Released in April 1994, Warren G and Nate Dogg’s “Regulate” became one of the defining records of West Coast hip-hop. Featured on the soundtrack to the basketball drama Above the Rim before appearing on Warren G’s debut album, Regulate... G Funk Era, the single captured the smooth, laid-back sound of G-funk. Powered by a memorable sample of Michael McDonald’s “I Keep Forgettin’ (Every Time You’re Near),” the track blended soulful melodies, deep bass and vivid storytelling into a record that helped bring West Coast rap to an even wider audience. “Regulate” tells a cinematic story of a nighttime encounter in Long Beach that takes a dangerous turn when Warren G is robbed during a dice game. Nate Dogg steps in to help his friend, delivering his unmistakable melodic vocals alongside Warren G’s relaxed, conversational flow. The song’s opening dialogue, sampled from the 1988 Western Young Guns, immediately sets the tone, while the chemistry between the two artists makes the narrative feel like a short film set to music. The accompanying video further connected the song to Above the Rim, featuring footage from the movie and a cameo by Tupac Shakur.  The single became a major commercial success, peaking at No. 2 on the Billboard Hot 100 and reaching No. 8 on the R&B/Hip-Hop chart. Its music video became an MTV staple, remaining at the top of the network’s video charts for much of the summer of 1994. More than a hit record, “Regulate” helped cement Warren G and Nate Dogg’s place in hip-hop history, showcasing the power of combining storytelling, sampling and soulful vocals. Decades later, its instantly recognizable groove and timeless West Coast vibe continue to make it an essential soundtrack to the golden era of ’90s hip-hop.

Swedish-Iranian singer Snoh Aalegra returns with “Karma,” her first new music in three years. Produced by Josh Grant and co-written with Joel Compass, the reflective track explores a powerful, complicated connection that spanned several years. Ahead of its release, Aalegra described a karmic bond involving sixteen shared lifetimes, lessons revealed by a karmic healer and betrayal that ultimately ended the relationship in this lifetime. Following her 2023 releases, including “Forever” with Charlotte Day Wilson, “Karma” signals a new creative chapter centered on self-discovery and personal growth.

North Carolina-based alternative R&B and neo-soul singer-songwriter ËRRÄ returns with her new single, “I Wish,” a soulful release blending R&B and pop. The deeply personal track explores relationships, regret, healing and the lessons learned along the way as ËRRÄ reflects on past experiences and the journey toward self-discovery.

London singer Nao returns to her jazz roots with Autumn, a 10-track album released through Little Tokyo Recordings. Created with producer Dave Okumu, the independent project features no guest appearances and launches A Soulful Suite, a planned four-album series exploring genres that have shaped her musical journey. Moving between traditional jazz, jazz fusion and funky, syncopated grooves, Nao’s distinctive falsetto guides the collection. Songs including “Fly Away,” “Burst,” “Hold Out” and “Save The World” explore seasonal change, healing, perseverance and humanity, capturing autumn’s warmth, reflection and emotional transformation. 

Nigerian singer Victony expands his hit single “SLICK” with a remix featuring American R&B star Summer Walker and rapper-singer Don Toliver. The official music video showcases a cross-cultural collaboration that blends Afrobeats with contemporary R&B, exploring attraction, intimacy and confidence. Victony preserves the original track’s playful energy, while Walker adds her signature smooth vocals and Toliver delivers his melodic style. Together, the trio brings a fresh dimension to the established hit while connecting Nigerian sounds with international audiences.

R&B veteran Kevon Edmonds returns with the official music video for his latest solo single, “Right Here,” released October 16. The After 7 member and older brother of Kenneth “Babyface” Edmonds delivers smooth vocals on the romantic slow jam, promising his lady everything she desires in love. Following his chart-topping cover of Sade’s “No Ordinary Love,” Edmonds embraces classic Quiet Storm vibes in the Los Angeles-shot visual, directed by filmmaker Dabling and featuring actress Taylor A. Williams.

African music is having a moment on the global stage. From Lagos to London, Afrobeats has evolved into a worldwide phenomenon, filling arenas, dominating playlists, and bringing African artists into collaborations with some of the biggest names in music. It is a proud moment for the continent, but beyond the celebrations, an important question remains: Who is actually making money from all this success? According to Spotify’s 2025 Wrapped findings, global Afrobeats listening grew by 22%. While those numbers are impressive, streaming figures alone do not tell us whether the artists behind the music are building lasting wealth. The challenge is that we often confuse visibility with financial success. At BusinessDay’s Creative Entertainment Summit in June 2026, industry leaders highlighted how weak intellectual property systems, inadequate licensing, and external ownership arrangements can limit the value African creators retain. These are issues the industry cannot afford to ignore. International record deals are not inherently bad; they can provide funding, wider distribution, and access to audiences artists might struggle to reach independently. However, when an artist gains global recognition without fully understanding the terms of a contract or retaining meaningful rights to their music, that success can come at a cost. Breaking into international markets should open doors, not force artists to surrender control of the very work that got them there. Beyond ownership and royalties, Africa must also address whether its entertainment infrastructure can keep pace with its growing talent. A May report by The Guardian highlighted challenges facing African promoters, including limited suitable venues, high production costs, and economic barriers. It is difficult to celebrate the global rise of African music without asking why organizing major shows at home remains such a struggle. Still, there are encouraging signs. TurnTable Charts’ first-half 2026 figures placed Dapper Music & Entertainment ahead of other Nigerian-owned music companies, with a reported 3.82% share of the measured market. Although that figure may seem modest, the growing presence of locally owned companies is worth celebrating because ownership matters just as much as visibility.  Looking ahead, the next phase of African music’s growth must be about more than awards, viral hits, and streaming records. We need to ask whether songwriters are receiving their royalties, whether independent labels can access investment, and whether African cities have venues capable of hosting major tours. Governments must strengthen copyright enforcement, businesses need to invest in infrastructure, and artists must understand the business side of their careers. Talent may get an artist noticed, but sustainable businesses are what keep an industry alive. African music cannot thrive on a handful of superstars alone; it needs a strong ecosystem in which producers, songwriters, managers, promoters, independent labels, and emerging artists can earn a living, retain value, and grow alongside the industry.

Nigerian Afrobeats artist Fola returns with 9, a 14-track album that highlights his continued growth as an artist. Following his 2025 debut album Catharsis, Fola builds on the sound that has helped him connect with listeners, blending catchy melodies, smooth vocals, and relatable lyrics. Inspired by the number nine’s significance in football, the project reflects his ambition to score big in his career while exploring love, personal growth, and the realities of success. One of the album’s biggest strengths is Fola’s ability to make his music feel personal without sacrificing its replay value. His vocals flow effortlessly over the production, creating a sound that is both engaging and accessible. “Awade” sets the tone with its reflective feel, while “2am in Toronto,” featuring Davido, adds a romantic touch. Collaborations with Ayra Starr, BNXN, and Bella Shmurda bring additional variety, introducing different moods while allowing Fola’s musical identity to remain at the forefront. Overall, 9 is a solid addition to Fola’s growing catalog. While the album stays close to the sound that listeners have come to know and appreciate, it delivers enough memorable moments to keep them coming back. Balancing emotional storytelling with feel-good Afrobeats, the project demonstrates Fola’s understanding of his strengths and signals an artist who continues to refine his sound while carving out his place in the genre. Standout Tracks: “Awade,” “2am in Toronto,” and “Treat U Right.” Rating: 7.5/10 - Joy Nkirote

Rapper Cordae is facing a $25 million federal lawsuit from Florida-based record label MMMG Inc., which is seeking to block the release of his upcoming collaborative album with Anderson .Paak, Heavy Is the Crown. Filed October 15, 2026, in the U.S. District Court for the Southern District of New York, the lawsuit alleges breach of contract and copyright infringement. The complaint names Cordae and three companies involved in the album’s release—APESHIT, Mass Appeal and EMPIRE—as defendants. The project is scheduled to arrive October 23, just eight days after the lawsuit was filed. According to MMMG, the label signed Cordae to an exclusive recording agreement in April 2018 and claims ownership of his recorded copyrights, along with exclusive rights involving merchandise, touring and endorsements. The company argues that its agreement remains enforceable despite Atlantic Records ending its distribution relationship with MMMG in September 2025. MMMG says it secured a replacement distribution arrangement with Stem and notified Cordae’s attorneys. However, the rapper’s lawyers have questioned whether Stem meets the requirements outlined in the original contract. The dispute intensified after Cordae announced Heavy Is the Crown in August and released its lead single, “A Good Day,” with an accompanying music video on September 16. MMMG alleges that the album is being released without its authorization or a license.  MMMG is seeking at least $15 million from Cordae for the alleged contract breach, at least $5 million related to copyright claims involving “A Good Day,” and at least $5 million from the companies accused of interfering with its agreement. The label is also requesting an injunction to prevent the unauthorized distribution or use of recordings it claims to own. Anderson .Paak, who operates APESHIT, is not personally named as a defendant. The lawsuit does not automatically prevent the album’s release, and no ruling has established that MMMG’s claims are valid. As of October 16, publicly available docket information did not establish that an emergency injunction had been requested or granted, leaving Heavy Is the Crown scheduled for its October 23 release.