BADDIES ‹3 MOLIY: MOLIY Just Gave Us The Best Summer Tracks

BADDIES ‹3 MOLIY: MOLIY Just Handed Us the Soundtrack to Our Whole Summer

There’s a certain kind of confidence you can hear before you can even name it. It’s in the swagger of a bassline, the wink in a vocal run, the way a hook refuses to apologize for taking up space. That’s the energy MOLIY bottles up on her new 12-track mixtape, BADDIES ‹3 MOLIY, out now via gamma. Once you press play, good luck pressing pause.

From Feature Queen to Full-Blown Curator

MOLIY has spent the last couple of years stacking wins as one of the most magnetic voices in the new wave of global pop. A billion-plus streams on “Shake It To The Max (FLY) (Remix).” History made as the first Ghanaian artist to grace the BET Awards stage. MOBO and iHeartRadio nods, plus a Billboard Africa “Hitmaker of the Year” title to top it off. But BADDIES isn’t another guest verse or crossover moment. This is MOLIY stepping fully into the driver’s seat, curating a world instead of just visiting one.

And what a world it is.

A Passport-Stamped Sound

Sonically, BADDIES refuses to sit still. Across its 12 tracks, MOLIY glides between Afrobeats, dancehall, amapiano, reggaeton, bouyon, alté and glossy electronic pop like she’s flipping through radio stations in a city that never sleeps. Breezy guitar lines melt into synth pads, percussion snaps and rolls underneath her voice, and every transition feels less like a genre exercise and more like a mood board coming to life.

That range isn’t an accident, it’s the whole point. “I didn’t want to stay in one lane with this mixtape,” MOLIY has said of the project. “Every song pulls from a different energy, sound and part of my personality, but it all connects through confidence, freedom and movement.” It really does play like a party with no dress code and absolutely no rules.

The Guest List Is Unreal

If BADDIES is a party, MOLIY invited the right people. Grammy-winning South African sensation Tyla links up for “BODY GO,” a track that’s already been holding down the #1 spot on South Africa’s most-played video charts. Ghanaian rap royalty Sarkodie brings unmistakable swagger to “ACCRA GIRLS,” a homecoming moment dressed up as a banger. Jamaican dancehall heavyweights Shenseea and Skillibeng show up with pure heat, Nigerian star MAVO trades verses on the flirty “PRETTY MAMI,” and Dominican artist Yailin La Más Viral, along with Theodora, Mellissa and Br3nya, round out a lineup that reads like a passport full of stamps. It’s the kind of feature list that could easily feel scattered in lesser hands. Instead, it plays like MOLIY’s own global rolodex, called in to build one cohesive universe.

The Standouts

Lead single “911 (CALL THE LAW)” sets the tone immediately: playful, urgent, and built for a room full of people who already know every word before the chorus hits twice. “JETSKI (FRIKI)” is pure carefree motion, the kind of track that turns a car ride into a moment. And “BODY GO” with Tyla remains the project’s beating heart, a slow-burning crossover smash that’s already proven it can dominate airwaves on its own.

Through it all, MOLIY’s vocals do the real work. Witty, elastic, effortlessly smooth whether she’s riding a mid-tempo groove or letting loose over a full-throttle dance beat. The production gives her room to breathe, but she’s the one steering every hook home.

More Than a Vibe, A Statement

Underneath the glitter and the dancefloor-ready hooks, BADDIES carries a message that’s impossible to miss: independence, self-worth, and living entirely on your own terms. MOLIY has described the project as building “a whole universe of young, confident divas that are just bold and claiming their baddie energy,” and that’s exactly the feeling that carries you from the first track to the last. This isn’t manufactured empowerment. It’s lived-in, danced-out, and worn like a second skin.

Taking It on the Road

MOLIY isn’t stopping at streaming numbers. This October, she’s bringing BADDIES to life on her first-ever European headline run, the Baddies EU/UK Tour, hitting 12 cities across the continent. The trek kicks off in Madrid on October 8 and winds through Paris, Brussels, Amsterdam, Cologne, Hamburg, Copenhagen, Berlin and Warsaw before wrapping up with a UK leg in Manchester, Birmingham and London. It follows a run of North American dates alongside Skillibeng, and it’s the clearest sign yet that MOLIY’s “baddie summer” has no intention of ending when the leaves start to change.

As she put it herself, “Baddies are going to be outside.” Translation: if BADDIES has been living in your headphones, it’s about to take over a room near you. “I make music that makes you feel good,” she said. “You should be listening to me at parties. You should be listening to me at concerts, at festivals, at these huge, amazing places.” After a project this vivid, it only makes sense that the next chapter happens live, in a crowd, with the bass turned all the way up.

The Verdict

BADDIES ‹3 MOLIY isn’t just a mixtape, it’s a coronation. MOLIY takes everything that made her a scene-stealing collaborator and turns it into a fully-formed artistic identity, one that spans continents without ever losing her voice at the center of it. It’s sun-drenched, unbothered, and built to be played loud, on repeat, with the windows down.

Baddie summer has an official soundtrack now. Do yourself a favor and don’t just read about it. Go press play.

Stream BADDIES ‹3 MOLIY now, wherever you get your music.