african music
In 2006, the International Astronomical Union stopped classifying Pluto as our solar system’s ninth planet and demoted its status to “dwarf planet.” But 17 years later, Nigerian singer Shallipopi tells Billboard he’s “claiming it now” as his own domain.
He’s intimately familiar with that level of sovereignty, as Shallipopi – born Crown Uzama in Benin City, Edo, Nigeria – descends from a line of kingmakers, the Uzamas, who are the highest-ranking chiefs in the Benin Kingdom who appoint the new Obas, or traditional Edo rulers. And even though the 1994 Taiwanese kung fu comedy film Shaolin Popey that he grew up watching at home inspired his stage name, his self-appointed nickname Pluto Presido speaks more to his prestige — and the rule he has over his fans, the Plutomanians.
He’s even labeled his musical style “Afro Pluto,” a rousing fusion of Nigerian street-pop, Afropop, hip-hop and amapiano that’s littered with local slang with an infinite number of meanings and guided by a cadence that’s closer to talking than singing. And in just a few short years, it’s helped Shallipopi grow into one of the most in-demand up-and-comers from the continent. He says South African DJ/producer Tyler ICU texted him to hop on the remix of “Mnike,” the biggest amapiano record of 2023 that Rihanna claimed was one of her favorite songs that year. A week before the “Mnike” remix’s release, Shallipopi tag-teamed with Rema on their hometown hit “Benin Boys,” the first single from the latter’s Grammy-nominated album Heis. He’s also linked up with a range of other emerging and established Afrobeats acts like ODUMODUBLVCK on the chant-worthy club banger “Cast” and YBNL boss Olamide on “Order.”
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And two years after his 2023 breakout hit “Elon Musk” in honor of “the richest man in the world,” he says, Shallipopi strives for that level of astronomical wealth on his biggest hit to date “Laho,” which means please in the Edo language of Bini. While he name checks Italian footballer Mario Balotelli to prove the kind of prosperous company he keeps, “Laho” has attracted plenty of ballers in real life.
A month after the song’s release, Indiana Pacers power forward Pascal Siakam explained how he adopted the viral “Laho” dance, featuring pointed fingers and shuffling feet, to celebrate the team’s three-point shots in an interview with ESPN. “I just be playing it, and the guys, I think JJ [James Johnson] is the first one that saw me do it. And he was like, ‘Nah, I like that for a three-point celebration,’” said the Cameroonian basketball player, who added that he and his teammates “gon’ pull it out for sure in the playoffs.”
And while celebrating his team becoming Premier League champions again, Liverpool midfielder Harvey Elliott wrote “Minister of Enjoyment,” a phrase from the hit’s second verse — meaning someone whose main purpose is to find pleasure in life and enjoy it to the fullest — in his Instagram caption. Manchester City defender Rúben Dias posted the song on his Instagram post when his team qualified for their third FA Cup final (even though they eventually lost against Crystal Palace).
“Laho” has peaked at No. 5 on U.S. Afrobeats Songs and has registered 11.5 million official on-demand U.S. streams, according to Luminate. While major leaguers quickly gravitated to it, the African Giant Burna Boy added his international star power to the song’s second version that Shallipopi doesn’t refer to as the “Laho” remix – because that’s still on the way.
Billboard spoke with May’s African Rookie of the Month about “Laho” becoming an international sports anthem, performing it on massive world stages alongside Burna Boy and Central Cee, and setting his sights on even bigger collaborations.
When did you know music was your calling?
Pretty young, like my early teenage years. We always played music at home growing up, a lot of reggae and Afrobeats, old Afrobeats. My parents played a lot of Fela [Kuti], Lucky Dube, Bob Marley.
Your younger brothers Zerry DL and Famous Pluto also make music. How did you guys come to share that interest and pursue your own paths in this business?
We all grew up in the same house by the same parents who listen to the same music. I feel like they’re following in my footsteps because they feel like they can do it too. And they’re doing it already.
Who are your favorite artists whom you’re currently listening to?
I listen to a lot of Billie Eilish and Ken Carson.
How did you actually start making music?
I went to the studio [when I was 15] and said, “Let me try something. Let me sing on this beat. Let me test this thing finally and see if it goes.” But before that, I had voice memos on my phone, playing free beats off websites and vibing off it. I was just freestyling, not really recording original, mastered songs.
What kind of sounds and styles does your music encompass? How would you describe your music in your own words?
I would say groovy, energetic, fun. Club bangers. It’s for having a good time and raising your mood from being unhappy to being happy.
You earned a computer science degree from Auchi Polytechnic in 2023. How did you balance your schoolwork and your passion for music?
That was not really difficult. I just take music as a hobby and I focused on my education until I was done. When I decided to study computer science, I didn’t think music was really a way to sustain an income. You have to go study a real course to survive. You can’t be studying music, we’re in Africa. I decided to go with science because you have to chase the bag. [Laughs]
It’s dope to see you turn music from a hobby into a career. Is that something you expected?
Honestly, I didn’t expect it. I didn’t expect it to come this soon. But it’s God’s blessing. I was thinking, “Oh, it’s going to take time.” Or the way everybody prays, “Let my time come.” It’s like, “Oh, my time is here.”
A common thread in your music is the local slang you use, from “Evian” in “Elon Musk” to “Oscroh” in “Oscroh (Pepperline).” Which are your favorite terms that you’ve used in your music?
“Evian,” just because it got so popular. It’s my family name.
Travis Scott is a huge fan of “Cast.” What was it like to link up with him, especially when he started singing the song to you?
He was feeling the energy of the song, I think he likes Pluto’s songs. [The video was taken] backstage at his concert in London.
“Cast” recently won best rap single at The Headies this year, while Zerry DL took home the rookie of the year award. That must’ve been a proud family moment!
It was lit. We celebrated together, I’m happy for him. We partied all night and chilled together as family.
You announced in a letter last December that you ended your agreement with Dapper Music and Dvpper Digital because they mishandled your finances. Three months later, you released your biggest record to date with “Laho.” What was going through your head during that in-between period? How were you feeling about the trajectory of your career?
The career of a man is not really in the hands of anybody except him. Your career is in your hands at the end of the day. Your fans are waiting for you to do something, so it’s really the only thing at the end of the day that matters. Nobody’s going to really stop you.
“Laho” has been heavily embraced by the sports world. Did you expect it to become an anthem for athletes all around the world? Why do you think this demographic has gravitated to “Laho” so much?
No, I didn’t expect that one. I’m still in shock. I watch and enjoy, it because they’re not from the same sports. Some play football, some play basketball. I just really f—k with that s–t.
When did Burna Boy get involved with the “Laho” record? He wrote on his Instagram Story that he was on the original version but he couldn’t clear it at the time because it “clashed with other releases that had to do with me.” So should “Laho II” not be considered the remix?
“Laho II” is “Laho II.” We were just in the studio [in Lagos], I was playing the album and he was like, “Yeah, I f—k with that. Let’s do this.” And he dropped a verse on it. Wait for the remix.
Can we expect other big guests on the remix?
Just wait and see. But expect fire.
You two performed the song together at Manchester’s Co-op Live and at Paris’ State de France. What was it like to bring your song to life in front of tens of thousands of people?
It was lit. I was feeling the energy of everyone singing it back to me. It was amazing.
Central Cee also brought you out during his show at London’s O2 Arena to perform “Laho.” How did the opportunity come about?
He just told me to pull up and come perform “Laho.” I told him, “Cool, bro — I gotchu.”
You started your own record label, Plutomania Records, in 2023. Why were Zerry DL and Tega Boi the best fit as the label’s first signees?
They’re my family, I had to support them first before I bring in all the others.
What is your hope for the future of Plutomania Records in the next five to 10 years?
I want us to expand, to grow more business-wise.
What’s been the biggest “pinch me” moment of your career so far?
Performing at the stadiums. I was like, “Oh my God! Ah!”
Were you extra nervous?
I’m never nervous, I’m just happy to be there.
Who would you love to collaborate with this year?
Maybe from the Latin side, like Bad Bunny. It has to be a very big artist or have a big fan base, like Drake.
What’s next for Shallipopi in 2025? What can fans expect?
Concerts, so they can come see live, and more good music.
05/22/2025
Billboard has rounded up 16 songs by R&B and rap artists that sample old African songs.
05/22/2025
Nigerian street star Seyi Vibez has partnered with EMPIRE on new music, and released a new single called “Pressure” as part of the new deal.
The song, more low-key than the gritty street vibe on which the artist has built his career thus far, “is a complete shift from my usual sound,” Seyi Vibez said in a statement announcing the release. “It leans into melody, intimacy and raw emotion. It’s smoother, softer and more intentional. I wanted to show my range, to prove that I can give you fire and tenderness in the same breath. This track is about the quiet power of love and attention. Sometimes the loudest statement is how you move when no one’s watching. That’s real pressure.”
Still just 24, Seyi Vibez burst onto the Nigerian music scene in 2022 with debut album Billion Dollar Baby, mixing a variety of genres and styles into his own sound that captured the rhythms of his neighborhood in Lagos. Since then, he has proved prolific, dropping a series of singles, albums and EPs, most recently February’s Children of Africa, which saw all four of its songs reach the U.S. Afrobeats Songs chart, and his catalog has racked up north of 400 million on-demand streams in the U.S. alone, according to Luminate. Along the way, he’s collaborated with the likes of Burna Boy, Olamide, Young Jonn, Kizz Daniel, BNXN, Russ and NLE Choppa, among others.
“We are happy to partner with Seyi Vibez, an artist whose vocal dexterity and versatility truly stand out,” said Mobolaji Kareem, EMPIRE’s regional head of West Africa, in a statement. “He is a great fit and we look forward to helping his continued growth as a global artist.”
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“I’m stepping into this new chapter with the spirit of my ancestors,” added Seyi. “I carry the energy of Orisa: the guardian, the protector, the voice of the city.”
Check out the new song below.
The Billboard U.S. Afrobeats Songs chart welcomes a new No. 1 – and first new leader of 2025 – as MOLIY, Silent Addy, Skillibeng and Shenseea’s “Shake It to the Max (FLY)” remix rises from the runner-up spot to rule the list dated May 17. With its ascent, “Shake It to the Max” unseats Tyla’s […]
On a Friday night in late February, Tems was having dinner with the owners of San Diego FC, celebrating her new position as a partner in the MLS club. The next day, a video went viral of the 29-year-old Nigerian musician, known for her enviable levels of cool, briefly losing it while watching the club’s first-ever home game, bitterly throwing her arms down when her team missed a free kick and repeatedly yelling, “What the f–k was that?” while clapping her hands to punctuate her every word. Then, on Sunday, she headed to Los Angeles for the Academy Awards, strutting the red carpet in a feathered gown at the Vanity Fair after-party and striking poses with the likes of H.E.R., Victoria Monét and Normani at Beyoncé and Jay-Z’s annual Gold Party. By Tuesday, Tems was overseas at Paris Fashion Week, serving classic elegance while sitting front row at the Courrèges and Dior shows.
Those prime seats offered her a rare opportunity: to be off her feet and catch her breath before hopping on a jet to her next high-profile affair. Because while Tems’ music has become known as the ideal soundtrack for unwinding and vibing out, she never really has time to do either.
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“Every day is something different, which is actually very exciting for me,” Tems insists during an early April afternoon in her home base of London, looking laid-back in a chic “groutfit” (monochromatic gray): oversize zip-up hoodie, tank maxi dress and black leather peep toe heels, her hair slicked back in a bun with laid edges. “I’m always like, ‘Hmm, I wonder how today is going to go. I wonder what’s going to happen.’ ” But even amid her whirlwind schedule, she manages to maintain some grounding daily rituals: “In the mornings, I always do my self-care. I pray and declare that everything is going to be good and whatever comes my way, I’ll be fine.”
Tems will headline THE STAGE at SXSW London on June 5 in an exclusive concert presented by Billboard at London’s iconic music venue Troxy.
That affirmative mindset has served her well. In 2020, Wizkid featured Tems on his summer anthem “Essence,” which hit the top 10 of the Billboard Hot 100 (partly due to a Justin Bieber remix); earned Tems her first Grammy Award nomination, for best global music performance; and played a pivotal role in ushering in the rise of Afrobeats in the United States. Five years later, the singer-songwriter-producer has become a global sensation in her own right, as well as a secret weapon for Western superstars. She collaborated with Drake on “Fountains” from his 2021 album, Certified Lover Boy, and the two appeared together the following year on Future’s Hot 100 No. 1 “Wait for U,” which samples Tems’ 2020 track “Higher,” from her debut EP, For Broken Ears, and earned Tems her first Grammy, for best melodic rap performance. That same year, she scored a feature on Beyoncé’s Renaissance and co-wrote Rihanna’s “Lift Me Up,” from the Black Panther: Wakanda Forever soundtrack; the song earned Golden Globe, Oscar and Grammy nods.
And since “Essence,” Tems’ distinguished solo releases have helped her remain at the forefront of African music. As “Wait for U” propelled “Higher,” For Broken Ears yielded another sleeper hit in 2022, “Free Mind,” which became her first solo Hot 100 entry (peaking at No. 46) and a radio fixture, spending 22 weeks at No. 1 on R&B/Hip-Hop Airplay and nine weeks atop Adult R&B Airplay. For Broken Ears has earned 853.7 million official on-demand U.S. streams, according to Luminate — and “Free Mind” accounts for 434 million of them.
Her A-list assists and limited but impactful solo output built expectations for Tems’ first full-length, Born in the Wild, an 18-track opus that secured three Grammy nominations, including for best global music album, and peaked at No. 56 on the Billboard 200 following its release in June 2024 through RCA Records and Sony U.K. imprint Since ’93.
“Tems is such an important voice for our times, bringing the experience of her life and music to a global audience,” RCA chairman/CEO Peter Edge says. “It is so special that RCA has been able to partner with her on her journey.”
Ferragamo dress, Justine Clenquet earrings, Mi Manera ring.
Zoe McConnell
Tems didn’t have much faith in her chances at the Grammys, and she’d thus planned a swift exit. “I was convincing myself it’s probably not me anyway. I was like, ‘Let me just sit at the back. If they don’t call me, I’ll just quickly leave,’ ” she says. So when the album’s jovial hit single “Love Me JeJe” won best African music performance during the awards show’s premiere ceremony, she “had to run to the stage,” she recalls. But she says her real “prize” that evening was witnessing the joy of her plus-one, her mother, who later spotted a certain celebrity. “She saw Will Smith and she was like, ‘Will Smith, wow!’ ” Tems says, bursting into laughter. “He was sitting at a table and was like, ‘Hey, nice to meet you!’ He was talking to her. Just giving her that experience was amazing.”
She has given her mom plenty more reasons to be proud this year, with an awe-inspiring series of firsts: Not only is Tems the first Nigerian artist to win two Grammys, but she’s also the first African-born woman to be involved in MLS ownership and the first African female artist to hit 1 billion Spotify streams for a song, with “Wait for U.” Tems can hardly keep up with them all. When I ask her where she was when she found out about her recent Spotify accomplishment, she pauses before hesitantly admitting with a laugh, “It’s very possible that I’m just learning of this.” But she’s not taking any of her historic feats for granted: “It feels good to be able to do this on this scale. My life is a dream.”
She uses the same word in “Burning,” Born in the Wild’s other Grammy-nominated track, when describing the surreal trajectory of achieving and acclimating to her newfound fame. The extra eyeballs scrutinizing her made her feel especially “uncomfortable” in the beginning, she says, but they also proved how the tides have turned for African artists. Nigerian singer-songwriter Seyi Sodimu — who sings the 1997 Afro-soul classic “Love Me JeJe,” featuring Shaffy Bello, that Tems interpolated in her Grammy-winning song of the same name — said in a 2004 interview that he pitched the original record to multiple U.S. labels, only to be told it “was hard to market me because I look ‘American’ but I sound ‘African.’ ” Wale Davies, one of Tems’ managers who is also one-half of the Nigerian rap duo Show Dem Camp, says “it wasn’t cool to be African” back then.
But now, artists like Tems are rewriting that narrative while still honoring those who preceded them. Tems thanked Sodimu on X for clearing her song’s sample: “I’m glad that it’s getting its flowers today”; she also posted photos of them on the set of her self-directed “Love Me JeJe” music video, which features the two singing the bridge together.
“The responsibility an artist like Tems has is that you’re going to be the portal through which people see Africa,” Davies says. “We have to show them that you can operate at a global level.” As she declared when accepting the Breakthrough award at Billboard Women in Music in 2024: “I’m standing with a continent behind me.”
Despite growing up in the “hustle and bustle” of Lagos, the artist born Témìládè Openiyi prefers peace and quiet. Today, she calls her sacred silent time her “energy-saving mode.”
Tems didn’t speak until she was 3 years old and found music to be a more effective means of expression. As a kid, she fell in love with the sentimental balladry and powerhouse pipes of Céline Dion, Mariah Carey and the members of Destiny’s Child and says she aspired to create music with that same level of “soul and realness.” But she felt insecure about her deep natural voice and opted for a more delicate falsetto. The music teacher at her secondary school, Mr. Sosan, encouraged her raw, unfiltered talent and offered his music room as a safe space. But as she honed her craft, her mother had other plans: She wanted Tems to attend college.
“I tried to miss all the deadlines, [but] she enrolled me to school in South Africa last minute,” she recalls. While studying economics at IIE MSA in Johannesburg, Tems taught herself to produce and engineer her own music through YouTube tutorials. When she returned home upon graduation, she started a digital marketing job — but her real postgrad goals didn’t involve sitting behind a desk.
“It just got to a point where I couldn’t take it anymore… Spiritually, I was aware that this is not my path. It felt like life or death, like this can make or break your destiny and you need to make a decision right now,” Tems says. “And I chose to take that leap.”
Alexandre Vauthier coat.
Zoe McConnell
Tems figured once she was able to hand her mother her degree, “everyone should just leave me to be and let me do my music.” And her mom, whom Tems was caring for after she had broken her leg, gave her an extra push to pursue her true passion. “We were going through a lot at the time, and we needed that job. And she said, ‘I think you should go and chase your dreams and try this music thing. You can do it and I believe in you. Don’t worry about me. I’m here for you,’ ” she remembers with tears in her eyes. Tems quit in January 2018, and that July, she independently released her debut single, “Mr Rebel,” a buoyant, reflective track about standing firmly in her purpose.
“Immediately, I felt like, ‘I don’t know who this person is, but this person is singing for their life,’ ” Davies recalls of the first time he heard “Mr Rebel” soon after its release. It became an underground hit despite deviating from the feel-good, dance-driven Afrobeats popular at the time, which producers in Nigeria had always told Tems she needed to make if she ever hoped to succeed. But in the mid-2010s, the alternative alté movement was gaining popularity in the country, empowering a new generation of creatives to express themselves freely in their sound and style. “No one sounded like her. No one thought emotional, truthful, honest, no-filter music would work in Nigeria,” Davies says. And when Tems released “Try Me” in 2019, he continues, “everything changed. That song went crazy because so many people were like, ‘Ah, finally, a woman who can share our frustrations and say how we really feel.’ ”
“Try Me” and its gripping music video caught the attention of label executives from around the world, including Sarah Lorentzen, then an executive assistant at RCA (where she’s now an A&R executive) who was dedicated to “[supporting] music from back home” in Nigeria. She flew to London in October 2019 to meet Tems, who was slated to perform at Show Dem Camp’s Palmwine Festival (visa issues ultimately prevented Tems from appearing). Two months later, Lorentzen flew to Lagos for Tems’ In the Garden concert. “I just jumped in and started helping her build the stage, breaking palm leaves and sticking them in the stage,” she recalls. “We bonded throughout the night, and that was the start of a yearlong journey before she actually signed with RCA.”
Tems’ managers, Davies and Muyiwa Awoniyi, cite Lorentzen’s Nigerian heritage as a key factor in their decision to sign with RCA, as well as fellow Nigerian executive Tunji Balogun, then-executive vp of A&R at RCA (now Def Jam chairman/CEO), and his crucial work with the label’s Afrobeats and R&B acts. Before Lorentzen and Balogun signed Tems in 2021, they got her to hop on the Afrobeats remix of Khalid and Disclosure’s dance-pop track “Know Your Worth” alongside Davido, who had signed to RCA in 2016. Wizkid, who joined the label in 2017, invited Tems through Awoniyi to a recording session for his 2020 album, Made in Lagos. “[Awoniyi] called me and was like, ‘We’re at Wiz’s place, we just recorded two bangers.’ And one of them ended up being ‘Essence,’ ” Davies says.
The same weekend Tems and Wiz shot the “Essence” music video, she recorded “Me & U” with GuiltyBeatz during their first session together, in Ghana. Within a few weeks, they’d also made “Crazy Tings” and three other tracks that would appear on her first major-label EP, If Orange Was a Place. Music frequently flows out of Tems, who has recorded 7,000 voice memos worth of freestyled song ideas on her iPhone. (“I’ve saved every voice note I’ve ever had since 2016,” she adds.) But even as “Essence” blew up globally, Tems was already focused on what was ahead. “I’m so obsessed with the songs that I’ve not shared that I’m not even thinking about the outside world,” she says. “I’m more concerned with the creation of the art than the acknowledgment.”
Ferragamo dress, Christian Louboutin shoes, Justine Clenquet earrings, Mi Manera ring.
Zoe McConnell
Lorentzen believes Tems’ humble approach helps her make quality music that naturally resonates with fans. “When it comes from a pure place like that, a place without any specific intention to blow [Nigerian slang meaning “to be successful”] or for it to be a hit, it allows you to enter a different kind of flow state as an artist and really deliver what’s genuine and authentic and unique to you,” she says.
It helps that lightning also tends to strike right before she hits the booth. After a “lit night out” in London with her friends Dunsin Wright and Yvonne Onyanta, Tems took them back to the studio, where her producers Spax and GuiltyBeatz were making the beat for “Love Me JeJe.” Guilty says he and Spax initially didn’t have Sodimu’s hit in mind. “She walks in the studio and literally started singing, ‘Love me jeje, love me tender.’ We were like, ‘Yep, get on the mic and record this now,’ ” he recalls, adding that “Love Me JeJe” was the “easiest song” to make on Born in the Wild, taking under an hour to finish.
Kayla Jackson, then Tems’ project manager at RCA (and now marketing consultant), proposed debuting it during her set at the 2024 Coachella festival, where fans at the Mojave Tent instantly picked up on the nostalgic call-and-response track. For Guilty, the crowd’s reaction “reconfirmed what I believe — and that is whatever feeling you have while making music in the studio is going to translate to people.”
“Do you know this song?”
Tems is surveying the front row of New York’s Radio City Music Hall, searching for a lucky someone to serenade with a freestyle based off their name, as she did during every stop of the 2024 Born in the Wild world tour. Her security guard lifts a 9-year-old girl, coincidentally named Africa, onto the stage as “Found,” the Brent Faiyaz-featuring track from If Orange Was a Place, starts playing. Tems asks her a couple of times if she knows this song before she shyly nods her head and proceeds to surprise the singer — and 6,000 concertgoers — by not missing a single lyric.
“Everybody erupted,” Joe Harris, her agent at CAA, remembers from that night. “In that moment, I realized this woman has not only been able to touch people her age and older, but the youth of the world has fallen in love with her voice and her tone.”
And her team has made sure her voice can travel to as many corners of the planet as possible, especially on her native continent. When Tems originally announced her 31-date international tour last May, she had two unspecified African stops scheduled. Awoniyi says it’s difficult to find the right venues that will “match the standard” of the kind of show she wants to deliver, and Harris adds, “It takes a bit of groundwork to try to pull those shows together because of the infrastructure and politically whatever’s going on in each one of those different countries.” In January, after receiving backlash online for promoting her show in Kigali, Rwanda, that was scheduled for March, Tems canceled it due to the country’s ongoing conflict with the Democratic Republic of Congo. “I never ever intend to be insensitive to real-world issues, and I sincerely apologize if this came across that way,” she wrote on X.
But aside from occasional roadblocks, she has also secured major opportunities in Africa. In March, Tems became the first artist to perform at The Dome, the new, 10,500-capacity venue in Johannesburg that Live Nation launched with Stadium Management South Africa and Gearhouse South Africa earlier this year. “We’re always looking to create epic moments,” Awoniyi says. “Live Nation let us know about the venue that they were building. Our agents spoke to them, and because we are very moments-focused, for her to be the first artist to perform there is cool.” Her team is carefully planning on rescheduling her show in Rwanda while adding new stops in Kenya, Ghana and, of course, Nigeria.
Bringing the fruits of her success back home remains fundamental to Tems’ mission. Pave Investments — an African private investment firm that backs platforms creating opportunities to develop and support African talent globally, such as Tems’ company, The Leading Vibe — reached out to her camp with the opportunity to join the San Diego FC ownership group. “I grew up around my uncles and brother watching matches, and because they’re so loud, I’m forced to pay attention. I always wondered about being able to be in the business of it because it’s a man’s world,” Tems says. In her role, she’ll work closely with the Right To Dream Academy, a youth association football academy that started in Ghana and has since expanded with branches in Egypt, Denmark and the United States. “That’s something that piqued my interest, being able to build other Africans up, build other children up and give them more opportunities that they wouldn’t have otherwise seen,” Tems says.
Marc Jacobs jacket and shoes, Calzedonia tights, Jacquemus earrings.
Zoe McConnell
Her historic entrance into the sports realm aligns with the ethos of The Leading Vibe, which she established in 2020 and where she serves as a director. Named for a lyric from “Mr Rebel” — “I’m the crown, I’m the vibe, I’m the leading vibe” — it allows her to “[lead] by example” and make a “difference in the world” by holding and managing her assets (she fully owns her masters for For Broken Ears and co-owns the masters for If Orange Was a Place and Born in the Wild) while serving as an incubator for investment, philanthropy and new business ventures. Through The Leading Vibe, she’s working on an initiative to support young African female artists, songwriters and producers.
“The way her brand is constructed is not limiting. You can see her at a football match today, you can see her at Formula 1 tomorrow,” Awoniyi says. In February, Aston Martin reported that 15,000 people watched her perform “Higher” at the unveiling of its new car design for the 2025 F1 season at London’s O2 Arena. She’s yet to headline her own show at the famed venue, but Awoniyi says they “haven’t been trying to rush” her growth as an artist to ensure the longevity of her career.
Tems says she’s currently making music “that I’m really excited about that sounds nothing like Born in the Wild,” and that after contributing to the Black Panther: Wakanda Forever soundtrack, she wants to hear more of her music in film — maybe even in the form of an original score — and possibly get in front of the camera. But while her universe may be continually expanding, Tems still wants her impact on the world to be fulfilling.
“My 20s, they’ve been eventful. I’ve gotten used to the uncertainty,” says Tems, who turns 30 in June. “I hope it stays that way. I hope it doesn’t slow down.”
This story appears in the May 17, 2025, issue of Billboard.
Tems brought ankara, a vibrant African wax print popular in Nigeria, to New York City’s Metropolitan Museum of Art at the 2025 Met Gala on Monday (May 5). British-Ghanaian fashion designer Ozwald Boateng helmed her blue and green tailored mermaid vest gown, which she wore over a blue pinstriped collared shirt with a green pussy […]
Tyla served old Hollywood glamour and paid homage to at the late André Leon Talley at the 2025 Met Gala on Monday (May 5). The South African star stunned on the blue carpet with her immaculately tailored off-the-shoulder Jacquemus gown that featured a beaded pinstripe design, and a floor-length cape that honored Talley, according to […]
Rema‘s 2022 debut album, Rave & Roses, spun out the biggest Afrobeats crossover hit in U.S. history (the Selena Gomez-assisted “Calm Down”), and just three years later, the Nigerian superstar has cemented his place in the genre’s Big Four with a fiery, high-octane Madison Square Garden debut in New York City on Friday (May 2).
Named for Heis — his 2024 sophomore LP, which earned him his first Grammy nod for best global music album — Rema’s Heis World Tour is a towering statement of what an impressive career and catalog the 25-year-old visionary has built for himself since exploding onto the scene with 2019’s “Dumebi.” While that early-career hit was saved for later in the night during Friday’s concert, Rema, dressed in a massive fur overcoat and wielding a machete atop a levitating platform, kicked off his headlining set with “March Am,” Heis’ introductory track.
“I wanna introduce to you a man, a myth, a legend,” a faceless announcer declared over brooding, cinematic drums reminiscent of the ones that define the soundscape of Heis. “He goes by many names! He is… Prince of Afrobeats, Rema!” This lead-in may have felt a bit overblown for other artists, but Rema spent the next hour-and-a-half proving why he’s worthy of such an effusive intro. Fellow Heis cuts “Azaman” and “Yayo” followed, keeping the crowd’s energy consistent for the show’s first act before the first of several interludes that chopped up the setlist’s flow.
The concert’s setlist was loosely organized by theme and tempo. What it lacked in continuity, Rema more than made up for with the sheer number of hits he played. A cheeky kiss-cam introduced a mellower, heart-eyed segment featuring cuts like “Favorite Girl” (with Darkoo) and “Soundgasm”; “Calm Down” made for a classic arena sing-along moment, and newer drops like “Bout U” and “Baby (Is It a Crime)” allowed Rema the space to show off both his sultrier R&B side and his swaggering rock edge.
Though his stage was equipped with a sizeable walkway, Rema performed the bulk of his set’s most intense moments atop what appeared to be an entrance to some sort of dungeon. That blocking worked for the show’s overall aesthetic, but it likely would have made for an even more thrilling performance if he hit the night’s most energetic moments closer to the crowd. Nonetheless, from a recreation of the “Charm” music video to the smart additional harmonies sung by his female background singers, the raucous energy of Heis found subtle complements in the pockets of feminine energy that decorated the show.
From surprise guests to eyebrow-raising statements, here are the five best moments from Rema’s Heis Tour stop at New York City’s Madison Square Garden.
A Surprise Birthday Celebration
Tyla revealed on Friday (May 2) that she will release her new “Bliss” single next Friday, May 9. She posted a promo photo on Instagram that features the “Water” hitmaker crouched in the fetal position with sand crystals covering her glistening skin, which feels reminiscent of the gritty sand-sculpted Balmain gown she wore during her […]
What a month April has been, with plenty of albums dropping from the sky to help soundtrack the upcoming summer.
Davido‘s new fifth album 5ive is another testament of his unshakable Afrobeats icon status, while he blends the beloved genre with R&B, amapiano, dancehall and more for a rich, global listening experience. And Rema performed his new Afro-R&B track “Bout U” live for the first time during his Coachella debut earlier this month, and it debuted at No. 5 on the U.S. Afrobeats Songs chart last week (chart dated April 26), sliding in right above his last single “Baby (Is it a Crime)” at No. 6.
We’ve highlighted 10 of our favorite new songs by African acts that have come out roughly within the last month. Check out our latest Fresh Picks, and enjoy some springtime tunes with our Spotify playlist below.
Rema, “Bout U”
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On the heels of Rema’s Sade-sampling “Baby (Is It a Crime)” hit, he cranks out another smooth banger with “Bout U.” Rema acts as a hopeless romantic who doesn’t want to come down from the high of his dreamy love affair. And just like his fascination with his favorite girl, Rema and the track’s co-producer Thisizlondon keep us hooked with the hypnotic electric guitar that’s occasionally shredding throughout the song.
Tay Iwar, “Non-stop”
Tay Iwar works his charm on the ultra-smooth “Non-stop” cut from his latest EP Reflection Station. His expertly layered harmonies and the track’s sweet-sounding groove, which Iwar produced himself, will make you want to listen to this nonstop.
Lojay feat. Odeal, “Mwah!”
Lojay and Odeal deliver sweet nothings from their lips to our ears in their latest collaboration “Mwah!” Lyrics like “Swing my way with your cinnamon fragrance” heighten the sexual attraction conveyed in the Afro-R&B heater. But the artists’ instant chemistry, as Lojay put it in a press release, is also palpable. “I had listened to Odeal’s music before meeting him, but I really didn’t know what to expect from the session. I think that was part of what made it so magical,” he explained further.
Davido, “Don’t Know”
Davido finds himself at the mercy of his lover on the tantalizing “Don’t Know” cut from his latest studio album 5ive. The springiness of the log drums underneath the hook, “You don’t, you don’t, you don’t even know what you do to me,” scratches an itch in your brain, leaving listeners just as satisfied as he is with her.
Black Sherif, “Body”
Despite the tough title of Black Sherif’s sophomore album IRON BOY, the highlight track “Body” shows off his soft, yet sexy edge. Lyrics like “My soul is drifting away” and “You know my body wants you” present the song’s central tension of nourishing yourself on a deeper level or caving into your corporeal desires over Dystinkt Beats’ introspective drill production.
Lil Kesh feat. Reekado Banks, “Dan Dan”
Lil Kesh’s Forever Getting It (FGI) EP is full of intricate drum work, complex rhythms and creative melodies, and “Dan Dan” is a perfect representation of the project — endlessly compelling, constantly innovative and yet still an insistent earworm that is bound to get stuck in fans’ heads. As with any Kesh project, the only issue is that it’s too short.
Davido feat. Victoria Monét, “Offa Me”
Off Davido’s first full-length since the iconic 2023 album Timeless, “Offa Me” is a standout, with Victoria Monét’s vocals kicking things off and carrying the hook, before David comes through and delivers his distinctive melodic voice, with a steamy KLVDR-directed video to go with it.
ODUMODUBLVCK, “Legolas”
Kicking off the month with the surprise mixtape THE MACHINE IS COMING, ODUMODUBLVCK delivered his first extended release in 18 months, and after a series of turned up, high-energy bangers, “Legolas” shows off another side to him — more introspective, a bit calmer, with a song comparing himself to the Lord of the Rings elf who came through tribulations to make himself (and his mama) proud. It’s another sign that ODUMODUBLVCK has many sides to his artistry, in addition to his trademark hyped-up verses.
Zinoleesky feat. Toosii, “Suit & Tie”
Zino is another artist who dropped off a full-length album this month — what a blessed month April has been, after a relatively low-key year so far — and his signature vocal styling is on full display on “Suit & Tie,” one of Gen Z’s standout cuts. But it’s Toosii who steals the show, sliding through with an extended verse that manages to be both emotional and bombastic at once. The entire project is great, but this is the one.
Tiwa Savage, “You4Me”
The Afrobeats titan is readying her next album, and with latest single “You4Me” she starts off with an interpolation of Tamia’s “So Into You,” before dropping a tough drum pattern and her crooning vocals over top. The lift returns as the basis for the hook, which gives the song a nostalgic edge, one of the signifiers of her R&B stylings of late, while she trades lines with Tamia in the chorus.