afrobeats
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In the time since Nigerian Afrobeats superstar Rema dropped off 2022’s Rave & Roses, he experienced both the most staggering heights of crossover success and the vilest parts of the demonization of his culture in one fell swoop.
In 2023, “Calm Down” reached No. 3 on the Billboard Hot 100 and spent a record-setting 58 weeks atop U.S. Afrobeats Songs. The infectious, Selena Gomez-assisted track also reached No. 1 on the all-genre Radio Songs chart, making history for a song by an African lead artist. Then came his sold-out headlining performance at London’s O2 Arena later that year (Nov. 14, 2023), which sparked accusations of Satanism due to the imagery – in actuality, they were hallmarks of the Edo culture of his hometown of Benin City, Nigeria – employed during the show.
These two things – genuinely peerless success and the tension that lies in bringing hyperlocal culture to a global scale – are the driving forces behind Rema’s impressively daring and unequivocally infectious sophomore LP, Heis.
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Bearing a title that simultaneously calls to his Instagram handle (@heisrema), the Greek word for the number “one,” and the simplest proclamation of being, Heis finds Rema staunchly on the defensive. Gone are the sugary slow-wine tempos of Rave & Roses; here, Rema conjures up soundscapes – courtesy of an all-star production team that includes Producer X, Take a Daytrip and longtime collaborator London – that thrive in the darkness. Pounding, frenetic drums open the album, ultimately becoming the record’s anchor. Occasionally a tinny synth or a particularly piercing string arrangement will cut through the wall of sound, but the rollicking, militant drums are the dominant source of energy on Heis. And it makes sense: The drum – with all of its history and percussiveness – is the instrument the best symbolizes the Rema of Heis.
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Across the LP, Rema reclaims the “Satanist” narrative by doubling-down on the sounds and voice changes that first garnered those accusations. When he warps his voice into an obsidian baritone on “Ozeba” (“Emi ati awon guys e mi italawo, e mi itolowo/ Italawa, itolowo, ita, itolow, eh-eh”), it’s somehow both bone-chilling and tongue-in-cheek. He refuses to let go of his hometown’s history and culture despite being a global superstar; it’s an emphasis on regionality that mirrors similar conversations has across Black American music this year, from Beyoncé’s Cowboy Carter to Kendrick Lamar’s “Not Like Us.” “Everyone is chasing something that the whole world can enjoy… we’re listening to the voices of the world too much,” he said in a recent Apple Music interview. “We gotta listen to the voices back home to keep our roots. Our roots [are] very important.”
But the Rema of Heis also has an unmistakable chip on his shoulder. As hip-hop grappled with the standing of its Big 3 (Kendrick Lamar, Drake and J. Cole) this spring, Rema uses Heis to demand a spot in the conversation as it relates to Afrobeats. He’s already expressed his desire to expand the existing Afrobeats Big 3 (commonly understood to consist of Burna Boy, Davido and Wizkid) to a “Big 4,” and now he spends most of Heis demanding the No. 1 spot.
“March Am” opens the record with Rema’s trademark sinister laugh ushering in a high-octane drum pattern that soundtracks his bellicose calls to keep pushing forward. One of the most effective album openers of the year, “March Am” immediately establishes pidgin English as the album’s dominant tongue. “17, I dey dagbo, I dey crack code/ Now the prince of Afro,” he snarls in the first verse, before sing-chanting the “I dey march am” chorus against some stirring background strings. Taking notes from the painstaking worldbuilding of Playboi Carti, Rema’s vision of Afrorave is completely contingent on the blistering, unfettered energy that comes from people collectively giving their bodies over to the power of music. Heis begs to be experienced in a live setting; it’s as if Rema conceived the live version of each song before he even set foot in the studio. It’s dark and raucous and distinctly liberating; at long last, Rema has brought to life the “Afrorave” style that he’s long heralded, despite an initial lack of sonic identifiers.
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The only instrument as effective as the drums on Heis is Rema’s voice. Across the LP, the singer dives into the depths of his range, spending ample time in his icy baritone. Not only do his different vocal registers evoke different characters in his narrative — of recentering yourself after stepping into a new era of life — they also reveal Rema’s artistic maturation. Each shift in vocal delivery adds new textures to the 2010s Afrobeats-nodding instrumentation; instead of simply delivering lyrics, he morphs into his own instrument and weaves himself into every chord.
Pre-release singles “Hehehe” and “Benin Boys” (with Shallipopi) play even better in the context of the full album. The former finds Rema temporarily playing to the villain role to mock his haters, while the latter reads as a celebration of Benin culture from two homegrown stars, who seek to uplift and protect it from those who ignorantly demonize it. Sandwiched between those two tracks is “Yayo,” perhaps the record’s most accessible song – and the one Rave & Roses fans will likely find most appealing, with its catchy melody and grind culture-affirming lyrics (“Money yakpa for my bank oh/ How to make money is all I know”)
At just under half an hour, Heis never overstays its welcome, but that doesn’t mean Rema completely avoids repeating himself. While having a chip on your shoulder can bolster your assertiveness, it often gives way to defensiveness on the album’s back half – and that’s where its cracks start to show. The title track – which features a Swahili chorus that basically lauds Rema as the hottest thing to ever touch Planet Earth – feels particularly excessive because he’s already covered the same lyrical ground elsewhere on the album. There’s also “Villain,” the album’s penultimate track, in which he croons, “I dey hustle since people dey laugh me/ The way I dey run my things, I do it differently, now dem dey copy me.” But by track 10, these sentiments feel stale, if not overbearing.
In its entirety, Heis is a captivating album; one that inspires countless listens because of how its intricate production reveals new elements with each encounter. With the album’s closer, “Now I Know,” Rema wraps everything up quite cleanly, offering new perspectives to the darkness that subsumes the record with one soulful ballad. “I dey move like Messi when he dey for Barcelo/ E get as God go bless person, dem go talk say na devil oh,” he opens the second verse, before proclaiming “And now I know who dey for me/ All thosе I trust turned enemiеs” in the chorus.
After dousing himself in an amalgamation of edgy aesthetics to further cement his Afrorave style, Rema, in a way, becomes human again on this album closer. His plaintive tone reflects the maturation he’s undergone in the past two years, while also calling back to the timbre he most often used on his debut LP. He’s still the same Rema, but he’s demanding a different level of respect – not just because of his superstar status, but because of his steadfast commitment to uplifting his culture and bringing it along with him at any cost.
If you fell in love with Rema off the strength of his sweet crossover pop moments, his latest album probably isn’t for you. But if you’re willing to be led down a journey of self-discovery and style formation, Heis is the map for that odyssey.
Rema announced on Monday (July 8) that he’ll release his sophomore album, HEIS, on Friday, July 11. He shared an animation of himself wearing a gold, emerald-embellished bat chain, with bats flying around him in his fiery environment. “second Album ‘HEIS’ 7/11,” he captioned the clip with the bat and blood-drop emojis. The Afrorave superstar […]
This year will surely go down as one of the best for full-length albums from some of the best emerging and established talents in African music. Already this year we’ve got projects from Tyla, Tems, Ayra Starr, Ruger x BNXN, Young Jonn, Victony and King Promise, with several of those coming just this past month alone. It’s a lot of great music — and presents some good problems for this column, with so many great options of songs to choose from.
Tems burns bright with soulful reflections about discovering her true destiny while navigating newfound fame, ridding relationships that no longer serve her and more on her debut album Born in the Wild. Meanwhile, Victony expands Afropop‘s borders by bringing an international assortment of artists like American rap-rock sensation Teezo Touchdown and Guyanese American rapper SAINt JHN on his first full-length project Stubborn. “It represents overcoming adversity and transforming life’s ‘lemons’ into powerful art,” Victony recently told Billboard. “I hope that when people listen to the album, they feel a sense of shared experience and inspiration to find strength and hope in their own journeys.”
And Tyler ICU and DJ Maphorisa’s scorching new single “Manzi Nte” — which is currently No. 10 onthe South Africa Songs chart (dated June 29) — is inescapable in the artists’ native South Africa. (Billboard‘s senior R&B/Hip-Hop/Afrobeats reporter Heran Mamo can attest to that given her recent travels to Johannesburg.) Meanwhile, Shallipopi turned in a slew of great guest appearances this month, and his features alongside King Promise and Rema both made the list this month, as did the latest loosie from Lil Kesh and a beautiful collaboration between L.A.X and Magicsticks, among others.
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We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our latest Spotify playlist below.
Ayra Starr feat. Asake, “Goodbye (Warm Up)”
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Ayra Starr bids adieu to a manipulative ex on the glimmering kiss-off “Goodbye (Warm Up),” the Asake-assisted highlight from her resilient sophomore album The Year I Turned 21. P2J’s jazzy street pop production puts extra pep in Starr’s step, as lyrics like “I do not accept your apology” and “Gave you the cold shoulder, I really hope you freeze” deftly kick her ex to the curb. Meanwhile, Asake brushes off any woman with bad energy on his swaggering verse.
Azanti & PsychoYP, “I Know”
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Azanti & PsychoYP create the ultimate laid-back vibe on “I Know,” from their joint album YP & Azanti, Vol. 2. Malik Bawa’s funky, guitar-driven production assuages both artists during their fight for peace of mind, with PsychoYP also recognizing his phone’s focus mode as an essential weapon, as Azanti croons, “I’m trying to focus on me this time, I’m trying to save myself.” The track’s repetitive groove and chorus that just rolls off the tongue make “I Know” the perfect soundtrack for your next summer roadtrip when you’re getting away to find your own peace of mind.
Tems, “Wickedest”
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Tems didn’t come to play on “Wickedest” from her bold debut album Born in the Wild. The introductory sample of Ivorian zouglou group Magic System’s 1999 Pan-African smash “1er Gaou” evokes a nostalgic party vibe for her own dancefloor number that’s been bringing out Tems’ wickedest whine all around the world in her ongoing tour. But from the moment she launches into the first verse, Tems asserts her dominance and stays in the lane she’s set forth for herself, brushing past those who want to try her (a reference to her 2019 single “Try Me”) and sticking to the ones who bring her up and get down with her.
Tyler ICU & DJ Maphorisa feat. Masterpiece YVK, Ceeka RSA, M.J, Silas Africa & Al Xapo, “Manzi Nte”
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After scoring a nomination for best new international act at the 2024 BET Awards and helming one of Rihanna’s favorite songs of 2023, “Mnike” – which recently got a remix featuring Shallipopi and Lojay – Tyler ICU has been on fire. And what better way to keep the heat up this summer than to drop another fire song with “Manzi Nte,” alongside DJ Maphorisa featuring Masterpiece YVK, Ceeka RSA, M.J, Silas Africa and Al Xapo. The music video makes “Manzi Nte” out to be a wet-and-wild anthem – which is fitting given the song’s title translates to water it in Zulu, according to a press release. And the amapiano smash’s rattling production has been powering up participants of the accompanying dance challenge, which Maphorisa demonstrated on TikTok.
Leather Park, Odunsi (The Engine) & Cruel Santino, “CHANEL”
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Odunsi (The Engine) and Cruel Santino’s numerous collaborations have already proven that they’re the funkiest duo, and “CHANEL” from the former’s Leather Park (Vol. 1) album is a sparkling addition to their collection. In the same vein of Bryson Tiller’s “Whatever She Wants,” fulfilling a woman’s designer dreams is the key to unlocking her heart – and Odunsi and Santi flex how well-equipped they are to buy her Chanel, Bottega and anything else she desires. Odunsi also sharpens his alté production skills on “CHANEL” with kaleidoscopic synth patterns, crisp shakers and rollicking percussion that create the track’s irresistible bounce.
King Promise feat. Shallipopi, “Continental”
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In a month brimming with great albums from high-profile talents — Ayra Starr, Tems and Victony among them — King Promise may have delivered the best of all of them. The album’s two big prior singles, “Terminator” and “Paris,” previously appeared in this column, but “Continental,” with its assist from one of the of-the-moment street talents in Shallipopi, sits alongside them as one of the best songs of the past 18 months, combining Promise’s natural melodic feel with his memorable hooks to land a breezy summer hit.
Rema & Shallipopi, “BENIN BOYS”
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Rema is coming off one of the biggest years of any African artist ever, with the mind-blowing success of “Calm Down” — and while this link up with the inescapable Shallipopi is unlikely to replicate that crossover smash’s No. 3 peak on the Billboard Hot 100, it’s another song that showcases the many sides of Rema’s artistry, which goes much deeper than the ear worm that was “Calm Down.” “BENIN BOYS” is much harder, with a driving log drum production that propels both artists forward, and is a formidable entry into each of their catalogs.
Lil Kesh, “Lifestyle”
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Lil Kesh has one of the more distinctive styles among his contemporaries in the Nigerian pop scene, and “Lifestyle” fits perfectly into his oeuvre. With a soulful, soaring hook and an almost contemplative melody over an amapiano-esque production, Kesh lays out a carefree look at life in a track that’s perfect for the summertime. Kesh can pump out these types of tracks seemingly effortlessly, and the vibe is always right on point.
L.A.X & Magicsticks, “Loke”
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Linking with one of the most in-demand producers on the continent, L.A.X delivers a contemplative vocal performance, riding high on carefully crafted melodies while Magicsticks deploys his trademark log drums and a reassuring organ chords. The effect is comforting, in a way, with L.A.X switching back and forth between English and Yoruba to spin his lyrics.
Victony, “Anita”
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Victony’s album showcased his distinctive vocal talents; no one sounds like him, and his instantly-recognizable style is one of his best qualities as an artist. Another is his beat selection — and “Anita,” crafted by P2J, provides the perfect platform for an earworm of a track, which is just as catchy as his breakout hit “Soweto,” if not even moreso. It’s a standout on Stubborn, and one of the best songs of his career.
After scoring one of the biggest Afrobeats crossover hits in U.S. history with his Selena Gomez-assisted “Calm Down,” Nigerian superstar Rema is gearing up to enter a new era. On Thursday (June 20), the Billboard Music Award winner unleashed his first musical release of the year — a new collaboration with Shallipopi titled “Benin Boys.” […]
Tracks from Tems’ Born in the Wild album light up Billboard’s U.S. Afrobeats Songs chart (dated June 22) as the artist’s genre-crossing debut LP sees its first chart impacts. The set, released on Since ’93/RCA Records, starts with 16,000 equivalent album units earned in the U.S. for the tracking week of June 7-13, according to Luminate. It opens at No. 5 on the Top R&B Albums chart and No. 56 on the all-genre Billboard 200.
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Current Born in the Wild single “Love Me Jeje” moves 4-3 to mark the album’s highest charting track on the streaming and sales-based U.S. Afrobeats Songs chart. It’s also the album’s most streamed song this week, with 3.2 million official U.S. streams, up 32% from the previous frame.
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“Free Fall,” featuring J. Cole, begins at No. 5 and secures the highest of 11 Born in the Wild debuts. Here’s a full recap of the album’s placements on U.S. Afrobeats Songs chart this week, including two previous releases – the aforementioned “Jeje” and “Me & U” at No. 6, after it peaked at No. 3 last October.
No. 3, “Love Me Jeje”
No. 5, “Free Fall,” featuring J. Cole
No. 6, “Me & U”
No. 12, “Wickedest”
No. 13, “Get It Right,” featuring Asake
No. 15, “Born in the Wild”
No. 16, “Unfortunate”
No. 17, “Gangsta”
No. 20, “Forever”
No. 22, “Hold On”
No. 23, “Turn Me Up”
No. 24, “T-Unit”
No. 25, “You in My Face”
In addition to her own album’s avalanche, Tems claims one more appearance on U.S. Afrobeats Songs through a feature on Tyla’s “No. 1.” The prior No. 5-peaking hit slips 13-18, due to the Born entries.
Born in the Wild is the first full-length offering from Nigerian singer-songwriter Tems. The body of work had been anticipated by fans and music industry insiders since her international breakthrough as a featured artist on Wizkid’s “Essence.” The song, after a remix with Justin Bieber, flew to No. 9 on the Billboard Hot 100 in 2021, becoming the first top 10 hit for an Afrobeats genre track. Coveted further features followed, with an assist on Drake’s Certified Lover Boy track “Fountains,” also in 2021, and she and Drake’s guest appearances on Future’s “Wait for U” yielding a No. 1 Hot 100 debut in May 2022.
Around the same time, Tems’ song “Free Mind,” from her 2020 EP From Broken Ears, started to see increased streams, prompting an official radio campaign for the two-year old track. The push led to a huge triumph – “Free Mind” dominated the R&B/Hip-Hop Airplay chart for 22 weeks in 2022-23 and ranked as the chart’s No. 1 title on the 2023 year-end recap.
Born Oyinkansola Sarah Aderibigbe, Ayra Starr’s stage name has always been her destiny. Her debut album 19 & Dangerous presented a self-assured teenage star who effortlessly and thoughtfully navigated the transition from adolescence to young adulthood in a specifically Gen Z context. The album spawned a pair of global hits — “Bloody Samaritan” (which earned a remix from R&B heavyweight Kelly Rowland) and the Grammy-nominated “Rush” — that lifted Ayra from local star to international Afrobeats ambassador.
On The Year I Turned 21, Ayra handles that change in status by using it to leverage some big-name collaborations. Through those collabs, she fearlessly blends different genres and languages to color her explorations of the intertwined themes of grief, heartbreak, empowerment and maturity.
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Despite her rich, deep tone being the sharpest weapon in her arsenal, Ayra steps into her rap bag on blazing album opener “Birds Sing of Money.” The London and Marvey Again-helmed track blends stirring strings with a boom-bap inspired backbeat and a melodic Fújì (a Yoruba musical genre) intro, immediately previewing the album’s seamless blend of different sounds across the Black diaspora. When she declares, “I run my city, run my life, run my mind, but I never run away/ I’m so careful with my energy, please never speak upon my name,” she embodies a charismatic laid-back self-assurance that only comes with surviving your teenage years. Dripping with the bravado of Rihanna’s “B—h Better Have My Money,” “Birds” is an instant “bad b—hes get money” anthem, one whose energy courses through several of the album’s tracks.
Pre-release single “Commas” and “Bad Vibes” (with Seyi Vibez) continue the thread of Ayra focusing on getting her money up and rejecting things and people that drain her energy, but she offers more interesting takes on those themes on “Control” and “Woman Commando.” The former finds Ayra flipping the idea of female submission into a song about wanting a man to take the lead by picking up on her come-hither hints; “You know my lips don’t lie/ I want you to take control,” she coos, channeling a Shakira classic.
On the latter, a multi-lingual collaboration with fellow Grammy nominees Coco Jones and Anitta, Ayra delivers a women-empowerment anthem (“Tonight e be ladies night/ I no wan know your zodiac sign”) that sources its urgency and irresistibility from those pounding log drums. Big-name crossover collaborations tend to collapse under their own weight, but Ayra’s ear for vocal chemistry – Coco’s rich tone pairs beautifully with hers and Anitta’s cavalier delivery only intensifies the track’s swagger – is particularly special.
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Of course, all these hymns of independence and confidence exist in conversation with songs exploring the darker parts of Ayra’s early 20s. The cycle of love and heartbreak plays across the album, with the Asake-assisted “Goodbye,” “Lagos Love Story” and “Last Heartbreak Song” (with Giveon), building out a self-contained triptych within the album’s larger narrative. “Goodbye” combines notes of Afropop and amapiano to soundtrack a conversation between two lover who understand that they are no longer compatible. It’s a much more nuanced take on young love than the gorgeous puppy-eyed “Lagos Love Story,” which features one of the most beautiful melodic lines (“I don fall in love”) of the year. “Let’s make babies/ We’re still young, but I dey ready/ Smoke some weed at the beach/ I feel ease when I’m with you/ Prayed Ciara’s prayer, God came through,” she sings, beaming through the studio microphone.
Ayra’s songwriting has always been refreshingly honest, but she taps into level of earnestness here – which is only bolstered by the whimsical intro-recalling background strings – that captures the innate naïveté of young love without embarrassment or shame. Always a dependable heartache crooner, Giveon’s baritone delivers a perfect complement to the Ayra’s deep voice, as the two attempt to convince themselves that this is the last time they’ll waste their lives pining over heartbreak.
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For all of the big-name collaborations and maximalist pop sounds and melodies on the album, the most stirring moments on The Year I Turned 21 lie in the songs where Ayra places her voice and lyrics front and center. “21” is her de facto Adele moment, a reflective, sweeping ballad that’s punctuated with Rihanna-isms like the tongue-in-cheek, “At my grown ass age, damn.” “Orun,” the album’s best song, juxtaposes the jauntiness of highlife with soul-baring lyrics concerned with mental health and depression. “Every day is just the same/ No worries for tomorrow/ I wish I didn’t wake today/ But no, I gotta face my pain,” she muses.
There’s also album closer “The Kids Are Alright,” a classic tearjerker that’s less of a song and more of a compilation of voice notes recorded by Ayra and her siblings dedicated to their late father. When Ayra nails the seemingly endless riff on the last note of “Put in a good word for me” — a reference to her father speaking to God in Heaven – her voice swells not just with grief and loss, but also the catharsis that comes with accepting your circumstances and allowing them to build you into a stronger person.
There really isn’t a low moment of Ayra’s sophomore LP: Her pristine sequencing allows songs with familiar themes to feel fresh, and at a respectable 15 tracks the record doesn’t overstay its welcome. The one glaring misstep is the inclusion of “Santa,” her hit collaboration with Rauw Alejandro and Rvssian. By no means is “Santa” a bad song, but it is jarring shift from the album’s established narrative and a clear ploy at number-farming that undercuts how authentically the album relays Ayra’s story.
The Year I Turned 21 successfully achieves a balance that evades many sophomore albums. Ayra builds on the confessional nature of her debut and enlists new collaborators that substantially add to her sonic universe without sacrificing her Afrobeats foundation. In an era where many Afrobeats stars are keen to reject that label, Ayra fully embraces its past and present, while fashioning a future for the genre that’s refreshingly female-forward.
Ayra Starr started a new chapter of her life with her sophomore album The Year I Turned 21, which was released Friday (May 31) via Mavin Records and Republic Records. In a recent Billboard interview, she explained that after Giveon turned in his verse for “Last Heartbreak Song,” “I was like, ‘OK, I’m just going to trust my intuition with who I want on each song” — and one of the artists she reached out to for a feature was Seyi Vibez, for the single “Bad Vibes.”
And three years after Tiwa Savage released her Water & Garri EP, she starred in and executive produced her first film by the same name and released a 10-song soundtrack to go along with it. Those are just two of the artists who feature on this month’s roundup, which also includes new singles from Ghanaian legend Sarkodie, a teamup from two of Nigeria’s finest in Victony and Asake, a new groove from Fireboy DML and plenty more.
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We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our latest Spotify playlist below.
Azanti & PsychoYP, “Naija Funk”
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Abuja’s finest, Azanti and PsychoYP, are back at it again on “Naija Funk” from their new joint album, YP & Azanti, Vol. 2. Producer Aykbeats puts the “Funk” in “Naija Funk” with his nostalgic, folk-inspired drums and gliding synth melody, while Azanti takes blame for a failed relationship with the bold opening line “I should’ve done you better” — and PsychoYP puffs his chest and brags about why a girl would never want to fumble him. The Apex Village members’ musical chemistry has been apparent since their 2020 project YP & Azanti, Vol. 1, with Azanti’s transcendent blend of R&B and Afropop and PsychoYP’s exhilarating fusion of alté and drill creating an even more dynamic mix here.
Darkoo feat. Dess Dior, “Favourite Girl”
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British-Nigerian rapper/singer Darkoo and American rapper Dess Dior will have the girls whining on somebody’s son or daughter all summer long to “Favourite Girl.” The booming horns in the beginning and Diwali Riddim will have booties bouncing instantly — and Darkoo wants in on the action when she asks, “Would you come do it slowly?/ Girl, dutty whine/ Would you bend it for me?” Meanwhile, featured guest Dess Dior makes an irresistible case for why a starboy should “make me your star girl.” It’s safe to say “Favourite Girl” will be in rotation — just like our hips — all season.
Qing Madi & Chlöe, “Vision” (Remix)
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Nigerian singer-songwriter Qing Madi adds Chlöe for a sultry remix of “Vision,” originally from her eponymous debut EP last year. Qing describes the paralyzing feeling of unexpectedly falling hard for someone, while Chlöe loses even more control over her body when she sings, “Got my temperature comin’ high, oh.” But even if their vision’s in a blur, no man could ever impair their honeyed harmonies over the track’s scintillating percussion.
Tiwa Savage, “Lost Time”
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Tiwa Savage prepared an official soundtrack to accompany her debut Prime Video film Water & Garri — which follows fashion designer Aisha, who returns to her native Nigeria after spending the last 10 years away in the U.S. and reconnects with family, friends and an old flame. On the standout single “Lost Time,” Savage recalls what life was like before she met her love, singing, “Feels like I missed you before we met/ Not meeting you sooner, I regret,” and yearns to spend forever and ever with that person. Produced by Needlz and Poo Bear, “Lost Time” evokes the heart’s pitter-patter feeling when someone’s with their other half with the subtle plucking of a guitar in this romantic ode.
TitoM, Yuppe & Burna Boy feat. S.N.E, “Tshwala Bam (Remix)”
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Burna Boy adds more fuel to the fire created by the viral TikTok-driven success of TitoM, Yuppe and S.N.E’s amapiano smash “Tshwala Bam.” After hopping on the remixes of Master KG and Nomcebo Zikode’s “Jerusalema” and Asake’s “Sungba,” the African Giant continues sharpening his ear for the continent’s next biggest hit so he can make his mark on it – and he further touts his greatness when he sings, “Better recognize/ Greatest of all time/ No other name, them go call mine.”
“To surpass the success of the original, we sought a collaborator with both global appeal and a commitment to enhancing the song’s original vibe. Burna Boy was the perfect fit,” TitoM says in a press release; Burna Boy adds, “Jumping on the ‘Tshwala Bam’ remix was a no-brainer for me. It’s a track that resonates with everyone, and I’m thrilled to bring my energy to it and connect with fans in a whole new way.”
Ayra Starr feat. Seyi Vibez, “Bad Vibes”
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For a song called “Bad Vibes,” there’s something extremely smooth and calming about this track, a single off the Beninese-Nigerian “Commas” hitmaker Starr’s debut album, The Year I Turned 21, which dropped today. And Seyi Vibez, known much more for his scrappy street cuts that vividly bring the underground of Lagos to life, shows off a gentler side of himself, too, as the duo croon about deflecting the negativity life throws a person’s way.
Fireboy DML, “Everyday”
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Over a fantastic laid-back groove set by producer Blaisebeatz, Fireboy shows off his melodic flow in this ode to a woman he wants by his side. The young Nigerian star, who broke out in a major way over the past few years with crossover hit “Peru” and a string of high-profile singles and guest spots, puts his own twist on this R&B-inflected cut, one perfect for late nights and low lights.
Sarkodie feat. Beeztrap Kotm, “Amen”
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Ghanaian rapper Sarkodie is one of the most celebrated artists in his home country, and his skills are still at the highest level on this latest track. He flips through languages and flows, while Beeztrap Kotm comes through as the perfect complement, putting his stamp over this soulful production that comes straight from the church.
Victony & Asake, “Stubborn”
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Victony has established himself as one of the most soulful singers in Nigeria over the past few years, and this link-up with amapiano-inflected sensation Asake adds to the canon of each. The two weave a tale of coming up to success by staying true to their own respective vision, even before success and fame eventually found them.
Shenseea feat. Wizkid, “Work Me Out”
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A standout track on the new Shenseea album, this cut sees the Jamaican singer tap one of Nigeria’s resident superstars to craft a song that combines the standout vocal abilities of both to meet somewhere in the cultural middle, with a sultry jam that sets the right tone. It’s another reminder of Wizkid’s chameleonic ability to fit into any style, and Shenseea’s multi-genre approach to her music.
Tekno has formed a new strategic alliance with Mr. Eazi, with Tekno’s Cartel Music label and Mr. Eazi’s independent music company emPawa Africa striking a joint venture and Tekno joining emPawa Africa as an investor and a partner. “With this deal with Tekno and Cartel Music, we are ushering in a new phase of emPawa,” […]
For one of the biggest performances of her career, Tems called on one of the biggest stars pop stars in the business — Justin Bieber.
The Nigerian singer-songwriter and producer delivered a set at Coachella 2024 on Sunday night (April 14), and brought out the big guns in Bieber and Wizkid, who both stepped onto the stage for a performance of their hit “Essence.”
Fans had been warned. “Coachella! I’m too exciteddd I have a surprise tonight,” she wrote earlier on X.
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Coachella! I’m too excitedddI have a surprise tonight 👀❤️🔥— TEMS (@temsbaby) April 14, 2024
Originally released in 2020 and recorded with Bieber and fellow Afrobeats star Wizkid, “Essence” was a true slow-burner, impacting Billboard’s charts nine months after its release. Tems would reign over Billboard’s R&B/Hip-Hop Airplay in September 2021 with “Essence,” making history along the way. “Essence” also cracked the Billboard Hot 100, and would enter the top 10 (peaking at No. 9), becoming the first Afrobeats song to do so.
Bieber is no stranger to smashing chart records. At 27, the Canadian pop singer became the youngest solo artist in history to notch 100 songs on the Billboard Hot 100, a feat he reached in 2021. The “Stay” singer has kept a relatively low profile since June 2022, when he revealed his diagnosis with Ramsay Hunt syndrome, with one side of his face experiencing “full paralysis.” On Sunday night, he showed no ill effects as he glided around the Coachella stage. Watch below.
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Bieber’s performance will surely send Beliebers into a frenzy, and renew hope for more live dates in the wake of his health problems, which contributed to the cancelation of his 2022 Justice World Tour.
That excitement lifted a gear earlier in the year, when Bieber performed a surprise short set of classics and recent hits at Drake’s 2,500-capacity downtown club History and, earlier, hinted at new music to come.
Tems was Billboard’s 2024 Women in Music Breakthrough recipient, telling reporters ahead of the event: “I really want to use this opportunity to say to all the women in the room, in the world, that no matter what you’re going through, you should know you’re not alone. So even when you’re sad, even when you’re angry, there’s someone that’s angry, too. So uplift everybody around you because they need that like you and somebody’s there for you,” she concluded her speech. “It’s the women that got the women, trust me.”
She previously told Billboard, “everybody just called me Temi. Nobody really called me by my full name. It wasn’t something that was on my mind. It’s only now, as an adult, that I started realizing that it meant ‘the crown is mine.’ I think that’s really powerful. It feels manifested, based on how my life has gone.“
Tyler, the Creator, Doja Cat and Lana Del Rey are leading the pack as this year’s headliners for the 2024 Coachella Valley Music and Arts Festival. This weekend is the first of two weekends of Coachella 2024, held in the Southern California desert.
It’s March, and the year is starting to heat up with big albums and even bigger singles from some of the heavy hitters of the Afrobeats community.
Billboard‘s current cover star Tyla polishes her signature popiano sound with her self-titled debut album Tyla, while Odunsi (The Engine) recruits artists from around the world to expand the borders of the alté genre on his forthcoming Leather Park Vol. 1 compilation album. And different dynamic duos underline the power of collaboration, from Aya Nakamura and Ayra Starr getting the girls gassed up on “Hypé,” to Tiwa Savage and ODUMODUBLVCK (who was featured on Billboard‘s 2024 R&B/Hip-Hop Artists to Watch list alongside Tyla) reminding everyone about their worth on “100 Million,” to Ruger and BNXN squashing their beef to put together one of the best songs of the year so far.
We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our latest Spotify playlist below.
Leather Park & Odunsi (The Engine) feat. Minz & Elias Slay6rr, “Crown Bounce”
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Odunsi (The Engine) recruited underground and mainstream international artists as well as producers and engineers for his innovative Leather Park music camp, which took place in Paris Fashion Week last year. The alté leader tapped fellow Nigerian artists Minz and Elias Slay6rr (who were also part of the camp) for the super wavy “Crown Bounce,” the first single from the upcoming Leather Park Vol. 1 compilation album Odunsi executive produced and curated.
On “Crown Bounce,” he’s feeling himself more than all of the girls he has all around the world, comparing himself to both Michaels: “I felt like Jackson when I step/ I felt like Jordan when I shoot.” Minz and Slay6rr can also woo any woman with their infectious, idiosyncratic charm, while the song’s infectious groove can coax any listener to sway their hips. “‘Crown Bounce’ is an extension of a style I’ve been developing for years,” Odunsi tells Billboard. “It expresses my pursuit for mixing classical music as well as nostalgia with modern African groove.”
ODUMODUBLVCK feat. Tiwa Savage, “100 Million”
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Nigerian stars ODUMODUBLVCK and Tiwa Savage are ready to “f–k up the club” with their pricey collaboration “100 Million.” ODUMODUBLVCK fires off verses about his worth, while Tiwa stays in her melodic bag, solidifying her African Bad Gyal status. Sholz and Decster’s polished Afrobeats-meets-drill production (with an underlying lush string arrangement) provides the perfect backdrop for their luxurious lifestyle. That opulence is further highlighted in the accompanying music video, where ODUMODUBLVCK and Tiwa take over the palm tree-dotted streets of Los Angeles, as the former commands The Peppermint Club’s stage from his show back in February.
Tyla, Gunna & Skillibeng, “Jump”
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The South African popiano star recruits Atlanta rapper Gunna and Jamaican dancehall deejay/rapper Skillibeng for the sweltering club banger “Jump,” which will have all the girls sweating off their concealer. Skilli gasses up Tyla by rapping in the intro, “Original gyal, you aren’t a replica (No!)” before she flexes in the first verse, “They never had a pretty girl from Joburg/ See me now, and that’s what they prefer.” The sweat’s bound to be dripping off anyone listening, but leave it to Gunna to provide his girl with the drip: “Told the chauffer take you to a Chanel store/ Ever play with you, it be a world war.” While incorporating amapiano’s log drums, rap’s airhorns and dancehall’s pulsating bass, “Jump” jumps between genres, and can get the party started anywhere around the world.
Kizz Daniel, “Sooner”
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Having already fallen for one woman, Nigerian star Kizz Daniel wishes he had met a second one “Sooner,” the first single on his latest EP TZA — short for Thankz Alot, and meant as a “thank you” for his fans who have been supporting him during his decade-long career (His debut single “Woju” came out in 2014). The Nigerian singer-songwriter feels torn: On one hand, he’s aware he’s already committed to someone, but on the other hand, he doesn’t want to let a new woman go, and finds himself physically tempted to pursue her. Daniel makes his promiscuity entertaining with the song’s steady percussive bounce.
Aya Nakamura feat. Ayra Starr, “Hypé”
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French Malian popstar Aya Nakamura fuels more “Hype” for her first single of 2024 by adding Beninese Nigerian Afropop star Ayra Starr to the mix. Nakamura falls out of love with her terrible ex and hypes herself up as a “hit machine,” while Starr erases her former lover from her memory, singing, “Two chances, too many to track/ Just worry ’bout my bag, I don’t want you back.” And the playful music video makes the power of the Aya x Ayra linkup even more palpable.
Ruger & BNXN, “Romeo Must Die”
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After a few years of publicly jockeying and feuding — some of it in the spirit of competition, some of it petty — two of the most reliable hitmakers in Africa set aside their differences to join forces on this breezy, compelling collaboration that speaks to the primary strength for both artists: melody. It’s a worthy addition to both of their canons, but just as importantly, heals a rift in a way that benefits all — and especially fans.
Tyla feat. Tems, “No. 1”
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Tyla’s self-titled album is the first true event album of the year for African music, and this collaboration with Tems is a clear standout on a project stocked full of great songs. The South African singer-songwriter’s breakout in the past year — crowned with a Grammy for best African musical performance at the Grammys earlier this year — has been one of popular music’s greatest success stories of late, and her teaming up with one of Nigeria’s go-to vocalists of the past few years makes for an engaging and soulful duet that brings the best out of both artists.
King Promise, “Paris”
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King Promise’s rise has been remarkable in recent months, and last year’s “Terminator” was easily a top 10 song of 2023. “Paris” is a great follow, with an amapiano through-line and a hook that is an instant earworm. The Ghanaian star is building a truly top-tier oeuvre, and with a new album on deck for this year, there’s plenty more to come.
Bella Shmurda, “Loner”
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Following the street dance craze of last year’s “Ara (Gen Gen Tin),” Bella Shmurda returns with a more melodic, soulful and introspective cut that shows off his vocals and songwriting skills in a way that goes beyond what he’s been known for in his career so far. A great song, and another step forward for an artist that continues to evolve.
Pheelz, “Go Low”
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With this propulsive, dance-y track, super producer Pheelz comes back with another big track following up on the massive success of last year’s “Finesse.” With a groovy trumpet line, a silky vocal and its strong back line, it’s a perfect cut for dance floors this coming summer.