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The Lijadu Sisters and Numero Group have signed an expansive new partnership that seeks to bring justice to the legendary Nigerian duo’s catalog, it was announced on Wednesday (July 10).
Composed of identical twin sisters Taiwo and Kehinde Lijadu — who are second cousins to Afrobeat pioneer Fela Kuti — the Lijadu Sisters arose as fearless and groundbreaking leaders in the male-dominated Nigerian pop music scene. The duo fused Afrobeat, pop, psychedelic rock, reggae, disco and jazz music with messages about gender equality, government corruption, love and more in both English and Yoruba. They toured with Nigerian jùjú musician King Sunny Adé, David Byrne, Ginger Baker and Art Blakey and, during a 2014 appearance on The Tonight Show Starring Jimmy Fallon, performed in the Atomic Bomb! band tribute to Nigerian musician William Onyeabor.
The sisters, whose alté ethos paved the way for modern female African artists like Amaarae and Tems, released five albums in the 1970s under Decca Records’ Afrodisia imprint. That was followed by Double Trouble, a 1984 compilation featuring hits from those albums released by Shanachie Records. The Nigerian duo later signed a 10-year licensing agreement with Knitting Factory Records around 2011, according to a recent Rolling Stone profile, with four albums being reissued under the deal. They regained control of their catalog in 2021, two years after Kehinde died of metastatic breast cancer at age 71.
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While their work has inspired a wide range of artists, according to the Rolling Stone profile, the sisters’ music and likeness has been exploited for decades and they’ve struggled with copyright infringements and unpaid royalties. Nas‘ “Life’s Gone Low” track from his 2006 The Prophecy, Vol 2: The Beginning of the N mixtape contains an uncredited sample of the duo’s “Life’s Gone Down Low” from their 1976 album Danger. And Taiwo’s current manager, Eric Welles-Nyström, told Rolling Stone that Ayra Starr failed to properly clear “Orere-Elejigbo,” a song from the sisters’ 1979 album Horizon Unlimited that Starr sampled on her 2021 track “Sare”. He added that they’ve found more than 50 total infringements of the sisters’ work to date.
The new partnership with Numero Group is meant to honor the duo’s legacy through the launch of a multi-year, multi-record reissue campaign to finally — and rightfully — bring their entire discography to the masses.
Kicking off the campaign will be the release of a remastered and restored version of Horizon Unlimited, which contains the hit “Come On Home.” Five-time Grammy-winning engineer Michael Graves, who remastered Blondie‘s Against The Odds: 1974-1982 and Written In Their Soul: The Stax Songwriter Demos, is remastering the six-track album, which is currently available on DSPs and will be re-released on CD and vinyl on Sept. 20. The album’s physical packaging will include the first-ever transcription of the record’s lyrics in both Yoruba and English along with corrected album credits, original artwork and more.
Numero Group will eventually reissue all of the band’s albums as well as a collection of rediscovered, previously unavailable singles, promo EPs and rare recordings.
“I think one of the most exciting things about the reintroduction of Horizon Unlimited is the fact that young folk love our music and are surprised at the upbeat tempo and the lyrics, which are not only of today, but also very futuristic as well,” said Taiwo in a press release. “Horizon Unlimited was our last album with Decca that came out in 1979. It’s been a long time since then and this really is part of a much longer story, but amongst one of the most significant things I remember was that we, The Lijadu Sisters, paid for all the studio and band session fees. At the time, this was unusual, and not the arrangement we had with that record label. We were originally meant to record at Decca West Africa in Lagos, but when we got to the studio, no one had told us that it was being upgraded — from eight tracks to 24. So we brought everyone to London and made the album there instead.”
The Lijadu Sisters’ partnership with Numero Group “is allowing us to reach out to younger people. What’s going to come is creative collaborations with their music or their story, working with filmmakers and writers, trying to set stuff up creatively for Taiwo and younger artists,” Taiwo’s current manager, Eric Welles-Nyström, told Rolling Stone.
Rema announced on Monday (July 8) that he’ll release his sophomore album, HEIS, on Friday, July 11. He shared an animation of himself wearing a gold, emerald-embellished bat chain, with bats flying around him in his fiery environment. “second Album ‘HEIS’ 7/11,” he captioned the clip with the bat and blood-drop emojis. The Afrorave superstar […]
Tyla had everyone jumping from their seats during her performance of “Jump” with Gunna and Skillibeng at the 2024 BET Awards Sunday night (June 30). Four women cleverly painted as different parts of a tiger laid across the floor of a cage, swishing its “tail” (one woman’s painted arm) before Skillibeng kicked off the performance […]
This year will surely go down as one of the best for full-length albums from some of the best emerging and established talents in African music. Already this year we’ve got projects from Tyla, Tems, Ayra Starr, Ruger x BNXN, Young Jonn, Victony and King Promise, with several of those coming just this past month alone. It’s a lot of great music — and presents some good problems for this column, with so many great options of songs to choose from.
Tems burns bright with soulful reflections about discovering her true destiny while navigating newfound fame, ridding relationships that no longer serve her and more on her debut album Born in the Wild. Meanwhile, Victony expands Afropop‘s borders by bringing an international assortment of artists like American rap-rock sensation Teezo Touchdown and Guyanese American rapper SAINt JHN on his first full-length project Stubborn. “It represents overcoming adversity and transforming life’s ‘lemons’ into powerful art,” Victony recently told Billboard. “I hope that when people listen to the album, they feel a sense of shared experience and inspiration to find strength and hope in their own journeys.”
And Tyler ICU and DJ Maphorisa’s scorching new single “Manzi Nte” — which is currently No. 10 onthe South Africa Songs chart (dated June 29) — is inescapable in the artists’ native South Africa. (Billboard‘s senior R&B/Hip-Hop/Afrobeats reporter Heran Mamo can attest to that given her recent travels to Johannesburg.) Meanwhile, Shallipopi turned in a slew of great guest appearances this month, and his features alongside King Promise and Rema both made the list this month, as did the latest loosie from Lil Kesh and a beautiful collaboration between L.A.X and Magicsticks, among others.
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We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our latest Spotify playlist below.
Ayra Starr feat. Asake, “Goodbye (Warm Up)”
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Ayra Starr bids adieu to a manipulative ex on the glimmering kiss-off “Goodbye (Warm Up),” the Asake-assisted highlight from her resilient sophomore album The Year I Turned 21. P2J’s jazzy street pop production puts extra pep in Starr’s step, as lyrics like “I do not accept your apology” and “Gave you the cold shoulder, I really hope you freeze” deftly kick her ex to the curb. Meanwhile, Asake brushes off any woman with bad energy on his swaggering verse.
Azanti & PsychoYP, “I Know”
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Azanti & PsychoYP create the ultimate laid-back vibe on “I Know,” from their joint album YP & Azanti, Vol. 2. Malik Bawa’s funky, guitar-driven production assuages both artists during their fight for peace of mind, with PsychoYP also recognizing his phone’s focus mode as an essential weapon, as Azanti croons, “I’m trying to focus on me this time, I’m trying to save myself.” The track’s repetitive groove and chorus that just rolls off the tongue make “I Know” the perfect soundtrack for your next summer roadtrip when you’re getting away to find your own peace of mind.
Tems, “Wickedest”
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Tems didn’t come to play on “Wickedest” from her bold debut album Born in the Wild. The introductory sample of Ivorian zouglou group Magic System’s 1999 Pan-African smash “1er Gaou” evokes a nostalgic party vibe for her own dancefloor number that’s been bringing out Tems’ wickedest whine all around the world in her ongoing tour. But from the moment she launches into the first verse, Tems asserts her dominance and stays in the lane she’s set forth for herself, brushing past those who want to try her (a reference to her 2019 single “Try Me”) and sticking to the ones who bring her up and get down with her.
Tyler ICU & DJ Maphorisa feat. Masterpiece YVK, Ceeka RSA, M.J, Silas Africa & Al Xapo, “Manzi Nte”
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After scoring a nomination for best new international act at the 2024 BET Awards and helming one of Rihanna’s favorite songs of 2023, “Mnike” – which recently got a remix featuring Shallipopi and Lojay – Tyler ICU has been on fire. And what better way to keep the heat up this summer than to drop another fire song with “Manzi Nte,” alongside DJ Maphorisa featuring Masterpiece YVK, Ceeka RSA, M.J, Silas Africa and Al Xapo. The music video makes “Manzi Nte” out to be a wet-and-wild anthem – which is fitting given the song’s title translates to water it in Zulu, according to a press release. And the amapiano smash’s rattling production has been powering up participants of the accompanying dance challenge, which Maphorisa demonstrated on TikTok.
Leather Park, Odunsi (The Engine) & Cruel Santino, “CHANEL”
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Odunsi (The Engine) and Cruel Santino’s numerous collaborations have already proven that they’re the funkiest duo, and “CHANEL” from the former’s Leather Park (Vol. 1) album is a sparkling addition to their collection. In the same vein of Bryson Tiller’s “Whatever She Wants,” fulfilling a woman’s designer dreams is the key to unlocking her heart – and Odunsi and Santi flex how well-equipped they are to buy her Chanel, Bottega and anything else she desires. Odunsi also sharpens his alté production skills on “CHANEL” with kaleidoscopic synth patterns, crisp shakers and rollicking percussion that create the track’s irresistible bounce.
King Promise feat. Shallipopi, “Continental”
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In a month brimming with great albums from high-profile talents — Ayra Starr, Tems and Victony among them — King Promise may have delivered the best of all of them. The album’s two big prior singles, “Terminator” and “Paris,” previously appeared in this column, but “Continental,” with its assist from one of the of-the-moment street talents in Shallipopi, sits alongside them as one of the best songs of the past 18 months, combining Promise’s natural melodic feel with his memorable hooks to land a breezy summer hit.
Rema & Shallipopi, “BENIN BOYS”
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Rema is coming off one of the biggest years of any African artist ever, with the mind-blowing success of “Calm Down” — and while this link up with the inescapable Shallipopi is unlikely to replicate that crossover smash’s No. 3 peak on the Billboard Hot 100, it’s another song that showcases the many sides of Rema’s artistry, which goes much deeper than the ear worm that was “Calm Down.” “BENIN BOYS” is much harder, with a driving log drum production that propels both artists forward, and is a formidable entry into each of their catalogs.
Lil Kesh, “Lifestyle”
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Lil Kesh has one of the more distinctive styles among his contemporaries in the Nigerian pop scene, and “Lifestyle” fits perfectly into his oeuvre. With a soulful, soaring hook and an almost contemplative melody over an amapiano-esque production, Kesh lays out a carefree look at life in a track that’s perfect for the summertime. Kesh can pump out these types of tracks seemingly effortlessly, and the vibe is always right on point.
L.A.X & Magicsticks, “Loke”
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Linking with one of the most in-demand producers on the continent, L.A.X delivers a contemplative vocal performance, riding high on carefully crafted melodies while Magicsticks deploys his trademark log drums and a reassuring organ chords. The effect is comforting, in a way, with L.A.X switching back and forth between English and Yoruba to spin his lyrics.
Victony, “Anita”
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Victony’s album showcased his distinctive vocal talents; no one sounds like him, and his instantly-recognizable style is one of his best qualities as an artist. Another is his beat selection — and “Anita,” crafted by P2J, provides the perfect platform for an earworm of a track, which is just as catchy as his breakout hit “Soweto,” if not even moreso. It’s a standout on Stubborn, and one of the best songs of his career.
It’s been three years since the near-fatal car accident that claimed the life of one of Victony’s close friends, and he carries the burden of the traumatic crash with him every day.
The Afropop sensation’s perspective on life forever shifted since the April 2021 wreck, which saw him have to re-learn how to walk following intensive surgery and physical therapy.
Music was always there for Vic – born Anthony Victory – and he further poured that resilience into his creative process while crafting Stubborn, the 23-year-old’s debut LP, which hit streaming services on Friday (June 21).
“It represents overcoming adversity and transforming life’s ‘lemons’ into powerful art,” Victony tells Billboard of his new album. “I hope that when people listen to the album, they feel a sense of shared experience and inspiration to find strength and hope in their own journeys.”
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Victony invites a versatile squad of collaborators into the fold, for some of which it’s their first time getting their feet wet in the Afrobeats scene. Teezo Touchdown, Saint JHN, Asake, Shallipoppi, and Shorae are among Stubborn’s special guests.
Teezo and Vic hop into a time machine and bring fans to the dancefloor for the disco-tinged “Slow Down,” an undoubted standout showing off his versatility as an artist on the project. “We vibed instantly, and the session was full of experimentation,” the Nigerian artist adds of working with Teezo. “We wanted to create something that made people move, but also felt profound.”
Teezo
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Saint JHN sped up Vic’s creative process in what he’s crowned as the “quickest” artist he’s ever recorded with following an initial run-in in Los Angeles. “Tiny Apartment” tells a candid story of intimacy, an aspect of life that Ghetto Lenny is no stranger to exploring with his art.
Victony will look to bring increased visibility to the global Afropop scene, but he sees it as more of an “opportunity than pressure” to deliver.
Take a look deeper into the album’s credits and fans will notice Olamide Baddo is listed. Vic made it a point to show his appreciation for the influential African rapper and mentor, who helped him piece the project together.
The “Soweto” singer will reunite with his Outlaws for a North American trek in support of his debut this summer. The Stubborn Tour kicks off in Boston on Aug. 8 and will run through NYC, Toronto, Chicago, Dallas, Los Angeles and more.
Stream Stubborn below.
Asake announced on Monday (June 10) that he’ll be embarking on the Lungu Boy World Tour across North America and Europe. The 14-date trek begins on June 26 at Afro Nation Portugal and features more festival performances at Wireless Festival in London and Afro Nation Detroit, as well as major venue stops at Atlanta’s State […]
Tems‘ debut album Born in the Wild has finally arrived on Friday (June 7) via RCA Records and Since ’93. The 18-track project contains collaborations with Asake (“Get It Right”) and J. Cole (“Free Fall”) as well as previously released singles “Love Me JeJe” and “Me & U,” the latter of which she premiered during […]
Love Renaissance (LVRN) has invested in Jerk X Jollof, an event series dedicated to celebrating Afro-Caribbean culture, Billboard can exclusively announce Thursday (June 6).
LVRN’s investment comes more than a year after the Atlanta-based label and management company itself received an investment from Matt Pincus‘ MUSIC, valuing LVRN at more than $100 million. LVRN’s Jerk X Jollof investment is part of its commitment to developing the Afro-Caribbean entertainment space.
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“We at LVRN are excited to expand our reach within the Afro-Caribbean community with the investment in Jerk X Jollof,” said Tunde Balogun, CEO/co-founder of LVRN, in a statement to Billboard. “This is yet another impactful way to further the culture and unify like-minded people from the diaspora through the transformative power of music and entertainment.”
Last year, for the unveiling of Billboard’s U.S. Afrobeats parties guide, Jerk X Jollof founder Brendan Asante told Billboard that the Jerk X Jollof series initially started in 2014 as “an idea in college. Some friends of mine and I just threw a sweaty dance party. Someone brought some jerk chicken, someone brought some jollof rice, and it translated.” Asante and the other founders officially brought the party series to Detroit, Mich., in 2016, and since then, Jerk X Jollof has expanded to cities around the world including Los Angeles, Chicago, Atlanta, Miami, New York, Toronto, London, Paris, Berlin, Johannesburg and Accra, Ghana. Uncle Waffles, Skepta, Sarz, Spinall, DJ Tunez and more have all performed at the popular party, while previous all-star attendees include Ayra Starr, Davido, Brent Faiyaz and Chris Brown.
“It was an obvious decision to partner with LVRN in order to broaden the Jerk X Jollof brand,” said Asante in a statement. “The alignment of our vision for the enhancement of Afro-Caribbean culture was immediately evident, and we eagerly anticipate the future of this joint venture.”
LVRN and Jerk X Jollof first collaborated on a party during New York Fashion Week in 2022, an event that was also a partnership with Afropunk. “That one was so wild because Brent Faiyaz [pulled] up to the party. [We brought] him, Kawhi Leonard, Joe Freshgoods through the side door. This s— is so comical because I never thought in a million years that I would be dealing with these dope people that are coming to the party,” Asante previously told Billboard. “From that moment, thinking about when it was a sweaty dance party in a college basement, I think that’s one of my favorite memories. Ari Lennox came through, and I was chopping it up with her before she left. I was talking about how she came to Ghana and how she enjoyed it. I was like, ‘Oh yeah, you should come back.’ Those type of moments happening under the roof of us doing something just gave me a glimpse into what the future could hold for it.”
Last month in Atlanta, LVRN and Jerk X Jollof partnered again on a Memorial Day function that was hosted by local music festival brand Milk + Cookies. Another notable achievement in the partnership is the creation of the Jerk X Jollof Stage at Promiseland Australia, which will take place at Doug Jennings Park in Gold Coast Oct 4-6 following the scheduled Jerk X Jollof parties in Melbourne on Sept. 27 and Sydney on Sept. 29. The Jerk X Jollof and LVRN teams worked with the festival to curate an amapiano stage that would showcase a diverse lineup of the genre’s leading talent including Uncle Waffles, Major League Djz, Focalistic and Tyler ICU, along with Jerk X Jollof mainstay hosts/DJs Jae Murphy, Blakito and V-Live — all booked by Jerk X Jollof.
Ayra Starr started a new chapter of her life with her sophomore album The Year I Turned 21, which was released Friday (May 31) via Mavin Records and Republic Records. In a recent Billboard interview, she explained that after Giveon turned in his verse for “Last Heartbreak Song,” “I was like, ‘OK, I’m just going to trust my intuition with who I want on each song” — and one of the artists she reached out to for a feature was Seyi Vibez, for the single “Bad Vibes.”
And three years after Tiwa Savage released her Water & Garri EP, she starred in and executive produced her first film by the same name and released a 10-song soundtrack to go along with it. Those are just two of the artists who feature on this month’s roundup, which also includes new singles from Ghanaian legend Sarkodie, a teamup from two of Nigeria’s finest in Victony and Asake, a new groove from Fireboy DML and plenty more.
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We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our latest Spotify playlist below.
Azanti & PsychoYP, “Naija Funk”
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Abuja’s finest, Azanti and PsychoYP, are back at it again on “Naija Funk” from their new joint album, YP & Azanti, Vol. 2. Producer Aykbeats puts the “Funk” in “Naija Funk” with his nostalgic, folk-inspired drums and gliding synth melody, while Azanti takes blame for a failed relationship with the bold opening line “I should’ve done you better” — and PsychoYP puffs his chest and brags about why a girl would never want to fumble him. The Apex Village members’ musical chemistry has been apparent since their 2020 project YP & Azanti, Vol. 1, with Azanti’s transcendent blend of R&B and Afropop and PsychoYP’s exhilarating fusion of alté and drill creating an even more dynamic mix here.
Darkoo feat. Dess Dior, “Favourite Girl”
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British-Nigerian rapper/singer Darkoo and American rapper Dess Dior will have the girls whining on somebody’s son or daughter all summer long to “Favourite Girl.” The booming horns in the beginning and Diwali Riddim will have booties bouncing instantly — and Darkoo wants in on the action when she asks, “Would you come do it slowly?/ Girl, dutty whine/ Would you bend it for me?” Meanwhile, featured guest Dess Dior makes an irresistible case for why a starboy should “make me your star girl.” It’s safe to say “Favourite Girl” will be in rotation — just like our hips — all season.
Qing Madi & Chlöe, “Vision” (Remix)
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Nigerian singer-songwriter Qing Madi adds Chlöe for a sultry remix of “Vision,” originally from her eponymous debut EP last year. Qing describes the paralyzing feeling of unexpectedly falling hard for someone, while Chlöe loses even more control over her body when she sings, “Got my temperature comin’ high, oh.” But even if their vision’s in a blur, no man could ever impair their honeyed harmonies over the track’s scintillating percussion.
Tiwa Savage, “Lost Time”
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Tiwa Savage prepared an official soundtrack to accompany her debut Prime Video film Water & Garri — which follows fashion designer Aisha, who returns to her native Nigeria after spending the last 10 years away in the U.S. and reconnects with family, friends and an old flame. On the standout single “Lost Time,” Savage recalls what life was like before she met her love, singing, “Feels like I missed you before we met/ Not meeting you sooner, I regret,” and yearns to spend forever and ever with that person. Produced by Needlz and Poo Bear, “Lost Time” evokes the heart’s pitter-patter feeling when someone’s with their other half with the subtle plucking of a guitar in this romantic ode.
TitoM, Yuppe & Burna Boy feat. S.N.E, “Tshwala Bam (Remix)”
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Burna Boy adds more fuel to the fire created by the viral TikTok-driven success of TitoM, Yuppe and S.N.E’s amapiano smash “Tshwala Bam.” After hopping on the remixes of Master KG and Nomcebo Zikode’s “Jerusalema” and Asake’s “Sungba,” the African Giant continues sharpening his ear for the continent’s next biggest hit so he can make his mark on it – and he further touts his greatness when he sings, “Better recognize/ Greatest of all time/ No other name, them go call mine.”
“To surpass the success of the original, we sought a collaborator with both global appeal and a commitment to enhancing the song’s original vibe. Burna Boy was the perfect fit,” TitoM says in a press release; Burna Boy adds, “Jumping on the ‘Tshwala Bam’ remix was a no-brainer for me. It’s a track that resonates with everyone, and I’m thrilled to bring my energy to it and connect with fans in a whole new way.”
Ayra Starr feat. Seyi Vibez, “Bad Vibes”
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For a song called “Bad Vibes,” there’s something extremely smooth and calming about this track, a single off the Beninese-Nigerian “Commas” hitmaker Starr’s debut album, The Year I Turned 21, which dropped today. And Seyi Vibez, known much more for his scrappy street cuts that vividly bring the underground of Lagos to life, shows off a gentler side of himself, too, as the duo croon about deflecting the negativity life throws a person’s way.
Fireboy DML, “Everyday”
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Over a fantastic laid-back groove set by producer Blaisebeatz, Fireboy shows off his melodic flow in this ode to a woman he wants by his side. The young Nigerian star, who broke out in a major way over the past few years with crossover hit “Peru” and a string of high-profile singles and guest spots, puts his own twist on this R&B-inflected cut, one perfect for late nights and low lights.
Sarkodie feat. Beeztrap Kotm, “Amen”
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Ghanaian rapper Sarkodie is one of the most celebrated artists in his home country, and his skills are still at the highest level on this latest track. He flips through languages and flows, while Beeztrap Kotm comes through as the perfect complement, putting his stamp over this soulful production that comes straight from the church.
Victony & Asake, “Stubborn”
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Victony has established himself as one of the most soulful singers in Nigeria over the past few years, and this link-up with amapiano-inflected sensation Asake adds to the canon of each. The two weave a tale of coming up to success by staying true to their own respective vision, even before success and fame eventually found them.
Shenseea feat. Wizkid, “Work Me Out”
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A standout track on the new Shenseea album, this cut sees the Jamaican singer tap one of Nigeria’s resident superstars to craft a song that combines the standout vocal abilities of both to meet somewhere in the cultural middle, with a sultry jam that sets the right tone. It’s another reminder of Wizkid’s chameleonic ability to fit into any style, and Shenseea’s multi-genre approach to her music.
Superstardom might seem innate for someone like Ayra Starr. The Beninese-Nigerian singer-songwriter, born Oyinkansola Sarah Aderibigbe, possessed a certain level of self-assurance most teenagers lack on her 2021 debut album 19 & Dangerous, where her sweet, deep vocals documented her Gen-Z coming-of-age story.
“[It] was literally a flex when I named my first album 19 & Dangerous. It was very key for me to be a teenage superstar. It was very key to represent a teenage African girl. I wanted to become the Black Hannah Montana from Lagos, Nigeria,” she tells Billboard over Zoom with a laugh. “Naming my first album 19 & Dangerous was me registering for people, ‘This music you’re about to hear was done by a 19-year-old, by the way.’ I’m dangerous as a 19-year-old.”
Since then, the self-proclaimed “sabi girl” has been steadily increasing her star(r) power. She embarked on her first headlining tour, 21: The World Tour, with 40 stops in North America, Africa, Australia and Europe last year. Her 2022 smash “Rush” earned Starr her first-ever Grammy nomination this year, for best African music performance in the category’s inaugural year, and was included on former President Barack Obama’s favorite songs of 2022 playlist. She was also featured on BBC Radio 1’s Sound of 2024 list.
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Now, she’s starting a new chapter of her life with her sophomore album The Year I Turned 21, out Friday (May 31) via Mavin Records and Republic Records. The 15-track LP plays out like her “autobiography,” she describes, weaving in themes of love, loss, getting money and gaining wisdom over her seamless blend of Afrobeats, amapiano, R&B, hip-hop and pop. She’s in her bag as much as she is in her feels, trusting God’s goodness while getting her bread in the resilient anthem “Commas” and reflecting on her hard work paying off in the acoustic ballad “1942” (For a song named after the long-necked Don Julio tequila bottle, and by an artist who turned 21 last summer, it’s not the turn-up banger you might expect).
Her childhood love for Shakira is evident on the sensual-night-out number “Control,” when Starr sings, “I’m lit tonight/ You know my lips don’t lie.” And after collaborating with Destiny’s Child‘s Kelly Rowland on the remix of “Bloody Samaritan,” Starr imagined “the return of Destiny’s Child,” she says, when she recruited Anitta and Coco Jones for the log drum-powered female anthem “Woman Commando.” As an artist who grew up in three different cities (Cotonou, Lagos and Abuja) and speaks four different languages (Yoruba, Nigerian Pidgin, English and French), she continues expanding the borders of her music with her “Santa” bonus track with Rvssian and Rauw Alejandro, which earned Starr her first Latin chart hit when it reached No. 8 on Hot Latin Songs and No. 5 on Latin Streaming Songs earlier this month.
Even though she’ll be turning 22 in two weeks, Starr already has plans to end her 21st year on a strong note — starting next week, she’ll be joining the North American leg of Chris Brown’s 11:11 Tour as one of his opening guests, alongside Muni Long. And she’s up for three awards at next month’s BET Awards: best new artist, best international act and BET Her for “Commas.” But there’s still one more thing Starr wants to accomplish, since she’s finally 21.
“I really want to go to Vegas, though — because the last time I was in Vegas, they didn’t let me in anywhere, because I was 19,” she jokes.
Billboard spoke with Starr about her sophomore album The Year I Turned 21, 21 Savage’s impassioned cover of “Commas,” the heartfelt familial recording process of the LP’s closer “The Kids Are Alright,” and meeting her “idol” Rihanna.
Which local and international artists did you grow up listening to? What styles of music did you like listening to?
Rihanna, definitely. Beyoncé, Shakira, Nicki Minaj, Drake. I was listening to a lot of 2face, D’banj, Wande Coal – those are like the pioneers of Afrobeats for me. Aṣa, Simi. I was a Disney girl, so I had all of the Disney songs downloaded on my phone, like Hannah Montana.
And who are you currently listening to?
I’m listening to myself, obviously. Victoria Monét. mk.gee. His music gives me goosebumps, it’s just so beautiful. The new album is amazing. SZA. Beyoncé’s new album, too.
You’ve had such an incredible career trajectory. As a young African woman, who did you look up to as a success story that you could follow?
I feel like Rihanna was the closest thing to that, because I didn’t have a lot of representation. And I wanted to be that for my generation. I remember being like, “I want to be a teenage superstar.” As a teenage superstar, I can have young girls looking up to me.
You talk a lot about being a “sabi girl” in your music and on social media. Where did the term “sabi girl” come from? And what are the core characteristics of one?
“Sabi girl” is something you call somebody that just feels like an intelligent or smart person. When you say sabi, the word sabi means “to know” — like, to be smart, street smart and book smart. You can say, “Oh, that girl is sabi. That boy is sabi.” That means he knows what he’s doing, he gets it. The characteristics of a “sabi girl”: confidence; smart; on it; kind, has to be kind to everybody because a “sabi girl” is humble, even though she’s confident; and just bad – face card, body, outfit.
What’s been the most rewarding part of your career so far? And what’s been the most challenging part?
The most rewarding part of my career so far is just being able to live my dream. This is something I wished for, this is not something that just came from nowhere. This has been my dream since I was a child. Being able to fulfill my dreams is the most rewarding thing ever, being able to improve myself and make money while doing it, girrrlllll. That’s definitely the most rewarding part.
The most challenging is trusting the process and being patient with oneself and also not always thinking about what other people think. Because when you [get] started, every artist is always [preoccupied with] what they think — it’s always about them and what they want to do. Then when they get into the spotlight, it’s like, “OK, what do people think?” I’d rather not do that. I’m already on the right path. But it has been challenging to just focus my energy on my own beliefs and my own ideologies.
Since your album is titled The Year I Turned 21, what are the biggest blessings and biggest lessons you’ve experienced at this age?
The biggest blessing is learning how to love myself — because you get a lot of love, but you never actually know what it is until you experience not loving yourself. I’m very sure of myself and I’m very confident in myself. It’s not just a flimsy confidence that can be moved by the way I look, or if I get bloated, I’ll start to feel bad. No, no, no, no. Working with people that I’ve always dreamed of working with and people that I grew up listening to has always been a blessing.
I feel like the blessings are the opposite of the lessons. The lesson was I had to learn to be patient with myself at some point, and now I’ve learned it, so I’m blessed. I had to learn how to work with other people and how to collaborate without thinking it’s a competition.
I love the breakdown of your life that you give in “21”: “1, 2, 3, 4, 5, 6, 7, 8, 9, 10/ I was at the house/ Tryna figure out who the f–k I am/ 11, 12 went too fast/ 3 to 16, too fast/ 7, 8 was a big year/ 19 got a big bag/ Counting hundreds playing 20 somethings/ Counting on myself now/ Crying by myself now/ I’m 21/ At my grown ass age.” Thinking about those teenage years that were “too fast,” what made them feel that way? Especially since 19 was such a massive year for you, how did ages 11-18 lead up to you having your big moment?
So 11-16, I felt like it was way too fast because I don’t really remember as much as I should. Most of my experiences then were not the best. Living with my mom, we didn’t really have much and I didn’t grow up the most comfortable. I used to daydream and imagine this life now. I can’t remember a lot of stuff from then, because I used to just think of having a better life.
“13-16, too fast.” I was [that age] in high school, and I just hated it so much because I was in a very religious school and I couldn’t be able to express myself. I’m Christian, but there are a certain type of religious schools that are like, “Oh, women are not allowed to wear trousers. Women should not sit in front of church. Women should not have extensions in their hair.” The best way to cope with it was not being aware. That’s why I feel like it was just too fast — because it was easier for me to be a zombie through those years.
How did you make a sonically diverse album that still feels cohesive?
It feels very cohesive because of my voice. My voice is my sound — so whatever genre I find myself in, as long as my voice is there, you’re gonna hear the Afrobeats. You’re gonna hear me in my Nigerian accent singing, and the richness of my voice and my range. I get bored really quickly, so I always like to do different sounds and try different things.
You have collaborations with Asake, Anitta and Coco Jones, Giveon, Seyi Vibez and your brother Milar. Why were those the artists you wanted to work with? Did you intentionally want to keep mixing up African and American guest artists, or did that come naturally?
With the features, except for “Woman Commando,” I just let stuff happen. With “Last Heartbreak Song,” I was like, “Oh, who would sound good on this? Let’s send it to Giveon.” Giveon was the first feature that came. Once I heard his verse, I just saw the whole album. I remember I cried in the car on my way to the airport. His voice sounded so good, he understood what I was trying to do. I was like, “OK, I’m just going to trust my intuition with who I want on each song.” I sent to Asake, I sent to Seyi Vibez.
With “Woman Commando,” I always knew I wanted two strong women. I wanted it to be like the return of Destiny’s Child. I wanted it to feel like a global anthem [with] women from different parts of the world. I was talking to my A&R like, “Let’s try and get a Spanish- or Portuguese[-speaking] person. And I want an R&B singer.” I’ve been listening to Coco Jones since Let It Shine. I’m a Disney girl, I told you! I remember the first day Let It Shine was going to air on Disney – I remember what I was wearing [and] every single thing about that day. And to have Coco Jones on my album is the craziest thing ever.
Anitta’s a no-brainer. [My choreographer and I] work out to her music [and] twerk to her music, so I was like, “Can we ask her for a verse?” She’s the sweetest human being ever.
How has the musical relationship between you and your brother evolved over the years?
We’ve always been a team. The phase we’re in right now is aligning ourselves to our things separately. He’s doing his own stuff, I’m doing my own stuff. But we still make music together. I trust his ear more than I trust mine. Every time I make something, I just send it to him — like, “What do you think?” And he’s like, “This sounds good.” And I’m like, “Are you sure? Because I don’t think so. I’m kind of nervous.” And he’ll just tell me what to do to make it better. He’s the most talented person I’ve ever met in my entire life. Since we were young, he’s been the musical one. My mom got us a guitar, and he could play chords, write songs on it already. One month on the piano, he was playing it perfectly. He’s literally a genius.
When we were writing “1942,” I told him what I was trying to do, ‘cause I had just gotten back from my trip from Barbados. I was in the pool with a bottle of 1942 and I felt so good. I was like, “Oh, this moment makes it all worth it. This moment right here makes all the hard work, all the stress, worth it. This is what we work for, this little moment of satisfaction and happiness.” The song is about that.
Is your mom the one speaking at the beginning of “The Kids Are Alright,” and then you and your siblings throughout the track? It sounds like you’re all leaving a voicemail for your late father.
I told everybody to send a voicemail to the group chat — like, if they could talk to my dad right now, what would they want to tell him? Just give an update of your life. We’re sending voice notes, and everybody was snitching on each other! It was so funny and cute. It really was a huge bonding moment for us.
Two weeks before I recorded the song, I was on a three-day break from work. I wanted to rest, so I went to London. And I was overthinking a lot — because I was feeling guilty for taking a break, because I’m a workaholic. And my mom randomly sent me a voice note, as if she knew. She was like, “I want you to enjoy yourself. I want you to have a good time. Go out with your friends, enjoy yourself, be happy.” I was like, “Wow, wow, thank you!” It meant so much to me, so I put it in the song.
You linked with Rihanna at her Fenty x Puma event in London last month. What was going through your head when you finally met her?
I don’t know what was going through my head. She was talking, and I was just looking at her lips and her nose. You can see my face, I was like [makes shocked expression with open mouth], “Wow! Rihanna!” But I was really calm, because she made me feel very calm and comfortable. No joke, in the back of my mind when I make music, I’m like, “There’s no way Rihanna doesn’t like this song.” When I made “Bloody Samaritan,” I kind of made that song for Rihanna. I was like, “Rihanna is gonna love this song.”
Even some of the songs on my album, like “Birds Sing of Money,” that was a song I wanted to send to her as a demo, but I never got a reply on time. I told her, “I have so many songs for you, but they are mine now! I’m not getting rid of them, they’re on my album!” [Laughs.] She was laughing.
We got to hang out after the event. Just spending time with my idol, the person that inspired me to do all of this, was the most amazing thing. She gave me so many pointers and advice. I love my voice, but I know I have a very deep voice like, “Is that a man?! Is that a boy?!” Rihanna was like, “You have the type of voice that can take over the males and take over the girls. You are here to take over both sides of the industry.” And I was like, “You think so?” She’s like, “Yes! Yes!” I was like, “Thank you so much!” She was like, “That’s your superpower.” I was like, “I never thought of it like that. Thank you.” She just put everything into perspective for me.
We need the collab ASAP.
Very soon. Very, very soon.
I saw a video on Twitter from her most recent Fenty event in LA where she said you taught her the difference between Afrobeats and amapiano. How did you break it down for her?
She knows! I just pointed out some things. But she knows a lot about African culture, I was so shocked. She knows tribes — she knew how to pronounce my government name, Oyinkansola. I didn’t have to teach her. I was like, “Rihanna, I can steal you in my bag right now and take you away?”
You have another superstar in your corner, 21 Savage, following his Instagram Live video performance of “Commas”? The mic was on!
If we ever want to work together, it’s gonna be possible by God’s grace. I’ve been a big 21 Savage fan. And when I saw that video, I was laughing! It’s so funny. He’s singing the song like he wrote it! He’s singing the song like I wrote it for him. I love that so much!
Which song from The Year I Turned 21 are you most excited to perform live when you open for Chris Brown’s 11:11 Tour?
I can’t wait to perform “Goodbye (Warm Up).” I already have the choreography and everything. I can’t wait to be on stage. I can’t wait to perform “21” and “Birds Sing of Money,” “Last Heartbreak Song,” everything ahh! I feel like I’ve performed my last album for two years now — so it’s like, “Finally, new music!”
What goals do you have for your career moving forward?
I want to take over the entire universe. Insert evil laugh. [Laughs said evil laugh.] I want to be the best performer I possibly can be. I want to collaborate with more people. I want to reach all different parts of the world with my music. I want to have strong fanbases from all over the world. And just kill it.