Tag: afro pop

Video by William Ruben Helms

New Video: JOVM Mainstay Alewya Shares Sultry Club Banger “Saleh”

JOVM mainstay Alewya is an acclaimed London-based singer/songwriter, producer and visual artist. Born in Saudi Arabia to an Egyptian-Sudanese father and an Ethiopian mother, the acclaimed London-based artist has spent her life surrounded by diaspora immigrant communities: She grew up in West London and after a several year stint in New York, she returned to London. Upon her return home, the Saudi-British artist developed and honed her ear for music through the sounds of the Ethiopian and Arabic music of her parents and the ambient and alternative rock albums of her brother. 

She’s part of a generation of artists actively redefining global music, a generation that’s generally rooted in heritage, yet unbound by it. Describing herself as a painter, who makes music, Alewya approaches sound as texture and feeling, guided more by intuition than structure. Her sound and story help to widen the Black British frame, bringing the often under heard North and East African perspective into a much-needed focus. 

Back in 2020, the JOVM mainstay burst into the scene with an attention grabbing feature on Little Simz‘s “where’s my lighter,” which caught the attention of Because Records, who signed the rising artist and released her critically applauded debut, 2021’s Panther In Mode EP. 

Alewya’s highly-anticipated full-length debut, ZERO is slated for a June 26, 2026 release through Because London Records. The album reportedly embodies years of artistic growth into an effort that’s both deeply personal and sonically expansive. But the album also marks a significant milestone, as it sees her boldly stepping into a new creative era, defined by fearless experimentation and cultural fluidity. 

ZERO will include the previously released “Night Drive,” feat. Dagmawit Ameha and “City of Symbols,” “Eshi,” and the album’s latest single “Selah.” Produced by longtime collaborator Busy Twist, “Selah” is a sultry, club banger anchored around pulsing Afrobeats-like instrumentation and production paired with a propulsive, infectious bass line and the JOVM mainstay’s effortless, hypnotic delivery. “Selah came from playful instinct,” Alewya says.

Directed by Iggy London with creative direction by Lee Trigg and movement direction by Kitz Katila, the accompanying video for “Selah” captures the cathartic release of joy, sweat through color and dance at a Black London party. This kinetically shot video should remind you that there’s true freedom and unity on a strobe-lit dance floor — and that Black folk are fucking beautiful.

Single Review by William Ruben Helms

New Audio: Dmc Reigns Shares Woozy “Wahala”

Dmc Regins is a rising Nigerian-born, Berlin-based artist, who blends Afro-fusion with spiritual and contemporary influences. His music draws from early experiences in church, where he began singing when he turned nine, under the guidance of his mother, a choir leader. By the time he turned 12, he was writing his own songs, later experimenting with hip-hop and Afro-pop influences while he was in school.

Although he later went on to study medicine, music was a constant presence. After completing his studies, he decided to fully pursue music, building momentum through early social media releases and grassroots support, with his siblings among his first listeners.

He relocated to Berlin to 2022 and since then, the rising Nigerian artist’s sound has continued to evolve, influenced by a diverse and eclectic scene while still remaining rooted in his early musical foundations, combining faith, identity and cultural storytelling into a distinctive artistic voice.

The Nigerian-born, Berlin-based artist’s latest single “Wahala,” is a genre-defying yet hook-driven tune that sees him blending elements of classic highlife with woozy neo-soul and electro pop. The track was born from a fortuitous studio accident: While collaborating with producer AceKeyz on a separate project, AceKeyz mistakenly send Dmc Reigns a beat originally intended for OdumoduBlvck. Rather than return the beat, the Nigerian-born, Berlin-based artist seized the moment and took advantage.

“At first, I wasn’t sure, since it was a highlife beat with a cultural dynamic. I decided to experiment,” Dmc Regins explains. “I blended that classic highlife with a modern twist. As soon as I finished it and AceKeyz told me how much he loved it, I knew it was a vibe.”

Sonically, “Wahala,” which means “trouble” in Nigerian Pidgin English, evokes the intoxicatingly woozy push-and-pull of a toxic, intense and deeply fucked up relationship or situationship in which both parties are inexplicably drawn to each other, and yet they know better.

Single Review by William Ruben Helms

New Audio: Naza SYF Teams Up with Zikyre on Breezy “Active”

Naza SYF is an emerging Nigerian artist, who has released a handful of single over the past 18 months or so. His latest single “Active” feat. Zikyre is a breezy, slickly produced Afrobeats bop that effortlessly manages to be club and lounge friendly.

With the bitter cold temperatures across most of the United States right now, this song is a reminder of the rooftop parties, block parties, cookouts and beach hangouts we’ll be enjoying in a few short months.

Video by William Ruben Helms

New Video: Amadou & Mariam Share Swooning “L’amour à la folie”

Over the course of their almost 50-year career run together, the iconic and beloved Malian duo Amadou & Mariam have had an illustrious career that saw them take the Malian blues that made them a household name in Africa and opened it up to rock, hip-hop and EDM/dance influences, which led to spreading their country’s culture and beloved sounds, as well as the pair’s unique joie de vivre. “We’ve always dreamed of tearing down walls and opening people’s ears to new sounds so the whole world can discover and appreciate Malian music,” Amadou & Mariam says.

Late last year, the pair released the compilation album La Vie Est Belle, an album that highlighted their legacy as one of Africa’s most famous duos and the massive influence they’ve had while paving the way for an exciting, new generation of African artists, who have begun to dominate the Western mainstream.

The legendary Malian duo have also acted as Afro-pop ambassadors, who have collaborated with some of the biggest names of Western mainstream music, including U2, Coldplay, Stevie Wonder, Sofi Tucker, BLOND:ISH, Santigold, Akon, TV on the Radio, Damon Albarn and David Gilmour — with their seven studio albums selling over one million records globally. Adding to a globally recognized profile, the duo made the rounds of the global festival circuit, playing sets at Coachella, Lollapalooza and Glastonbury. They’ve also performed at The World Cup, NPR’s Tiny Desk and last year’s Paris Paralympic Games Closing Ceremony, where they covered Serge Gainsbourg‘s “Je Suis Venu Te Dire Que Je Me’n Vais.” And lastly, they made the run of the late night TV circuits of both the US and UK.

The duo’s final album together, L’amour à la folie is slated for an October 24, 2025 release. Written and recorded together over the past seven years, the acclaimed and beloved Malian duo’s soon-to-be released eighth album conveys the duo’s raw joy through incandescent, exuberant music that perfectly complements their messages of love and unity — and the hope of a peaceful world in which diversity is celebrated and championed. And with love with a capital L as the driving force, music and fuel and sharing as the spark, the duo’s radiant power continues to shine on their final album.

Final mixes of the album’s material were completed last winter. They shared a deep excitement about the album’s release in October. But sadly, Amadou Bagayoko died back in April. It’s Mariam Doumbia’s wish, after the mourning period, to return to stages and perform the album she spent seven years working on with her beloved while celebrating the music and life her and beloved created.

L’amour à la folie‘s latest single, album title track “L’amour à la folie,” is a defiantly upbeat and urgent declaration of a swooning and ridiculously passionate love, featuring a propulsive and funky Afro pop-meets-dance floor groove, driving polyrhythm and Bagayako’s woozy guitar riff paired with the duo’s unerring knack for incredibly catchy hooks and their imitable harmonizing. And at its core, “L’amour á la folie,”is a much-needed joy bomb in bleak, desperate times that reminds all of us that life isn’t worth a damn without a love that drives you mad.

The accompanying video features footage of the pair performing on stages across the world, bursts of behind the scenes footage from video and album art shoots, small moments of families together, behind the scenes footage of the duo together and more.

Video by William Ruben Helms

Throwback: R.I.P. Amadou Bagayoko!

JOVM’s William Ruben Helms celebrates the life and music of Amadou & Mariam’s Amadou Bagayoko.

Single Review by William Ruben Helms

New Audio: Michael O. Shares a Yearning Yet Catchy Bop

Michael O. is a New York-born, Portland, ME-raised singer/songwriter, who grew up within a fusion of American, Black American and Nigerian culture. His work is honors his upbringing and his roots rand is deeply inspired by both. And through his remarkably accessible music, he hopes to make avenues for the African Diaspora to connect, as well as to inspire all nationalities across the globe to tap into their respective ancestral lineages.

He attended Dartmouth, where he double majored in Global Health and History and joined an a cappella singing group, The Dartmouth Aires. The group participated on NBC’s The Sing-Off, finishing in second place, which helped the rising artist earn a national and international attention, as well as praise from the show’s judges, Ben Folds and Boyz II Men‘s Shawn Stockman.

After The Sing-Off, he relocated to Los Angeles, where he released his debut EP, 2013’s In The Beginning. Within 24 hours of its release, the EP cracked iTunes R&B Charts Top 5. The EP was also Northern New England’s best selling EP.

He appeared in 2015’s Pitch Perfect 2, playing the role of The Singboks’ lead singer, soloing with “Anywhere You Want It.” He was also featured on Pitch Perfect 2‘s American Music Award-winning, commercially successful soundtrack.

Back in 2017, he began diving deeper into West African and African-influenced music , winning a HAPA Best Upcoming Artist Award for that year’s “Your Way.” He followed that up with “Umbrella” “See Stars” and two remixes of “Umbrella — one sung in French and the second remix featuring Kenyan star Naiboi. Adding to a growing international profile, he has collaborated with FlexCop, Option4 and Gladiator.

Michael O.’s latest single “Attention” continues a run of remarkably breezy, accessible an downright catchy pop that meshes elements of Sade-like Quiet Storm R&B and Afrobeats paired with the rising artist’s plaintive, yearning delivery. At its core, the song is a love song for the grown and sexy out there.

“‘Attention’ dives deep into the emotions of a relationship unraveling,” Michael O. explains. The track captures the bittersweet beauty of accepting a relationship that’s ended — even if they didn’t want it to happen. “‘Attention’ is both a personal confession and a universal anthem for anyone navigating love’s complexities. This track is for everyone who’s been there—questioning themselves, searching for closure, and coming to terms with an ending they didn’t want but couldn’t stop.”

Single Review by William Ruben Helms

New Audio: Jupiter & Okwess Shares Defiantly Upbeat Banger

Jean-Pierre “Jupiter” Bokondji is a Kinshasa, Democratic Republic of the Congo-born and-based bandleader, songwriter and percussionist, who can trace the origins of his music career to his childhood: Bokondji’s grandmother was a traditional healer, who got introduced him to music by having him attend religious ceremonies and funerals, which he later would play percussion. 

His father was a Congolese diplomat, who received a post at the Congolese embassy in East Berlin — and as a result, the family relocated to Germany. While in Germany Bokondji started his first band Der Neger, an act that meshed the Mongo music of his native Congo with the European rock of his German-born bandmates. 

When his father’s post ended, the family returned to Kinshasa in the 1980s. Upon his family’s return, Bokondji traveled around the country listening to the music of the country’s different tribes, eventually developing and honing his own style and sound. In 1984, he formed a band called Bongofolk — and in 1990, he formed his best known and longest running band Okwess International, which currently features Staff Benda Bilili’s Montana (drums), Yendé (bass), Eric (guitar), Richard (guitar) and Blaise (vocals). 

When Jupiter was young, he wanted to follow in the footsteps of his father, who was a diplomat. But, as he says, “Destiny is complicated. Life changed, and my life was making music on the streets in Kinshasa. But now we are performing all over the world, doing interviews, telling the world about the Congolese people – well, now I have the chance to be a diplomat. I did it differently.” 

In the years immediately after their formation, the members of Jupiter & Okwess toured across Africa, playing a crowd-pleasing mix of Afropop, traditional Congolese rhythms, funk and rock paired with strong sociopolitical messages that Bokondji has dubbed “bofenia rock.” But unfortunately, as they saw increased popularity, a bloody civil war broke out in the Democratic Republic of the Congo. Some of the band’s members fled to Europe as a result of the war; however, Bokondji remained in Kinshasa. And as the war died down, the Congolese songwriter, bandleader and percussionist saw a resurgence of his popularity. 

Bokondji was featured in the 2006 documentary film Jupiter’s Dance. The film brought him to the attention of British producers and musicians: The following year Blur‘s and Gorillaz‘s Damon Albarn and Massive Attack‘s Robert Del Naja first visited Kinshasa. That first trip spurred various collaborations with Jupiter & Okwess opening for Blur and guesting on Albarn’s 2012 album Kinshasa One Two. Bokondji and his bandmates also joined the Africa Express tour and made the rounds of the global festival circuit, including sets at  Glastonbury Festival and Way Out West. Adding to a rapidly growing international profile, the act released their then-long-awaited full-length debut, 2013’s Hotel Univers.

In 2013, Massive Attack remixed “Jupiter (Battle Box).” As a result of this breakout success, the band toured across the UK, Mexico, Japan, New Zealand and France. 

The Kinshasa-based act’s sophomore effort, 2018’s Kin Sonic saw the band drawing from sounds outside of their homeland, incorporating elements of modern, contemporary music to the mix. The Afropop outfit supported the album with 180 dates across the globe, including performing in the Paris production of Abderrahmane Sissako and Damon Albarn’s opera Le Vol du Boli.

Their third album, 2021’s Na Kazonga saw the Congolese outfit meshing an array of sounds from across the African Diaspora including traditional African music, disco, jazz, New Orleans brass, samba and soul while still remaining committed to conscious, sociopolitical lyrics and a strong sense of purpose. 

The acclaimed Congolese outfit’s fourth album, Ekoya is slated for a February 7, 2025 release through Airfono. The album represents a new chapter for the band, as the material sees the band blending their signature mix of soulful Congolese funk, rock and soukous with influences from Mexico and across Latin America, informed by cross-cultural encounters and drawing from the shared history of African people in two continents. 

Ekoya was conceived in 2020 when the Congolese band were touring across South America, a tour shaped by the specter of lockdowns and interruptions. Once the tour was finished, the band was forced to pause in Mexico for a period of time, before returning home. For the band, it was a transformative experience, as they found themselves immersed in Latin American culture. “Latin America has influenced us a lot… but our music hasn’t changed, it has just been given a new dimension,” Bokondji says. “When we were there, we discovered things that pushed us to think differently. Because it’s like a continuation of Africa. There are people there who have African roots, Congolese roots – they are part of the story of Africa. They are part of us, and they are a part of our music.” 

Recorded in Mexico rather than the band’s hometown, the album explores themes of change and resilience, of Indigenous peoples’ issues and the joys and struggles of everyday life. The 12-song album features guest spots from Brazilian singer Flavia Coelho, Mexican Zapotec rapper Mare Advertencia and Congolese singer Soyi Nsele — and lyrics in eight different languages. The album sees the band as both proudly Congolese and profoundly global. 

The band explains that when it came time to record the album, Mexico was a natural destination with the band recording material in studios in Guadalajara and Mexico City, while working with a series of producers including Mexican Institute of Sound’s Camilo Lara. 

Late last year, I wrote about album single “Les Bons Comptes,” a collaboration with Brazilian vocalist Flavia Coelho that’s anchored around a driving soukous-meets Kinshasa funk rock groove, punchily delivered shouted call-and-response vocals and a soulful contribution from Coelho. While being a soulful and effortless mix of Africa and South America, the song is rooted in the conscious, sociopolitical charged lyrics and warm welcoming spirit the Congolese outfit is known for. But the song is also underpinned by a desire to be the connective tissue and soul of the global African Diaspora.

Ekoya‘s second and latest single “Congo Blinders” is a joyous track anchored around collaboration with Brazilian vocalist Flavia Coelho that’s anchored around a driving soukous-meets Kinshasa funk rock groove, punchily delivered shouted call-and-response vocals, a relentless four-on-the-four drum pattern and a fiery guitar solo. Much like its immediate predecessor, “Congo Blinders” further cements the Congolese outfit’s uncanny knack for pairing catchy hooks, hypnotic grooves with defiantly upbeat, politically charged messages.

Single Review by William Ruben Helms

New Audio: Jupiter & Okwess Teams Up with Flavia Coehlo on a Globalist Banger

Jean-Pierre “Jupiter” Bokondji is a Kinshasa, Democratic Republic of the Congo-born and-based bandleader, songwriter and percussionist, who can trace the origins of his music career to his childhood: Bokondji’s grandmother was a traditional healer, who got introduced him to music by having him attend religious ceremonies and funerals, which he later would play percussion.

His father was a Congolese diplomat, who received a post at the Congolese embassy in East Berlin — and as a result, the family relocated to Germany. While in Germany Bokondji started his first band Der Neger, an act that meshed the Mongo music of his native Congo with the European rock of his German-born bandmates.

When his father’s post ended, the family returned to Kinshasa in the 1980s. Upon his family’s return, Bokondji traveled around the country listening to the music of the country’s different tribes, eventually developing and honing his own style and sound. In 1984, he formed a band called Bongofolk — and in 1990, he formed his best known and longest running band Okwess International, which currently features Staff Benda Bilili’s Montana (drums), Yendé (bass), Eric (guitar), Richard (guitar) and Blaise (vocals). 

In the years immediately after their formation, the members of Jupiter & Okwess toured across Africa, playing a crowd-pleasing mix of Afropop, traditional Congolese rhythms, funk and rock paired with strong sociopolitical messages that Bokondji has dubbed “bofenia rock.” But unfortunately, as they saw increased popularity, a bloody civil war broke out in the Democratic Republic of the Congo. Some of the band’s members fled to Europe as a result of the war; however, Bokondji remained in Kinshasa. And as the war died down, the Congolese songwriter, bandleader and percussionist saw a resurgence of his popularity. 

Bokondji was featured in the 2006 documentary film Jupiter’s Dance. The film brought him to the attention of British producers and musicians: The following year Blur‘s and Gorillaz‘s Damon Albarn and Massive Attack‘s Robert Del Naja first visited Kinshasa. That first trip spurred various collaborations with Jupiter & Okwess opening for Blur and guesting on Albarn’s 2012 album Kinshasa One Two. Bokondji and his bandmates also joined the Africa Express tour and made the rounds of the global festival circuit, including sets at Glastonbury Festival and Way Out West. Adding to a rapidly growing international profile, the act released their then-long-awaited full-length debut, 2013’s Hotel Univers.

In 2013, Massive Attack remixed “Jupiter (Battle Box).” As a result of this breakout success, the band toured across the UK, Mexico, Japan, New Zealand and France.

The Kinshasa-based act’s sophomore effort, 2018’s Kin Sonic saw the band drawing from sounds outside of their homeland, incorporating elements of modern, contemporary music to the mix. The Afropop outfit supported the album with 180 dates across the globe, including performing in the Paris production of Abderrahmane Sissako and Damon Albarn’s opera Le Vol du Boli.

Their third album, 2021’s Na Kazonga saw the Congolese outfit meshing an array of sounds from across the African Diaspora including traditional African music, disco, jazz, New Orleans brass, samba and soul while still remaining committed to conscious, sociopolitical lyrics and a strong sense of purpose.

The acclaimed Congolese outfit’s fourth album, Ekoya is slated for a February 7, 2025 release through Airfono. The album represents a new chapter for the band, as the material sees the band blending their signature mix of soulful Congolese funk, rock and soukous with influences from Mexico and across Latin America, informed by cross-cultural encounters and drawing from the shared history of African people in two continents.

Ekoya was conceived in 2020 when the Congolese band were touring across South America, a tour shaped by the specter of lockdowns and interruptions. Once the tour was finished, the band was forced to pause in Mexico for a period of time, before returning home. For the band, it was a transformative experience, as they found themselves immersed in Latin American culture. “Latin America has influenced us a lot… but our music hasn’t changed, it has just been given a new dimension,” Bokondji says. “When we were there, we discovered things that pushed us to think differently. Because it’s like a continuation of Africa. There are people there who have African roots, Congolese roots – they are part of the story of Africa. They are part of us, and they are a part of our music.” 

Recorded in Mexico rather than the band’s hometown, the album explores themes of change and resilience, of Indigenous peoples’ issues and the joys and struggles of everyday life. The 12-song album features guest spots from Brazilian singer Flavia Coelho, Mexican Zapotec rapper Mare Advertencia and Congolese singer Soyi Nsele — and lyrics in eight different languages. The album sees the band as both proudly Congolese and profoundly global.

The band explains that when it came time to record the album, Mexico was a natural destination with the band recording material in studios in Guadalajara and Mexico City, while working with a series of producers including Mexican Institute of Sound’s Camilo Lara.

Ekoya’s latest single “Les Bons Comptes” is a collaboration with Brazilian vocalist Flavia Coelho that’s anchored around a driving soukous-meets Kinshasa funk rock groove, punchily delivered shouted call-and-response vocals and a soulful contribution from Coelho. While being a soulful and effortless mix of Africa and South America, the song is rooted in the conscious, sociopolitical charged lyrics and warm welcoming spirit the Congolese outfit is known for. But the song is also underpinned by a desire to be the connective tissue and soul of the global African Diaspora.

Video by William Ruben Helms

Live Footage: Mariaa Siga Performs “Boukanck” at Sensor Club

Over the past handful of years, I’ve spilled quite a bit of virtual ink covering Senegalese singer/songwriter, musician and JOVM mainstay Mariaa Siga. 

Siga continues an ongoing collaboration with ODDY on the slow-burning and heartfelt “Boukanack,” which pairs a shuffling and twinkling reggae riddims, bursts of soulful and meditative horn with the Senegalese JOVM mainstay’s gorgeous and expressive delivery. “Boukanack” continues a run of material that blurs and transcends cultural and international boundaries while celebrating diversity in all forms. With “Boukanack” in particular, the song is anchored in a much-needed message of peace and hope for all humanity. 

Recently, the Senegalese JOVM mainstay recorded a solo live session of “Boukanack,” that’s completely stripped down to Siga accompanying herself on guitar. The live version of ” Boukanack” gets down to the basics — songwriter, vocal and song — while reminding us that the star of the show is always her effortless and gorgeous vocal.

Video by William Ruben Helms

Throwback: Happy 86th Birthday, Fela Kuti!

JOVM’s William Ruben Helms celebrates the 86th anniversary of Fela Kuti’s birth.

Single Review by William Ruben Helms

New Audio: Major Lazer’s House Music Remix of Amadou & Mariam’s “Mogolu”

Over the course of their almost 50-year career, the iconic and beloved Malian duo Amadou & Mariam have an illustrious career that has been them take the Malian blues that made them a household name in Africa and opened it up to rock, hip-hop and EDM/dance influences, spreading their unique Afropop message and joie de vivre. “We’ve always dreamed of tearing down walls and opening people’s ears to new sounds so the whole world can discover and appreciate Malian music,” Amadou & Mariam says.

Released last month, the compilation album La Vie Est Belle highlights the pairs legacy as one of Africa’s most famous duos and the massive influence they’ve had paving the way for an exciting, new generation of African artists, who have begun to dominate the Western mainstream. The Malian duo have also been ambassadors of Afro-pop, who have collaborated with some of the most iconic and biggest stars of Western mainstream music, including U2, Coldplay, Stevie Wonder and David Gilmour — with their seven studio albums selling over one million records globally.

Amadou & Mariam have made the rounds of the global festival circuit with stops at Coachella, Lollapalooza and Glastonbury, as well as at The World Cup, NPR’s Tiny Desk and this year’s Paris Paralympic Games Closing Ceremony, where they covered Serge Gainsbourg‘s “Je Suis Venu Te Dire Que Je Me’n Vais.” They’ve also made the run of the late-night TV circuits across both the US and U.K.

And adding to their global profile, the duo have collaborated with JOVM mainstays Sofi Tucker, BLOND:ISH, Santigold, Akon, TV on the Radio and Damon Albarn.

La Vie Est Belle features new and exclusive material, as well as essential songs recorded and released over the last 20 years, including material off Dimanche à Bamako, the album that propelled the duo into pop stardom, which celebrates its 20th anniversary this year. Album single “Mogolu,” which derives its title from the Bambara word for “people” is a celebration of all things human — human encounters, travels, cultural exchange and diversity, echoing the acclaimed pair’s longstanding commitment to global peace. Featuring layers of skittering and propulsive African polyrhythm paired with the Malian duo’s gorgeous boy-girl melodies and harmonies and glistening guitarrs “Mogolu” is a sleek and incredibly catchy synthesis of the traditional and the modern that has managed to burn up dance floors while subtly recalling the likes of La Confusion‘s “Bofou Sakou.”

Mogolu Remixes EP features remixes of “Mogolu” by a series of acclaimed producers including PPJ, Busy Twist and Major Lazer, the powerhouse production outfit led by Diplo. The Major Lazer remix of “Mogolu” turns the song into a slickly produced, club banger with dense layers of oscillating synths, skittering tweeter and woofer rattling thump while retaining the gorgeous melodies and soulfulness of the original.