afrobeats
Wale Davies first met Nigerian singer Tems in 2018, shortly after she released her first single, the stirringly plaintive “Mr. Rebel.”
“Initially it was informal; I just liked her song, I was just helping her put it on sradio and connecting her with people in the industry in Nigeria,” says the artist-turned-manager. “I’m always attracted to music that makes me feel something, so when I heard the first single, what I felt was somebody singing for their life — she meant every word she was singing in that song.”
Davies, who co-manages Tems with Muyiwa Awoniyi, has been with the singer ever since — and has watched her grow into one of the biggest African artists on the planet. To name just some of her accolades: She’s landed 28 songs on the Billboard U.S. Afrobeats chart, including 10 top 10s and two No. 1s; she’s collaborated with the likes of Drake, Beyoncé and Future and covered Bob Marley’s classic “No Woman, No Cry” on the Black Panther: Wakanda Forever soundtrack; she reached the top 10 of the Billboard Hot 100 in 2021 with a feature on Wizkid‘s inescapable hit “Essence,” which got a remix from Justin Bieber; she’s earned eight Grammy nominations, and became the first Nigerian to ever win two Grammys after taking home best African music performance for her single “Love Me JeJe” earlier this month; and this week, she became the first African female artist to hit 1 billion Spotify streams for her feature on the Future and Drake song “Wait 4 U,” which samples her 2020 single “Higher.” That’s to name just a few of her accomplishments.
It’s been a rapid-fire rise in just a few years for the singer, and one she’s had to handle in the public eye. “Just seeing her grow as a human being, first, has been the most remarkable thing,” Davies says. “She’s had a lot of fame thrust on her super early, and her adjusting to those changes and how everything came, and now working with the record label and getting global attention and big artists reaching out to you, and social media and all these different platforms and people, seeing her adjust to that and learn and grow and work on herself has been the most impressive thing.”
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Now, all that success helps Davies earn the title of Billboard’s Executive of the Week. Here, he discusses Tems’ rise as an artist, the work that went into her 2024 debut album Born In the Wild, the record-breaking success of “Wait 4 U” and the rise of African music in the U.S. “I’ve worked in the music space in Nigeria for quite a long time, and I’ve never seen anybody grow and accelerate that quickly,” Davies says. “Seeing the change of where she was to where she is now, and the confidence and how she’s grown as a person, is as close to a miracle as I’ve ever seen.”
This week, with “Wait 4 U,” Tems became the first African woman to hit 1 billion streams on Spotify. What key decisions did you make to help make that happen?
For Tems, her music is very personal to her and comes from a very personal place. So initially when we got the call [about the song sample], the first thing she said was, “What do you think?” And I said, hearing what they’ve done with the song, they honored it in a good way and it would appeal to a whole bunch of different, new people, and if the goal is to have people feel something from your music, as long as the music still represents that, and it opens the door to new people to hear it, I think it’s a great idea to do it. And she loved Future as well, she just wanted to see how that marriage would work, and it turned out beautifully. And with all the structure and all the business behind the scenes with the song, my job is to make sure that everything is done for the benefit of my artist, and making sure that, yes, we are coming from Africa, and yes, these are big global superstars, but that we’re well represented at the table as well.
You mentioned the sample is “Higher,” which is off her first EP For Broken Ears, which came out five years ago now. What is it about that song and that EP that has given it such staying power?
One of the things I noticed very early on in Tems’ music is, each time I listened to her songs, I found new things and loved them even more. And that’s very rare with records, because after a while you can hear a record too many times. And even going on tour with her, having been in the studio with her working on these records for years, and then hearing them live, they still sound fresh and new, and I still feel something every time. I think people are trying to tap into their emotions and tap into things, and when music allows you a safe space to do that, it has a quality that’s timeless and lasts. The best music, you remember the first time you heard that song, and that’s timeless music. And that’s what it does — it evokes emotions, it helps you place it. So for me, “Higher” does that as well. It’s such a beautiful song. I heard it from voice note to this version to “Wait 4 U,” and each iteration of the song has been great.
“Wait 4 U” won her a Grammy, and then she just won another with “Love Me JeJe” a few weeks ago. That makes her the first Nigerian to have ever won two Grammys. What’s the significance of that for you?
We never really started out with the intention of global stardom or anything, she just really wanted to sing. She would joke at the beginning, “If I didn’t meet you guys, I would just be happy to sing in hotel lounges, just for people to hear my music.” But the way it’s gone and the way it’s grown and the way it’s resonated with people, what the Grammys do is they solidify the fact that you can still make music that is true to yourself and have it recognized globally.
“Love Me JeJe” was a strong choice for us to be the lead single from the project because it referenced something nostalgic to us, because the original “Love Me JeJe” song was one that we all grew up with in Nigeria, our parents loved the song, and so for us to be able to pay homage to that song was really special. We spoke afterwards — the original guy who sang the song, Seyi Sodimu, is also now a Grammy winner, 21 years after. So it was also giving him his flowers for doing something remarkable at a time when there wasn’t that much light being shown on our music and where we’re from. It just gives people the opportunity to dream — yes, you can get this global acclaim. And for us, it being the first song that she’s done herself by herself to win a Grammy, it just shows that the work is being seen and felt.
This song is off Born In the Wild, her official debut album. How did you want to roll that out and market it? And did you feel like you needed to introduce her with this project?
She had her first two EPs, she had “Wait 4 U,” she had “Free Mind,” “Essence” was a big song as well; all of this was without actually putting out a debut album. The phrase we would laugh about while we were recording was just trying to figure out a way to dance like you’re still in your little studio by yourself. Now we’re in bigger studios and there’s more opinions and more people. So it was trying to, first of all, block out all that noise and allow the artist to just be themselves, and then helping sometimes when they have internal noise telling them to do this or that. So it was trying to do something that felt really true to Tems. She listens to loads of different music, she creates loads of different music, and I think with the EPs you got certain glimpses of what types of music she makes, and with the album she wanted to lay it all out: Here are the different influences I have, some of them might be reggae, some of them might be Nigerian songs, some of them might be Sade Adu. So in all those different worlds, how do you connect that seamlessly?
And it was also important for us that we started the project back home. For us, we feel like there’s a lens through which people are able to look at Africa, look at an African woman and look at what a modern African looks like through Tems, whether through the way she portrays herself or carries herself, or through her music as well. So it was important that the first look we gave from the album was “Love Me JeJe.” We shot the video in Lagos, she was on a flatbed going through Lagos, which was surreal in itself because of the traffic in Lagos. It was a crazy moment.
Starting with “Essence,” she’s really been at the forefront of African music’s rise in the United States in the past couple years. How do you feel that’s progressing?
My theory is that we’re in a world now where we’re constantly looking for new things, consciously and subconsciously. I feel like with music you were hearing a lot of versions of the same thing you’ve heard before, and I think it came to a point, to me, where people started looking outwardly. Initially, I felt like the U.S. was very insular: U.S. music, U.S. charts. But once they started listening to new things, what people found was that there’s similarity and threads in everything. It’s called Afrobeats, but a lot of the songs Tems does are R&B songs. All of us grew up on American music, but also on Nigerian music and Jamaican music. Our music is more or less like a melting pot of all of our influences growing up, and I think there’s definitely a part of that that people will relate to because they’re mostly global references, and then you’re hearing Nigerian sounds that you may have never heard before which sounds new. So I think the rise of African music is extremely needed, and what people will realize is that they will find there are more artists in different genres playing in different spaces and different lanes, and it’s really a beautiful thing.
What’s next for you guys?
Tems has different ways she wants to express and showcase the music, so we’re finding different ways of how to push out the music. The project is already out, but what does it sound like reimagined, with different musical elements added to it or stripped back from it? She’s interested in exploring that more. At the same time, she’s always recording and working on new music. She’s got an interest in film, so that’s something we’re exploring.
And then on the business side, we’re trying to figure out, how do we utilize this position we’re in to create more opportunities back home? Our vision is in a lot of ways very global, but also very Africa-focused. Right now, we’re putting together an initiative to support young women producers on the continent, what that will look like, and that will be rolled out very soon. We just got involved in the sports world as well; that’s mainly to see how we can bring opportunities in sports back home to young people because we come from a place where we have to create opportunities for the younger generation ourselves. So that’s where our head’s at, and Tems is always recording. So there will be new music and new recordings and new versions of Born In the Wild out soon.
Billboard has announced the launch of its first French edition. The new venture is licensed by So Press. Billboard France marks the 12th global edition of Billboard.
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In the Parisian night, an imposing entourage makes its way to the photo studio. About 10 people – assistants, photographers, and collaborators – orbit around a familiar silhouette. The studio door opens to reveal Burna Boy, accompanied by his sister Ronami, an inseparable figure in his success, who combines the roles of manager, stylist and advisor with unwavering conviction. There’s an obvious quality to his charisma – the kind that shifts the energy of a place as soon as the person enters.In recent years, Burna Boy has been particularly prolific, allowing himself few moments of respite. Born in Port Harcourt, Nigeria, he comes from a family deeply rooted in music (his grandfather was the manager of legend Fela Kuti).
From promising beginnings in 2012 with the single “Like To Party” to a noteworthy first album, L.I.F.E, released in 2013. However, it was from 2017 that his career took on an international dimension. Mainstream global audiences discovered him during a collaboration with Drake on “More Life” in 2017. He followed with three major albums (Outside, African Giant, and Twice as Tall) while delivering well-chosen features like “Jerusalema” with Master KG and Nomcebo Zikode, and “Be Honest” and “Location” with British artists Jorja Smith and Dave, respectively.
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After filling La Défense Arena and its 40,000 seats in May 2023, the Nigerian artist is preparing to take on a new challenge: the Stade de France, on April 18, 2025, the starting point of a European tour of about 10 dates.
France holds a special place in Burna Boy’s career. It’s the third country where he’s most listened to, behind the United States and the United Kingdom. According to the SNEP (Syndicat national de l’édition phonographique, in English National Syndicate of Phonographic Publishing), the has 11 certified singles in France and has already been streamed more than 700 million times there.
“It’s a celebration of African excellence and proof that our music knows no boundaries,” he confides, showing pride in being the first non-French-speaking African artist to perform in the legendary venue. ” It’s not just about me as an artist but about representing a continent, a culture, and a people whose stories deserve to be heard on the biggest stages in the world.”
Figurehead of Nigerian Music
In 2019, he proclaimed himself African Giant. Today, the title seems trivial compared to the scale of his triumph. Burna Boy’s journey illustrates that of an outsider, a meteoric rise from Port Harcourt to the heights of international music. Initially an English-speaking breakthrough that today knows no boundaries.
More than a decade after Burna Boy’s rise with L.I.F.E, Nigerian music has established itself as a major force in global popular culture. Afrobeats, a genre of which he has become the most respected ambassador, transcends geographical, linguistic and cultural boundaries. Vevo even reported that in 2023, views of Afrobeats and Amapiano tracks increased by 61%, exceeding four billion. As reported by IFPI, Sub-Saharan Africa is the region with the fastest-growing music industry (the only one exceeding 20% growth in 2023).
Burna Boy’s Grammy Award, which he keeps on a dedicated table at home, also demonstrates a new American appetite for the Nigerian sound. “It’s not just about recognition—it’s what it symbolizes. It represents the power of staying true to yourself, breaking boundaries, and proving that African music belongs on the global stage. It’s a reminder that our culture and art are worthy of the highest honors.”
He returns this new American recognition well by inviting GZA for a feature on the title track of his latest album, I Told Them. On this album, he openly samples great American artists (Toni Braxton, Brandy, Jeremih, among others). “Yes, it’s intentional. Sampling is a way to pay homage to the sounds that shaped me while creating something new. It’s about bridging cultures and showing that music is a universal language. I’ll continue to experiment because growth and creativity go hand in hand.”
Burna Boy
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The Anglo-Saxon World As a Leitmotif
Having studied in London during high school, then briefly at Oxford Brookes during university, the English scene opened its doors to him first, and he’s always known how to reciprocate. He looks fondly on this ecosystem whose Nigerian roots are also illustrated in music (he mentions J Hus, Dave, NSG, and Not3s). “They’re carrying the torch in their own way. The UK has always had a deep connection with African music, and these artists are blending their experiences with Afrobeats influences to create something unique. It’s a beautiful exchange of cultures, and it shows how far-reaching Afrobeats’ impact is.”
African Music Conquering the World
The resonance of Burna Boy’s music is part of a larger movement. Since 2020, Afrobeat has spread westward thanks to crossover hits like CKay’s “Love Nwantiti (Ah Ah Ah)” or Rema’s “Calm Down,” which have exceeded a billion streams on Spotify. Nigeria is now the sixth best music-exporting country, and Burna Boy serves as the figurehead of a scene that has definitively conquered the world.
He enthusiastically discusses this new generation of Nigerian artists who are breaking codes. “[They’re] fearless,” he states. “They are experimenting with sounds and taking risks. It’s interesting to see how they’re building on the foundation. They’re proof that Nigerian & indeed African music has no limits.” As the genre gained popularity abroad, more Afrobeats artists began their first U.S. tours after lockdown.
Among all of them, Burna has performed on the biggest stages – where real superstars are born. But this consecration can be frightening too, as Western stars have almost immediately embraced Nigerian sounds. An observation that doesn’t scare Burna Boy: “In 10 years, if we are mindful to keep putting in the work, Afrobeats will be even more global, influencing every corner of the music industry. It will evolve, incorporating new sounds and ideas, but its essence—our African roots—will remain intact. I see it being a dominant force in shaping global pop culture.”
His view isn’t limited to Nigeria. He observes with interest the emergence of French-speaking West African scenes: “[They] are incredibly vibrant and full of talent. Artists from Ivory Coast, Senegal and Mali are creating something powerful by mixing their musical traditions with modern sounds.”We take the opportunity to ask his view on French artists in general. The answer will surprise many: “I’ve always admired artists like Stromae, Matt Pokora, Tayc & Aya to mention a few. Their ability to tell stories and push creative boundaries resonates with me. French music has a unique depth, and it’s influenced how I approach my own storytelling.”
Refocusing on Raw Emotions
“When you’re honest in your music, people feel it, no matter where they’re from.” His extraordinary ability to transform personal experiences into anthems, as exemplified by “Last Last,” born from a romantic breakup, has indeed played a crucial role in Burna Boy’s rise. His tracks are imbued with raw emotions of universal dimensions, explaining his global success.
His next project (perhaps named “No Sign of Weakness” if we believe some cryptic messages sent to his fans before Christmas), promises to explore new horizons and unprecedented spirituality in his music. “It’s extrospective,” he reveals. “It’s not just about me but about looking outward, reflecting on the world, and how my experiences connect to the bigger picture. It’s about growth, understanding, and challenging perceptions while staying true to who I am.”
The Pillars of His Life
He supports organizations like R.E.A.C.Hng that work with disadvantaged communities in Nigeria and created the ProjectPROTECT fund which helps those wrongfully detained in cases of police violence. “I’ve been blessed,” he acknowledges, “and I believe it’s my responsibility to use my platform to uplift others.” Politics permeates Burna Boy’s tracks, particularly through his songs “Wetin Man Go Do” and “Another Story.”
This social consciousness comes with a deep sense of family. His mother Bose and sister Ronami play crucial roles in his career. “They’re my pillar,” he affirms. “They understand me not just as an artist but as a person, and they push me to be the best version of myself. Working with them is natural because we share a bond and a vision that goes beyond business. It also has its headaches as do all relationships but I’m the better for it.”
As his French fans await a historic show at the Stade de France, Burna Boy more than ever embodies an era where African music dictates global trends. But it’s almost carried by an uncontrollable wave that his eighth album arrives, to once again redefine the limits of the genre.
Burna Boy
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Billboard is making its way across the pond for an expansion of our THE STAGE at SXSW concert series, this time at SXSW London. The show will feature a performance by two-time Grammy-winning superstar Tems. The event will take place June 5 at the iconic Troxy in Shoreditch, London. “We’re excited to bring one of Billboard’s […]
AfroFuture, a global entertainment platform dedicated to celebrating the diverse culture and work of the African diaspora, and Bedrock will host AfroFuture Detroit this summer, Billboard can exclusively announce Monday (Feb. 3). The highly anticipated U.S. debut of the festival will take place on Aug. 16-17 at Bedrock’s Douglass Site, at the corner of Alfred […]
More African artists are coming for the global spotlight in 2025.
Qing Madi, who was featured on Billboard‘s 21 Under 21 list last year and has been featured on Spotify and Genius‘ 2025 Artists to Watch lists, readied fans for her debut album I Am the Blueprint, which dropped Friday (Jan. 31) with her romantic single “Akanchawa” arriving right in time for Valentine’s Day. Darkoo pays homage to P-Square and late 2000s Afrobeats on her new club jam “Focus on Me (All the Sexy Girls in the Club).” And Teni and Black Sherif get in their introspective bag with their new singles “Money” and “Lord I’m Amazed,” respectively.
We’ve also changed the name of our column from “Afrobeats Fresh Picks” to “African Fresh Picks,” to be more inclusive of artists coming out of the continent whose music exists beyond the borders of “Afrobeats.” While we’ve always featured African artists who’ve made alté, amapiano, highlife and more styles of music, we want that to be reflected in the title, too.
We’ve highlighted 10 of our favorite new songs by African acts that have come out roughly within the last month. Check out our latest Fresh Picks, and get the new year started with our Spotify playlist below.
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Darkoo, “Focus on Me (All the Sexy Girls in the Club)”
Following her frothy summer banger “Favourite Girl” — which is nominated for song of the year at the 2025 MOBO Awards — British-Nigerian singer Darkoo gets the new year and all the parties started with “Focus on Me (All the Sexy Girls in the Club.)” The infectious waist-whining anthem samples P-Square’s 2009 hit “Gimmie Dat” for a nostalgic Afrobeats vibe, while the accompanying music video pays homage to the iconic Nigerian duo’s 2007 “Do Me” visual.
Qing Madi, “Akanchawa”
Qing Madi is giving all her love to someone special on “Akanchawa,” which arrived before she released her debut album I Am the Blueprint today via JTON Music. “Akanchawa” is an Igbo word meaning “good hands” or “hands that bring good things,” and she’s beyond grateful to have this love come into her life. And Marvey’s mellifluous production enhances the sweetness of the song.
Nasty C, “For Certain”
Nasty C gave his fans “a little gift” at the end of 2024: the sizzling single “For Certain.” The South African rapper touts his cool factor while reflecting on the importance of legacy when he asks, “What is your reason for breathin’?” and “What you go leave when you leavin’?” in the first verse.
Mabel & King Promise, “All Over You”
After collaborating with Afroswing king Kojo Funds and Ghanaian rapper Black Sherif last year, Mabel teams up with Ghanian singer-songwriter King Promise on the tantalizing record “All Over You.” The duo craves an intimate exploration of one another, as Mabel sings, “That pillow talk is talking, please tell me some more/ Hands on mine, skin to skin, eye to eye.” As a fan of Asake’s right-hand producer Magicsticks, Mabel traveled to Lagos to make the song with him, according to a press release, and he makes his signature log drum-infused percussion and compelling crowd vocals loud and clear on “All Over You.”
DeJ Loaf, Runtown & Libianca, “Up Or Down”
Def Loaf recruits Nigerian singer-songwriter Runtown and Cameroonian-American artist Libianca for “Up Or Down.” Producer Cheekychizzy’s pulsating rhythm sets the tone for the topsy-turvy tune, as the Detroit rapper sings about loyally waiting for someone to come back around. Meanwhile, Runtown wants a girl for a good time but not a long time, and Libianca croons about loving someone with commitment issues.
Teni, “Money”
“They say money don’t buy you happiness/ Money can’t buy you love/ Money don’t fill this emptiness/ But I want all the money in the world,” Teni croons on her latest single, a piano ballad that’s a departure from the bops on her fantastic last album, Tears of the Sun. But the stripped-down song instead serves as a showcase for her vocals and songwriting, a simple yet deeply affecting entry into her growing catalog.
Black Sherif, “Lord I’m Amazed”
The Ghanaian MC continues sketching the story of his life through his latest string of fantastic singles — many of which have appeared in this column — and “Lord I’m Amazed” is the latest in that lineage. This is more contemplative than some of his higher-energy cuts, but it’s exactly that that sets it apart, as Sherif takes a moment to step back and reflect on the blessings in his life and how far he’s come. Even when he departs from his usual flow, no one sounds like him right now, which is the highest praise for an artist of his caliber.
Andy S feat. Sarahmée, “Dracula”
The sheer ferocity that storms through from Côte d’Ivorian rapper Andy S. on this track spans languages — she raps primarily in French — and cultures, as she and Senegalese-Canadian MC Sarahmée rip through this track, bringing high drill energy over an understated beat. The song appears on Andy S.’s brand new EP Born Ready, which is six explosive tracks of all different vibes, and is a fascinating introduction to a bright and promising artist.
Krizbeatz & Tekno feat. taves & Adewale Ayuba, “The Roof”
Veteran producer Krizbeatz took a turn as artist with his new album Daddy Daycare, and he tapped longtime collaborator Tekno to helm this track alongside saves and Adewale Ayuba. The simple hook dominates, but, perhaps unsurprisingly, it’s the production that really takes center stage, pulling from traditional Afrobeats drums, R&B stylings, amapiano log drum accents and electro undertones to craft a constantly-mutating beat that provides the perfect platform for the vocalists to groove over.
Carter Efe & Khaid, “PRAY”
Carter Eye may be best known as a comedian — certainly that’s where much of his social media energy lies — but his forays into music have borne fruit, too, first with the Berri Tiga-assisted “Machala” a few years ago and now most recently with this new cut with Khaid, one of the best young vocalists and hitmakers to emerge in the past two years. There’s not much that Khaid touches that doesn’t become an immediate earworm, and “PRAY” is no different — the rising singer is destined for greatness sooner rather than later, as his catalog keeps growing with hit after hit.
Nominees: Take It Easy (Collie Buddz); Party With Me (Vybz Kartel); Never Gets Late Here (Shenseea); Bob Marley: One Love – Music Inspired By The Film (Deluxe) (Various Artists); Evolution (The Wailers)
Technically, there are only two original reggae albums nominated here this year. Incredible.
Vybz Kartel and Shenseea scored their first career nominations for their own music this year with Party With Me and Never Gets Late Here, respectively, both dancehall records. Reggae legend Bob Marley is represented through the One Love soundtrack, which features covers of Marley classics from several artists, including Grammy winners Kacey Musgraves, Daniel Caesar, Leon Bridges and Wizkid.
Collie Buddz’s Take It Easy and The Wailers’ Evolution are the remaining nominees. This is Buddz’s second nod in this category in as many years, while Take It Easy features contributions from Caribbean music giants such as Bounty Killer, B-Real and Demarco. The Wailers — formed by former members of Bob Marley’s backing band — are nominated with Evolution, which hit No. 5 on Reggae Albums.
As previous nominees, Shenseea and The Wailers are likely the frontrunners here, but keep an eye out for Vybz Kartel. Last summer (July 31, 2024), the King of Dancehall walked out of prison a free man after serving 13 years of a now-overturned life sentence for the murder of Clive “Lizard” Williams. By New Year’s Eve, the legendary deejay mounted Freedom Street — his first performance since his release, and the biggest concert the country had seen in nearly 50 years. Though Party With Me lacks an all-out smash à la “Fever” and “Clarks,” Kartel’s narrative may prove too irresistible for any of his competitors to put up a fight. The Freedom Street concert dominated social media, but it happened near the very end of the voting period (Jan. 3), when many voters had presumably cast their ballots already.
Shenseea is probably his stiffest competition here. Never Gets Late Here reached No. 4 on Reggae Albums and incorporates notes of pop-dancehall, R&B, rap, Afrobeats and, most importantly, reggae. With Grammy-approved producers like Di Genius, Tricky Stewart, Ilya, Stargate and London On Da Track in tow, Never Gets Late Here could muster up enough support to pull ahead of Worl’ Boss.
Nonetheless, there’s also a scenario in which Marley’s legend and the film’s box office success lifts the One Love soundtrack to a victory — even if the more exciting win would be Buddz’s project. Traditional reggae projects tend to triumph here anyway, which counts against Kartel and Shenyeng despite their strengths elsewhere.
Prediction: Vybz Kartel, Party With Me
Look Out For: The Wailers, Evolution
As we come to the end of 2024, it’s a good time to look back at all the great music that has come out this year, with December rounding out the past 12 months on another high.
And 2025 is already looking promising, with Afrobeats heavyweights Burna Boy and Davido announcing their new albums No Sign of Weakness and 5ive, respectively, and entering rollout mode with their prosperous singles “Bundle By Bundle” and “Funds,” featuring Odumodublvck and Chike. It’s no surprise that Chloe Bailey, who’s been cuddling up with Burna in Lagos, is featured in the “Bundle By Bundle” music video. Meanwhile, there has been a ton of great music releases, including by highlife icons The Cavemen., Afrobeats legend Wande Coal, superproducers Sarz and Kel-P and a gorgeous reinterpretation of “Jerusalema” by the incomparable Angélique Kidjo.
We’ve highlighted 10 of our favorite new songs by African acts that have come out roughly within the last month. Check out our latest Fresh Picks, and get in the spirit of Detty December with our Spotify playlist below.
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SuperSmashBroz & Fave, “Shut It Down”
On the heels of her sophomore EP Dutty Love, Fave links up with Nigerian American sibling DJ duo SuperSmashBroz (Muyi Fre$co and Noma Nomz) on the slinky club single “Shut It Down.” “Lesson of the day: Don’t trust DJs, ‘cause all they do is play me,” she sings while continuing to tell off someone who lost her trust. But the irresistible Afrobeats production will send us straight to SuperSmashBroz’s booth to have them run it back.
Boj & Minz, “Sara Jay”
The alté pioneer cooks up a heater with Minz on “Sara Jay,” one of four new tracks featured on the Summerfornication deluxe edition of his 12 Summers album. Boj and Minz love their lavish bachelor lifestyle, and whichever girl understands they’re here for a good time and not a long time gets to enjoy their flashy whips and other pleasures. From Genio Bambino’s skittering beat to the catchy “Put your ass in a Murciélago” refrain, “Sara Jay” will have you coming back for more.
The Cavemen., “Medicine”
Nigerian highlife sibling duo The Cavemen, featuring bassist Kingsley Okorie and drummer Benjamin James, take your troubles away in less than four minutes with “Medicine.” The sweet antidote is composed of faded, dizzying horns, twinkling keys and jazzy percussion, making it livelier than its temperate B-side “Opportunity.” “In a world where all has been said, we have decided to end the year with a call to groove and reflect,” The Cavemen. said in a press release. “‘Medicine’ and ‘Opportunity’ explore the possibility of therapy in modern highlife. Both songs are a mix of two worlds heading in the same direction to uplift listeners.”
Tayc & Davido, “PrAy”
The Cameroonian-French crooner connects with Davido on the touching standout track “PrAy” from the former’s latest album TESTIMONY. Tayc wonders who’ll pray for him long after he’s gone, while Davido bodies his verse about maintaining his peace amidst life’s mystery. And their smooth R&B-tinged melodies have us in our feelings just like them.
Burna Boy, “Bundle By Bundle”
When Burna throws money in the club, he’s throwing it “Bundle By Bundle,” as evidenced by his new single that will be featured on his upcoming eighth studio album No Sign of Weakness. It’s an anthem of abundance, with Burna stacking his W’s and relishing in the lifestyle they’ve earned him. Produced by Telz, who worked on much of Burna’s 2020 Grammy-winning album Twice as Tall, the pulsing bass line and intoxicating rhythms will surely be blasting at every Detty December party, while its swelling orchestral flourishes make the African Giant sound truly larger than life.
Davido feat. ODUMODUBLVCK & Chike, “Funds”
Davido’s melodic and effortlessly creative hot streak of the past decade continues with this new track, which brings in both ODUMODUBLVCK and Chike to celebrate the high life, and what they plan on doing with the money they’ve accumulated — namely, “mismanage my funds on you,” as the hook states. The production is bright and airy, and matches the vibe effortlessly.
Sarz feat. Asake, “C’mon, Look!”
Super-producer Sarz returns with this propulsive, insistent beat that powers Asake’s flow perfectly — almost a spiritual successor to their collaboration on Asake’s latest album, with the Travis Scott-assisted “Active.” If Asake has proven anything this year, it’s that he’s one of the most versatile vocalists out there, and Sarz continues to provide him with production that allows him to stretch his horizons — with this being another great example.
King Promise & Tom Walker, “Eyes Dried Over”
King Promise has been on a great run of late, with his vocals standing out among his peers. This collaboration with the Scottish singer/songwriter Tom Walker represents him stepping out of the lane he carved so well on his album True To Self, and seems in line with the Ed Sheeran-assisted remix of Fireboy DML’s “Peru” that made such a big splash a few years ago. This song is an emotional ode to the healing powers of liquor to mask the pain of relationship drama — in other words, a timeless feel.
Wande Coal & Kel-P, “Old Soldier”
Another collaboration between Afrobeats icon Wande Coal and innovative producer Kel-P — the first since “Kpe Paso” nearly two years ago — produced, unsurprisingly, a serious gem of a song, with Kel-P bringing the vibes with a danceable groove augmented by staccato guitars, steadying keys and a horn section that pushes things forward, while Wande Coal floats over top MC’ing the party. A great feel for the end of the year.
Angélique Kidjo, “Jerusalema”
Kidjo is truly a legend, and her take on this track brings beauty and emotion to a song that positively overflows with it. The original, by Master C and Nomcebo, became a sensation when it was released several years ago, and Kidjo’s rendition — released as a single following her performance of the track at the reopening of Notre Dame cathedral — replaces the underlying pulse of the original with ethereal strings, slowing it down and bringing the deep feeling of it out in full force — particularly towards the end, when she digs deep and lets her voice truly shine.
Capping a banner breakthrough year, Tyla roars to No. 1 on the year-end Billboard U.S. Afrobeats Songs Artists recap for 2024. The South African singer, who finished at No. 14 last year, leaps into first place thanks to a flurry of hits from her self-titled debut album, released in March, and its runaway hit “Water,” which wraps the year as the No. 1 title on the Billboard U.S. Afrobeats Songs year-end chart.
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Tyla, who records for Fax Records/Epic Records, became widely known through “Water,” which reached No. 1 on the weekly U.S. Afrobeats Songs chart in October 2023, just in time for the 2024 chart year, which ran from the charts dated Oct. 28, 2023, to Oct. 19, 2024. The single drowned the competition and charged to a 51-week domination on the list during the chart year, stepping aside for only one week during that time, for Asake and Travis Scott’s one-week champ, “Active.”
Billboard’s year-end music recaps represent aggregated metrics for each artist, title, label and music contributor on the weekly charts dated Oct. 28, 2023, through Oct. 19, 2024. The rankings for Luminate-based recaps reflect equivalent album units, airplay, sales or streaming during the weeks that the titles appeared on a respective chart during the tracking year. Any activity registered before or after a title’s chart run isn’t considered in these rankings. That methodology details, and the October-October time period, account for some of the difference between these lists and the calendar-year recaps that are independently compiled by Luminate.
After “Water” opened the gates, Tyla’s self-titled debut album reinforced her standing on U.S. Afrobeats Songs, where 10 of the album’s standard edition’s 14 tracks reached the chart. In addition to “Water,” three more tracks land in the top 10 on the year-end recap: “Truth or Dare” (No. 4), “Jump,” with Gunna and Skillibeng (No. 5) and “Art” (No. 9).
Tems, the top U.S. Afrobeats Artist two years ago, comes in at No. 2 on the 2024 edition thanks to the impact of her anticipated full-length debut, Born in the Wild. The set, released on Since ‘93/RCA Records in June, produced 15 charting titles on the weekly U.S. Afrobeats Songs chart, including three different tunes that each peaked at No. 3: “Me & U,” “Love Me JeJe” and “Not An Angel.” The foremost pair’s extended trajectories help them finish at No. 3 and No. 7, respectively, on the year-end rankings.
Notably, with “Water,” “Me & U,” “Truth or Dare” and “Jump” accounting for four of the top five year-end slots on U.S. Afrobeats Songs, the only non-Tyla or Tems song in the region is the 2024 runner-up, Rema and Selena Gomez’s “Calm Down.” The track, which reigned atop the 2023 standings, nabs the silver medal due to its steady streaming levels. Though the collaboration has waned from its highest point, when it set a record 59-week run atop the U.S. Afrobeats Songs chart, a consistent level of streams has allowed the single to remain within the chart’s top three positions for the entirety of the charting year.
With help from “Calm Down,” Rema captures the No. 3 spot on the year-end artist rank for U.S. Afrobeats Songs, though it’s not the sole reason for his success. The Nigerian performer debuted 16 additional songs on the list in the 2024 chart year, from both his November 2023 EP, Ravage, and 2024 full-length album, HEIS. Chief among them was “Yayo,” which reached No. 9 in July and became his third top 10 hit on the chart.
Last year’s champ, Burna Boy, picks up the No. 4 position on the 2024 year-end artist recap, largely through cuts from his August 2023 release, I Told Them…, continuing their chart runs into the year. Notably, the international superstar achieved a new top 10 – his 14th total – with “Higher,” which managed a No. 6 high in July.
Asake, meanwhile, rounds out the top five on the 2024 class for the U.S. Afrobeats Songs Artists chart. While a run of 14 top 10s had already established the 29-year-old’s chops, he finally unlocked the penthouse in August with his first No. 1, the Travis Scott collaboration “Active.” A-list pairings proved a winning formula for Asake, with further hits coming via team-ups with Wizkid on the No. 7-peaking “MMS” and Gunna (“Happiness,” also with Sarz) and Central Cee (“Wave”), which both reached No. 8.
While Afrobeats has been hailed as Africa’s biggest cultural export, its growth on the continent is also cause for celebration.
The 2023 and 2024 IFPI Global Reports revealed Sub-Saharan Africa was the fastest-growing region in the world, with this year’s report documenting a 25% rise in music sales largely driven by increased adoption of paid subscription services (up by just under a quarter). And no other streaming service has been as innovative and effective at expanding their reach on the continent as Audiomack.
The company has been applauded for bolstering artists with user-friendly promotional and analytics tools while providing fans with a solid discovery experience, and its unparalleled work in Africa has been critical in the rise of Afrobeats and other genres on the continent. Audiomack opened its first African office in Lagos, Nigeria in 2020 and made three key hires, including Charlotte Bwana, who officially joined the company as head of media and brand partnerships and has since risen to vp of marketing, EU, Africa & MENA.
Bwana had been living in Nigeria at the time and working in Audiomack’s ambassador program, where she met with and onboarded artists onto the platform and continued expanding its Afrobeats division through social media marketing, idea generation, playlist curation and outreach to major labels, artist managers, booking agents and more. Once travel was allowed after the pandemic, Bwana “literally backpacked across Africa – Nigeria, Ghana, Tanzania, South Africa – doing Audiomack masterclasses, meeting artists and teaching them Audiomack one-on-one but also about the entertainment business,” she tells Billboard. “Somebody said to me, ‘A lot of companies are companies in the cloud, but you are a company that exists, we can actually meet you and shake your hand and call you on the phone. The difference between you and many other streaming companies is your availability.’”
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Bwana emphasizes that that “human touch” element has significantly helped scale Audiomack, which is the No. 1 music streaming app on Apple’s App Store in 22 African countries — including Ghana, Nigeria, Rwanda, Tanzania and Zimbabwe — and the No. 1 music streaming app on the Google Play Store in Gambia, Ghana, Liberia, Nigeria and Sierra Leone. According to the company, in Nigeria alone Audiomack boasts 15.3 million monthly active users and 4.9 million daily active users and has racked up 58 billion total Afrobeats streams since 2020.
While the streamer hasn’t added more offices on the continent outside of its Lagos headquarters – which now has 12 people across its social media, graphic design, curatorial, business development and content operations departments – it has deployed ambassadors in additional countries like Kenya, Rwanda and Uganda. Those ambassadors help Audiomack better navigate the African market with “ideas of which artist is popping, which sound is buzzing in this territory, what the scene is like [and] what artists should we be focusing on,” Bwana explains.
Audiomack has also had to focus on tackling two key issues that hinder the platform’s mission to democratize streaming on the continent – the first being accessibility. “In Africa, before we talk about affordability of music, we have to talk about accessibility. A lot of people couldn’t access music in the first place, and Audiomack opened that door… and reshaped the landscape of the African music industry,” Bwana says.
In 2021, the streaming service partnered with MTN Nigeria, the fastest 5G network in West and Central Africa, to introduce the Audiomack+MTN Data Bundle program. Through the program, the company offered the more than 76 million MTN subscribers tailored data bundles, allowing them to stream unlimited music and access Audiomack content without the hassle of data charges. This year, the partnership expanded with the Audiomack+ subscription program, which offers MTN subscribers seamless access to premium Audiomack content – including uninterrupted streaming and offline downloads – through three flexible subscription plans. “We have a monthly subscription, a weekly subscription and a daily subscription, because we figured that people sometimes just buy premium for the day,” says Bwana, adding that 41% of Audiomack users use MTN. “They don’t need it for a month, or they can’t afford to pay that for the month. But if a big artist drops an album today, and they just want to listen to the album, they just pay for premium for the day.”
Still, Africa’s low internet penetration rate poses a problem for users without MTN coverage. According to the International Telecommunication Union’s Facts and Figures 2024 report, just 38% of the continent is able to use the internet, while only 11% have access to a 5G network. Bwana notes that offline downloads are “everybody’s favorite feature” on the app, with Audiomack reporting 1.9 billion offline downloads since 2020. “You’re able to listen to the music on the go whenever you’re not connected,” she says. “This is a premium feature for many DSPs, and for us, it’s a feature that you still can access on the ad-based tier.”
Charlotte Bwana
Courtesy of Charlotte Bwana
This gets to the second major hurdle Audiomack has been tackling: payment. While the company is making sure its different subscription models are suitable for African users’ limited internet access, it’s also ensuring the payment methods are just as convenient. “In Africa, [there are] 54 different countries, and you’re working with many currencies. As you’re scaling a business, you have to figure out how to accommodate the entire continent,” says Bwana. “Seventy percent of the population [in South Africa] is banked, so they have access to credit and credit cards, and they can pay for stuff online. Then you go to Kenya, where everybody uses mobile money. With every country that I’ve been to, not only am I talking to the artists to market them and create content, but I’m also talking to telcos and fintechs and trying to figure out payment systems so we can make it seamless for people to pay for music.”
Last year, Audiomack partnered with Flutterwave, Africa’s largest payment network, to leverage its expertise in secure and reliable payment processing so artists can “monetize their art effectively,” Audiomack CEO/co-founder David Macli said in a press statement. Audiomack can reach even more users in Africa via seamless payment options, including bank transfers, local cards and mobile money. This year, the company also partnered with Carry1st, Africa’s leading mobile games and digital content publisher, to tap into its proprietary payment solution, Pay1st, so consumers can purchase their subscriptions using local payment methods including mobile money, popular digital wallets and bank transfers. “A lot of people on Audiomack are Gen-Z, they’re in that age where they’re discovering music but they’re also gaming,” says Bwana. “We were thinking of how do we bridge the gap between music and gaming, and also, how do we make sure that the artists are earning more royalties and being discovered even by the gamers.”
Outside of accessibility and affordability, artist discovery is another one of Audiomack’s priorities. The platform has been identifying the continent’s rising stars before they gain global recognition through Keep the Beat Going, an annual campaign that focuses on amplifying artists’ profiles and introducing them to new global markets through billboards in major cities, playlists, digital ads, creator workshops and more. Since its launch in 2022, Keep the Beat Going has highlighted 72 artists from Ghana, Tanzania, Nigeria, South Africa and Kenya, including Ayra Starr, Burna Boy, Rema and Uncle Waffles.
Aside from artists, Audiomack is also keeping its fingers on the pulse of new trends coming out of the continent. Bwana believes Nigerian street pop is the “next big thing,” as evidenced by Asake and Seyi Vibez’s success on the platform. The latter is the most streamed artist in Nigeria, accumulating 1.4 billion plays on Audiomack since 2020, while the former is a close second with 1.2 billion plays. To date, Asake’s 2023 album Work of Art is the most streamed Afrobeats album on the platform with 476 million plays, while his hit “Lonely at the Top” from the album is the most streamed Afrobeats song on Audiomack with 87 million plays.
“We have a lot of people achieving their first hundred thousand or million streams on Audiomack,” says Bwana. “[We’ve] accommodated both listeners and artists, and this is what really sets us apart from a lot of the other streaming platforms.”
Davido announced on Thursday (Dec. 5) that he’ll release his fifth studio album, aptly titled 5ive, in 2025. “This one is straight from the heart – my story, my truth, my growth,” he wrote on Instagram. And the Nigerian-American superstar’s album rollout is well underway since he will be releasing the first single, “Funds” with […]