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September 20, 2026
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Between Barak Jacuzzi And Silverstone Barz

AdminJuly 20, 2024July 20, 202403 mins

What comes to mind when two of Kenya’s finest emcees fuse to birth a body of work; an extended play that alludes to the country’s hip hop growth over the years.

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Music Custodian

musiccustodian

Pan-African music & culture platform documenting the sounds, stories, and creative ecosystems shaping Africa’s global future🎙️

What happens after the world already knows your na What happens after the world already knows your name?

This week’s Afrobeats Heat Different follows African artists entering their next chapters. @kizzdaniel takes the cover with “Owo Oluwa,” opening the Radio Gidi era from a place of gratitude and faith, while @bnxn points toward another project chapter with “Online.” 

@fireboydml steps into a South African-rooted rhythmic world alongside @_jazzworx and @thukuthela_szn on “IMALI,” as M.anifest, O’Kenneth and Wavypae connect generations of Ghanaian rap on “ON TEN.”

Elsewhere, Clean Bandit, @chloebailey and @omah_lay meet across electronic pop, R&B and Afro-fusion on “Company,” while @official2baba and @faveszn bring different generations of Nigerian pop into conversation on “Mental.” 

Across nine records, the story is not simply that African music continues to move - it is that its artists are finding more possible futures for themselves.

Curated by Ayodeji Oyedeji for Music Custodian.

🎧 Afrobeats Heat Different — Link In Bio 📍 - Update Your Playlist

#AfrobeatsHeatDifferent #KizzDaniel #AfricanMusic #NewMusicFriday #MusicCustodian
SHABOOZEY × GUNNA — “HIGH NOON” Happy Satu SHABOOZEY × GUNNA — “HIGH NOON”

Happy Saturday from Music Custodian. ☀️🐎

@shaboozey and @gunna link up for “High Noon,” bringing two distinct musical worlds into the same frame as the pair take the record into its visual chapter.

The official music video is out now - and this one feels right for the weekend rotation.

🎥 Shaboozey ft. Gunna — High Noon

#Shaboozey #Gunna #HighNoon #NewMusic #MusicCustodian
A photograph of Ayra Starr and Zohran Mamdani is e A photograph of Ayra Starr and Zohran Mamdani is easy to consume as another celebrity-meets-politician moment. Their biographies make it more interesting.

@ayrastarr was born in Cotonou to Nigerian parents and built her career through Lagos before African pop carried her onto the global stage. 

Mamdani was born in Kampala, moved through Cape Town to New York as a child, and in January became the city’s first Muslim, South Asian and African-born mayor. 

Their identities and experiences of race are distinctly different — and should remain so — but both represent communities that have historically had to negotiate prejudice, migration and questions of belonging in Western spaces.

One makes music; the other governs. One exercises cultural soft power; the other political power. Yet their meeting offers a small portrait of something larger: migration does not always have to mean erasure. 

Ayra can become increasingly global while remaining loudly Yoruba and Nigerian; Mamdani can occupy New York City Hall while his Kampala birth, immigrant history, Muslim faith and South Asian heritage remain visible parts of his public identity.

They travelled beyond Africa in very different ways. Neither had to make themselves culturally invisible to occupy the rooms they eventually entered.

Check the link in our bio to read our latest editorial piece on this 📍

#AyraStarr #ZohranMamdani #AfricanDiaspora #AfricanMusic #MusicCustodian
CHLÖE × OMAH LAY × CLEAN BANDIT - “COMPANY” CHLÖE × OMAH LAY × CLEAN BANDIT - “COMPANY”

Somewhere between Lagos, London and R&B, there’s “Company.” 🤍

@cleanbandit bring @chloebailey and @omah_lay together on their latest collaboration, connecting electronic pop, contemporary R&B and Omah Lay’s unmistakable Afro-fusion sensibility in one record.

We already had our eyes on this one in this week’s Afrobeats Heat Different - now here’s the visual.

Happy Saturday morning. Press play. 🎥

🎵 Clean Bandit, Chlöe & Omah Lay - Company

#OmahLay #ChloeBailey #CleanBandit #AfricanMusic #MusicCustodian
Tomorrow, more than 70,000 people are expected to Tomorrow, more than 70,000 people are expected to gather at Johannesburg’s FNB Stadium for Scorpion Kings Live: A Family Affair, led by @kabelomotha_ and @djmaphorisa

On the surface, it is another remarkable marker of Amapiano’s journey from South African communities to one of the continent’s biggest stages. But the more interesting story may be everything the music has become capable of activating around it.

A stadium event of this scale does not move on music alone. It requires producers, performers, engineers, dancers, stage crews, photographers, security workers, promoters, transport, hospitality, merchandise, food, media and commercial partners. 

South Africa’s National Youth Development Agency previously said the @scorpionkingslive event had already created more than 1,000 jobs, predominantly for young people - offering a glimpse into what happens when cultural demand begins generating economic infrastructure around itself.

That is the question behind our latest Music Custodian editorial: what happens when Amapiano stops being understood only as a globally successful sound and begins to be examined as an economy?

FNB Stadium gives us an opportunity to look beyond streams, viral dances and international stages towards the labour, businesses and infrastructure being built around the culture at home.

Because filling a stadium proves that Amapiano has an audience. What happens around filling that stadium tells us something much bigger about the economy that audience can create.

Read “From the Townships to FNB Stadium: Amapiano Builds Its Own Stadium Economy” on MusicCustodian.com. (Or w/ link in our bio 📍)

#Amapiano #ScorpionKings #KabzaDeSmall #DJMaphorisa MusicCustodian
Everybody wants to know what they would have looke Everybody wants to know what they would have looked like in the ’80s. Chaka Khan doesn’t have to wonder - she has the archive. 😂

As AI-generated ’80s portraits take over timelines, Khan’s response offers a timely reminder that the decade’s now-iconic hair, fashion, movement and musical language didn’t simply appear. 

They were created by artists, designers, photographers, dancers and communities living through the moment - with Black artists occupying a defining place in that history.

So the joke has left us with a bigger question at Music Custodian: who actually made the ’80s look and sound like the ’80s? @chakakhan is where we begin. From here, we’re going into the archive.

An era doesn’t create its own aesthetic. People do.

Link in our bio to read this editorial piece 📍

#ChakaKhan #BlackMusicHistory #80sMusic #BlackExcellence #MusicCustodian
What does African heritage sound like when it is a What does African heritage sound like when it is allowed to travel without being asked to remain unchanged?

For French-Cameroonian artist @yamebantu the answer exists somewhere between worlds. Moving through rap, jazz, soul, R&B and African musical traditions, his work reflects a generation of African and diaspora artists for whom heritage does not have to remain sonically fixed to remain authentic.

In his latest feature for Music Custodian, @mr.dreyyy examines Yamê’s evolving musical language - from Cameroon and France to an increasingly global audience - and what it tells us about African identity when culture is allowed to move.

And the visual accompanying this story offers a small glimpse into something we have quietly imagined for years: Music Custodian Print — a contemporary African cultural publication conceived with the permanence of an archive and the urgency of the present. 

Not an announcement just yet, but perhaps the beginning of seeing what has long existed in the vision.

For now, the story lives online. One day, some of these stories will live in your hands.

Read the full feature on MusicCustodian.com w| link in our bio 📍

#Yamê #MusicCustodianPrint #AfricanMusic #AfricanCulture #MusicCustodian
African music is not moving toward one sound - and African music is not moving toward one sound - and this week’s Afrobeats Heat Different makes that increasingly difficult to ignore.

With Young Jonn taking the cover through Hold Somebody, our 19-track selection begins from the familiar gravitational pull of Nigerian pop before travelling outward. 

@heisrema , @official_shoday , @yemialade , @folapondis , @bella_shmurda and @zlatan_ibile give way to the highlife textures of @officialjdess and @the.cavemen , Ghanaian voices including @gyakie_ @amgmedikal and @larruso_ , an East African connection through @octopizzo and @arathejay , before the playlist closes inside an increasingly South African musical movement.

That journey is precisely why AHD exists. New Music should not simply tell us what dropped; it should help us understand what is changing. 

Afrobeats remains an important centre of gravity, but the music surrounding it is becoming increasingly networked - crossing borders, generations, inherited traditions and contemporary scenes without waiting for one genre to explain the continent.

Young Jonn holds the cover. The 19 records around him tell the bigger story: African music is becoming more confident in having many sounds - and many centres.

Curated by @oyedeji_ayodeji for Music Custodian™.

#AfrobeatsHeatDifferent #YoungJonn #NewMusic  #AfricanMusic #MusicCustodian
Discovery matters most before consensus arrives. Discovery matters most before consensus arrives.

This week’s Custodian Gems turns its attention to 12 records moving at different stages of visibility, with @kaestyle_ish taking the cover through One Life alongside @ajebo_hustlers 

Around him, @6uffzaddy connects with @phynofino , @ef_moon2000 with @blaqbonez , @heisabefe_001 continues making his presence difficult to ignore, while @sheistaene @pabrymo @thisism1llar @sigaglauren @lasmidofficial1 @hunnyb0y_ and others widen the field of artists currently moving onto our radar.

That is increasingly the responsibility of Custodian Gems. Not simply finding artists nobody knows, but recognising who is becoming - the records revealing momentum, the collaborations creating new audiences, the emerging voices developing identifiable worlds, and the names worth remembering before the wider market has completely decided what to do with them.

Because in an era where algorithms can recommend almost anything, editorial discovery has to mean more than telling you what is new. It means paying attention early enough to document what happens next.

KAESTYLE holds the cover. The Gems around him give us twelve reasons to keep watching.

Curated by @mr.dreyyy for Music Custodian Playlist Dept. w/ link in the bio on @spotify x @audiomack 

#CustodianGems #KAESTYLE #NewMusicDiscovery #AfricanMusic #MusicCustodian
African music’s global visibility has grown rapi African music’s global visibility has grown rapidly. The harder question now is whether the infrastructure surrounding that visibility can grow with it.

@martellofficial Swift Academy, curated by @africahousemembersclub has begun its Pan-African journey in Nairobi, bringing together 25 emerging creatives and music professionals for mentorship, professional development, networking, creative resources and industry access. 

But the more interesting story sits beyond the launch itself: what happens when a global brand moves from sponsoring African culture to investing in some of the people responsible for building its future?

For Music Custodian, Nairobi’s position in that experiment is equally significant. The city is increasingly becoming more than a source of artists and records; it is developing into a meeting point for creative communities, international institutions, cultural research and new forms of African music infrastructure.

The real measure of Swift Academy, however, will not be the launch photographs or final showcase. It will be what remains afterwards - the careers strengthened, collaborations formed, projects developed, knowledge transferred and professional networks that continue functioning after the programme ends.

The launch is over. What they build afterwards is the more important story.

Link in our bio to read our latest editorial reportage 📍

#MartellSwiftAcademy #AfricanMusic #CreativeEconomy #Nairobi #MusicCustodian
Africa does not have to sound the same to recognis Africa does not have to sound the same to recognise itself.

On “Eshi,” Ethiopian-Kenyan producer duo @we.are.jua brings together Silayio, @morenaleraba @muhamago_ and @tonypercussive across a record that moves through Maa, Swahili, Sesotho and Amharic, while drawing musical connections between East, Southern and North Africa. 

At its centre are faith, ancestry and identity - but perhaps its most compelling idea is that Pan-African connection does not require cultural difference to disappear.

As @we.are.jua continues developing CHIKKA, “Eshi” also expands the proposition beyond rhythm. The wider project is becoming an experiment in what can happen when research, inherited musical knowledge and contemporary production allow African traditions to encounter one another without flattening their individual histories.

Maa remains Maa. Sesotho remains Sesotho. Amharic remains Amharic. Swahili remains Swahili. The differences do not disappear - they meet.

And perhaps that is a more useful way to think about Pan-Africanism itself: not that we are all the same, but that we can remain different and still recognise something of ourselves in one another.

#Jua #Eshi #MusicCustodian #EastAfrica #AfricanMusic
What does Nairobi sound like in 2026? 20 Records What does Nairobi sound like in 2026?

20 Records Mapping the Sound of Nairobi Right Now.

Nairobi Grooves is Music Custodian’s latest editorial playlist exploring the music currently shaping Kenya’s capital - from intimate R&B and alternative soul to Gengetone, hip-hop, Afro-pop, electronic music and the new generation of artists refusing easy labels.

For this edition, @brandy_maina takes the Nairobi Grooves cover, arriving with the freshly released “Strict Program” and an EP on the horizon - a fitting cover star for a playlist documenting not only what Nairobi sounds like now, but the artists actively shaping where its music moves next.

For Music Custodian, playlists are more than collections of songs. They are cultural documents - snapshots of a city, its artists, its communities and the creative energy moving through them at a particular moment in time.

This month’s edition put together by @keyafrankline isn’t trying to answer what Nairobi sounds like. It’s asking a better question:

What happens when one city speaks in many sounds at once?

Press Play. Listen to Nairobi. Twenty records. One city. Countless stories.

Link is in our bio 📍

#NairobiGrooves #KenyanMusic #EastAfricanMusic #AfricanMusic #MusicCustodian

Across 20 records, this edition captures a Nairobi that is collaborative, multilingual, experimental and increasingly connected to wider African and global music ecosystems.

Its music moves between R&B and Gengetone, hip-hop and Afro-pop, soul, electronic music and alternative sounds - often within the same creative community. 

Artists collaborate across scenes, languages and generations, creating a musical ecosystem that refuses to be explained by a single movement or trend.
Nairobi Grooves is Music Custodian’s monthly playlist documenting that living ecosystem. 

Curated by our Writers’ Room, each edition captures the records, voices and collaborations shaping the city right now - from established artists like @octopizzo , @bahatikenya and @nviirithestoryteller to a new generation including @njerae  @xeniamanasseh @sofiyanzau @brandy_maina @kahuti_  @ywaya_tajiri and many more.
The significance of Adekunle Gold’s night at Lon The significance of Adekunle Gold’s night at London’s Royal Festival Hall was never simply that another Nigerian star had entered another prestigious European room.

On 23 November 2025, @adekunlegold closed the EFG London Jazz Festival alongside the Guildhall Session Orchestra, bringing his own band, Nigerian percussion and a catalogue increasingly reconnecting contemporary Afropop with Yoruba musical traditions into an orchestral setting. 

Now, with the release of Fuji Orchestra (Live From The Royal Festival Hall, London, 2025), that encounter has become part of the permanent record.

There is an important distinction here. An orchestra does not make African music sophisticated. A European concert hall does not confer legitimacy upon it. What made the performance compelling was the opposite proposition: Nigerian popular music entering the orchestral form without surrendering its rhythmic identity. 

At this stage of African music’s global expansion, perhaps progress should be measured less by whether our artists can enter the world’s important rooms - and more by what those rooms sound like after they arrive.

Adekunle Gold did not need an orchestra to legitimise Nigerian music. For one night at Royal Festival Hall, Nigerian music gave the orchestra another language to speak.

#AdekunleGold #Fuji #AfricanMusic #LondonJazzFestival #MusicCustodian
Nairobi does not need to become Lagos to become a Nairobi does not need to become Lagos to become a global music centre.

Xenia Manasseh joins Ukweli and Ywaya Tajiri on “AJE?”, arriving today as one of the early releases connected to the developing relationship between @cinqmusic and Nairobi-based @soulheadquarters . 

But beyond another release-day announcement, the collaboration offers a useful window into something larger: an East African alternative and R&B ecosystem increasingly connecting its creative communities with the infrastructure required to travel further.

For years, Nairobi’s artists and producers have been doing the cultural work - exchanging ideas, building audiences, developing sounds and creating communities outside the continent’s most commercially visible music centres. 

The next question is institutional: can distribution, investment, management, media and international partnerships grow around that creativity without requiring East African artists to surrender the identities and ecosystems that made their work compelling?

“AJE?” translates from Swahili as “how?” Perhaps that question is unexpectedly fitting. The next chapter is no longer simply about whether Nairobi can participate in the global music economy. It is about how Nairobi builds its own route into it.

📍Link is in our bio to read our editorial feature ✍🏾

#XeniaManasseh #AJE #NairobiMusic #EastAfricanMusic #MusicCustodian
@tiwasavage is giving fresh attention to her colla @tiwasavage is giving fresh attention to her collaboration with @wandecoal - “Must Be Love,” sharing a new video around the record while encouraging listeners to return to the song. 

“Must be love’ by King Coal featuring yours truly is out now! Go run it up,” the Nigerian singer wrote alongside the post, placing another spotlight on one of the more understated collaborations from Wande Coal’s latest album, KING COAL.

Originally released on June 26 as the fourth track on the 15-song KING COAL, “Must Be Love” brings together two voices whose individual careers have occupied important chapters in the development of contemporary Nigerian pop. 

Produced by Triangle Park, the record slows the album’s tempo into something more intimate, with Wande Coal and Tiwa Savage trading the kind of measured, romantic vocal performances that come naturally to artists with years of experience interpreting love records.

#TiwaSavage #WandeCoal #MustBeLove #Afrobeats #MusicCustodian
African music does not need to move in one directi African music does not need to move in one direction to move forward.

This week, Blaqbonez leads Afrobeats Heat Different with “BIG PERFORMER,” opening a 22-track journey that moves through Seyi Vibez, Zinoleesky, KiDi and Sarkodie, Tay Iwar, Phyno, Shekhinah, Sofiya Nzau, Nviiri The Storyteller, Stonebwoy, Kuami Eugene, Shatta Wale, King Paluta and more. Nigerian rap meets street-pop; Ghana commands the closing stretch; East and Southern African voices reshape the geography in between.

Perhaps “Makuhia” captures the larger story best. Skyla Tylaa, Sofiya Nzau and Chlöe meet across British, Kenyan and American musical worlds without requiring the record to belong neatly to just one of them. Increasingly, the question is becoming less “Where is this sound from?” and more “What worlds are meeting inside it?”

That same plurality runs throughout this edition. Phyno’s longevity sits beside a younger generation still establishing itself. Blaqbonez continues turning personality and performance into part of the music itself. Ghana, rather than appearing as an obligatory regional inclusion, becomes a deliberate final movement. Different generations, languages and musical traditions coexist without one being asked to define the continent for everyone else.

Afrobeats Heat Different remains our weekly attempt to document those relationships as they happen: not simply what is biggest, but what is moving, what is connecting, and what deserves another listen.

Twenty-two records. Several centres. African music moving together without having to sound the same. 🔥

Curated by @oyedeji_ayodeji for Music Custodian w/ link in the bio 📍

#AfrobeatsHeatDifferent #Blaqbonez #NewMusicFriday #AfricanMusic #MusicCustodian
Dolly Parton knew the value of a song – enough t Dolly Parton knew the value of a song – enough to protect its ownership, but never so possessively that another artist could not discover an entirely different life inside it.

Whitney Houston did exactly that with “I Will Always Love You.” A country farewell written by Parton became, through Whitney’s voice, one of popular music’s defining vocal performances. 

@dollyparton celebrated what Whitney had made of her song, and later spoke affectionately about investing some of the royalties generated by that recording into property in a historically Black Nashville neighbourhood — “the house that Whitney built.”

More than three decades later, @beyonce entered another Dolly standard. On Cowboy Carter, she didn't simply reproduce “Jolene”; she rewrote its emotional posture altogether. 

Dolly participated in the album and welcomed the reinterpretation rather than treating the song as a monument nobody else was permitted to touch.

That relationship between ownership and openness feels particularly worth remembering. Dolly understood publishing. She understood intellectual property. 

She famously protected “I Will Always Love You” rather than surrender part of its publishing for the opportunity to have Elvis Presley record it. But protecting her rights never required preventing the music from travelling.

For African artists navigating an increasingly global music economy, there is something enduring in that example: protect the rights, protect the credit, protect the economics – and still leave enough room for art to find lives beyond you.

Dolly Parton was not a Black music artist, nor does she need to be repositioned as one for Music Custodian to recognise what her life intersected with. 

Whitney Houston, Beyoncé and generations of musical exchange remind us that culture has always been larger than the categories the industry builds around it.

A songwriter left us this week. The songs did not.

Rest well, Dolly Parton. 1946–2026. 🕊️

#DollyParton #WhitneyHouston #Beyonce #MusicHistory #MusicCustodian
The final New Music Friday of August finds African The final New Music Friday of August finds African music moving in several directions at once.

@blaqbonez leads this week’s Afrobeats Heat Different with “BIG PERFORMER,” as the playlist moves through @seyi_vibez , Zinoleesky, Phyno, @kidimusic and @sarkodie , @tayiwar , Shekhinah, @sofiyanzau , @nviirithestoryteller , @stonebwoy , @kuamieugene , @shattawalenima , King Paluta and more.

Across 22 records, this week’s selection stretches from Nigerian rap and street-pop to Ghanaian Afropop, South African voices and East African experimentation - capturing a release week that feels less interested in one dominant sound than in the sheer range of African music being made now.

Curated by Ayodeji Oyedeji for Music Custodian.

#AfrobeatsHeatDifferent #NewMusicFriday #AfricanMusic #Blaqbonez #MusicCustodian
East Africa enters the 18th Headies with five arti East Africa enters the 18th Headies with five artists representing four countries - and five very different pictures of what regional success looks like today.

🇰🇪 @bienaimesol carries the weight of longevity and reinvention. 🇹🇿 @harmonize_tz represents established continental scale, while compatriot @abigail_chams signals Tanzania’s emerging generation. 

🇷🇼 @brucemelodie  continues Rwanda’s growing presence in the wider African pop conversation, and 🇺🇬 @itsjoshuabaraka embodies a younger, increasingly borderless East African wave. 

Together, their nominations for Best East African Artiste offer more than an awards race; they capture a region whose musical centres of influence are becoming broader, younger and increasingly connected to audiences beyond home.

With Tanzania taking two places and Kenya, Rwanda and Uganda each represented, the question heading into the 18th Headies is compelling: who leads East Africa right now - and what does “leading” even look like in a region producing multiple pathways to continental relevance?

Music Custodian examines the five nominees, the changing guard since the last @the_headies , and what this year’s shortlist tells us about the evolving landscape of East African popular music.

Who has your vote? 🇰🇪🇹🇿🇷🇼🇺🇬

#TheHeadies #EastAfricanMusic #AfricanMusic #BestEastAfricanArtiste #MusicCustodian
The race for one of African music’s most recogni The race for one of African music’s most recognisable honours has officially begun.

The 18th Headies nominations arrive with a fascinating picture of where Nigerian and African music currently stands: established forces including Davido, Asake, Wizkid and Ayra Starr remain firmly in the conversation, while FOLA, Fido, Mavo, Shoday, Kunmie and a rapidly advancing new generation are increasingly occupying the same major categories. The nominations cover music released between August 1, 2024 and April 30, 2026, making this an unusually expansive snapshot of almost two years of movement across the ecosystem.

Beyond the biggest names, we’re particularly interested in what the list reveals about changing hierarchies. FOLA’s presence stretches beyond Next Rated into major recording, album and digital conversations; emerging artists are appearing beside global stars; R&B and alternative music maintain meaningful representation; and The Headies continues looking beyond Nigeria through regional categories recognising music across the continent.

With the 18th Headies heading to Toronto on October 23, Music Custodian looks beyond the nominations themselves to examine the artists, records and emerging movements defining this year’s race—and what the list may already be telling us about the next chapter of African popular music.

Who are you backing this year?

Read our full newsroom report via MusicCustodian.com with link in the bio 📍

#TheHeadies #18thHeadies #AfricanMusic #Afrobeats #MusicCustodian
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  • When Ayra Starr Met Zohran Mamdani, Two African Journeys Converged in New York
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