When Spanish football star Lamine Yamal shared a video of himself and his teammates vibing to Skales’ 2014 hit “Shake Body” in April 2025, it provided a spark for renewed interest in the Afrobeats anthem. The resurgence was just the shot in the arm that Skales needed as he mulled over his place in the Afrobeats canon 16 years into a colourful career while he reached the final stretch of making his long-anticipated album, Martina’s Son. Named for his mother, who passed away in 2022, Martina’s Son is a freewheeling tribute to a single mum who shaped her son’s life and values. So it’s apt that the first sound on the album is a tear-jerking recording of Skales’ mother describing the breadth of her the trade-offs she made to ensure her son would have a decent life. It sets the stage for “Until We Meet Again”, a collaboration with TÖME and Bolu Ajibade that pays homage to loss and grief. There’s a throwback to the grounding effect of his mother on “Glory” as he recounts the label turbulence that threatened to derail his career in the early 2010s. Even though loss is the subtext of Martina’s Son, Skales finds a way to celebrate his mother’s legacy, framing her as a spiritual guide for the future. He sneaks in moments of downright elation, living up to his reputation as one of Afrobeats’ most inventive synthesisers. “After the rain, we go see the sunshine,” he declares on the propulsive “Busy”. There’s a glitzy sample of Faze’s 2006 hit “Kolomental” on “Mental”, where Skales cheekily hits back at detractors. Faze and Magnito join for a playful reflection on drinking culture on “Alcohol Na Your Mate?” that segues into a blistering promise to “B.T.S {Burst Their Speakers}”. It’s almost like Skales had spent the previous few months trawling parties in Europe, soaking in the most intense interpretation of dance music to fold into his universe. If there was any doubt, it evaporates by the time the Brazilian funk-influenced “D.L.L.Y {Dance Like Lamine Yamal}” hits, along with the fiery Spanish remix of “Shake Body”.