SHAB and Preston Harris release ‘It’s On You’ on February 27, an Afro House-influenced duet that brings the two vocalists together on a club-focused single.

SHAB and Preston Harris come together on “It’s On You”, an Afro House release scheduled for February 27th. The collaboration connects two artists with very different musical paths. Over the past year, SHAB has placed singles inside the U.S. Pop Radio Top 40 and the Billboard Dance charts, building a catalogue that moves between radio-facing pop and electronic production. Preston Harris, whose songwriting work includes credits on To Pimp a Butterfly with Kendrick Lamar, has also stepped into the dance space through a global Dance Radio No. 1 alongside HUGEL. On “It’s On You”, both artists share lead space, trading lines across a steady Afro House rhythm that keeps the focus on vocal interaction. The structure avoids over-layered production, keeping the exchange clear and direct. With its February 27th release date confirmed, the single adds another electronic entry to SHAB’s recent run while extending Preston Harris’ presence within club-focused releases.

A Closer Look at the Vocal Exchange and Rhythmic Structure in ‘It’s On You’

From its opening moments, “It’s On You” establishes its Afro House foundation through steady percussion and understated synth textures that stay present without overwhelming the mix. The introduction does not rush toward a drop or chorus; it settles into a consistent groove that allows space for the duet format to take shape. Preston Harris carries the first vocal passages with a smooth, controlled presence that aligns with the song’s flirt-driven narrative. The writing revolves around attraction, accountability, and tension, and the title phrase is woven into the hook in a way that feels embedded in the conversation rather than repeated for emphasis. The rhythmic base remains constant, giving the track its identity while keeping the focus on clarity and phrasing.

As SHAB’s vocals come in, the record gains a new layer of contrast between perspectives. Instead of stacking harmonies for impact, the structure unfolds line by line, with each artist responding directly to the other. That back-and-forth mirrors the push-and-pull theme at the centre of the track, reinforcing its emotional tension without relying on exaggerated production. The chorus holds both voices in balance, strengthening the melodic core while maintaining the steady percussion underneath. By keeping the arrangement disciplined and the synth textures in the background, “It’s On You” prioritises vocal interplay over spectacle, allowing the duet itself to carry the record’s impact ahead of its February 27th release.

Where ‘It’s On You’ Fits Within SHAB’s Ongoing Evolution

For SHAB, “It’s On You” does not feel detached from her recent run of releases. Over the past year, she has moved between pop-facing records and dance-driven singles with increasing consistency, placing tracks inside the U.S. Pop Radio Top 40 and the Billboard Dance charts. Collaborations such as “VooDoo” with Fat Joe expanded her presence within rhythmic formats, while releases like “Skin & Bones” strengthened her footing in dance spaces. This new Afro House entry continues that pattern of crossing formats without abandoning vocal identity.

What distinguishes this release is not a sudden shift in genre but the way it sharpens focus. The duet format places SHAB in direct dialogue, moving her away from production-heavy arrangements and toward a more exposed vocal exchange. That dynamic aligns with the emotional directness present throughout much of her catalogue, from the personal framing of “Infinite Love” to the symbolism embedded in “One Suitcase.” Her trajectory has never rested solely on chart metrics; it has also developed through narrative and self-direction, informed by her departure from Iran, her move to New York, and her decision to leave law school in pursuit of music. Within that broader arc, “It’s On You” continues that self-directed path, situating her voice inside an Afro House structure while maintaining the lyrical tension and clarity that remain consistent across her work.

Stream this single below and on all other platforms here.

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How did the collaboration with Martinho da Vila come about for “No Embalo da Vila,” and what was your first reaction when the idea was proposed?

The collaboration with Maz and Martinho da Vila started from a very simple and organic place. We rediscovered the original track while digging through our personal archives of Brazilian records and vinyl. It was just before Carnival and we were already in a strong Brazilian musical phase, with the Gilberto Gil remix in the pipeline. We made an early demo, a samba-influenced electronic sketch that we really loved, and we sent it to Maz as a friend, just to get his opinion. He immediately connected with it and suggested turning it into a proper collaboration. From there we decided to go all in and develop the record together. That’s how the idea was born.

Martinho da Vila represents a very specific era of samba and MPB; what did his involvement mean to you personally as French producers working with Brazilian musical heritage?

Martinho da Vila is an artist we deeply respect. We own several of his records and his music is strongly connected to our experience in Brazil. We spent a lot of time in Rio and São Paulo, going to small samba bars, learning, listening and trying to understand the culture from the inside. Being able to officially work with material connected to that heritage, alongside Brazilian artists, felt like a bridge between generations and cultures. As French producers, it was an honour and we are extremely grateful for that opportunity.

The press notes mention guitar motifs as a core element of the track; was that musical idea present from the start, or did it emerge later in the process?

In the original track there were already guitar elements, but when we started working on our version we focused first on the vocal and the rhythmic foundation, pushing the samba energy through percussion and drums. The melodic guitar idea came later. Maz suggested adding a stronger melodic layer, and he recorded a Brazilian guitarist in his studio in Rio. That live performance brought emotion and musicality and reconnected the track to MPB traditions. It was the final touch that gave the record its full identity.

You are known for Afro, Latin and Brazilian influences in your catalogue; what makes this release different from your previous work in that direction?

This release is different because it is built around a samba and MPB classic and it is a true collaboration with Maz and Martinho da Vila. It is not just a Mozambo record, it is a shared project shaped by a strong Brazilian heritage. Compared to our previous work, it leans more toward samba and carnival energy while still keeping our house foundation. Each collaboration is about exchange, and this one carries a very specific cultural weight.

Maz (BR) is deeply connected to the Brazilian electronic scene; what did he contribute creatively that shifted the track in a way you would not have reached alone?

Maz brought an authenticity we could not reach alone. His biggest contribution was the live guitars recorded in Rio, but beyond that he helped shape the structure, the energy and many details of the track. We exchanged versions constantly, reworked the bass, adjusted percussion and tested different arrangements. His perspective, combined with ours, is what made the track become what it is. It was a very fluid and inspiring collaboration.

Dawn Patrol has positioned itself around Afro-house with Brazilian identity; why was this the right label for this collaboration?

Dawn Patrol is a Brazilian label founded by Maz with a strong identity around Afro house and Brazilian culture. We have respected the label for years, not only for the music but for its positive and human energy. Since this is a Brazilian record made with Brazilian artists and rooted in Brazilian heritage, releasing it on a Brazilian label felt natural and respectful. It was the obvious home for the track.

Your music often moves between underground imprints and larger labels like Sony and Spinnin’ Deep; where does “No Embalo da Vila” sit within that wider journey?

The track sits on a label that still has an underground spirit but is growing fast and becoming a key reference in the Afro house scene. We don’t think in terms of underground versus mainstream. What matters to us is coherence. This release fits naturally with our recent journey, from Dawn Patrol to our own label Jungle Disco and other collaborations. Our goal is simply to release music for the clubs and the people while staying free and consistent.

The track connects house music with classic Brazilian musicality; when you look at the finished record, what feels most faithful to its Brazilian roots?

What stands out most in the finished record is the emotional energy of Brazilian music. There is something in MPB and samba that speaks directly to the heart. That sense of warmth, hope and positivity was the most important thing for us to preserve. We added our rhythm and our vision, but the core remains the emotion and the human feeling of the original.

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Alonique has released her latest single, ‘AY AY AY’, via the evolving electronic imprint Ursul Records.

Producer and DJ Alonique shares her latest single, ‘AY AY AY,’ via Ursul Records. A track with groove, pulse, and uplifting energy, this newest release delivers infectious vibes and refined production in equal measure. Grounded in organic textures and layers of dynamic detail, the track integrates seamlessly into the Ursul Records catalogue, complementing the label’s creative direction – intertwining dance and culture in a way that feels refreshing, transformative, and transportive.

For Alonique, this new release marks the next steps in her journey, building off her 2025 single ‘Divine’ and her work as a live DJ and vocalist. Approaching her artistry with poise, purpose, and creativity, she has honed a unique signature style, one that values storytelling and listener experience – aiming to craft journeys that captivate and leave a long-lasting impression.

With ‘AY AY AY,’ Alonique sustains her commitment towards delivering bold and distinct music: crafting a world in which listeners can lose themselves in the deeply resonant, rhythmically nuanced arrangement. Unfolding through intricately woven percussion, sustained by a pounding kick, and detailed with bright vocal loops, the track builds into a bouncy, uplifting landscape of sound, layered with evocative melodies, tribal-enriched beats, and ethnically rich motifs. A fusion of electronic modernity and cultural undertones, ‘AY AY AY’ offers the opportunity to experience Alonique’s signature sound and be transported to the dancefloor, offering both high energy and a soulful expression of sound.

For Ursul Records, this newest release adds further momentum to the label’s trajectory on the Electronic Music scene; a venture between T-Pulse and Omer Keinan, the label continues to garner attention for releases that realise the emotional pull that music can offer, focusing on bringing organic, soulful, and ethnic sounds within its ever-growing catalogue of work.

A release that sonically articulates both Alonique’s vision and the broader focus of Ursul Records, ‘AY AY AY’ is a track that warrants attention – out now and available to stream and download across platforms, listen today and be sure to keep up with both the label and Alonique across social media to not miss new updates and news.

Listen and Buy ‘AY AY AY’ here.

Alonique Online

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Ursul Online

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