Artist profile
MaVo
African producer and DJ.
8 tracksAfrican
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Plan a set with MaVo tracks scored against the rest of the catalog
MaVo on Mixgraph
Mixgraph for iOS — chemistry-scored DJ planning.
Artist profile
African producer and DJ.
Plan a set with MaVo tracks scored against the rest of the catalog
Mixgraph for iOS — chemistry-scored DJ planning.
MaVo is a moderate-energy and a balanced bright/warm production — mostly instrumental artist.
Unusually high brightness for African.
Across 8 analysed tracks, MaVo averages 52% groove — straighter than 68% of individual African tracks — and 46% energy, harder than 62%.
Measured against 540 African tracks on 11 August 2026.
Missing one of theirs?
We'll add it — the artist is already in the catalogue, so it lands fast
We scored every transition between MaVo’s 8 analysed tracks and every track by 12,460 other artists. 5 catalogues clear the bar — a transition counts at 80 chemistry or above, the same number you’ll see on any track page. The 5 with the widest margin over chance are below.
Chance is measured, not assumed: 0.573% of transitions between two randomly drawn tracks by different artists in this catalogue reach 80. Listed alphabetically — the set is reproducible, the order inside it is not.
11 of the 240 transitions between these catalogues reach 80 chemistry. Chance would give 1.4. They come from 3 different MaVo tracks.
MONEY CONSTANT → Sim Sima · 10A → 9A · +1 BPM · 86 chemistry
11 of the 320 transitions between these catalogues reach 80 chemistry. Chance would give 1.8. They come from 4 different MaVo tracks.
MONEY CONSTANT → Super Mario · 10A → 11A · same BPM · 91 chemistry
11 of the 320 transitions between these catalogues reach 80 chemistry. Chance would give 1.8. They come from 3 different MaVo tracks.
MONEY CONSTANT → Nto Njena (feat. Baby S.O.N) · 10A → 10A · +1 BPM · 84 chemistry
10 of the 256 transitions between these catalogues reach 80 chemistry. Chance would give 1.5. They come from 5 different MaVo tracks.
MONEY CONSTANT → SUKA (feat. Nandipha808, Ceeka RSA) · 10A → 10A · same BPM · 83 chemistry
14 of the 272 transitions between these catalogues reach 80 chemistry. Chance would give 1.6. They come from 5 different MaVo tracks.
Escaladizzy → Alaye · 12B → 12B · −4 BPM · 89 chemistry
Chemistry weighs harmonic, rhythmic, energy, groove, mood and vocal compatibility. Tempos are as analysed from the recording — where a genre is habitually detected an octave down, this is how we handle it. Different measurement from the audience-overlap list further down the page.
DJs and producers closest to MaVo by audience overlap — the artists their listeners also play. It’s a taste signal, not a measured key-and-tempo match: good for shortlisting crates when you’re prepping a set around MaVo, then check the chemistry on the pair you actually mix. Eligible names link to their own page.
Similarity data from Last.fm. BPM, key and energy on this page are measured from the recordings in our catalog.
MaVo's tracks in our catalog range from 112 to 131 BPM, with a median of 116 BPM. Across 8 tracks, the most common range falls in the 115–120 BPM bucket.
MaVo's tracks are mostly in minor keys (75% minor across 8 tracks). The most common single key is 12A (C♯ Minor) with 3 tracks.
We scored every transition between MaVo's 8 analysed tracks and every track by 12,460 other artists. 5 catalogues clear the bar by more than chance would give, and Focalistic, King P, Mellow & Sleazy are three of them — listed alphabetically, because the set is reproducible and the order inside it is not. A transition counts at 80 chemistry or above, the same number shown on a track page. One measured example: MONEY CONSTANT into Sim Sima, 10A to 9A, 86 chemistry.
MaVo sits closest to Wizkid, Davido, Rema in our catalog. That ranking is audience overlap — the artists their listeners also play — rather than a measured key-and-tempo match, so treat it as a shortlist worth digging through, not a promise that any two tracks will beatmatch. The full list, with track counts, is in the Related artists section above.
