Yo Maps

Yo Maps Sneaks Past Burna Boy and Tems to Scoop African Artist of the Year

Yo Maps snatches African Artist of the Year at Malawi’s UMP Awards, stepping ahead of marquee names like Burna Boy, Tems, Tyla, and Diamond Platnumz. The win slides him into continental conversations often reserved for Nigeria and South Africa’s music elite.

With this recognition, Zambia’s emblematic artist finds himself seated at a table previously uninviting to outsiders. The announcement draws both cheers and scrutiny, feeding the mixed din of reaction from loyal fans and skeptical onlookers alike.

Facebook Page Grounded—Child’s Image Needs Parental OK, Says Lusaka Court

Lusaka's Magistrate Court steps into the digital fray, issuing a ruling that orders the Facebook page “Bukata” be immediately deactivated.
The platform, dedicated to the child of public figures Mwizukanji (Prudence Nakamba) and Yo Maps (Elton Mulenga), can only remain active with joint parental consent.

Resident Magistrate Mbuywana Sinvula delivers the decision, positioning the child’s image rights as non-negotiable.
In the clash between celebrity visibility and minor protection, consent becomes the central currency.

Yo Maps skips the trophies, sponsors the show—Kwacha clout redefined

Yo Maps, charting across the board with seven nods at the 2025 Kwacha Music Awards, makes an unexpected pivot. Rather than basking in the glow of potential wins, he and his label Olios Records formally step away from competition.

In a twist that trades applause for patronage, the artist redirects his energy—not to claim, but to contribute, choosing instead to sponsor two significant award categories. The move quietly reconfigures power and presence in the Zambian music scene.

Yo Maps drops “Muni Posheleko,” skips the promo, sticks to the mp3 basics.

Yo Maps unveils "Muni Posheleko (My Regards)" via Zambian Music Blog, offering listeners another mp3 release within his established style. The track is made available for direct download without additional commentary or promotional excess.

The article offers no lyrical interpretation or visual component, opting instead for a straightforward presentation of the song’s accessibility. No collaborators or production details are explicitly referenced.