song that I love, and when I make the album, it's definitely going on there.'I played it for her, and her wheels started turning. She was like, 'Oh my god, let me live with this for a little bit,' and she came back with a whole story based on that one song. And yeah—essentially, that song inspired the story, but then the story inspired the album. Does that make sense? Because once she wrote the story, I was like, 'Oh—first of all, I need to make an album for this,' but second, I knew what I wanted to say in the album because it was all based on that story she wrote. Does that make sense? I'm like—subliminally—can't think of what's happening, it's so confusing, but yeah. Bava: I'm sure there are so many stories that can be unraveled within this, because I mean, creating a big project like this, it just keeps unraveling. Claudio: Exactly. Bava: Sonically though, I'm really curious, were you listening to new things, were you inspired by specific artists that made you kind of lean to this new version of your music? Claudio: I think just naturally, I was in rooms with a lot of—well, it was mainly genres for me, because I was tapping into so many different styles. I must have done at least 200 sessions in one year. I was working almost every day, and with that came being in rooms surrounded by different genres—like I was doing a lot of dance, indie, alternative, and obviously R&B. Subconsciously, all of it was just sticking in my brain. I've always listened to these kinds of genres on my own time—I love indie music, singer-songwriter stuff, and really big, cinematic things. And because I was actually writing in those genres for the first time—experiencing what that was like with my voice and ideas—I got more excited to try that on my own. Usually I'm in other people's worlds when I'm songwriting, but I was like, damn, I can't wait till it's my turn and I can do exactly what I hear in my head. So yeah, I've always listened to those genres, but now I finally got to create over them. And for my album, I worked—again—with the same people I always work with. They have a broader palette of music, and they're a big reason the songs sound the way they do. They brought their own references and inspirations, and we'd go back and forth on songs we loved. A lot of the time, I didn't even know the ones they were referencing, which I thought was a good thing—'cause I'd go in and do my own thing, since I'd never heard it before. They'd play it once, I'd be like, 'Okay, cool, let's try something like that,' and melodically I'd go somewhere else. So yeah, it was just a mix of the artists I worked with, the genres I was exploring, and the music I've loved my whole life. Bava: Are there some genres that you created with that you're kind of thinking someday you want to kind of go into that world and make kind of a very different project from? Claudio: I think one of my strong suits—which I've never done personally, but I've done with other artists—is dance. There's so—like, that's the category, but there are so many subgenres under that. Just a dance album would be really interesting for me—all types of dance—even Afrobeat or house or like all the subgenres under dance. I don't know why, but it's really easy for me to write to. I've just never done it on my own because I always think about, like, when I go on tour, the music I want to perform is usually the more emotional, ballad, singing-type songs. But I really love when I get the opportunity to work with a DJ or do collabs with people in the dance world. So maybe one day I'll do my own project—or like an EP or something like that—where it's all dedicated to the dance world. Bava: Through all of the process of all the many things that you do, is there a favorite part of the process for you—from writing to performing? Claudio: Oh, well, I think it kind of leads into the next thing. I love—I think it's always like a euphoric feeling when you're creating a song and it's all clicking, and everything is making sense, and you leave the session and you're listening to the song a million times over in your car, and you're like, 'Oh my God, we just created that.' And then that leads into the part where you get to perform it for people, and you hear people singing the song back—this song that you remember creating and being in awe of. So I think those are probably my two favorite parts of this whole thing—the creation of it all, and then getting to perform it, and realizing that what you created actually connects to people in a certain way. Hearing them sing it back, watching them sing it, or watching them get emotional—or even just the visual part of it all. Those are probably my two favorite parts of the whole—this whole artist thing, I guess. Bava: I mean this album is just so expansive—it's going to be so incredible live I think. I cannot—I can't wait. It just sounds like flying. Claudio: Thanks. That's why it's so long. Yeah, it's like—I feel like I'm flying, and I can't wait. I feel like the production is so massive on a lot of the songs. And my band—like, I've already performed a couple of songs with them for certain things—but I can't wait till we're on tour and just performing it with a bunch of people. And yeah, it's gonna be amazing. Bava: Is there a song that you're most excited to perform live? Claudio: It's hard to choose. Well, no—I gotta say I have my favorites already, and I think it's the bigger production ones. Like, 'Memory Foam' is one. And then I have another song called 'Detoxing,' which is kind of similar to 'Memory Foam' in the sense that it gives—like, I always compare it to a Coldplay, Avril Lavigne type nostalgic vibe. But it's really big, and when the band performs it, it's even bigger. The energy and the emotion are crazy. And then I have another song called 'Discourage,' which is kind of the same thing. It's just really big, really full—conceptually, they're emotional. And vocally, I feel like I've broken out of this soft, whispery, sensual vibe that I'm normally on. I'm singing stronger, and I'm almost belting in some songs, which is something I've never really done before. So when we go to perform it live, that'll be exciting. So yeah, I'd say those are probably my top three faves. Bava:Yeah, that's so wonderful. Is there anything else that you want to add into this for both the readers and the listeners that we hadn't talked about yet? Claudio: I don't think so. I think you asked a lot of amazing questions. I'm just really excited for the final piece of the puzzle—for me to be able to talk about it once I announce it. But yeah, just that this is an album I'm extremely proud of, and I hope that people resonate with it in their own way, and that all the vulnerability doesn't go to waste, and it connects to people deeper than ever before. So yeah, that's all I would say. Bava:Beautiful. It's so amazing to hear you as the storyteller—like that's the most ancient thing. And when you add that to the beautiful music, of course it's going to be so potent—and yes, it's going to resonate with many. So, thank you so much. Claudio:Thank you girl!
Yahoo
06-06-2025
- Entertainment
- Yahoo
5 Best Moments as Tems Brings the Heat to Billboard's The Stage at SXSW London
Billboard's The Stage hit SXSW London on Thursday night (June 5), marking the first time the event took place in the U.K. The show at the capital's Troxy was headlined by Lagos-born, London-based superstar Tems, a day after she collected the Diamond Award at the Global Power Players Event alongside Sir Elton John and EMPIRE CEO Ghazi. Speaking from the stage, she celebrated Billboard for championing African music on a global scale. More from Billboard Sabrina Carpenter Summer 2.0 Commences With New Single 'Manchild': Stream It Now Madonna Introduces Fans to Her 'Veronica Electronica' Alter Ego: 'Meet My Other Half' Jay-Z Makes Seven-Figure Wager on 2025 NBA Finals: See Who He's Betting On The special ticketed event was one of SXSW London's biggest draws and comes after days of live performances and thought-provoking panels throughout Shoreditch. The Stage has become a staple at SXSW in Austin, with 2025 headliners including John Summit, Koe Wetzel and Grupo Frontera in a genre-busting showcase of some of music's most sought-after names. It's another crowning glory for current Billboard cover star Tems following her rapid rise over the past few years, culminating in a Grammy win in 2025 for best African music performance. Speaking to Billboard on her success and staying authentic, she said, 'It feels good to be able to do this on this scale. My life is a dream.' Tems released her debut album Born in the Wild in June 2024 to critical acclaim. The Stage featured a number of performers during the night, giving punters at the historic venue a glimpse of the present and future of music from both the U.K. and Africa. Botswana's Amantle Brown opened proceedings, with London-based rising star LULU. both appearing on the bill as well. These are five highlights from The Stage's SXSW London diverse, energetic selections from DJ Edith Escobar, Amantle Brown celebrated her home nation of Botswana in her passionate set to open the night of live performances. 'I'm all the way from Africa and Botswana,' she told the crowd, 'and out there, the industry is still growing, but you just know they are rooting for me back home,' she said as she proudly waved her home nation's flag onstage, thousands of miles artist LULU. has made waves on the capital's live scene in recent months, fusing pop and R&B into her own distinctive sound. Performing cuts from her 2024 collection Dear Disorientated Soul as well as brand-new song 'Not There Yet,' she reminded the crowd that being creative is an essential need for all people and that 'no-one can stop you from doing' what you want as a performer. Her set – which included a cover of Bob Marley's' 'Is This Love' – was proof that her artistry is, indeed, unstoppable and brilliant. Arriving to passionate screams, Tems told the crowd she was happy to be back onstage at what was her first show in London of 2025. Her set pulled heavily from her genre-blending debut Born in the Wild, expertly brought to life with Tems' hip-shaking stage presence, top-notch vocals and backed by a tight six-piece band. Alongside her biggest hits, Tems played songs for her 'day ones,' including 'Higher,' showcasing vocal excellence in moments both euphoric and intimate. Fan favorite 'Found' saw Tems share the mic with eager stans in the front row and duetting on the song's memorable chorus. 'Love Me Jeje' brought the vibrant party to Troxy's historic dance floor, with its art-deco features withstanding the bouncing energy Tems and the crowd created together. 'Essence,' her collaboration with Nigerian giant Wizkid, took the vibes to brand new-highs, while closing tracks 'Me & U' and 'Free Mind' capped off a stellar evening for the global superstar in her adopted hometown. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Yahoo
30-05-2025
- Entertainment
- Yahoo
African Fresh Picks: Ayra Starr x Wizkid, Ayox x Qing Madi, Darkoo, Olamide, Seyi Vibez & More
Does it even feel like summer if Darkoo doesn't drop? After last year's 'Favourite Girl' and 'Focus On Me (All the Sexy Girls In The Club)' earlier this year, she's giving the girls another reason to whine their waists with 'Like Dat.' And three years after their sweet '2 Sugar' collab from his More Love, Less Ego album, Ayra Starr and Wizkid join forces again on island-infused Afrobeats banger 'Gimme Dat' (which has no relationship to the aforementioned P-Square hit). Speaking of Wizkid collabs, he teams up with Nigerian hip-hop icon Olamide for a new track, 'Kai!,' while Seyi Vibez celebrates his new partnership with EMPIRE with a sonic departure in the form of new track 'Pressure.' Meanwhile, Fido follows up his breakthrough smash 'Joy Is Coming' with a new cut called 'Money Moves,' while Kizz Daniel returns with a surprise seven-song EP called Uncle K: Lemon Chase that leads with the breezy song 'Black Girl Magic.' More from Billboard Nigerian Star Seyi Vibez Partners With EMPIRE, Drops New Single 'Pressure' The Amity Affliction Cover Turnstile's 'Holiday' for 'Like a Version' Mariah Carey Celebrates 20 Years of 'The Emancipation of Mimi': Stream It Now 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 pregame the summer season with our Spotify playlist below. Ayra Starr & Wizkid, 'Gimme Dat' Ayra Starr and Wizkid are ready to fill up the 'freakin' dancefloor' this summer with 'Gimme Dat.' The slow-burning acoustic guitar melody from Wyclef Jean and Mary J. Blige's 2000 Grammy-nominated hit '911' and tropical drums, courtesy of producers VybeO and Mikabeatz adds to the song's sensuality and serenity. But Wiz steals the spotlight in the middle of the song with his audacious 'Goddamn' declaration that kickstarts his verse about sticking to one shorty who has all his attention. June Freedom, 'Oh My Lady' The Cape Verdean American crooner creates a vibrant ode to intimacy with his latest single 'Oh My Lady.' Producer Abolaji Collins Kuye's glimmering Afro-fusion groove complement Freedom's blend of English and Cape Verdean Kriolu sweet nothings that roll off his tongue as he reminds us that home isn't always a place, it's your person. 'Two souls locked in, fully understanding each other on every level: mind, body and soul. I wanted to capture that rare kind of love that holds you down but still lets you fly. It's like wake up to peace and falling asleep in passion,' he said in a press release. Darkoo, 'Like Dat' The British-Nigerian star heats things up again with 'Like Dat.' The pulsating Afroswing beat will immediately send any 'naughty naughty' girl's hips swinging, but her suave voice drives the track's flirtatious energy. And Darkoo plays into her affinity for Y2K sonics and aesthetics by paying homage to the music video for Sean Paul's 2003 smash 'I'm Still in Love With You' with the same bold pop of orange and yellow in the Sam Fallover-directed 'Like Dat' visual. Ayox & Qing Madi, 'WHAT HAVE YOU DONE' The self-proclaimed 'loner of Afrobeats' Ayox and Billboard's repeat 21 Under 21 honoree Qing Madi are a melodic match made in heaven on 'WHAT HAVE YOU DONE' from his sophomore EP WHEN NOBODY IS WATCHING. They swap sweet-sounding confessions about taking accountability and wanting to do better by their lovers over pulsating rhythms and thrilling saxophone riffs. Twitch 4EVA, Yung D3mz & Uche B, 'Temperature' Ghanaian artists Twitch 4EVA and Yung D3mz and producer Uche B team up on the scorching single 'Temperature.' The spurts of the log drums feel like trickling beads of sweat down the body, but the whistling ad-libs interspersed throughout the song add more ventilation. Olamide & Wizkid, 'Kai!' Two titans of the last two decades of African music, Olamide and Wizkid, teamed up for this slick cut, which layers a horn section over some traditional Afrobeats drum patterns and features both icons crooning, using their voices as additional instrumentation to augment the track. The video sees the two of them dressed to the nines in a nightclub setting, too, enhancing the overall vibe of the track. Seyi Vibez, 'Pressure' Fresh off his new partnership with EMPIRE, Nigerian street prince Seyi Vibez immediately diverted from his usual grittier sound to drop this love song, with warmer and more inviting themes than his usual gruffer fare. It's 'a complete shift from my usual sound,' he said in a press release about the track. 'It leans into melody, intimacy and raw emotion. It's smoother, softer and more intentional. I wanted to show my range, to prove that I can give you fire and tenderness in the same breath. This track is about the quiet power of love and attention. Sometimes the loudest statement is how you move when no one's watching. That's real pressure.' Fido, 'Money Moves' Fresh off his breakout smash single 'Joy Is Coming,' Fido returns with 'Money Moves,' an engaging cut with an earworm hook — quickly becoming a hallmark of his — that brings in amapiano elements to underpin his melodic vocals. If joy was coming on his last single, it's arrived in the form of stacks of cash in this one. Bhadboi OML feat. L.A.X., 'River' Bhadboi OML has been steadily building a name for himself with a string of single releases over the past year or so, and this one lands with a breezy vibe just on the cusp of summertime with a hook that implores the listener to 'cry me a river.' Teaming up with fellow Nigerian and veteran artist L.A.X. adds another dimension to this one, but Bhadboi takes the bulk of it and delivers a hit for the season. Kizz Daniel, 'Black Girl Magic' Returning out of nowhere with a new EP, the seven-song Uncle K: Lemon Chase — featuring collaborations with ODUMODUBLVCK, Angélique Kidjo, Bella Shmurda, Zlatan and more — Kizz Daniel bolsters his discography with 'Black Girl Magic,' a free-spirited, lighthearted ode to treating your girl right no matter the cost. The full project is worth checking out, but this one sets the tone. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
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23-05-2025
- Entertainment
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Nigerian Star Seyi Vibez Partners With EMPIRE, Drops New Single ‘Pressure'
Nigerian street star Seyi Vibez has partnered with EMPIRE on new music, and released a new single called 'Pressure' as part of the new deal. The song, more low-key than the gritty street vibe on which the artist has built his career thus far, 'is a complete shift from my usual sound,' Seyi Vibez said in a statement announcing the release. 'It leans into melody, intimacy and raw emotion. It's smoother, softer and more intentional. I wanted to show my range, to prove that I can give you fire and tenderness in the same breath. This track is about the quiet power of love and attention. Sometimes the loudest statement is how you move when no one's watching. That's real pressure.' More from Billboard From the Bay Area to Africa, How EMPIRE Became A Global Force Aaron Paul Opens Up About Tracking Down Tour Managers to Get Bands to Perform in His Living Room Ye Claims He's 'Done With Antisemitism': 'Forgive Me for the Pain I've Caused' Still just 24, Seyi Vibez burst onto the Nigerian music scene in 2022 with debut album Billion Dollar Baby, mixing a variety of genres and styles into his own sound that captured the rhythms of his neighborhood in Lagos. Since then, he has proved prolific, dropping a series of singles, albums and EPs, most recently February's Children of Africa, which saw all four of its songs reach the U.S. Afrobeats Songs chart, and his catalog has racked up north of 400 million on-demand streams in the U.S. alone, according to Luminate. Along the way, he's collaborated with the likes of Burna Boy, Olamide, Young Jonn, Kizz Daniel, BNXN, Russ and NLE Choppa, among others. 'We are happy to partner with Seyi Vibez, an artist whose vocal dexterity and versatility truly stand out,' said Mobolaji Kareem, EMPIRE's regional head of West Africa, in a statement. 'He is a great fit and we look forward to helping his continued growth as a global artist.' 'I'm stepping into this new chapter with the spirit of my ancestors,' added Seyi. 'I carry the energy of Orisa: the guardian, the protector, the voice of the city.' Check out the new song below. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
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23-05-2025
- Entertainment
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Tyler, the Creator, Missy Elliott, The Weeknd, Rihanna, Nas & More R&B and Rap Artists Who've Sampled & Interpolated Old African Songs
Aminé's third studio album 13 Months of Sunshine — which dropped Friday (May 16) — pays homage to his Ethiopian roots, and one of the clearest examples can be heard in the title track that samples Aster Aweke's 2019 track 'Nafkot.' Almost a decade ago, Canadian-Ethiopian superstar The Weeknd honored their shared motherland by also sampling Aweke's 'Y'shebellu' on his 2016 Starboy single 'False Alarm.' More from Billboard Nigerian Star Seyi Vibez Partners With EMPIRE, Drops New Single 'Pressure' MOLIY & Silent Addy's 'Shake It to the Max' Hits No. 1 on the U.S. Afrobeats Songs Chart Jet-Setting With Tems As She Makes History Around the World And they're not the only artists who've paid tribute to the continent. Tyler, the Creator's Billboard Hot 100 top 10 hit 'NOID' from his seventh album Chromakopia finds the Nigerian American rapper paying homage to his African roots: He samples Zambian rock band Ngozi Family's 1977 track 'Nizakupanga Ngozi.' And it's not the first time the revered MC (real name Tyler Okonma) — who's become more vocal about his heritage (see his comment underneath OkayAfrica's Instagram post about not being included in the platform's roundup of African artists who performed at Coachella this year) — has sampled an old African song. 'I THINK,' from his Grammy-winning 2019 album IGOR samples Nigerian disco artist Bibi Mascel's 'Special Lady' as well as Cameroonian funk multi-instrumentalist Nkono Teles' 'Get Down.' The late and legendary Cameroonian saxophonist Manu Dibango's 1972 smash 'Soul Makossa' is perhaps the most sampled African record ever, as its various instrumental elements have been heard in Jay-Z's 'Face Off' (featuring Sauce Money), Beyoncé's 'Deja Vu – Homecoming Live' (which Hov was also featured on) and countless more songs. The 'Mama ko mama sa maka makossa' hook has been adapted and used on hits like Michael Jackson's 'Wanna Be Startin' Somethin'' and Rihanna's 'Don't Stop the Music,' but there was quite a bit of legal controversy surrounding those two songs. Dibango sued both artists in 2009 for copyright infringement after Rihanna only asked Jackson for permission to borrow the hook from 'Wanna Be Startin' Somethin'' for her 2007 track without reaching out to Dibango. He had previously reached a financial settlement with the King of Pop, but Dibango demanded €500,000 in damages and for Sony BMG, EMI and Warner Music to be barred from making money off those songs until the matter was resolved. But the judge threw the case out because Dibango had accepted publishing credit on Rihanna's song. Billboard rounded up 16 songs by R&B and rap artists that sample and interpolate vintage African songs, in order from newest to oldest. Aminé's '13MOS' from his 2025 album 13 Months of Sunshine samples fellow Ethiopian singer-songwriter Aster Aweke's 'Nafkot' from her 2019 album Ćhewa. Aweke's laidback, drawn-out runs on the first verse of 'Nafkot' are sped up and pitched up at the tail end of '13MOS.' Tyler, the Creator's 'NOID' single from his 2024 album Chromakopia samples Zambian rock band Ngozi Family's 'Nizakupanga Ngozi' from its 1977 album 45,000 Volts. 'NOID' loops the fuzzy guitar riff from 'Nizakupanga Ngozi,' while the chorus of Tyler's single samples Paul Ngozi's Chichewa vocals: 'Pobwela panyumba panga, uyenela ku nkala ndi ulemu/ Chifukwa, ine sinifuna vokamba, kamba/ Vokamba kamba vileta pa mulomo/ (Wotangozi, wotangozi).' 'NOID' reached No. 10 on the Hot 100 and No. 2 on Hot R&B/Hip-Hop Songs. Kelly Rowland's 2020 single 'Hitman' that was included in the NFL's 2020 Songs of the Season series samples Nigerian Afrobeat pioneer Fela Kuti's 'Mr. Follow Follow' from his 1976 album Zombie. The bold, funky horn melody of 'Mr. Follow Follow' powers 'Hitman.' Beyoncé's 'Déjà Vu (Homecoming Live),' featuring Jay-Z, from the former's 2019 album Homecoming: The Live Album samples Fela Kuti's 'Zombie' from his 1976 album of the same name and Manu Dibango's 'Soul Makossa.' The groovy horn and rhythm sections of 'Zombie' and 'Soul Makossa' kick off 'Déjà Vu (Homecoming Live)' before Hov screams to the crowd, 'Coachella, if you havin' a good time tonight, make some noise!' 'Soul Makossa' reached No. 35 on the Hot 100, No. 21 on Hot R&B/Hip-Hop Songs and No. 3 on World Digital Song Sales. It also earned best R&B instrumental performance and best instrumental compilation nominations at the 1974 Grammys. Tyler, the Creator's 'I THINK' from his 2019 album Igor samples Nkono Teles' 'Get Down' from his 1982 album Afro Music Party and Bibi Mascel's 'Special Lady' from his 1982 album of the same name. 'I THINK' loops the four-on-the-floor drum beat from 'Get Down,' while Tyler and guest vocalist Solange lift Mascel's heartfelt chorus — 'I think I've fallen in love/ This time I think it's for real' — and fuzzy synth chord progression. 'I THINK' reached No. 51 on the Hot 100 and No. 22 on Hot R&B/Hip-Hop Songs. The Weeknd's 'False Alarm' from his 2016 album Starboy samples fellow Ethiopian singer-songwriter Aster Aweke's 'Y'shebellu' from her eponymous 1989 album Aster. Aweke's lithe runs can be faintly heard at the end of 'False Alarm,' which reached No. 55 on the Hot 100 and No. 23 on Hot R&B/Hip-Hop Songs. 'Her voice is the greatest thing you'll ever hear,' The Weeknd (real name Abel Tesfaye) told Billboard for his 2016 No. 1s cover story. J. Cole's 'Let Nas Down' from his 2013 album Born Sinner samples Fela Kuti's 'Gentleman' from his 1973 album of the same title. 'Let Nas Down' loops Kuti's woozy saxophone solo from 'Gentleman.' J. Cole's 'Can't Get Enough,' featuring Trey Songz, from the former's 2011 album Cole World: The Sideline Story samples Guinean dance-music orchestra Balla et ses Balladins' 'Paulette' from its 1980 album Objectif Perfection. 'Can't Get Enough' loops the tropical guitar melodies and easygoing harmonies from 'Paulette.' Nas and Damian Marley's 'As We Enter' from their 2010 collaborative album Distant Relatives samples Ethio-jazz pioneer Mulatu Astatke's 'Yegelle Tezeta' from his 1969 album New York – Addis – London: The Story of Ethio Jazz 1965-1975. The blazing horn riff and shuffling organ groove of 'Yegelle Tezeta' underlines 'As We Enter,' which reached No. 16 on Bubbling Under Hot 100 and No. 23 on R&B/Hip-Hop Digital Song Sales. Ye's 'Lost in the World,' featuring Bon Iver, from the former's 2010 album My Beautiful Dark Twisted Fantasy interpolates Manu Dibango's 'Soul Makossa.' He sings 'Ma-ma-se, ma-ma-se, ma-ma-ku-sa' in the first verse of 'Lost in the World,' a play on Dibango's hook from 'Soul Makossa.' The Roots' 'I Will Not Apologzie,' featuring Greg Porn and Dice Raw, from the band's 2008 album Rising Down samples Fela Kuti's 'Mr. Grammarticalogylisationalism is the Boss' from his 1975 album Excuse-O. The shrill horn section and polyrhythmic groove of 'Mr. Grammarticalogylisationalism is the Boss' underscore 'I Will Not Apologize.' Rihanna's 'Don't Stop the Music' from her 2007 album Good Girl Gone Bad samples Michael Jackson's 'Wanna Be Startin' Somethin',' which interpolates Manu Dibango's 'Soul Makossa' from his 1973 album of the same title. She lifts the 'Mama-say, mama-sa, ma-ma-ko-ssa' coda from Jackson's record, which Dibango had argued was an uncredited alteration of his hook from 'Soul Makossa.' Rihanna's hit peaked at No. 3 on the Hot 100 and Pop Airplay while topping Dance Club Songs and Dance/Mix Show Airplay. It was also nominated for best dance recording at the 2008 Grammy Awards. Nas' 'Warrior Song,' featuring Alicia Keys, from his 2002 album God's Son samples Fela Kuti and The Afrika 70's 'Na Poi' from his 1971 album of the same title. Kuti's chanting from 'Na Poi' kicks off 'Warrior Song.' Missy Elliott's 'Whatcha Gon' Do,' featuring Timbaland, from her 2001 album Miss E…So Addictive samples Fela Kuti and The Afrika 70's 'Colonial Mentality' from his 1977 album Sorrow Tears and Blood. 'Whatcha Gon' Do' loops the introductory bass and drum melody of 'Colonial Mentality.' Jay-Z's 'Face Off,' featuring Sauce Money, from the former's 1997 album In My Lifetime, Vol. 1 samples Manu Dibango's 'Soul Makossa.' The jazzy horn section and funky breakbeat of 'Soul Makossa' plays during the chorus of 'Face Off.' 'Jay came in, we put up the 'Soul Makossa' record, the sample, he had Sauce Money in there, and they went in together. It was hot. It was simple, nothing major. It was a one off,' Tone, one-half of the production duo Trackmasters that helmed the record, told Complex in 2012. 'We weren't gonna be in the studio for two weeks. It was just one session, he came, he spit, and it was over.' Michael Jackson's 'Wanna Be Startin' Somethin'' from his 1982 album Thriller interpolates Manu Dibango's 'Soul Makossa.' 'Wanna Be Startin' Somethin'' peaked at No. 5 on the Hot 100 and Hot R&B/Hip-Hop Songs. Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
