Zambian musician and activist B Flow has expressed gratitude to everyone who came forward with financial and moral support for fellow artist and actress Viola Banda during what he described as a difficult phase of her life.

In a message shared with his followers, B Flow said the generosity of strangers and people on Facebook had made it possible for Viola Banda and her two children to secure a place to stay after facing homelessness.

According to B Flow, the contributions raised during the fundraising effort will help Viola manage the pressure of finding a new home while also meeting some of her medical expenses.

The development has highlighted the impact that collective support from members of the public can have on individuals going through difficult circumstances.

B Flow further acknowledged that some people had contacted him to explain that they were unable to contribute at the time of the initial fundraiser because they did not have money available.

He encouraged those who still wished to assist Viola to do so, saying that support would continue to make a difference to the family.
Looking for the latest sports odds and markets? Check them out here.
The musician also directed those wishing to contribute to Viola’s mobile money account, which he identified in his post as +260 977 757 396, registered in the name of Viola Banda.

The appeal comes as Viola continues to receive attention from members of the Zambian entertainment community and the wider public.

B Flow also drew attention to Viola’s appearance on the Dads Without Dads Podcast, where she appeared as a mother navigating life without a father figure.

The fundraiser and subsequent support have generated conversations about the challenges faced by people in the entertainment industry away from the spotlight.

While artists and actors are often seen publicly during successful moments, their personal circumstances can sometimes be very different, particularly when unexpected financial, housing or medical challenges arise.

For Viola Banda, the support means that she and her two children will no longer have to face the immediate uncertainty of being without a home.

B Flow’s message also served as a reminder of the role that ordinary members of the public can play when someone within their community is experiencing hardship.

Zambian singer Salma Sky has once again caught the attention of social media users after sharing a series of striking new photos from Kenneth Kaunda International Airport in Lusaka.

The singer, who has built a strong following through her music, fashion, and lifestyle content, appeared in a stylish jumpsuit that highlighted her fashion sense and had her followers quickly reacting to the images.

Salma captioned the post, “I’ll Be Back. 😉🩶✌🏽”, suggesting that she was heading out of the country or travelling away from Zambia.

It was her choice of outfit, however, that appeared to attract much of the attention from her online audience.

Some followers praised the colour and overall styling of the jumpsuit, while others were amused by how polished the look appeared.

The reactions reflected the attention Salma continues to receive whenever she shares fashion and lifestyle moments with her followers.
Looking for the latest sports odds and markets? Check them out here.
Salma Sky has established herself as more than a musician, having built a personal brand around music, fashion, fitness, lifestyle and family.

Her airport appearance also came as a reminder of how much attention Zambian celebrities can attract from their online audiences even when they are simply sharing everyday moments.

Kenneth Kaunda International Airport, where the photos were taken, is Zambia’s main international airport and is located about 27 kilometres from Lusaka’s central business district. The airport handles domestic, regional and international flights.

For Salma, the latest post appears to have turned a simple travel moment into another fashion conversation among her followers.

While some users focused on her departure message, others were more interested in the jumpsuit and how confidently she carried the look.

The singer’s “I’ll Be Back” caption has also left some followers wondering where she was heading, although she did not disclose her destination in the post.

For now, Salma Sky appears to be enjoying another moment in the social media spotlight — this time not because of a new song, but because of an airport fashion look that caught the attention of her followers.

Image source: Salma Sky

When most people celebrate success, they might buy a new phone, take a vacation, or maybe upgrade to a new car. But if the reports making the rounds are true, Zambian music superstar Yo Maps has decided to celebrate in true superstar fashion by reportedly adding two Cadillac Escalades to his growing collection.

And yes, you read that right. Two. Not one. Two.

The move has sent social media into overdrive, with fans praising the singer’s success while others jokingly wondered whether one Escalade wasn’t already enough.

The Cadillac Escalade isn’t just another SUV. For decades, it has been a global symbol of luxury, power, and celebrity status. Favored by musicians, athletes, and Hollywood stars, the full-size luxury SUV is known for its commanding road presence, premium interior, advanced technology, and unmistakable style. Cadillac markets the Escalade as its flagship luxury SUV, offering spacious seating, powerful V8 performance, and high-end features. (Cadillac)

So, owning one is impressive.

Owning two? That’s the kind of flex that gets people talking.

As expected, social media wasted no time.

Some fans celebrated the purchase as proof that hard work truly pays off.

Others joked that Yo Maps now has enough space to carry an entire music crew, complete with cameras, producers, and perhaps even a mobile recording studio.

One fan quipped:

“When one Escalade isn’t enough to carry all the awards.”

Another joked:

“Traffic should move out of respect.”

Whether serious or humorous, one thing is clear: the conversation wasn’t really about the vehicles. It was about what they represent.

Yo Maps has spent years building one of Zambia’s biggest music careers.

From releasing chart-topping hits to selling out performances and collaborating with artists across the region, his rise has been anything but accidental. Every successful release has expanded his audience, turning him into one of the country’s most recognizable entertainers.

Luxury purchases like this often become public because fans see them as milestones, not just for the artist, but for the local entertainment industry as a whole.

Beyond horsepower and leather seats, moments like these remind many young creatives that music can become a serious business.

Years ago, stories of African artists buying luxury vehicles mostly came from Nigeria, South Africa, or Tanzania.

Today, Zambian artists are increasingly part of those conversations.

Whether it’s investing in businesses, building homes, or purchasing dream cars, successful entertainers continue to demonstrate that talent, combined with consistency, can create life-changing opportunities.

While reports of the two Escalades have generated plenty of excitement, neither Yo Maps nor his team had publicly provided detailed information about the purchase at the time of writing.

Still, if the reports prove accurate, the acquisition adds another memorable chapter to the artist’s success story.

 

Love him or not, Yo Maps has mastered one thing: staying in the conversation.

This week it’s not just a new song making headlines; it’s two massive luxury SUVs that have everyone talking.

Whether fans admire the purchase, joke about it, or simply dream of one day owning an Escalade themselves, the story reflects something bigger than cars.

It reflects ambition.

And if the reports are true, Yo Maps isn’t just driving success; he’s driving two very large reminders that dreams, when backed by relentless work, can become reality.

Drifta Trek has stirred up social media after confidently claiming he would knock out fellow rapper Nez Long in less than three rounds, while making it clear that there’s absolutely no beef between them.

The light-hearted moment happened during an appearance on That Zed Podcast, where the hosts decided to ask ChatGPT to predict the winner of a hypothetical boxing match between the two hip-hop stars.

After weighing up the fictional matchup, ChatGPT predicted that Drifta Trek would win, but only after six tightly contested rounds, suggesting it would be a close and entertaining fight.

Drifta, however, couldn’t help but laugh at the AI’s prediction.

Shaking his head, the rapper confidently dismissed the six-round verdict, insisting the fight wouldn’t last nearly that long.

“Less than three rounds,” he said with a smile, suggesting he’d stop Nez Long before the fight even had a chance to become competitive.

Before fans could read too much into the comments, Drifta was quick to set the record straight. He emphasized that his remarks were purely in response to ChatGPT’s prediction and not a personal attack on Nez Long.

He explained that the two artists are cool with each other and that there is no beef between them, making it clear that the exchange was all in good fun.

The playful moment has nevertheless sparked plenty of debate online, with fans imagining what a celebrity boxing match between two of Zambia’s biggest rap names might actually look like. Some backed Drifta’s confidence, while others felt Nez Long would be more than capable of putting up a serious fight.

Although there are currently no plans for an actual showdown, the conversation has added another entertaining chapter to the friendly rivalry that fans often create between some of the country’s biggest music stars.

With celebrity boxing continuing to grow in popularity around the world, many fans joked that they’d happily pay to see Drifta Trek and Nez Long settle the hypothetical debate inside the ring, even if it’s only for entertainment.

For now, though, it remains exactly that: a fun conversation sparked by AI, a confident response from Drifta Trek, and a reminder from the rapper himself that despite the bold prediction, there’s no bad blood between him and Nez Long.

Source: That Zed Podcast interview featuring Drifta Trek, where he reacted to ChatGPT’s prediction of a hypothetical boxing match between himself and Nez Long and clarified that the two are on good terms.

Zuchu Confirms Split from Diamond Platnumz After Six Years Together.

Tanzanian music sensation Zuchu has officially confirmed the end of her relationship with fellow Bongo Flava superstar Diamond Platnumz, bringing to a close one of East Africa’s most talked-about celebrity romances.

The pair had been together for six years, a relationship that captivated fans across the region and was marked by both public displays of affection and periods of speculation about their future. According to Zuchu, the couple had also spent the last year as a married couple before deciding to part ways.

Taking to her Instagram account, Zuchu shared the emotional news with her followers, revealing that the two are currently going through divorce proceedings. While she did not disclose the reasons behind their separation, her statement reflected a desire to move forward with her life in a positive and healthy direction.

“It is time for me to put myself first,” Zuchu wrote, signaling a new chapter focused on personal growth and self-care.

She added, “For me, this is a time to heal and focus more on my health and my work.”

The announcement has sparked widespread reactions from fans across social media, many expressing sadness over the breakup while offering words of encouragement to both artists. Others praised Zuchu for openly prioritizing her well-being during what is likely a difficult period.

Zuchu and Diamond Platnumz were regarded as one of East Africa’s most influential celebrity couples, frequently collaborating on hit songs and making public appearances together. Their relationship often attracted significant media attention, with fans closely following every development.

Despite the end of their romantic relationship, neither artist has indicated whether they will continue working together professionally in the future.

As Zuchu embarks on a new chapter centered on healing, her music career, and personal well-being, fans will undoubtedly be watching closely to see what lies ahead for both of Tanzania’s biggest music stars.

Source: igihe

Lionel Messi has broken the record for the highest number of goals in the history of the FIFA World Cup after scoring his team’s opening goal in their Group J match against Austria, taking his tally to 18 goals in six tournaments.

The Argentinian captain reached the top of the charts on Monday when he swept home after 38 minutes in his team’s second group game, to deafening roars at Dallas Stadium in Arlington, Texas, in the United States.

He added another deep into stoppage time to become the leading scorer in both men’s and women’s FIFA World Cups, surpassing Brazilian great Marta, who has 17 goals in FIFA Women’s World Cups.

Messi had equalled Miroslav Klose’s all-time mark of 16 World Cup goals by hitting a hat-trick in a 3-0 win over Algeria to open the South American nation’s title defence in North America last week.

The 38-year-old had missed a penalty earlier in the game.

Messi is playing at his sixth World Cup, his first coming in 2006, and he now has 121 goals in 201 games for his country.

He is the third player to score in six successive World Cups for his country.

His enduring quality augurs well for Argentina’s hopes of becoming the first team since Brazil in 1962 to win back-to-back World Cup titles.

Messi was tearful after his first goal against Algeria, and it later emerged that his father is recovering from an unspecified health issue.

Despite his personal travails and a troubled build-up because of a hamstring niggle, Messi’s mere presence inspires his teammates.

“If anyone thought this group was better off without Leo, today it became clear that Leo is the most important of them all,” said midfielder Alexis Mac Allister after the win against Algeria.

Inter Miami attacker Messi had not even committed to playing the tournament in North America until the last moment.

But nobody realistically expected him to be absent from spearheading Argentina’s title defence.

The former Barcelona and Paris Saint-Germain wizard dragged his country to World Cup glory four years ago.

Argentina can qualify for the next round with a victory over Austria and would be assured of finishing top of Group J if Jordan fail to beat Algeria later on Monday.

After former Germany forward Klose, next on the all-time list is Brazilian great Ronaldo, with 15 goals, one ahead of Gerd Muller and current France star Kylian Mbappe.

 

Two of Zambia’s familiar podcast voices, Kalenga Chambatu, popularly known as K Plus, and Elson Chigerwe, better known as Uncle Elson, have found themselves at the centre of a serious legal storm.

The hosts of That ZED Podcast are reportedly in police detention following an interview they allegedly conducted with Xavier Franklin Chungu, the President of the Liberal Democrats Party — LDP.

According to reports circulating online, the interview was not just another political conversation. Police are said to be treating the matter as serious because the discussion allegedly contained information considered to be official secrets.

Now, what may have started as a podcast episode has quickly turned into a national talking point, with many Zambians asking one question: what exactly was said in that interview?

Mr Chungu is also reportedly being held at Kabwata Police Station and is said to have been charged with revealing official secrets, contrary to Section 4 of the State Security Act.

Under Zambian law, offences involving the unlawful disclosure of official or classified information can attract very heavy punishment. If convicted, those found guilty may face a prison sentence of not less than 15 years, and in some cases, up to 25 years.

The case has sparked debate across social media, especially among content creators, journalists, political followers, and podcast fans. Some are concerned about national security, while others are asking whether podcasters and online media personalities are now walking a very thin line when interviewing political figures.

For now, authorities have not yet released a detailed public statement explaining the exact information at the centre of the allegations or when the suspects are expected to appear in court.

As the story continues to unfold, many will be watching closely to see whether this becomes a major legal battle, a warning to content creators, or one of the most talked-about podcast controversies in Zambia this year.

Source: The Zambian Post

The launch of ‘Son of Grace’ became a window into the expanding network of artists, sounds, and collaborations redefining African music beyond national borders.

African music is no longer asking for permission to cross borders. It is simply ignoring them, and the evidence is piling up in unexpected places. What began as a Lagos export has become a continental conversation, pulling in voices from Lusaka, Maseru, Harare, and Lilongwe, cities that are rarely mentioned alongside Afrobeats.

The artists driving this shift are not waiting for industry infrastructure to catch up. They are building their own networks, making their own records, and showing up for each other in spaces mainstream media still overlooks.

On a recent evening in Lilongwe, Malawi, artists from Liberia, Zambia, Lesotho, Zimbabwe, and South Africa gathered for the listening experience of Son of Grace, the new album from Malawian Afro-pop artist Onesimus, born Armstrong Kalua. The album is dedicated to his late mother, Grace Kalua. It was not a festival or a concert. It was an album rollout. And yet what unfolded felt like a snapshot of something much larger: a continental music culture in the middle of a quiet shift. Once-overlooked music scenes are increasingly merging into the broader Afrobeats conversation.

That shift is not new, but it is accelerating. Streaming platforms and social media have collapsed the distance between local scenes, pulling artists from smaller industries into conversations that were previously shaped almost entirely by a handful of dominant cities. Audiences are following. Borders that once determined which music traveled and which stayed home are becoming increasingly difficult to enforce.

On Son of Grace, Onesimus features artists from across the continent, with each collaborator bringing their own language and influence into the project. Among those contributing to the album are Bein Major, Kwanda, Danya Devs, and Marioo, alongside collaborators such as Liema Phantsi, Nutty O, Chile One Mr Zambia, JZyNO, Wave Rhyder, and Malawian artist Saint Realest, who also appeared at the Lilongwe listening experience. Languages like Chichewa, Chinyanja, isiZulu, isiXhosa, Sesotho, and Nigerian Pidgin appear across different tracks, while the sound moves between Afrobeats, Afropop, and 3-step depending on the collaboration.

What made the Lilongwe evening compelling was the ease with which these artists merged their sounds and styles. Lesotho’s Afrosoul artist Wave Rhyder stepped onto the stage draped in a Basotho blanket and traditional hat, a clear nod to his Sesotho heritage. He performed “Sheba,” a song on Son of Grace that declares unwavering love to a woman, and the crowd met it without hesitation, language barrier and all. In a night built on cross-border collaboration, his appearance was a reminder that showing up fully as yourself is still the most powerful move available.

JZyNO brought his distinct Liberian Afrobeats sensibility to “Melanin,” a celebration of Black womanhood that landed with confidence before the message had even fully registered. He was far from home, yet fit naturally alongside his Southern African counterparts.

Chile One Mr Zambia performed “Amuna Anga,” his collaboration with Onesimus, singing in Bemba and Nyanja languages mutually intelligible with Onesimus’ own Chichewa. The track’s cross-border appeal was impossible to miss. Malawians sang along with ease, a reminder of the cultural and linguistic closeness between Malawi and Zambia. Chile One later performed his hit “Ba Neighbour,” which the audience welcomed enthusiastically.

 

The audience response throughout the evening reflected that same sense of anticipation around where this kind of collaboration could lead. For Malawian cultural commentator Lomuthi Mgomezulu, the event felt like a glimpse into something larger still to come.

“It felt like a trailer of what’s to come, and I’m looking forward to Onesimus bringing all of them back to Malawi for the full show. I’d also like to congratulate Onesimus for creating such an amazing experience. He introduced us to new sounds and, in some cases, helped us put faces to the music.”

Saint Realest and Nutty O joined Onesimus for “Bendeka,” and the room shifted into something new, but into something higher. Each artist fed off the others, and the audience was locked in.

Beyond the Dominant Hubs: How Southern Africa is Contributing to Afrobeats

Liema Pantsi closed the evening with “Someone to Love,” a 3-step track that shifted the room’s rhythm, introducing a softer, smoother texture against the backdrop of the night’s otherwise high-energy collaborations. Fresh off winning Big Brother Mzansi, her presence on the Lilongwe stage underscored the project’s regional reach, bridging Malawi’s music scene with South Africa’s.

Son of Grace reflects collaboration that feels genuine. Onesimus showcased a carefully curated lineup of collaborators, each bringing their own presence, sound, and regional identity into the space. The sense of connection visible between the artists on that stage was not performed for the crowd; it was already there, carried by familiarity, shared work, and mutual respect.

What unfolded in Lilongwe points to something more specific than a global shift in sound. It reflects how Malawi, alongside Southern African countries like South Africa, Zambia, Zimbabwe, and Lesotho, is increasingly inserting itself into the wider Afrobeats conversation on its own terms. These are not passive participants in a West African-led wave, but active contributors shaping how the sound evolves across regions, languages, and audiences. The conversations, the collaborations, and the stages are no longer concentrated in a few dominant hubs; they are spreading, and places like Lilongwe are becoming part of that map.

African music has always crossed borders. What is changing is the speed, confidence, and scale at which it now moves. Son of Grace is one record, but it sits within that widening exchange. Lilongwe was simply where that shift became visible in real time.

It’s Drake Week on the Billboard charts, as the rapper sets records for sheer quantity — including three albums debuting in the top three, led by ICEMAN at No. 1. On the Hot 100 singles chart, Drake posts 40 debut songs (an all-time record) among the 42 entries total that bear his name (ditto). And he extends all-time records for most-ever songs to crack the top 10, top 40 and Hot 100.

Let’s get a great big caveat out of the way upfront: When we talk about “all-time Billboard chart records,” we are not — not — talking about “the biggest songs/albums/artists of all time.” Drake has either set or extended a good many records this week, but most of them are based on a commercial music landscape that’s only existed for a little more than a decade. And, in that decade, you won’t find many artists who’ve released more songs or albums in a single day than Drake did on May 15.

Let’s start with the albums. Drake has been teasing a new record called ICEMAN for ages now, but when it finally dropped, his new baby turned out to be triplets: three albums, titled ICEMAN, HABIBTI and MAID OF HONOUR. This week, they debut at Nos. 1, 2 and 3, respectively — the first time any artist has ever posted all three of any week’s top albums.

But here, again, is where asterisks are due. First off, how many A-list superstars have dropped three new albums on a single day? Two artists have simultaneously debuted at No. 1 and No. 2 — Guns N’ Roses, with 1991’s Use Your Illusion I and Use Your Illusion II, and Nelly, with 2004’s Suit and Sweat — but there’s not much precedent for a threefer like this. But it’s also not really the first time the week’s three biggest albums have belonged to a single artist.

This gets a little weedy, but it’s worth noting. Prior to December 2014, the Billboard 200 was entirely based on sales; streaming wasn’t incorporated into the chart’s metrics. And prior to December 2009, the Billboard 200 didn’t include “catalog albums” — as in, old titles that were still popular but no longer promoted. Nowadays, old records are staples of the Billboard 200, which commingles old and new, sales and streaming… whatever pulls down the most numbers, that’s what hits the chart, which is how Fleetwood Mac’s Rumours still sits at No. 29 more than 50 years after its release.

But in July 2009, as fans were still reeling following the death of Michael Jackson, three of his albums — Thriller, plus the greatest-hits collections Number Ones and The Essential Michael Jackson — would have topped the Billboard 200 had they been eligible. Instead, they topped something called the Top Comprehensive Albums chart, which no longer exists.

So give Drake the milestone, but consider the context. And it’s worth spelling out that, while ICEMAN had a genuinely colossal debut — it posted 463,000 equivalent album units, a number derived almost entirely from streaming — the other two new Drake albums landed more softly. Last week’s No. 1 album, Noah Kahan’s The Great Divide, drops to No. 4, but its equivalent album units (101,000) weren’t far behind what either HABIBTI or MAID OF HONOUR pulled. Drake’s performance is still impressive all around, though, especially when you consider that his numbers are drawn entirely from streaming and downloads; there aren’t yet any physical sales to pad his stats.

Now, on to the singles, where more asterisks abound. This week, Drake sets and extends Hot 100 records left and right: He debuts 40 songs on this week’s Hot 100, which is an all-time record, as is his placement of 42 songs across the chart. (He surpassed Morgan Wallen, who posted 37 songs on the Hot 100 following the release of I’m the Problem last year.) But, again, we’re talking about an arms race that didn’t exist prior to streaming; not too long ago, a song had to be released as an official single in order to be eligible for the Hot 100.

With nine of this week’s top 10 songs (led by “Janice STFU” at No. 1), Drake extends his all-time record from 81 top 10 hits to 90; the runners-up are Taylor Swift, who’s earned 69 top 10 hits (still a nice number!), and Madonna, who’s earned 38. Sense a theme? Streaming has thrown these all-time records wildly out of whack. Michael Jackson landed 30 songs in the top 10 in his career, but they had to crack the chart one single at a time.

It’s not that Drake’s milestones aren’t impressive; he still had to record and release songs fans wanted to hear. But his gaudy stats still require context. If Major League Baseball suddenly allowed sluggers to bat 20 times a game, a whole lot of home-run records would fall, you know?

TOP ALBUMS

Drake’s three new records gobble up the lion’s share of headlines from this week’s Billboard 200 albums chart, but they aren’t the only hip-hop debuts in this week’s top 10. The veteran rapper LUCKI posts the highest-charting record of his career as Dr*gs R Bad debuts at No. 9.

Last week’s two biggest debuts — GREENGREEN, by the K-pop boy band CORTIS, and Brown, by R&B star Chris Brown — drop out of the top 10, but not terribly far: They’re still at No. 30 and No. 17, respectively.

And don’t let the flood of Drake music distract you from the ongoing chart resurgence of Michael Jackson. The success of the late singer’s biopic, Michael, remains one of the biggest stories on the Billboard charts, as two of Jackson’s catalog titles — Thriller and Number Ones — remain in this week’s top 10, even amid the Drake surge. Many of Jackson’s chart milestones have been surpassed in the streaming era, but his longevity remains an awful lot harder to duplicate.

TOP SONGS

Naturally, Drake’s domination of this week’s top 10 — the field’s only non-Drake song, Ella Langley’s “Choosin’ Texas,” drops from No. 1 to No. 5 — has left little room for other noteworthy chart action. But two other Drake-adjacent footnotes bear mention.

The first is that the Drake song at No. 1, “Janice STFU,” interpolates the best-known song by the Swedish singer-songwriter Lykke Li, 2011’s “I Follow Rivers.” That song was a worldwide chart-topper, and was even certified platinum in the U.S., but it never actually landed on a Billboard chart. Li has said that her recent sixth album, The Afterparty, would be her last, but maybe a joint songwriting credit on the Hot 100’s No. 1 song will change her mind.

If so, Drake will have put some serious good into the world, and not for the first time this week. On the latest Hot 100, he’s pulled off one other massive, infinitely laudable feat.

The chart’s flood of new Drake songs has pushed several long-running hits below the threshold at which they’re essentially relegated to oldies status — and have thus dropped off the chart entirely. So you can bid farewell, at least for now, to HUNTR/X’s “Golden,” Taylor Swift’s “The Fate of Ophelia” and “Opalite,” Cody Johnson’s “The Fall,” Justin Bieber’s “Daisies” and… wait for it… Alex Warren’s “Ordinary,” which drops from No. 6 all the way off the chart after more than a full calendar year spent inside the top 10. The angels up in the clouds are jealous, knowing we found… a chart without… ORDINARY!