afrobeats
African female artists have been killing it this month. A week after Ayra Starr dropped her new single “All the Love,” she became the first African female artist to win best international artist and first female artist to win best African music act in 16 years at the 2025 MOBO Awards. And Tems‘ record-breaking domination continues, with her becoming the first Nigerian to win two Grammys, after taking home the trophy for best African music performance with her “Love Me JeJe” single, becoming the first African woman to be involved in MLS ownership when she joined San Diego FC’s ownership group as a club partner, performing at Aston Martin’s 2025 F1 livery unveiling in London and becoming the first African female artist to have a song hit 1 billion Spotify streams with Future‘s “WAIT FOR U,” also featuring Drake.
Just days after Tems made Spotify history, Tyla became the first unaccompanied African soloist to enter Spotify’s Billions Club with her 2023 breakout smash “Water,” and she’s been making a major foray into the fashion world by covering British Vogue and signing an endorsement deal with Nike. And Qing Madi — who’s been featured on countless publications’ Artists to Watch lists this year, including Billboard‘s — asserts her dominance while diving deeper into the intricate matters of the heart with her debut album I Am the Blueprint. “You can tell that this is coming from a teenager, someone who’s lived a certain life and is trying to open her heart to the public,” she told Billboard in her recent African Rookie of the Month interview.
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British-Nigerian quiet storm icon Sade‘s power remains potent, as Rema sampled “Is it a Crime?” on his latest single “Baby (Is it a Crime),” which he confirmed was coming when he was photographed leaving Amoeba Records in Hollywood, Calif. with the English band’s Promise vinyl. “Baby (Is it a Crime)” peaked at No. 3 on U.S. Afrobeats Songs and No. 4 on World Digital Song Sales.
And there is plenty more that has happened in an action-packed month, with big new singles from the likes of Black Sherif, L.A.X., Shallipopi and an energetic new EP from Seyi Vibez, among others. 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 catch a vibe with our Spotify playlist below.
Rema, “Baby (Is It a Crime)”
Three months after Rema set the internet ablaze with his sizzling snippet of “Baby (Is It a Crime)” — which samples Sade’s 1985 smooth jazz classic “Is it a Crime?” — he finally dropped the full single. Produced by P. Prime, Sade’s soulful, timeless vocals weave in with Rema’s suave, refreshing vocals in this sultry Afrobeats banger as he reminds his lover that he treasures her and will even shower her with treasures (“Buy you a Birkin matching my AP color,” he sings in the third verse). “I’m a huge fan of Sade. I like the peace her vocals give me. I was just in the studio, and I talked to my boy like, ‘Let’s see how we sample some of her stuff.’ Played around with a couple of stuff until we found this one,” the Heis hitmaker told Complex on the 2025 Grammys red carpet.
Qing Madi, “Feeling Alright”
Qing Madi expresses unwavering love on her “Feeling Alright” standout track from her debut album I Am the Blueprint. As a young woman navigating money and fame, Madi reflects how much heedfulness and resilience romance requires over Wademix and Ozediku’s feelgood production. “It’s an anthem about loyalty and the quiet strength found in standing by a friend or significant other, irrespective of the circumstances,” she explained on Instagram.
Beeztrap KOTM, Sarkodie & Kwesi Arthur, “BANG BANG BANG”
Beeztrap KOTM makes the club go “BANG BANG BANG” with fellow Ghanaian rappers Sarkodie and Kwesi Arthur. He interpolates R. Kelly’s 1996 Grammy-winning hit “I Believe I Can Fly” while flaunting his larger-than-life moves, and Sarkodie and Arthur’s distinct flows float over Kwame Agger’s spirited drill production.
Lojay, “Somebody Like You”
Lojay – who earned his first Grammy nomination this year for best African music performance with Chris Brown’s “Sensational,” also featuring Davido – searches for a different kind of validation by chasing “Somebody Like You,” the first single from his forthcoming debut album. His “Monalisa” collaborator Sarz’s sublime Afropop production sets up Lojay’s “Summertime in Abuja” opening line as he reminisces on past heartbreak and clings on to “the hope of healing and finding love again,” he said in a press release.
Ruger, “Jay Jay”
Ruger likens his slick, Lothario schemes to Nigerian football legend Augustine Azuka “Jay-Jay” Okocha’s Machiavellian dribbling and stepover tactics on his new single “Jay Jay.” The Afropop star cautions any girl who’s trying to get with him that he’s only here for a good time, not a long time, especially with the first lyric: “If ah girl worry me, I delete her/ Put her inside the bin bag.” But his right-hand producer Kukbeatz’s playful beat complements Ruger’s tongue-in-cheek bad boy nature.
Seyi Vibez, “SHAOLIN”
The Nigerian street MC returned with an insistent new EP, Children of Africa, and “SHAOLIN” is the undeniable breakout of the set. The track is bursting at the seams with barely-contained energy, a microcosm of his entire career to this point, and it has a frantic video that accompanies it perfectly.
L.A.X., “Lockdown”
L.A.X.’s sound is always defined by its musicality, and the layered guitars and horns on this track continue that tradition. “Lockdown” itself is a song about the highs and lows of love and the depth of emotion that comes with it; as a singer, he’s defining his lane with each release, showcasing a feel for melody that sets him apart from many of his peers.
Black Sherif & Fireboy DML, “So It Goes”
Black Sherif has been on a heater with his singles lately, as he gears up for his forthcoming album IRON BOY, and this collaboration with Fireboy DML softens some of his rougher edges without losing the depth of feeling he manages to convey consistently. Fireboy’s melodic flow complements him perfectly, too, and the hook is a memorable addition to his growing catalog.
ODUMODUBLVCK & Victony, “PITY THIS BOY”
A track that shows off another side of ODUMODUBLVCK, who has so far in his career defined himself through frenetic energy and breakneck verses, “PITY THIS BOY” finds him taking a deep breath and sitting in the pocket more, showcasing the versatility in his flows. And Victony — who broke out with the distinctive earworm “Soweto” in the last few years — helps to underline that vibe; the two have some of the most recognizable voices in the world of African music right now, and this link up puts a spotlight on each of them.
Shallipopi, “Laho”
There’s something sinister yet alluring about the feel of “Laho,” a track that almost oozes and seeps into the consciousness. Shallipopi exudes cool over the beat, not trying to do too much with it, which is what makes the listener keep coming back for more. He’s one of the more creative talents on the scene right now, and just about every release is worth dissecting at this point.
Billboard is expanding its Rookie of the Month interview series by highlighting rising stars from more genres like dance and rock. But the new crop of artists emerging out of the African continent have continued making it clearer that their music can exist beyond the borders of “Afrobeats” and should not be broadly and lackadaisically labeled as such. “It has African intonations in it,” Tems said of her genre-bending music during her Women in Music interview last year.
Like Tems, many African artists have discovered one-of-a-kind ways to express themselves that cannot fit into one box while staying true to their roots. And Billboard is dedicating a spotlight to them through our new African Rookie of the Month series, which Odeal kicked off in January and Qing Madi is continuing in February.
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Qing Madi learned in high school that “the only reason a queen exists is because of the king.” But her majestic moniker – pronounced “King” and spelled with a “Q” to symbolize her femininity – honors her rapid ascent in the African music space, and foreshadows her lasting reign.
Upon graduation, the Benin City native (real name Chimamanda Pearl Chukwuma) moved to Lagos with her family and started writing songs for the country’s stars like Skales, Iyanya and Larry Gaaga. While she was grateful her pengame paid the bills, she also posted covers on TikTok and freestyles with guitarist and producer Wademix on Instagram. “He created this safe space where I could create my music even though I didn’t have a platform or anyone that was going to download it,” Madi, now 18, tells Billboard at Soho Warehouse in downtown Los Angeles, California.
One day, she went to the studio to record backup vocals for Blaqbonez, and his producer Ramoni played her the beat’s warped acoustic guitar loop and subtle trap hi-hats. Madi asked Ramoni if she could freestyle over it, and her poignant debut single “See Finish” was born in 2022. “I never put out anything original, because I wasn’t bold enough and didn’t think people would like it,” she told Billboard in an interview last year.
The viral TikTok success of “See Finish” eventually landed Madi a label deal with JTON Music and Columbia Records via BuVision. With only three singles to her name – “See Finish,” “Why” and the saucy standout “Ole” – Madi opened her “Ole” collaborator BNXN‘s six-date U.S. tour in October 2023, before dropping her eponymous debut EP the following month. The seven-track project melds her sweet R&B melodies and innocent, imaginative lyricism about embracing love and what the future holds while not letting her enemies get the best of her with irresistibly smooth Afropop production. “Vision” – a mesmerizing Afrobeats/R&B track Madi believes is “the most perfect thing I’ve ever written” – received an even dreamier remix treatment from her Columbia labelmate Chlöe for the deluxe edition of Qing Madi.
But for her debut studio album I Am the Blueprint, which dropped at the end of January, there’s only room for the Qing. She’s self-assured in the artist she’s always meant to become, and incredibly in tune with her emotions when it comes to love.
“You can tell that this is coming from a teenager, someone who’s lived a certain life and is trying to open her heart to the public,” she says. “My music is euphoric, it’s timeless. It’s going to live 100 years, even when I’m gone.”
Below, Billboard speaks with February’s African Rookie of the Month about the years-long journey of making I Am the Bluepint, the meaning behind her blue motif, how “The Rumble in the Jungle” inspired her single “Ali Bomaye,” and why “love songs are the easiest songs to write.”
My first question has to be about Kendrick Lamar’s Super Bowl halftime show performance since you’re a superfan of his. What did you think about it?
There were a lot of things were I was like, “Kendriiick.” I liked the Easter eggs, especially with the [Laughs] “A minor” necklace. I liked the coordination of Uncle Sam. There was a lot of stuff I pinpointed and was like, “Wow, this is so tough.” I like the fact he didn’t start with “Not Like Us,” because that was such an expected move. It was so sick.
When did you know music was your calling?
I genuinely believed songwriting was my calling because I loved it so much. I liked impressing other people because I would sing what I had written and everyone was like, “Oh, this is so sick!” I felt fulfilled. I never had stage fright, I was quite confident, but I didn’t think the world would put me in a position where I had to sing my own lyrics. But when I blew up on TikTok, and I got signed and started performing, I was like, “Ooh, this is definitely what I’m meant to do.”
I read in your OkayAfrica interview that you were “very jealous” of people who got to sing your lyrics, because “people appreciated it way more, because they had a familiar face in front of it.” How did you eventually transition from songwriter to the stars to a star in your own right?
It was really God — because originally, I hated the fact that I couldn’t really be a face to my music. I felt like I was selling a part of me, and I couldn’t argue with it because I was getting money off of it. But then I was always intimately hurt by the fact that I couldn’t really say, “Yo, these are my lyrics you’re singing!” I didn’t think it was possible, because at the time I was doing all of this, there wasn’t a lot of African female artists that were being appreciated. This space was very small for us. Once the new people started popping up, and I popped up, I was like, “Oh, OK, y’all letting us in? Thanks.” [Laughs.]
What kind of music did you grow up listening to, and how did that influence the music that you make?
I grew up listening to Kendrick Lamar, Brandy and a lot of other artists that I’m not even certain I know their names, because I lived next to a bar [that] used to play music all night. I would fall asleep to ‘90s R&B. And then I fell in love with rap music. Because of how much storytelling Kendrick has in his songs, I always want to think my songs should have a direction, a storyline, a target. I’m trying to hit a particular nerve or emotion. I’m like, “OK, if I’m writing a heartbreak song, there has to be a reason, a subject and a person.” I also listened to a lot of Wande Coal – he’s an African GOAT, melodic genius.
And what kind of music do you listen to now?
Kendrick Lamar. I was listening to GNX, DAMN., To Pimp A Butterfly. It’s a nostalgia thing, because I grew up on him. Listening to him puts me back in Benin [City], in that house.
You’ve also sung background vocals for other artists. How did you get on Wizkid’s 2023 “Diamonds” track?
My friend P. Prime called me and told me he needed assistance on a particular record. I pulled up to put my vocals on the song — but when I got there, I met Wizkid and Wande Coal. I was like [nervously chuckling], “Hi.” That is such a random thing to do on a Tuesday. Growing up, [I was] in school and trying to have discussions about these artists, and now I’m right in front of them [and] on their songs. It was an insane feeling.
They really did a good job of making me feel comfortable. [Wizkid] vocally led me on what he wanted, because he knows exactly what he wants on his record. He loved it, he was like, “Yeah, this is it. It’s perfect.”
How did you get Chloe on the “Vision” remix?
For my deluxe, I remember my team saying we have to get a feature on a record. And I’m like, “Oh, ‘American Love.’” And they were like, “No, no, no, no. We can’t hear nobody on it. We want to get a feature for ‘Vision.’” At the time, I was like, “I cannot hear anybody on ‘Vision.’ That is my baby, do not put nobody on that record.” I was so against it. Then they went ahead and reached out to Chloe’s team and sent her the record. She recorded her verse, and they sent it to me.
I loved it a lot, I can’t even lie. I was like, “Wow.” I never thought anyone would sound good on ‘Vision’ ‘cause it’s such an alternative track, and I’m like, “What are you going to add to it? It’s perfect.” But she really brought out a different perspective, and because she’s an R&B-based artist, it was such a perfect blend.
When you toured the U.S. for the first time with BNXN in 2023, how was seeing your fans live and the way they received your music?
It was great. I had never traveled to America before in my life, so [it’s] my first time in America and I’m going on tour. I got to meet fans, like, “How do people even know me?” I was shocked.
BNXN [is] the best big brother in the entire world. He would always hype me up on stage and say, “Everybody say, ‘Go Madi! Go Madi!’” It was less of a performance and more of a family reunion. It felt great being on stage and knowing that music is beyond my geographical area. The world is actually paying attention.
What’s your favorite place that you’ve performed at, and why?
Uganda. It was my concert, and as a new artist, that is an insane thing to do. Having a whole country that I’ve never been to – I don’t have any relatives from there, I don’t know anyone from there, it’s a place that is so alien to me – and receiving so much love, it’s definitely a significant place in my mind.
Take me back through the making of your debut album I Am the Blueprint.
There are songs from different versions of me as a person. There are songs I wrote when I was 14, when I was 16, when I was 18. I’m 18 now. It’s like a letter to myself. The first record is called “Bucket List.” It’s me prophesying a bunch of things I want to achieve, and saying, “I hope I become that artist.” And the last record is called “Right Here.” It’s me being more confident and being like, “I’m that artist.” It’s a confirmation.
I Am the Blueprint is a journey of me growing to discover that I am the blueprint. It doesn’t start with so much confidence. It starts with this 14-year-old girl confirming that, “This is who I am, this is who I believe I am” — and it ends with this is who I’ve become.
Explain the blue motif that’s not only been central to I Am the Blueprint but your overall aesthetics, from your hair to your style.
According to my mom, I’ve loved blue since I was literally conscious. It’s funny, because I was born left-handed, so she would beat my hand and tell me, “No, no, you’re doing things the wrong way. You’re supposed to use your right hand. Pink is for girls.”
I never changed. Every time, I’d be like, “I want it in blue.” Whenever I talk about blue or I implement blue in my hair or my album, it’s me putting in that little piece of me, that younger version of me, in everything I’m doing. If I have blue hair, I’m trying to say Chimamanda is still there. That blue is a remembrance of her.
Love plays a paramount role in this album, from feeling that intense chemistry for the first time with someone special on “Goosebumps” to questioning if your feelings are even valid or reciprocated on “It’s a Game.” Are you singing from personal experiences, or where does your source of inspiration come from?
Love songs are the easiest songs to write, because when I used to write for other artists, I prioritized putting myself in different people’s situations because they were very specific. They would say, “I want to buy a love song about this,” and tell you exactly what they wanted. I play with it sometimes. I have songs like “Ole” that talk about wanting another person’s partner. I’m like, “How crazy would it be to talk about love from this perspective?” So when it comes to love songs, it’s just me playing with my imagination and trying to talk about love in every way possible because it’s such a broad topic.
Considering this album reflects the emotional roller coaster that comes with being in a relationship, how did you figure out the sequencing of the tracks?
I purposefully arranged them to tell a story. We have “Bucket List,” “Ali Bomaye” and “Akanchawa,” and you can tell that slowly this person is growing from a very positive, energetic person to a very rage-filled person. From there, you slowly lurk into songs like “Pressure” and “Damn It All” that are so aggressive that you’re like, “Where does she come from?” In the beginning of the album, it was so welcoming and we’re just trying to lure you into this person who was so sweet and saw the world from this angle, and now she’s growing into realizing not everyone is as pure as she imagines.
It’s a journey of my emotions as a person and how I’ve seen life. The album sequencing is very intentional. I feel like we got the perfect arrangement to tell that story.
“Ali Bomaye” is derived from the chant yelled during Muhammed Ali and George Foreman’s 1974 match in Zaire (now called the Democratic Republic of Congo), also known as “The Rumble in the Jungle.” How did you find inspiration from that?
I learned that in school, and I was like, “That is so tough.” Having a word that is so significant to a violent sport put into love was something I thought would be so sick. Some people say, “You knock me off my feet,” like the wind. And I’m like, “You knock me off my feet,” because literally he knocked his opponent off. It’s wordplay for me — and then, obviously, referencing the legend Muhammed Ali is. It shows how deep in knowledge I am about being descriptive about my love toward you.
If you grew up in Lagos, Lagos is such a busy place, everything is always on the go. The record “Ali Bomaye” is about living in this place where there’s so much stress — but when you meet that person, it just knocks you off your feet.
BNXN, Chloe and Kizz Daniel were all featured on the deluxe version of your self-titled EP last year. Why did you decide to not have any features on I Am the Blueprint?
With the album, I really wanted to be selfish. I wanted to show the world, “This is about me. This is not about any other artist.” There are so many artists that would have sounded so great with a lot of the records, but I’m more concerned about showing you who I am. It’s a statement, it’s a movement, it’s a whole confirmation. That’s the artistic part of it.
On the business side, you could put a bunch of artists and say it’s for promotion. But I’m a true artist — I really care more about making sure that my message is heard and I’m able to accomplish the artistry I’m going for.
“Bucket List” mentions some things on your bucket list that you want to accomplish, like winning a Grammy and buying your mom a mansion. What else is on your bucket list?
Definitely tour. I want to go on tour so bad. There are so many countries I’ve never been to, and the fact that I’m not going as a regular person is intriguing to me. I want to meet my fans all over the world. I would try different aspects of art – acting, maybe screenwriting.
What’s been the biggest “pinch me” moment of your career so far?
Naomi Campbell followed me on Instagram. I was like, “No freaking way!” And then I saw she commented, and I was like, “OK, stop.” It was a lot for me, because it’s Naomi Campbell.
Who would you love to collaborate with this year?
I would love to collaborate with Wande Coal, Fave, Chris Brown, Billie Eilish. Kendrick Lamar. I would love to collaborate with him for sure.
What’s next for Qing Madi in 2025?
More collaborations — so many surprises that me and my team are working on. I can’t wait for the whole world to be a part of it.
Rema, Ayra Starr and Tems are among the top nominees for the 2025 Headies Awards, a pan-African music awards event set for April 5 in Lagos, Nigeria. This will mark the show’s return to Africa after holding its last two ceremonies in Atlanta. The Headies Awards will be livestreamed on YouTube (U.S.) and Hip TV (Nigeria).
Odumodublvck is the top nominee with eight nods. Rema and Ayra Starr each received seven. Tems, Shallipopi and Kizz Daniel each have six.
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Wale, Skepta, Chris Brown, Travis Scott and Chloe Bailey are vying for international artist of the year.
“We are so excited about this year’s Headies Awards,” Ayo Animashaun, executive producer and founder of The Headies, said in a statement. “Our stellar lineup features dynamic artists from around the globe who have impacted their audience and the industry.”
To mark its return to Africa, The Headies Awards introduces The Headies Festival with a series of activities showcasing the best of Afrobeats and hip-hop music, entertainment and culture. The event schedule will commence on March 29, featuring events such as The Headies Stakeholder Brunch, Official Nominees Party, U.S. Consulate Reception and Afrobeats Conference and will climax with the Headies Awards ceremony.
The Headies Awards, originally called the Hip Hop World Awards, was established in 2006 by the Hip Hop World magazine of Nigeria to recognize outstanding achievements in the Nigerian music industry.
Only music materials released and distributed on digital streaming platforms, and physical music media within the eligibility period (April 1, 2023, to July 31, 2024) were considered for nominations.
Here’s the complete list of nominations for the 2025 Headies Awards. For more details, visit https://theheadies.com.
Artiste of the year
Davido
Ayra Starr
Asake
Rema
Tems
Burna
Song of the year
“Showa” – Kizz Daniel
“Commas” – Ayra Starr
“Egwu” – Chike and Mohbad
“Lonely at the Top” – Asake
“Ozeba” – Rema
“Big Baller” – Flavour
Album of the year
Born in the Wild – Tems
Heis – Rema
The Year I Turned 21 – Ayra Starr
Stubborn – Victony
Work of Art – Asake
Rookie of the year
Zerry Dl
Taves
Kaestyle
Llona
Best recording of the year
Tems – “Burning”
Seyi Vibez – “Different Pattern”
Burna Boy – “Higher”
Ayra Starr & Giveon – “Last Heartbreak Song”
Sarz featuring Lojay – “Billions”
Best vocal performance (female)
Ayra Starr – “Last Heartbreak Song”
Niniola – “Level”
Simi – “Stranger”
Liya – “I’m Done”
Tomorrow – “Yemi Alade”
Best vocal performance (male)
Lojay – “Billions”
Omah Lay – “Moving”
Anendlessocean – “Gratitude”
Johnny Drille – “For You”
Timi Dakolo – “Ke Na Ke So”
Best collaboration
“Emotions” – Tiwa Savage Feat. Asa
“Blood on the Dance Floor” Odumodublvck, Bloody Civilian and Wale
“Cast” – Shallipopi feat. Odumodublvck
“Egwu” – Chike and Mohbad
“Ole” – Qing Madi and Bnxn
“Twe Twe” Remix – Kizz Daniel and Davido
“IDK” – Wizkid feat. Zlatan
International artiste of the year
Wale – “Blood on the Dance Floor” (Odumodublvck)
Skepta – “Tony Montana” (feat. Portable)
Chris Brown – “Hmmm” (feat. Davido)
Travis Scott – “Active” (Asake)
Chloe Bailey – “Vision” remix (Qing Madi)
Music video of the year
“Charm” – Rema (Rema X Perliks X Folarin Oludare)
“Metaverse” – Olamide (Jyde Ajala)
“Like Ice Spice” – Blaqbonez (Perliks & Emeka Shine Shine)
“Ojapiano” – Kcee (Mattmax)
“Egwu” – Chike & Mohbad (Director Pink)
“Showa” – Kizz Daniel (Tg Omori)
“Na Money” – Davido feat. Cavemen, Angelique Kidjo (Dammy Twitch)
Songwriter of the year
Simisola Kosoko – “Stranger” (Simi)
Chimamanda Pearl Chukwuma – “Vision” (Qing Madi)
Michael Ajuma Attah – “Can’t Breathe” (Llona)
Emoseh Khamofu – “Family Meeting (Bloody Civilian)
Fuayefika Maxwell – Stages of Life” (Wizard Chan)
Producer of the year
Sarz – “Happiness”
London – “Ozeba”
Magicstick – “Basquiat”
Rema/Producer X/Cubeatz/Deatz/Kilmberboy – “Hehehe”
Dibs – “Different Pattern”
Best R&B single
Qing Madi – “Vision”
Johnny Drille – “For You”
Simi – “Stranger”
Tems – “Burning”
Ayra Starr – “Last Heartbreak Song” feat. Giveon
Best rap single
“Cast” feat. Odumodublvck – Shallipoppi
“Blood on the Dance Floor” feat. Bloody Civilian & Wale – Odumodublvck
“Hallelujah” – Ladipoe, Rozzz & Morrelo
“Canada” – Magnito
“Ije Nwoke” – Jeriq
Best street-hop artiste
Seyi Vibez – “Different Patterns”
Ayo Maff – “Dealer” (feat. Fireboy Dl)
Shallipopi – “Cast” (feat. Odumodublvck)
Zhus Jdo – “Johnbull”
Mohbad – “Ask About Me”
Afrobeats single of the year
“Big Big Things” – Young Jonn feat. Kizz Daniel and Seyi Vibez
“Twe Twe Remix” – Kizz Daniel
“Egwu” feat. Mohbad – Chike
“Remember” – Asake
“Ogechi” remix – Hyce, Boypee, and Brown Joel feat. Davido
“Big Baller” – Flavor
Lyricist on the roll
Mogadishu – A-Q
Chocolate City Cypher – M.I Abaga
Chocolate City Cypher – Blaqbonez
Hallelujah – Ladipoe
Efeleme – Alpha Ojini
Best inspirational single
“Gratitude” – Anendlessocean
“Worthy of My Praise” – Dunsin Oyekan feat. Lawrence Oyor
“Good God 2” – Limoblaze feat. Naomi Raine
“Particularly” – Gaise Baba feat. Tope Alabi
“You Do This One” – Mercy Chinwo
Headies’ viewers’ choice
“Big Big Things” feat. Kizz Daniel and Seyi Vibez – Young Jonn
“Ogechi” remix feat. Davido – Hyce, Boypee, And Brown Joel
“Egwu” – Chike & Mohbad
“Showa” – Kizz Daniel
“Different Pattern” – Seyi Vibez
“Ozeba” – Rema
“Love Me Jeje” – Tems
“Cast” feat. Odumodublvck – Shallipopi
“Dealer” feat. Fireboy Dml – Ayo Maff
“Big Baller” – Flavour
Best West African artiste of the year
Black Sherif (Ghana) – “January 9th”
King Promise (Ghana) – “Terminator”
Himra (Ivory Coast) – “Coulibaly & Diabaté”
Josey (Ivory Coast) – “Venez Bouger”
Toofan (Togo) – “Tone”
Best East African artiste of the year
Bien (Kenya) – “Wahala”
Diamond Platnumz (Tanzania) – “Mapoz”
Juma Jux (Tanzania) – “Enjoy”
Bruce Melodie (Rwanda) – “When She’s Around”
Azawi (Uganda) – “Masavu”
Best North African artiste of the year
Mohamed Ramadan (Egypt) – “Arabi”
Elgrande Toto (Morocco) – “Maghribi”
Soolking (Algeria) – “Tiki Taka”
Balti (Tunisia) – “Dima Mechi”
Abu (Eygpt) – “Hollela”
Best Southern African artiste of the year
Titom (South Africa) –“Tshwala Bam”
Yuppe (South Africa) – “Tshwala Bam”
Tyla (South Africa) – “Water”
Kelly Kay (Malawi) – “Bana Pwanya”
Plutonio (Mozambique) – “Acordar”
Zee Nxumalo (South Africa) – “Thula Mabota”
Best Central African artiste of the year
Innoss’b (DRC) – “Sete”
Gaz Mawete (DRC) – “Dendisa”
Emma’a (Gabon) – “Biso Mibale”
Eboloko (Gabon) – “Satanana”
Singuila. (Central African Republic) – “Sin Saison”
Kocee (Cameroun) – “Credit Alert”
Best rap album
Sideh Kai – Illbliss
Eziokwu – Odumodublvck
Alaye Toh Se Gogo Vol. 1 – Reminisce
Family Time – Erigga
Shiny Object Syndrome – Modenine
Soundtrack of the year
Eledumare – Teledalese (Anikulapo: Rise of the Spectre)
Lose to Gain – Kaline (Breath of Life)
Kill Boro – Native Filmworks & Wizard Chan (Kill Boro)
Orisa – Beriola (Orisa)
Emotions – Tiwa Savage & Asa (Water and Garri)
Tribe Called Judah soundtrack – TCJ & Abbey Wonder (A Tribe Called Judah)
Next rated
Qing Madi
Shallipopi
Odumodublvck
Ayo Maff
Nasboi
Afrobeats album of the year
Stubborn – Victony
Work of Art – Asake
The Year I Turn 21 – Ayra Starr
Heis – Rema
Jiggy Forever – Young Jonn
Best performer (live)
Rema – Ravage Uprising: Rema Live From The O2, London
Omah Lay – Live at L’olympia Paris
Flavour – Celebrating You 2023
Wizard Chan – Live in Concert Port Harcourt
Burna Boy – African Giant Live From London
Femi Kuti & The Positive Force – Nuits De Fourvière (Arte Concert)
Digital artiste of the year
Ayra Starr
Rema
Shallipopi
Tems
Davido
Kizz Daniel
Asake
Special recognition
Kingsley Chinweike Okonkwo A.K.A Kcee
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
Xiaoyi Dai/Billboard France
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
Xiaoyi Dai/Billboard France
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.
Trending on Billboard
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.