african music
Page: 7
UnitedMasters has officially launched in Nigeria, Billboard can exclusively announce. The global music distribution platform aims to connect independent African artists to the global stage.
With UnitedMasters’ premium music distribution services, innovative technology and first-of-its-kind artist marketing solutions, Nigerian artists will be able to upload and distribute their music to global media parters — such as Spotify, Facebook, Instagram, Apple Music, YouTube, Snap and TikTok — as well as critical African services, like Boomplay, Audiomack, Muska, Music in Ayoba, Anghami and Joox.
“UnitedMasters’ move into Nigeria is the next logical step in making independence the standard setting for the music industry all around the globe,” UnitedMasters CEO Steve Stoute said in a statement to Billboard. “While we’re active in a number of exciting markets around the world, Nigeria is simply second to none when we talk about talent density and untapped potential, both for individual artists and the Naija diaspora as a whole.”
UnitedMasters offers tailored music distribution plans for artists, from the “Debut” tier with 90% royalty retention to “Select” tier, which includes unlimited music releases and brand collaborations. For the special Nigerian launch, UnitedMasters will introduce reduced pricing, with the “Select” tier at 20,000 NGN/year, as part of its commitment to accessible, high-quality music distribution for all independent artists in Nigeria.
“Nigeria is already a musical powerhouse, and our role is to ensure that the cultural command it enjoys today becomes an economic and political annuity for generations to come,” said Stoute. “Our promise that you can shape the future of music without sacrificing your ownership is critical to establish in Nigeria, while artists from around the world seek to emulate the success of these Naija heroes. As we see it, winning with, not just within, Nigeria is the one move that will accelerate our cause in every market.”
Nigerian American rapper Tobe Nwigwe and Nigerian producer Sarz are already on the platform. In June, Billboard exclusively announced that UnitedMasters was partnering with Sarz and his 1789 imprint in efforts to discover, develop and empower the next generation of African artists and producers. Sarz recently released his “Happiness” single, featuring Asake and Gunna, via 1789 and UnitedMasters ahead of his new album, which is due in 2024. “Happiness” arrived three months before his previous “Yo Fam!” single with Crayon and Skrillex.
As part of the launch, Nwigwe and Sarz will perform during a “Live from Lagos” concert on Thursday (Dec. 14) in collaboration with Don Julio, with VIPs being served Don Julio 1942. In the coming months, Don Julio and UnitedMasters will continue working together by unveiling a series of programs aimed at spotlighting independent Nigerian artists and making strategic investments in the future of Nigerian music. UnitedMasters will utilize the brand partnerships they already have with Don Julio, Coca Cola, the NBA and more, while simultaneously building relationships with brands on the ground to support local artists and contribute to the prosperity of the Nigerian music industry.
“Don Julio partnerships are often driven by cultural truths. Don Julio has organically been a part of the Afrobeats scene for years, so when we were looking for meaningful ways to enter into the Nigerian market, the UnitedMasters launch was an obvious choice,” added Sophie Kelly, svp of global tequila and mezcal at Diageo. “This partnership will begin in December, but ultimately expand Don Julio’s presence in the music scene of Nigeria throughout 2024.”
After Harvey Mason Jr. embarked on a series of trips to Africa in 2022 that were “guided by curiosity,” the Recording Academy CEO and the organization at large were determined to become an “effective collaborator” for the creative communities across the continent. The first step arrived this year, when the category of best African music performance was unveiled. “Artists throughout the U.S., Africa and worldwide see this as a pivotal acknowledgment by the academy that African music has achieved extraordinary impact [and] influence throughout the globe,” chief awards and industry officer Ruby Marchand says. The academy’s African music genre manager, Shawn Thwaites, agrees, noting that the addition not only reflects the current music landscape but also “Africa’s profound influence on music history.” As Mason says, it is “the beginning of our journey to serve global music creators even more ambitiously.”
Here, each of the nominees discuss the historic new category — and what it means for African music’s future.
[embedded content]
How did you feel when you heard about the new best African music performance category?
Asake: I felt excited and grateful at the same time because African music and traditions have been a direct influence on the world for far too long to not have its own category. It is a great moment to be a part of.
What was your reaction to your collaboration, “Amapiano,” being nominated?
Olamide: Watching all the hard work pay off after our team has dominated the African continent and the world over the years is a blessing and a huge win already.
What do you think of this first class of nominees?
Asake: It is a brilliant, diverse and very necessary first class of nominees. Thank you to the team at the Recording Academy for coming up with this and giving us the reach we deserve.
How do you think this first year of the category will positively affect the industry?
Asake: Every young artist coming up out there can now relate to the fact that their dreams are valid and can now be showcased on the biggest stage in music.
Olamide: The category will greatly impact the industry. African music has exploded globally over the years and will now be exposed on a large scale to the rest of the world.
[embedded content]
How did you feel when you heard about the new best African music performance category?
It’s a significant milestone, not only for me, but for the entire African music industry. It’s a testament to the global recognition and appreciation of the diverse and rich musical traditions coming out of Africa, which I am a part of. This category symbolizes a bridge connecting the world to our continent. [It is] something I have believed in and pushed for, so I couldn’t be prouder to see it come to fruition.
What is it like to be nominated in the category’s historic first class?
It’s an immense honor. It’s like being part of history in the making. This category represents a platform for the incredible diversity and talent within the landscape of African music. It’s a moment of celebration for every African artist who has contributed to our vibrant music scene.
How do you think this first year of the category will positively affect the industry?
[It] is a game-changer for African musicians. It opens up a new world of opportunities for African artists to gain global recognition and reach wider audiences. It will also encourage more collaborations and cultural exchanges within the music industry. This category not only celebrates African talent but also fosters a sense of pride and achievement within the community. It certainly makes the Grammys more accessible to African artists.
[embedded content]
How did you react to “Unavailable,” which features Musa Keys, being nominated?
I was so happy. I feel like this moment was a long time coming for me, and I’m extremely grateful.
How does it feel to not only be nominated but be included in the category’s historic first class?
It feels like further breaking the glass ceiling into the mainstream. Step by step, African influences and artists are getting more shine within the industry, and this feels like another win toward being acknowledged. To be a part of this historic moment is an honor.
What do you think of this first class of nominees?
I think it’s a well-curated group. Obviously, there’s so much talent in the African music community and definitely some other names I’d include, but I look forward to seeing future nominees in this category. And hopefully, more categories specifically for African music will be created in the future, too. This first year will definitely set the tone.
[embedded content]
How did you feel when you heard about the new best African music performance category?
I was quite elated because it shows inclusivity. Beyond being African artists, this category shows that the world is watching and seeing the effort we put in and does not mind giving us our flowers to smell.
How does it feel to not only be nominated for “Rush” but be represented in this category’s historic first class?
It feels iconic. To be doing this at 21? Whew! [It’s so] mind-blowing for me that I sometimes have to pinch myself that it’s all real and I’m not dreaming.
What do you think of this first class of nominees?
I think everyone in this category is badass, and I can only imagine the amount of tough work it took to put together these incredible artists in a category, all truly amazing artists I look up to and I’m proud to be nominated alongside.
[embedded content]
How did you feel when you heard about the new best African music performance category?
Hearing about the new category was very exciting because growing up, I watched the Grammys every year and watched all my favorite artists get awarded and nominated. It was something that I always imagined, and now that there’s a whole category dedicated to African artists, it means so much. I feel like it’s going to open so many more doors for us African artists and introduce our sound and artists to the world.
What is it like to not only be nominated but be included in this category’s first class?
Being nominated for a Grammy is such an honor, but the fact that I’m nominated for the first time in a category that’s an African category [in the year it has] been introduced, I couldn’t have asked for a better moment. I just feel super blessed, happy and excited to attend and enjoy the evening no matter what the outcome is. It’s such a huge moment for Africa, and I’m so happy I get to be a part of it.
Whom will you bring to the Grammys?
You know me. If I could, I would bring all of South Africa — but I’m sure my mama and papa will be there.
This story will appear in the Dec. 16, 2023, issue of Billboard.
Tega Oghenejobo could see it coming — but didn’t realize just how big it would be.
In March 2022, Nigerian record label Mavin Records and its subsidiary Jonzing World released Rave & Roses, the debut album by budding Nigerian star Rema, who had already achieved success in his home country and was steadily making inroads internationally. The album was well-received, but it was its second single, the bouncy earworm “Calm Down,” that was really making noise. “Its initial growth in Europe, particularly in France, where it dominated the radio charts for months, hinted at its potential,” says Oghenejobo, Mavin’s COO. “Then breaking records in regions like India and the Middle East, becoming the first No. 1 song on the MENA [Middle East and North Africa] charts showcased its global appeal even before it hit the U.S.”
The song began picking up traction on TikTok and across social media, followed by marketing support from Mavin and distributor Virgin Music, all while Rema toured Europe and Africa to help “Calm Down” gain steam. Then, in August 2022, Mavin and Interscope Records released a remix with Selena Gomez, and the song began to catch on stateside, both on streaming services and at radio. It would take another 10 months, but “Calm Down” would ultimately reach No. 3 on the Billboard Hot 100 and No. 1 on the all-genre Radio Songs chart, both history-making feats for a song by an African lead artist.
“The success of ‘Calm Down’ highlighted several crucial lessons: Solid partnerships, a competent team and an artist aligned with the vision are indispensable for global success, while the ability to adapt and capitalize on every opportunity, as well as maintaining momentum, emerged as key strategies,” Oghenejobo says. “And collaborations, exemplified by Rema and Selena Gomez, underscore the potential for unexpected pairings to achieve remarkable results.”
The coronation of “Calm Down” across the charts — it also reached No. 1 on the Global Excl. U.S., Pop Airplay and U.S. Afrobeats charts, ultimately spending 58 weeks atop the lattermost list — didn’t happen in a vacuum. For the past seven years — since Wizkid became the first Nigerian act to reach No. 1 on the Hot 100, as a featured artist on Drake’s 2016 smash “One Dance” — African artists and African music, for which “Afrobeats” serves as a sort of catchall term, have been steadily making headway on the U.S. charts, radio station playlists and arena headlining slots. Wizkid, Burna Boy and Davido have been at the forefront leading the charge, but the past two years have also heralded breakthroughs for a number of younger artists, such as Rema, Tems, Libianca, Asake and Tyla. The Grammys acknowledged that growth by introducing the best African music performance category; the award will be given out for the first time next year.
“For the past 30 to 40 years, American culture influenced the world,” says Tunde Balogun, president of LVRN, which co-manages Davido and Nigerian DJ-producer Spinall. “Now, through Africa and Latin in particular, we’re seeing the world influence American music. We’re seeing the industry’s institutions change, and we’re seeing it on the top 40 radio charts as well as the Hot 100. It’s a really exciting time.”
[embedded content]
Some of that is due to the success of collaborators like Rema and Gomez. For example, “Essence,” Wizkid’s breezy breakout hit with Tems, took off in 2021, then exploded after Justin Bieber hopped on the remix, while Tems herself won a Grammy for a guest feature on Future’s “Wait for U.” And this year, Becky G remixed Libianca’s “People” to reach a broader audience. But it’s also a reflection of a growing appetite for music from beyond the borders of the United States — and labels are following consumer tastes.
“Most labels right now are essentially looking at the world’s music population — they’re no longer just looking at what’s happening in Ohio or Portland or wherever, they’re looking at what is actually being consumed in the world,” says RCA COO John Fleckenstein, whose roster includes Wizkid, Davido, Tems and Libianca. “That, to me, shows that we’re starting to recognize that the whole world is full of fans and artists and those borders are coming down, the economic ones and the political ones. It’s just about fans and artists. Perhaps most excitingly, the stage is already set for a true global superstar to emerge in the genre.”
And that superstar might already be here. For all the excitement around the music itself, there is more groundwork to do for the artists and the business — work that is already well underway. “The numerous wins, valuable lessons learned and opportunities for growth have been incredibly rewarding, and the validation through successful tours, enthusiastic audiences, awards and accolades motivates us to aim higher and work harder,” Oghenejobo says. “With determination and respect for the craft, there’s limitless potential for what African music can accomplish. The future looks incredibly promising.”
This story originally appeared in the Dec. 9, 2023, issue of Billboard.
Renowned producer Sarz has recruited fellow Nigerian hitmaker Asake and chart-topping Atlanta rapper Gunna for their “Happiness” collaboration, Billboard is exclusively announcing Tuesday (Dec. 5). The single will be available on Friday, Dec. 8, via UnitedMasters, which partnered with Sarz earlier this year on his 1789 imprint in an effort to empower African artists and […]
As the year winds down to a close, the hits keep coming, as big singles from Victony, Oxlade and P Prime, Minz and Young Jonn have kept the worlds of Afrobeats, Afropop, Afrofusion and genres beyond moving through November. And that’s before even mentioning the new album from Teni, Tears of the Sun, which might just be one of the best albums of the entire year, from any genre.
In short, the month of November has produced some of the best songs yet. (And yes, we know, it’s the first of December — but hey, things get busy at the end of the year.) Here, 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.
Teni feat. ODUMODUBLVCK, “Devil Dance”
[embedded content]
Teni’s sophomore album Tears of the Sun is stuffed full of great songs, and as a whole is a confident statement from a performer, artist and person who knows exactly who she is and isn’t going to apologize for it. On “Devil Dance” she delivers one of the best tracks on the project, with a catchy guitar line, sassy melody and confident, swaggering hook, complete with a trademark ODUMODUBLVCK verse, which demands repeat plays, and is a thesis statement that stands out on an album that’s overflowing with them. A landmark song for the year for sure.
Teni, “Jalingo”
[embedded content]
Following reports that she had been kidnapped during a performance gone wrong last year, the Nigerian singer-songwriter set the record straight and recorded “Jalingo” from her sophomore album, Tears of the Sun. “I was actually at a show where a fight broke out. A lot was happening and everybody was fighting,” she told Apple Music. “It was deep inside one place in Port Harcourt and, for us to leave there, our security officers were shooting. It was chaos in the middle of the night….” Teni touches on a heavy subject but gets right back on her feet (and gets everyone on theirs, too) for a lighthearted club banger.
Boj & Ajebutter22, “42”
[embedded content]
The feel-good duo dropped the third installment of their Make E No Cause Fight EP series – off Boj’s own label Action Boyz under Moves Recordings – and the sumptuous blend of jazz, R&B, highlife, palm wine and alté is filled with tropical vibes and laid-back flows. The first track, “42,” isn’t a typical party anthem about getting f–ked up on Don Julio, but a reflective, toast-worthy ode to how far the two have come (and how much money they now have), which instantly draws in listeners with its cascading guitar licks.
Oxlade & P.Priime, “PIANO”
[embedded content]
The “KU LO SA” star teams up with fellow Nigerian hitmaker P.Priime on the scintillating “PIANO” track from Oxlade’s KATIGORI/PIANO two-pack, which he said in a statement is meant to show off his two sides: “the cautious Oxlade and the party Oxlade.” The pitter-patter of the log drums mimics his heartbeat when he’s with that special someone, but his falsettos scattered throughout the love song could woo just about anyone. “‘PIANO’ is the strongest song I’ve dropped this year MUSICALLY,” Oxlade added.
Minz, “BLESSING$”
[embedded content]
The “WO WO” artist soulfully reflects on his “BLESSING$” and encourages others to count theirs in his latest uplifting track. The soothing piano melodies and introspective percussion strike a chord with listeners, but his “I’m out of your league so you can’t touch, MC Hammer” lyric adds a nice sprinkle of braggadocio.
Ratii Rsa, Tyler ICU & Catzico feat. Katarina, “Mnandini”
[embedded content]
At 17 years old, Ratii Rsa is demanding the world’s attention with her ultra-bubbly amapiano single “Mnandini.” She taps fellow South African DJ/producers Tyler ICU and Catzico to transport listeners on a tranquil eight-minute journey, where they can easily lose themselves in the sweet-sounding arpeggios, while Katarina’s breathy vocals build tension for the song’s most exhilarating moments.
Victony feat. Crayon & Bella Shmurda, “Ohema”
[embedded content]
The song may be credited to these three artists, but more than a dozen appear on the track — OkayAfrica called the all-star cast “The Avengers of Afrobeats” — including Rema, Ayra Starr, ODUMODUBLVCK, Blaqbonez, Lojay, Oxlade, YKB, Bloody Civilian and more. All together the crew create a layered tapestry that pulses with energy, an anthem for this generation of established and budding stars of the genre.
Young Jonn, “Disconnect”
[embedded content]
Young Jonn hasn’t missed this year with a string of excellent singles, from “Currency” with Olamide, “Stamina” with Tiwa Savage and Ayra Starr, to “Aquafina” and “Sharpally.” “Disconnect” is the next entry into that lineage, as the superproducer continues to establish himself as one of the best hitmaking artists out there right now. And, as he promises on this track, this string of singles portends plenty of “better days ahead.”
YKB & King Promise, “This Must Be Love”
[embedded content]
Both YKB and King Promise have enjoyed breakout years in 2023, with the former’s “komplete riddim” a standout hit and the latter’s “Terminator” making waves around the world. So their collaboration on this sweetly catchy single is a welcome joining of forces, as the two go back and forth in both English and Yoruba opining about a girl changing their minds about love and affection, with production that absolutely pops.
Qing Madi, “Vision”
[embedded content]
Young Alté singer Qing Madi may be relatively new to the scene, but she’s burst out with a string of singles that clearly articulate her artistry and showcase her arresting, effortless vocals. “Vision” is just the latest, with an understated R&B groove over which she sings about the distraction of someone she can’t get out of her mind. Still just 17, her range is impressive.
Tyla’s rapid rise hits a new level this week as “Water” rushes into the top 10 on Billboard’s Hot R&B/Hip-Hop Songs chart with a 12-8 push on the list dated Nov. 4. The South African singer’s single continues to build in all three contributing metrics – streaming, radio airplay and sales – and races into the top 40 on the Billboard Hot 100.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
In the latest tracking week of Oct. 20 – 26, “Water,” released on FAX Records / Epic Records, registered 11.4 million official U.S. streams, according to Luminate, an 18% jump from the prior week. Thanks to that figure, the track lifts 14-10 on R&B/Hip-Hop Streaming Songs and takes the chart’s weekly Greatest Gainer honor. In the sales market, “Water” also sold 2,000 downloads in the tracking week, an 11% improvement on the prior week and enough to keep the track at No. 3 on R&B/Hip-Hop Digital Song Sales for a second week. The single’s radio airplay surges to 15.1 million in total audience, a 39% swell compared to the previous week, and prompts its No. 39 entrance on the all-genre Radio Songs chart. (All radio airplay, regardless of genre format, contributes to a track’s rank on the Hot R&B/Hip-Hop Songs chart.)
Diving further into the “Water” radio appeal, the single is hottest at the R&B/hip-hop format, as it pushes 19-14 on the Mainstream R&B/Hip-Hop Airplay chart through a 25% gain in plays at the format. It’s quickly racing up the ranks at rhythmic radio, dashing 30-20 on Rhythmic Airplay following a 57% explosion in weekly plays there. Plus, the tune launches at No. 39 on the Pop Airplay chart due to a 75% week-over-week improvement in plays at mainstream top-40 radio stations.
[embedded content]
Elsewhere, “Water” springs 5-2 on the Hot R&B Songs chart for a new peak and bursts 46-21 to a new best on the all-genre Hot 100, securing Tyla’s first top 40 hit in the process. In addition, “Water” wins a third term at No. 1 on the Billboard U.S. Afrobeats Songs chart. Echoing its rapid ascent up several U.S. charts, “Water” is also proving a global hit: The tune darts 21-9 on the Billboard Global 200 and 17-11 on the Billboard Global Excl. U.S. chart.
The ”Water” chart rise also lifts Tyla’s fortunes on the Billboard Artist 100, where she leaps 72-58 in her second week on the 100-position list, which measures artist activity across key metrics of music consumption- album and track sales, radio airplay and streaming – to provide a weekly multi-dimensional ranking of artist popularity.
Tyla fogged up television screens across America last week when she performed the bacardi-inspired, wet-and-wild TikTok dance (surprisingly without her water bottle in tow) to her latest sultry single, “Water,” on The Tonight Show Starring Jimmy Fallon for her U.S. television debut.
“It’s crazy just being a normal girl in South Africa, and then living this dream that I’ve always wanted to live,” she tells Billboard. “I used to be so jealous watching all of the American celebrities on TV, like the Kardashians, Adele, Rihanna, Michael Jackson, Britney Spears, Nicki Minaj. I was like, ‘One day, I’m gonna be there.’ I actually used to want to be born in America only because I thought only Americans could be famous. I did not know it could happen for us because it didn’t really happen very often for people in Africa and especially South Africa.”
[embedded content]
Tyla (real name Tyla Laura Seethal) grew up in Johannesburg, listening to local house and kwaito artists, such as Black Coffee and Mi Casa, as well as American rap and R&B stars, like Tupac, Boyz II Men, Aaliyah and Rihanna. At age 11, she uploaded videos of herself singer covers (like of Justin Bieber‘s “Fall” and “Die in Your Arms”) to YouTube and even stole her father’s cellphone to create an Instagram account so she could post her covers and original songs on there, while also messaging them to celebrities and music industry figures. “I would do everything and anything — because I just felt like, one day, something was gonna catch on,” says Tyla, now 21.
After discovering Tyla from one of her Instagram videos, director and photographer Garth von Glehn (who eventually became her first manager) sent her an email. “I literally felt like I was going to get scammed, so I didn’t respond,” she recalls. “But then a few weeks went away, and something was telling me, ‘Just respond.’ I ended up responding, and then I met up with him with my parents. And I ended up recording for the first time.”
Tyla and her best friend/stylist, Thato Nzimande, proceeded to spend every weekend in 2019 at von Glehn’s apartment/studio, writing and recording music and conducting photo shoots. She eventually linked up with South African DJ/producer Kooldrink on her debut single “Getting Late,” which introduced her refreshing take on amapiano, the increasingly popular South African house subgenre that blends Afro and deep house, jazz and kwaito music, and is characterized by sizzling synths, rattling basslines and soulful piano melodies. “I mixed it with pop because I wanted to make a three-minute song,” she says. “Amapiano songs were like eight minutes, 10 minutes at that time. And I was like, ‘Oh, that’s a bit too long! Let me make an amapiano song that has the normal format of a pop song or an R&B song.”
Her unique “popiano” formula scored her a label deal with Epic Records in 2021, when she started gradually dropping singles — like the boisterous “Overdue,” featuring gqom pioneer DJ Lag and Kooldrink; the tantalizing “To Last,” which was later remixed by amapiano giant DJ Maphorisa and fellow South African singer Young Stunna; the super sleek “Been Thinking;” and the passionate “Girl Next Door” collaboration with Ayra Starr. But it wasn’t until she released “Water” — where her sensual pop/R&B melodies float over bubbling amapiano log drums — and its accompanying dance that Tyla really started experiencing the fame she had desperately desired since childhood.
“Water” debuted at No. 67 on the Billboard Hot 100 in the week ending Oct. 14, and it has since risen to No. 21 (for the week ending Nov. 4). It has spent three weeks at No. 1 on U.S. Afrobeats Songs, marking her first No. 1 on any Billboard chart and ending the record 58-week streak of Rema and Selena Gomez’s “Calm Down,” and it’s cracked into the top 10 of the Global 200. “Water” has also been making waves at radio, landing in the top 20 of Mainstream R&B/Hip-Hop Airplay and Rhythmic Airplay and debuting at No. 39 on Pop Airplay this week.
“This hasn’t happened in so long for a South African artist, born and raised in South Africa, with an African song, with an African dance style. Everything is so authentic, and the fact that all of that managed to translate overseas is crazy. It’s opening more doors for other South African artists and creatives to just have a place,” she says. “And for me personally, it’s unbelievable. I always wanted to be the biggest pop star in general. I didn’t want to be the biggest African pop star. I just want to be the biggest pop star that was born and raised in Africa. And the fact that I’m already getting a good response from the world [means] I’m one step closer to that dream.”
Billboard spoke with October’s R&B/Hip-Hop Rookie of the Month about Tyla’s signature “popiano” sound, opening for Chris Brown‘s European tour, making an unexpected cameo on The Kardashians and the inspiration behind her viral “Water” dance.
How did you first get introduced to amapiano?
The first time I heard a proper amapiano song was while I was in high school. I remember being in one of my classes and a friend was playing the song called “Gong Gong.” And it’s just a beat — there are no lyrics, no vocals on it. I remember that song till this day because it was my first time hearing something like that.
What makes the genre and the culture so special, in your opinion?
It’s ours. It’s a South African sound that has been able to travel. We haven’t had a genre that traveled this far. It’s brought a lot of pride to South Africans and a lot of jobs and opportunities for us. Amapiano has resulted in so many South Africans being able to travel the world now and make music and make a living off of it. It’s not really just a genre for us — it’s a culture and a movement. That’s why we’re always screaming, “Amapiano to the world! South Africa to the world!” It’s changed our lives.
And it’s very much an open place for us to work in. Everyone is welcoming. Our sessions in South Africa are not like the sessions overseas. All our sessions are open basically, so a session could be happening at this person’s house and then anybody is able to walk up and add a verse, anybody is able to come in and touch the beat. That’s why our songs have 20 people featured on it and the songs are so long.
What influenced you to come up with your signature “popiano” sound?
In 2019, the year I actually got in front of a mic for the first time, I was experimenting and trying everything to see what sat with me. It got to the point where I was like, “Let me try an amapiano song.” At that time, it was still booming and people weren’t really singing on it. So I tried it and I ended up making my first song “Getting Late.” It just felt right.
And since that day, I just gravitated to that sound more, and as the years went by, and the more songs I made, the more my sound developed. People started calling it “popiano” because it is my own sound. There’s no one that’s really doing it. I just knew that I wanted it to feel like me, and this genre feels like me because I’m able to mix the genres that I was influenced by — R&B and pop, with sounds from home, amapiano and Afrobeats.
[embedded content]
The story behind the “Getting Late” music video is inspiring: You wrote on Instagram that you had “set out wanting to make the best video South Africa has ever seen” and filmed a little before production was halted altogether when COVID-19 hit. After lockdown lifted, you resumed working on the video, which was your shot by your manager, and you were styled by your best friend for it.
It was literally like a family business. We shot one scene, COVID hit and then everything closed up. I felt like it was the end because my parents gave me that year to prove myself, because they wanted me to study. But I begged them and I was like, “No! I need to do the singing thing. Just give me one year. I’ll show you guys.” And they eventually gave me that year, and then COVID hit. And I was like, “Ugh! This is the worst time for them to give me the year to prove myself.”
But we made it work. When South Africa would open up a little bit, we would try and shoot a scene. Or we’d try to perform for free at this one place just so we can use the venue. It’s just crazy to think of how we made that video because everyone thinks that we had a huge budget, but it wasn’t that at all. My manager found a way to do it. We all found a way to make it work. And it literally changed my whole life.
At the time of its release, you wrote, “Even if it only gets 270 views on youtube and my career fails, I’ll just watch this video on repeat for the rest of my life and I’m pretty sure I’ll be happy.” Your video has nearly seven million views (so far) and was also nominated for music video of the year at last year’s South African Music Awards.
It’s literally crazy. We went through so much to make that video — like, I couldn’t stop watching that video, ’cause I was so proud of myself and proud of my team for pushing through it. I just love the video so much that I was like, “OK, guys. We did our best. We’re just putting it out there, [and] whatever happens, happens.”
How did you eventually sign with Epic?
“Getting Late” started doing its thing, and I was just excited that people were retweeting the video. Because I didn’t really know how record labels worked, a record label didn’t even cross my mind at the time. But then my manager told me that labels are reaching out and they want to sign me. I was so confused. I was like, “Cool, what do you mean?” Then they’re telling me, “Oh, this label and this label and Epic Records.” And I was like, “What?! American people? How do they even find me?” America always seemed like it wasn’t a real place for me, so hearing all of that was crazy.
My manager started setting up the calls, and the labels would speak to me over Zoom calls (because it was still COVID) and basically pitch themselves. Epic was actually the first one — and after going through everyone, Epic just felt right, so I ended up signing with them.
I was recently watching an episode of The Kardashians, and I saw you were sitting next to Kim Kardashian in the front row of Dolce & Gabbana’s Fall/Winter 2023 runway show during Milan Fashion Week. What was going through your head that night?
The crazy thing is: I didn’t even know I was going to be on the Kardashians show, especially during “Water” time. It honestly feels like everything is just falling into place at the right time. I was on the Chris Brown tour, and the offer came where I would need to fly to Milan to do the Dolce & Gabbana show. And I didn’t have a visa for it, so we were hassling one of the European countries trying to get a visa, and they were not having it. They were like, “We are not going to give you a visa. You need to go back to South Africa and then you can get a visa.”
We flew back to South Africa for 24 hours to try and get a visa, and we ended up getting it, and we had to fly out [to Milan] the next day. That same day, I had to shower, get ready and go straight to the show, where I’m sitting next to Kim Kardashian and I’m literally wearing a Dolce & Gabbana dress. It was like I was in Princess Diaries. It was so crazy even sitting next to [Kardashian], because I was like, “This person is real.” Especially when you only see these people on TV, it’s crazy when you see them in real life. She was nice, and it was just a cool environment to be in. It was also the first-ever fashion week I attended, so it was such a good first experience.
Being a supporting act on the European leg of Chris Brown’s Under the Influence Tour was also a big look for you. First of all, how did that opportunity come about? And what were the biggest lessons you learned from either Chris or the experience overall?
I was at Tricky Stewart‘s Grammy party and the head of the label, Sylvia Rhone, came to me and asked me, “Do [you] want to open for Chris Brown on his Europe tour?” I didn’t even know what to do. I was like, “What?” I wasn’t even sure I was hearing her correctly. But I just couldn’t stop thinking about that question the whole day. Obviously, I was like, “Yes.” It was such a huge opportunity. And then we literally had to start straightaway preparing. We flew to Europe. We had like two days of rehearsals, I’m not even joking, two days of rehearsals. Then the next day, we had to open at the O2 Arena. It was so crazy!
It taught me so much in terms of performing — especially from Chris, because he’s an amazing performer. He spoke to me a lot. He gave me a lot of tips, and I still use them to this day. I feel like it was literally the perfect bootcamp for me. It gave me a lot of confidence, and it helped me play around with my performance. It helped me get a wider audience, because I was traveling all of Europe, and videos started circling around of me, which was amazing. Opportunities just started falling into my lap. It was the best experience ever. I’ll never forget that tour.
[embedded content]
Take me back through the making of “Water.”
I’ve been recording music for over two years now, since I got signed to the label, making music for my album. And we got to a point where we were like, “OK, let’s start finalizing songs.” But I just felt like I needed that summer dance song, I felt like I was missing that. I said, “OK, I need it to sound like this. I need it to have African influence. It needs to sound like ‘popiano,’ Afrobeats, amapiano, R&B all in one. It needs to live in the clubs. It needs to be a banger.” And I’m not even joking, as soon as I heard “Water,” I was literally like, “It’s over. It’s over for everybody!” I just fell in love with it. I played it for everybody I could, and everyone fell in love with it. So I just knew in my soul that this was the one.
How did you come up with the viral “Water” dance?
The dance style is actually called bacardi, it’s a dance style in South Africa that originated in Pretoria. And the dance style is usually done with bacardi-type music. Usually when we have songs, I get on a call with my choreographer from South Africa [Lee-ché Janecke] [and] my best friend Thato for hours and we’re thinking, “OK, for this song, what are we going to do?” Then I was just like, “I really feel like this song needs a dance. I really want to do something on TikTok with this song.” Not all the songs I want to make are all TikTok songs where you dance and everything, but this one felt like it needed that.
And then I was like, “Why don’t we make it bacardi?” Obviously, everyone was like, “Um, this isn’t the genre for bacardi.” [Laughs] It felt like that type of style would just go with this song. We actually had a bacardi-type dance for a different song. And we changed it and made that dance for “Water.” We tried a little bit of it in Portugal, but we didn’t pour the water. We ended up reworking it and I was like, “Guys, this is what we’re going to do. You pass me the water, and I’m just going to pour it on my back when I do the bacardi move.” It was exciting for us.
We ended up doing it on the stage for the Giants of Africa Festival, and I was so worried after that performance ’cause I was like, “I don’t know if I did it right.” And then I got videos. I actually DM’ed someone that was in the audience because they posted on their story like, “Please, can you send me the video?” She sent me the video and I edited it and I posted it on my way to a different country. We were on a plane, and I posted it just before we took off and my phone got disconnected. When I landed, it was already at like five million views. I was in so much shock because that flight wasn’t even that long. I was like, “This is crazy!”
How many water bottles would you estimate you’ve spilled down your back while doing the dance?
[Laughs] I don’t know. Probably a whole water company. [Laughs]
[embedded content]
I loved that you teamed up with Ayra Starr on “Girl Next Door” and you performed at Uncle Waffles’ NYC show. What’s it like to shine alongside other female artists coming out of the continent?
I love it. I’m a girl’s girl for real. Waffles is a girl’s girl, Ayra is a girl’s girl. In general, we all have the same goal: Africa to the world. I feel like we’ve always had the great music and the culture and the vibe, but we haven’t had the audience. Social media helps so much because it’s been able to give us that access to more people. I love seeing Afrobeats artists win, amapiano artists win, everyone in Africa. It’s only up for us really.
Who would you love to collaborate with next?
I’d honestly love to have a song with Tems. I love her voice, I love her vibe. Her new song [“Me & U”] is on repeat.
I heard you’re finishing up your debut EP. What can fans expect from it?
Definitely more bangers. It’s going to be a short and sweet one, but it’s going to be a glimpse into my sound because I do feel like it has developed over time and it’s more where I want it to be. It’s my first project ever. I’ve been releasing music and making music for years now, so it’s exciting for me to start making worlds for people to listen to and tap into. But it’s definitely a new, fresh sound for the world. And it’s a fusion between my African world and my ideal popstar/R&B world. And I’m super excited for people to listen.
Considering amapiano has become increasingly popular in the U.S. over the last couple of years, what is your hope for the sound in the future?
I honestly feel like it’s going to be the next biggest thing in dance music. It’s going to be playing in all of the raves, all of the festivals, Ibiza, all of the [places] where they listen to [sings] oontz oontz oontz oontz oontz. I feel like ‘piano is really going to take over that whole world.
What advice do you have for up-and-coming African artists who are hoping to have their music travel across the globe?
It’s very hard because I’m still figuring out a lot because I’ve been coming [up] and trying to find my way. But based off my experience, just make music that feels like you, that’s very authentic to you. Don’t try copying other people. Just find your sound and what you want the world to see you as and push that forward and believe in it. If you keep working towards it and go day by day as if you’ve already achieved your goal, you will get there.
A lot of people say “manifestation” and whatnot. I don’t want to put a label on it, but personally, ever since I could remember, before “manifestation” was even a word I knew, I always believed that I already achieved that goal. I already believed that it was mine. It was just a matter of time that it was going to be given to me. That really helped me because it really happened. Everything happened the way it was supposed to happen. And if you as an artist feel like that, just keep believing that it’s yours already and I’m sure it will be one day.
The year is winding down, but the hits have kept coming. And the month of October has seen some quality ones, from both established African artists and newcomers dropping new EPs, as soulful singles from the likes of Mr. Eazi and the Soweto Gospel Choir (“Exit”) and the two super producers Pheelz and Young Jonn (“JELO”) mix with edgier cuts from the likes of Rema (“DND”) and ODUMODUBLVCK, Bloody Civilian and Wale (“Blood on the Dance Floor”) for real estate in our monthly roundup.
Explore
See latest videos, charts and news
See latest videos, charts and news
Tems returns with “Me & U,” her first solo single since “Free Mind” (which was originally featured on her 2020 EP For Broken Ears and, in May 2023, broke the female record for most weeks at No. 1 on Billboard‘s R&B/Hip-Hop Airplay chart with 17 weeks) and first new music release since her 2021 EP If Orange Was a Place. Gunna getting in his Afrobeats bag was not on our 2023 bingo card, but he nailed his verse on the remix of Victor Thompson and Ehis ‘D’ Greatest’s “THIS YEAR (Blessings),” which he first teased during his L.A. show (as seen in the official music video). And the remix helped catapult the song to No. 1 on Hot Gospel Songs chart last week (dated Oct. 28) and No. 3 on the U.S. Afrobeats Songs chart.
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 accompanying Spotify playlist below.
Tems, “Me & U”
[embedded content]
Tems’ first new solo release in two years lands somewhere between a poignant pop ballad and a high-spirited Afrobeats record, but more importantly, it serves as the Nigerian star’s self-reflection observed through her relationship with God. Regardless of all the triumphs she’s had in the last few years – a Grammy award for her appearance (along with Drake) on Future’s Hot 100 No. 1 hit “Wait For U,” and an Oscar nod for co-writing Rihanna’s “Lift Me Up,” to name a couple – Tems reminds those marveling at her journey that she couldn’t have accomplished all of this on her own. When a fan compared the singer-songwriter to the Yoruba water spirits Yemoja and Oshun in one of the single’s promo photos, she replied, “It’s about Jesus Christ teaching me how to walk on water, to trust Him and not in human understanding. He changed my life. And if you seek Him He will fill you up too.”
Gwamz feat. Tay Iwar & Skeete, “PAMELA”
[embedded content]
Gwamz, Tay Iwar and Skeete individually compose sultry blends of R&B, dancehall, Afrobeats, rap and grime in their music, so it’s no surprise that their collaboration “PAMELA” embodies just that. Twinkling piano keys, bubbling log drums, enticing guitar riffs, suave melodies and lustful verses all come to play on “PAMELA,” who represents a woman all three men can’t resist (which is also how we feel about this song).
Victor Thompson & Gunna feat. Ehis ‘D’ Greatest, “THIS YEAR (Blessings) [Remix]”
[embedded content]
Nigerian gospel singer Victor Thompson and his brother Ehis ‘D’ Greatest inspired the masses (through TikTok) at the top of 2023 with their aspirational anthem “THIS YEAR (Blessings).” Then Gunna came and blessed the record even more with a new verse about how he’s a “walking testimony” after everything he’s endured and worked toward (“They say, ‘Young GunWunna is the G.O.A.T.,’” he sings), seamlessly blending his melodic superpowers with those of the original artists.
June Freedom, “Diana”
[embedded content]
“Diana” has become an incredibly common song subject in pop music history, from Michael Jackson’s “Dirty Diana” to Ice Spice and Nicki Minaj’s “Princess Diana.” But June Freedom’s “Diana” — off his latest album, 7 SEAS — is a vibrant, sumptuous ode to the familiar leading lady. The echo of her name on Freedom’s lips, paired with a sexy saxophone and rousing percussion, is the sound of a man who won’t let “Diana” dance alone for much longer.
Muzi, “Timer”
[embedded content]
While the South African artist and producer takes listeners on a vivid, vulnerable trip down memory lane on his latest album uMUZI, he explores his tumultuous relationship with his father on the LP’s closer “Timer.” “Our time is not through,” he pleads constantly over twinkling ‘80s synth chords and slow-burning electronic beats. Despite its easy-going production, “Timer” provides an important reminder that even when things are tough now, looking back in the rearview mirror and wishing for more time with someone won’t be any easier.
Mr. Eazi feat. Soweto Gospel Choir, “Exit”
[embedded content]
Life doesn’t always move smoothly, and it’s in those moments when it can be most difficult — but also when perseverance is the most important. Those are some of the themes Mr. Eazi addresses in this song, with a gorgeous assist from the Soweto Gospel Choir, as he addresses hardships that have come along the way through his life and career. It’s a propulsive and positive track, and perfectly closes out his latest album, The Evil Genius.
Mayorkun feat. Blxckie, “Lose Control”
[embedded content]
Mayorkun has one of the best pure voices making music right now, and the uplifting production on “Lose Control” provides him a perfect backdrop to spin this tale of the beginnings of a relationship alongside South African MC Blxckie, whose verse follows Mayorkun’s melodic lead. It’s a standout of the singer’s new Love… For Free EP, and one of his best songs in recent years.
Rema, “DND”
[embedded content]
On his latest EP, RAVAGE, Rema is making music that sounds like nothing else out right now, a melting pot of styles and genres that fits nowhere — but is just as compelling as the simplicity of “Calm Down,” though in entirely different ways. “DND” is a standout on the five-track project, but is by no means the only track worth checking out. For someone who could’ve followed the same formula to repeat success, credit to Rema for continuing to push his own creative limits.
ODUMODUBLVCK feat. Bloody Civilian & Wale, “Blood on the Dance Floor”
[embedded content]
ODUMODUBLVCK has been steadily building his profile this past year with a series of hits (“Declan Rice,” “FIREGUN”) that owe their success to his particular uncompromising style. On this track off his latest EP, he links up with fellow Def Jam signees Bloody Civilian and Wale for a song that combines his trademark intensity with a driving production that comes together with all three in the final hook, creating a compelling mix of different styles that mesh incredibly well.
Pheelz feat. Young Jonn, “JELO”
[embedded content]
Two of the more prolific Afrobeats hitmakers on the production side that have earned their stripes with big hits as artists themselves in the past few years, Pheelz and Young Jonn certainly know their way around a hook and a catchy beat. This collaboration furthers each of their reputations with a breezy feel-good song that slides seamlessly into each of their catalogs, with a soulful element that elevates the track as a whole.
(from left to right) Jonathan Bekele and Spinall at WORLD AFRIKA X AFROLITUATION party at Chinatown Country Club in Boston, Massachusetts on March 24, 2023.
@ntalani_
“An event whose culture and influence reaches far and wide across the globe” – Jonathan Bekele, founder of WORLD AFRIKA
Year started: 2022
Partners: EthioBoyzEnt (partner), NuWave Collective (partner), SuperSmashBroz (DJ/partner), King Collins (DJ)
Primary city: Boston
Main venue(s): Garage, Spirit of Boston, Shojo
What inspired you to come up with this party?
Before the pandemic, I created Anbessa. It was supposed to be a company that [had] different branches like events, clothing, miscellaneous things. It’s obviously based on our culture, the lion is embedded in Ethiopian culture. In the clothing brand, on the back of the T-shirts, you’ll see WORLD AFRIKA. The reason why I spell it WORLD AFRIKA with a “K” is because, initially, the name of Africa was with a “k” from the native countries, before colonization. Ethiopians never got colonized, so I was like, “I would love to keep that same identity with this.”
Back in March of last year, there was a need for a real curated event of experience in the city that focused around Afrobeats in Boston. My one-year anniversary with the clothing brand with the WORLD AFRIKA slogan on it was coming up in April. So I was like, “Let me just throw my first WORLD AFRIKA party.” I had SuperSmashBroz DJing, and it was received well. It gave a different feeling, like they felt like they were back home. And that’s what I want to bring: I want to make people walk out of the party and be like, “OK, I’m buying my ticket for December.”
How did you come up with its name?
When I was creating the T-shirts, one T-shirt [has] two women that graduated from the airline academy in Ethiopia and they have a lion right in front of them, which is the ambessa. And WORLD AFRIKA was [about] traveling around the world because it was based on the aviation thing. Ethiopian Airlines was the first airline in Africa that was really able to travel across. And the second T-shirt was a lion literally walking past an Ethiopian Airlines plane. So that’s where it stemmed from. WORLD AFRIKA is a connection of all the different countries and just grouping them together.
Who typically attends?
Obviously, my Habeshas support. There’s a huge West African population here — a lot of my friends are Nigerian — and Cape Verdeans. Anybody who’s from Cape Verde, all of their people for some reason immigrated to Massachusetts or Rhode Island. The second [WORLD AFRIKA party] was on a yacht in the middle of Boston Harbor that held like 650 people. It was like three levels, different DJs. And the bottom floor was Cape Verdean DJs. But then you’ll also see groups of Asian people that just want to show up and party, dance. You’ll see a bunch of white people slide up. But I would say for the most part, it’s West Africans, East Africans, Cape Verdeans. We did an amapiano party one time, and hella South Africans popped up.
Where does this typically take place or where has it taken place before?
The first venue I did was Garage. The second one was called Spirit of Boston. The funny thing is Garage is closed, Spirit of Boston actually caught on fire two months ago — so they are no longer operational. I went to Addis, and I did two WORLD AFRIKAs over there at Midtown Ultra Lounge right on Bole. One of my good friends, his name is Nate Enzo, owns it. He was like, “What do you think about doing it over here?” And I was like, “Yeah, why not? This will pay for my trip, basically.” So I did it over there, sold out both times. And I didn’t really realize the impact of what I had until that happened in Addis. Because when it happened it in Addis, and when I did the yacht event, I was like, “D–n, this is not just a Boston thing. It’s becoming more than that.”
At the top of 2023, I’ve been at this venue called Shojo. And they’ve been my most consistent venue. So I did one right before I went to Ethiopia, and I’ve done one every single month, so February, March, April, I’ve been there. I also did one in D.C. first week of March. That was nice. I have a lot of connects in D.C. One of my friends, he owns a lounge, and he was just like, “Why don’t you try doing it over here?” And I was like, “Yeah, why not?” And it did really well. I was like, “D–n, if I start out in these small spaces or mid-sized spaces, whether it be New York, Atlanta, L.A., the world will come organically.”
Why does your party stand out?
I’m able to connect with people, I’m very personable. And I’m very good with business. Dami came to me back in March, and Dami was like, “Hey, Spinall wants to come to Boston.” I know they couldn’t find a venue. Essentially, they came to me, and I had a venue already locked for WORLD AFRIKA that I was going to do on my own. Personally, I could have just done the event and probably took all that money to the head. But I thought bigger — because I was like, “OK, if I have Spinall and I work with Afrolituation and Dami and all of them, this would be great for the brand going forward.”
I think [it’s because of] those collabs and those teams I put together. I really work hard day by day making sure everything is exquisite from the beginning to the end. And I’m always asking people throughout the event, like, “You need anything? You having a good time?” People feel at home there. People leave the event wanting more, and wanting to buy that ticket back home, whether it’s West Africa, North Africa, South Africa, East Africa, Central. That’s my mission to drive that idea home.
Recall your favorite memory at one of your parties.
My favorite memory was we were in Addis, and K-Meta put on a song called “WATAWI” [by CKay feat. Davido, Focalistic and Abidoza]. I’m standing on a couch in the middle of the party. A lot of people don’t know this song. But he didn’t realize at that moment that that was my favorite song of the year. And as the song is playing, I’m screaming the lyrics. At the same time, I’m taking a video and I’m turning, turning, turning and the whole place was filled up. All my friends from the Bay, all my friends from D.C., all my friends from Dallas, New York, Boston, all over the place [were] just mingling and having a great time.
In my mind, I was like, “OK, this is lit. I’m here. And I’m here to stay.” This is something that can be for real for real going forward. I had a serious in-my-head moment of like, “I could do this every week here.” And the funny thing was I did it back-to-back weeks, and they were both sold out. Typically, I take a month off to do it. But because I was in Addis and my time there was limited, I did it back-to-back weeks, and both weeks were sold out. And I was like, “No way! This is for real!”
EMPIRE announced its first-ever African compilation album, Where We Come From (Vol. 1), on Friday (Oct. 14). It will feature Fireboy DML, BNXN fka Buju, Olamide, Wande Coal, L.A.X. and more.
Kizz Daniel dropped the first single “Cough (Odo)” from the LP, which aims to celebrate and amplify Africa’s rising stars and their music. “For this song, I wanted to highlight the feeling of new love,” he said in a statement. “The song itself is energetic, celebratory and really captures what it’s like to impress someone new.”
Artists from the continent have grown more prominent in the global music scene over the last few years and gained more notoriety in the West with crossover hits such as Wizkid and Tems’ “Essence,” Fireboy’s “Peru” and Burna Boy’s “Last Last,” the latter of which recently earned the Nigerian Afro-fusion superstar his first No. 1 hit on Billboard‘s Mainstream R&B/Hip-Hop Airplay chart.
“I feel blessed to have been around so much talent, drive, and creativity all in the same room. This album is about showcasing the best that Africa has to offer, and we’ve done that,” added BNXN.
Leading independent label, publisher and distributor EMPIRE added a new division, EMPIRE Africa, in February 2022 and, just one month later, took part of its blossoming roster of Afrobeats acts — including BNXN, Fireboy DML, L.A.X., Cheque and Wande Coal — from Nigeria to Austin, Texas to perform during “The New Africa” showcase at SXSW, which EMPIRE hosted with Pandora. Shortly after, those artists banded together during a writing camp at EMPIRE’s San Francisco headquarters, where EMPIRE CEO/founder Ghazi says they were “fortunate enough” to record Where We Come From (Vol. 1).
“The artists from Africa really transcend where music is today. This is a legendary moment for EMPIRE to be able to share incredible African music with the world,” he continued.
Added Ezegozie Eze, vp, strategy and market development for EMPIRE Africa: “This album is a collective of multi-talented, independent artists, who we’ve partnered with to help create a legacy. Building this brick by brick has allowed us to develop a chemistry between this diverse catalog of African artists and we’re extremely appreciative of the time and dedication it took to put this together.”