afrobeats
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While 2023 represented a year of remarkable growth for African music, 2024 is already shaping up to be a year where multiple new stars are discovered. Singer-songwriter-producer Yung D3mz was selected as Apple Music’s Up Next artist in Ghana at the end of last year, and new fans can discover his recent EP Before the Sun Comes Down. And after scoring high-profile features on Davido and Olamide‘s albums, Nigerian singer-songwriter Fave is making a name for herself, especially with her new single “Belong to You.”
And 2024 will also be the year that the superstars will receive higher honors than ever before. On Sunday (Feb. 4), the Recording Academy will give out the Grammy award for best African music performance for the first time. Nominees in the category include Mr. Money Asake, who doesn’t stop getting after the money in his new single “Only Me,” and Davido, who reunited with Kizz Daniel for the first time since their 2018 collaboration “One Ticket” on the remix of “Twe Twe.”
We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Get into our first Fresh Picks of 2024, and start off the new year with some new tunes in our Spotify playlist below.
Chssom & Crayon, “Chemistry Luv”
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Chssom and Crayon capture the intense pull of “Chemistry Luv” with high-pitched piano chords that could be transposed for the woman of their dreams to walk down the aisle to. “Girl, I’ve never felt like this before!” Chssom exclaims in the hook, demonstrating the potency of the spell he’s under.
Yung D3mz & Tera Kòrá, “Futuristic”
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Yung D3mz recruits Curaçaoan producer Tera Kòrá for the sun-soaked penultimate track of his latest EP, Before the Sun Comes Down. Kòrá’s “soulswing” sound – which he describes as “a warm and moving, loungey vibe” that’s inspired by his “sunny Caribbean roots” – breathes new life into D3mz’s Afro-fusion. From the dizzying flute melodies to the bubbling bassline, it’s impossible not to sway your hips to this song.
KJ Spio, Oxlade & Sarkodie, “Undress You”
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Ghanaian music executive and self-proclaimed “culturepreneur” KJ Spio taps Oxlade and Sarkodie for this slinky, sensual track. With a swoon-worthy melody inspired by T-Pain’s 2005 smash “I’m Sprung,” “Undress You” paints a lascivious picture of how they plan on letting the night unfold, with Oxlade crooning “Time to have sex” in the chorus (a la Mad Cobra’s 1992 dancehall hit “Flex”) and Sarkodie rapping, “More sex less talk we waking up to the sunset.”
Highlyy, “Honest”
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The Essex-born Congolese breakout sensation bares her soul on the “Honest” cut from her debut EP +243. The twinkling keys and pensive pitter-patter of the percussion give listeners a glimpse of the war between Highlyy’s head and heart, as she remains firm in her decision to end things with a lover – even if it’s one of the toughest decisions she’s had to make. “I was talking to a boy, a very toxic situationship. There’s always that person that you say you’re done with but keep running back to them. That song means everything to me because it’s so true,” she told Clash.
PsychoYP & Jeriq, “Disintegrate”
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No one and nothing can break down indomitable Nigerian rappers PsychoYP and Jeriq on “Disintegrate,” the first track off their joint EP Evil Twin. The two effortlessly feed off of each other’s flows, flexing with lines like “Afum your 12 missed calls during a business meeting, I’m sorry but I won’t call you back unless Inwe ezigbo reason,” because the hustle doesn’t stop for anyone.
Fave, “Belong To You”
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The young Nigerian singer broke out in a big way in the past few years, with high-profile features on tracks by Davido and Olamide and her own single “Baby Riddim,” but this new cut is something different from her — a straight-up R&B-pop cut that showcases her powerful vocals and the emotion in her voice as she relates a relationship seemingly broken, but with deep wells of feeling under the surface. She’s poised for a breakout look.
Asake, “Only Me”
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Sometimes it seems like the breakout star of the past two years can do no wrong, and Asake keeps up the relentless pace of his output here with another catchy, melodic hit for the catalog. He has a way of crafting these earworms out of small phrases that give his songs a lasting quality, and his inclination to always incorporate choral backing vocals gives his songs a cinematic feel that others just can’t match.
Black Sherif, “January 9th”
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Celebrating his 22nd birthday, the Ghanaian takes time to reflect on his position and the weight of the pressure on him, while seeming to take a very zen point of view on the matter. The production is deeply soulful and his lyrics rise to the occasion, making this single a mission statement of sorts — with everything he’s got going on, everything is still alright. It’s a good sign for his forthcoming album.
Kizz Daniel & Davido,” Twe Twe”
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The remix to Kizz’s latest single features one of Africa’s biggest stars, and has fun playing with and overlaying different rhythms and syncopation, which helps it stand out from many of its contemporary songs on the scene right now. The lush production propels it forward and the duo — together on a track for the first time in several years — brings it home.
Ckay, “Is It You?”
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Afrobeats’ resident emotional loverboy returns with another entry in the genre, with a wistful hook and verses that see him pining over a woman he’s just met. His melodies and vocals have continually set him apart, and while we wait to see what else he’s got in store, he keeps hitting his sweet spot with songs that recall some of his biggest hits, though with a bouncier beat behind him here.
Davido and Lojay both make their first appearances on the Billboard Hot 100, thanks to their featured credits on Chris Brown’s “Sensational.”
Released Oct. 20 via CBE/RCA Records, the song debuts at No. 96 on the Hot 100 (dated Feb. 3) with 15.7 million radio airplay audience impressions (up 14%) and 2.6 million official U.S. streams (up 3%) in the Jan. 19-25 tracking week, according to Luminate.
The song is the second single from Brown’s 11th studio album 11:11, released in November. The set debuted and peaked at No. 1 on Top R&B Albums and No. 9 on the Billboard 200.
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“Sensational” has been building at multiple radio formats: It rises 11-9 on R&B/Hip-Hop Airplay, 16-10 on Mainstream R&B/Hip-Hop Airplay and 16-14 on Rhythmic Airplay and debuts at No. 30 on Adult R&B Airplay. On the all-format Radio Songs chart, it pushes 49-44.
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Davido, from Osun State, Nigeria, has become one of the most prominent Afrobeats musicians of the past decade. He has released four studio LPs in his career: Omo Baba Olowo in 2012, A Good Time (2019), A Better Time (2020) and Timeless (March 2023). His two most recent albums reached Nos. 170 and 37 on the Billboard 200, respectively, marking his first appearances on the chart.
Davido has also posted 25 songs on the Billboard U.S. Afrobeats Songs chart. That’s the fourth most among all artists, dating to the list’s 2022 launch, after only Burna Boy (44), Asake (34) and Wizkid (27). Of those 25 hits, three hit the top 10: “Stand Strong,” featuring Sunday Service Choir (No. 9 in 2022); “Unavailable,” featuring Musa Keys (No. 3, 2023); and “Over Dem” (No. 10, 2023).
On Billboard’s World Digital Song Sales chart, Davido has charted 27 songs – 18 of which reached the top 10 – all since 2016. That’s the second most among Afrobeats artists, after Wizkid (29).
“Sensational” isn’t the first collaboration between Davido and Brown. The pair additionally teamed up for “Blow My Mind” and “Lower Body,” both in 2019, “Shopping Spree,” also with Young Thug, in 2021 and “Nobody Has to Know” in 2022. Davido has also recorded with Nicki Minaj, Pop Smoke, Popcaan, Quavo, Rae Sremmurd and Summer Walker, among others.
This April, he’s slated to perform at Madison Square Garden on his extended Timeless Tour. He’s also nominated for three Grammy Awards at the upcoming ceremony: best global music performance (for “Feel”), best African music performance (for “Unavailable”) and best global music album (for Timeless).
As for Lojay, the fellow Nigerian artist tallied his first Billboard chart appearance in 2022 with another Chris Brown collab: “Monalisa,” also with Sarz. The track reached No. 8 on and No. 38 on Rhythmic Airplay.
Lojay has charted two other Billboard U.S. Afrobeats Songs hits: “Arizona” and “Moto” reached Nos. 44 and 48, respectively, in 2023. Plus, as featured on French Montana and Swae Lee’s “Wish U Well,” also with Jess Glynne, he rose to No. 37 on Mainstream R&B/Hip-Hop Airplay in October.
Lojay has released three EPs: Midnight Vibes in 2017, LV N ATTN with Sarz in 2021, and Gangster Romantic in March 2023.
Few stories have captivated the past couple of months like that of Tyla, the young South African singer whose single, “Water,” emerged as a sultry blend of Afrobeats and R&B and exploded across the globe. The song first debuted on the Billboard Hot 100 in October — her first appearance on the chart — and quickly took off from there. It almost immediately reached the top of the Billboard U.S. Afrobeats Songs chart — where it has spent 14 weeks at No. 1 — and climbed all the way to No. 7 on the Hot 100, where it has spent the past two weeks. It has also been sitting comfortably at No. 1 on Mainstream R&B/Hip-Hop Airplay for eight weeks.
It’s a true breakout story for the artist, who also saw “Water” land a Grammy nomination in the brand-new category of best African music performance at the upcoming awards this February — not to mention a testament to the work of her management and her team at Epic Records, where she signed in 2021. The song began picking up organically, got a lift off a TikTok challenge and catapulted onto radio, picking up remixes from Travis Scott and Marshmello along the way. And the song’s success so far earns Epic Records president Ezekiel Lewis the title of Billboard’s Executive of the Week.
Here, Lewis breaks down how “Water” erupted onto the global stage, the multiple genre influences that went into its final version and how the singer can build on the song’s success leading into her debut album, which is due out in the next few months. “From the beginning of the record-making process, we made it a point to find the best chemistry between creatives from different backgrounds to reflect the worldly influences you hear in the song,” Lewis says. “That is a key factor in enabling it to appeal to audiences not only in the U.S. but across the globe.”
This week, Tyla’s “Water” spent its second week at No. 7 on the Hot 100, its 14th week at No. 1 on U.S. Afrobeats Songs and was certified platinum by the RIAA. What key decision(s) did you make to help make that happen?
The story starts with the creation of the song. I feel like a big part of our job is to curate an environment that creates an opportunity for magic to happen. Consider the fact that the four key writers of the song had never worked together as a collective before Tyla. From the beginning of the record-making process, we made it a point to find the best chemistry between creatives from different backgrounds to reflect the worldly influences you hear in the song. That is a key factor in enabling it to appeal to audiences, not only in the U.S. but across the globe.
“Water” blends an Afrobeats/Amapiano drum pattern with more traditional R&B elements, combining a number of different styles. Why do you think it was able to break through in such a big way?
The song not only has elements of Afrobeats but also more specifically Amapiano which is integral to the music culture of South Africa. While the wider Afrobeats influence is obvious, the use of the log drum by Sammy Soso is key to tying in that specific South African element. Then moving on to the top line, the lyric and melody, R&B and pop dominate in terms of influence there. We really hit a sweet spot in terms of multiple influences coming together seamlessly. There’s something for everyone.
The song has also done very well at radio, with eight straight weeks at No. 1 on Mainstream R&B/Hip-Hop Airplay. What was the strategy there and how has it paid off?
Once we accomplished a strong Shazam, digital and streaming story, the stage was set for radio to follow through. The audience talked back loudly and let us know it wanted to hear more and more of the record. The song’s gains at playlists across multiple genres gave us a strong sense that radio would be able to replicate that success, and that we could have a chart topper across multiple formats. Once all of the indicators pointed upward, we went for it, and thankfully we were correct in doing so.
The song was also boosted relatively early on with remixes from Travis Scott and Marshmello. How have remixes fit into your strategy, and what has been the payoff?
When thinking about remixing the song, we did not want to significantly compromise the implicit nature of the track by doing something simply to gain more audience. Authenticity is sometimes hard to articulate, but you know it once you press play and begin to listen. Travis came to the table organically, as a fan of the song, and wanted to join. We knew immediately that it would make sense creatively and would only add to the prominence of the track. Travis is a preeminent curator himself, so the vote of confidence was welcomed. His involvement gave listeners a different take on a song that they had already embraced.
Similarly, and maybe less obvious, was Marshmello, who also was a fan of the song and asked if he could do a remix. Once we heard how he re-imagined the track, we were excited to have him join us. His version has definitely given the track wings in the dance space and helped to take it further with additional streaming in that world. All of this cross-pollination has helped the track ascend the Billboard Hot 100.
So far, music from African artists has mostly broken through singles in the U.S. How do you plan to keep Tyla’s momentum going through to releasing a full album?
We will continue to build on Tyla’s momentum by keeping African culture at the center of what we do musically and creatively overall. There is a sonic consistency that listeners will hear across this first project and we expect this to go over well with the new fan base that she has developed. There is already a nearly completely sold-out tour scheduled in both Europe and the U.S. Also, her new track, “Truth Or Dare,” is showing early signs of greatness as we build daily and sits in the top five of both the U.S. and U.K. Afrobeats charts.
The song also earned a Grammy nomination in the first-ever best African music performance category. What do you see as the future of African music in the U.S. moving forward, both from a musical perspective and an industry perspective?
The sky is the limit for African music in the U.S., as I foresee continued cross-pollination to move it forward. It has proven its potential to top charts in urban, pop, and even in the dance space. It simply cannot be ignored and the Recording Academy has made an intelligent and timely decision. I could not be more excited for the future. Everyone wants a piece of the action.
African music has steadily been making inroads in the U.S. music market, with world music — which includes Afrobeats, K-pop and more — seeing the most growth compared to other genres according to Luminate’s 2023 year-end report that was released last week. The all-encompassing umbrella saw a 26.2% increase in U.S. on-demand audio streams, resulting in a total of 5.7 billion for the year.
Throughout the 2020s, so far, heavy-hitters like Burna Boy, Wizkid and Davido have headlined stadiums, emerging superstars like Tems and CKay have earned radio smashes and skyrocketing acts like Rema and Tyla have scored Billboard Hot 100 top 10 hits. Next month, the Recording Academy will give out an award in the best African music performance category for the first time, after the American Music Awards and MTV Video Music Awards started giving out their own Afrobeats awards. And as much as genres like Nigeria’s Afrobeats and South Africa’s amapiano have been breaking out of the African continent, a lot more needs to be done for them to be fully integrated in the mainstream market.
Approximately 15 music executives from LVRN, YouTube, Spotify, COLORSxSTUDIOS and more — as well as creatives including filmmakers and music producers — came together at Florida’s Joy Miami Studios last Friday to discuss the future of African music and culture during a “Road to AFRICON” roundtable conversation, which was hosted by the media and entertainment brand Amplify Africa.
The hour-and-a-half-long discussion was the first pop-up event Amplify Africa hosted this year ahead of its fourth annual AFRICON, a multi-day conference and celebration of African culture, innovation and entrepreneurship held in Los Angeles that features panels discussing ways to achieve the brand’s goal of uniting the global Black diaspora as well as immersive experiences, from an all-Black marketplace to the AfroBall Gala.
Road to AFRICON 2024 Miami
Courtesy of Amplify Africa
Amplify Africa CEO/co-founder Dami Kujembola kicked off the conversation by asking about the challenges facing African artists who want to break into and thrive in international markets. Buku Ibraheem, music and culture global brand marketing manager at Beats by Dre, cited “translating their cultural impact to people who are not part of the culture. A lot of times, people who are not part of our culture, they see Black music as a monolith. They’re thinking about it through the lens of hip-hop and R&B, but Afrobeats has yet to really make sense to them,” she said.
Ibraheem argued that brands tend to focus on numbers, from artists’ Instagram followers to their TikTok engagement, and as she pitches African artists for major marketing campaigns, she’s proving that their “cultural impact supersedes that. You can’t necessarily put a number on that.” Added Adam McFarland, program manager, Black music and culture at YouTube: “The hard part is drawing a linear line from impact to culture, because it’s not a linear line. It makes sense to us because it’s a lived experience, and we’re able to quantify it based on what we’re seeing. But if it’s not your lived experience, and you’re not seeing that, then you can’t quantify that.”
Ibraheem led the launch of the 2020 Beats x AMBUSH campaign and pitched Burna Boy as the lead talent to Yoon Ahn, Korean-American fashion designer and founder/creative director of the Tokyo-inspired streetwear brand AMBUSH. “If I can prove to the company that not only can [the artists] draw awareness, but they can help us move units, then it gives them opportunity for us to do bigger launches,” she said.
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Ibraheem also explained how brand partnerships should work in both parties’ favor. The November 2020 launch of Burna’s Beats x AMBUSH campaign arrived three months after the release of his fifth studio album Twice as Tall, and the clip spotlighted the track “Way Too Big.” “As a marketer, I hate using Black talent as mascots. How do you partner with talent in a real way and have them become brand ambassadors of your brand?” she said, adding that it’s more valuable for brands to “show up as an active participant” in an artist’s ecosystem, like assisting with their album rollouts, “versus just renting them out.”
Some executives compared the U.S.’ rather slow recognition of Afrobeats to the country’s gradual acceptance of one of its homegrown genres: hip-hop. Arising in the 1970s among New York’s Black, Latino and Caribbean inner-city youth, hip-hop transformed from a cultural movement into a commercially successful global phenomenon. In 2017, hip-hop became the most dominant genre in the U.S. for the first time since Nielsen Music started tracking sales in 1991. Hip-hop, which notably celebrated its 50th birthday last year, has maintained its position as the No. 1 U.S. genre since then. Similar to hip-hop’s ascent, Afrobeats has been steadily gaining traction from the global Black diaspora, and it’s only a matter of time until mainstream (read: white) audiences fully catch on.
“It took America a long time to fully give hip-hop the money that it was supposed to get. Now, hip-hop artists are cashing out. So I think it’s [up to] us [to be] a little patient, but also push forward and know that we’re going to have to kick some doors down,” said LVRN president/co-founder Tunde Balogun, whose company manages Grammy-nominated R&B stars like Summer Walker and 6lack as well as internationally renowned Nigerian acts like Davido and Spinall. “I tell my friends, my people at the labels and investment [firms], like, ‘Yo, you have to almost be willing to lose money to go into a new market and be first and really put your foot down, because you’re going to have to try some things out that other people aren’t.’”
COLORSxSTUDIOS, the Germany-based music performance platform, invested in the continent by hiring a fully local crew to work on multiple productions in Nigeria. That included Oxlade‘s viral “KU LO SA” performance in 2022 that played a pivotal role in transforming the song into a global smash, later receiving a remix from Camila Cabello. Oxlade previously told Rolling Stone that his COLORS shoot was originally supposed to be held at its main Berlin studio, but due to visa clearance issues, he was unable to travel. COLORS then flew to Lagos to shoot him as well as Ayra Starr, Victony, DBN Gogo, BNXN and more as part of its partnership with Spotify RADAR Africa, which aims to help African artists get discovered around the world and expand their audiences outside of their home markets. In his COLORS THREE SIXTY FM episode, Oxlade showed tremendous gratitude to the COLORSxSTUDIOS team — especially sound engineer Paul Lorton, whom he later tapped to mix the studio version of “KU LO SA” — for “taking out time to fly to Nigeria to come shoot Afrobeats artists. We Nigerians are forever grateful for putting us on the map.”
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Jonas Weber, CEO of COLORSxSTUDIOS, explained during the “Road to AFRICON” roundtable discussion that one of the main reasons COLORS worked with Spotify on spotlighting African artists in their native continent was to avoid visa issues, like the one Oxlade ran into.
“Our studio, as many of you know, is in Berlin, and we have pop-up studios. But for us, it was always like, ‘OK, how can we be where stuff is happening?’ One of the things we believe in is you just have to be where [African music is] at,” he said, applauding the platform’s efforts in producing more “on the ground” performances. “I think our responsibility is, ‘Do we bring our own crew or do we work with local talent? How do we empower them? How does the money stay there? How do the rights stay there?’ That’s when you think of economic sustainability and making [Africa] less dependent on other continents. It’s definitely something we have always tried to commit to. For example, with Lagos, we had a full Nigerian crew. In Kenya, it was a full Kenyan crew. We don’t have to talk about it, we just have to do it. And I think if more do that, more money stays within the local hubs and more investment goes into creativity.”
Continuing to build up the infrastructure of the local African music industry to where it’s “self-sustainable,” said Amplify Africa COO/co-founder Timi Adeyeba, continues to be a long-term goal.
“The issue is we’re asking the European, American, Western world to take us in. Can we build Africa to the extent where an industry that has so much power and financial resources is going to an artist like Burna Boy first?” wondered London-based filmmaker Ade O’Adesina, who has helped artists elevate their storytelling through visual mediums and is credited as a consultant on Black Panther: Wakanda Forever. “Africa is going to become even bigger where we’re not begging the people on this side to take us in. It’s going to happen.”
It’s been a year of incredible growth in the world of African music.
Music from every corner of the African continent, from West Africa’s contemporary, vibrant Afrobeats supergenre to South Africa’s groovy, bubbling amapiano scene, has continued expanding its reach across the globe, while further embedding itself in the U.S. pop market. Rema & Selena Gomez‘s “Calm Down” and Tyla‘s “Water” both became top 10 hits on the Billboard Hot 100. The Grammys, MTV Video Music Awards and American Music Awards added new categories honoring African music. And Uncle Waffles became the first amapiano act to perform at Coachella, while Burna Boy became the first Nigerian act to headline a U.S. stadium during his stint at NYC’s Citi Field.
And we wanted to honor the breadth of work by the continent’s established and emerging stars this year by sharing our individual favorite African songs (with an accompanying Spotify playlist) and albums of 2023, which can be found below.
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Heran’s Favorite African Songs of 2023
Tyla, “Water”
Davido feat. Musa Keys, “Unavailable”
Libianca, “People”
Amaarae, “Princess Going Digital”
Teni, “No Days Off”
Adekunle Gold with Zinoleesky, “Party No Dey Stop”
Crayon & Ayra Starr, “Ngozi”
Victor Thompson & Ehis “D” Greatest, “THIS YEAR (Blessings)”
Ruger, “Tour”
Muzi, “eMtunzini”
Dan’s Favorite African Songs of 2023
Davido feat. Morravey, “In The Garden”
Teni feat. ODUMODUBLVCK, “Devil Dance”
Olamide, “Problem”
Asake, “2:30”
BNXN, Kizz Daniel & Seyi Vibez, “GWAGWALADA”
Khaid, “Jolie”
King Promise, “Terminator”
Tiwa Savage, Ayra Starr & Young Jonn, “Stamina”
Lil Kesh, “Bus Stop”
Libianca, “People”
Heran’s Favorite African Albums of 2023
Amaarae, Fountain Baby
June Freedom, 7 Seas
Bloody Civilian, Anger Management
Tay Iwar, Summer Breeze
Teni, TEARS OF THE SUN
Davido, Timeless
Asake, Work of Art
Burna Boy, I Told Them…
Spinall, Top Boy
Bnxn, Sincerely, Benson
Dan’s Favorite African Albums of 2023
Davido, Timeless
Teni, TEARS OF THE SUN
Olamide, Unruly
Asake, Work of Art
Kizz Daniel, Maverick
Spinall, Top Boy
Lil Kesh, Rhythm & Tunes EP
Joeboy, Body & Soul
Amaarae, Fountain Baby
Burna Boy, I Told Them…
And check out our last Fresh Picks of 2023, while keeping up with the hottest new Afrobeats releases before the year is over with our Spotify playlist below.
Tyla, “Truth or Dare”
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Ahead of her self-titled debut album, Tyla invites an old flame, who wants to reignite what they once had now that he sees how hot she’s become, to play a tantalizing game of “Truth or Dare.” “So let’s play truth or dare, dare you to forget/ That you used to treat me just like anyone/ Truth or dare? Is it true you care? Now that you can see the love from everyone,” she sings in the tongue-in-cheek chorus. But the shuffling beat from the scorching amapiano-infused R&B record feels like Tyla is inviting her past lover onto the dancefloor to win her back. Regardless, it’s Tyla who emerges victorious.
Victor Thompson, “Stallion”
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After blessing listeners with his and Ehis ‘D’ Greatest’s viral, inspirational anthem “THIS YEAR (Blessings),” the Nigerian gospel singer gives thanks to the One who’s given him the strength to conquer this year with his debut album Blessed. On its opening track “Stallion,” Thompson delivers a message of resilience over a buoyant beat that can inspire listeners to bounce back from any hardships they might be enduring. “I’m a stallion/ And I ride on like a champion/ ‘Cause my Father, He has won it all/ And I no fit fall,” he croons with grace.
PsychoYP feat. ECEE, Rhoma BTW & Zaylevelten, “LEAN!”
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From the deluxe version of his Osapa London album, the Nigerian alternative rapper talks his shit on the electrifying cut “LEAN!” Over menacing horns and a punchy bassline that could start mosh pits all over the continent and beyond, PsychoYP flexes that he has “forty mil in four different accounts” and other luxuries that make him untouchable, while up-and-comers ECEE, Rhoma BTW and Zaylevelten show off their distinctive flows that all seamlessly blend into the stimulating sonics of “LEAN!”
Libianca, Oxlade & Chlöe, “Mistaken”
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Following the success of her breakout hit “People,” Libianca continues using her stirring, soul-baring vocals to unload the “baggage that I’ve been carrying for my whole life,” she said in a press statement, with her debut EP Walk Away. On the highlight track “Mistaken,” the Cameroonian American singer-songwriter is pondering whether the man she’s preoccupied with is truly worth her time, with Oxlade playing the man in question, taunting her for being so obsessed with him. But Chlöe reforms from her old ways of being desperate for love from a man who never deserved her, ending “Mistaken” on a high note of resilience.
Wizkid feat. Wande Coal, “Ololufe”
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Wizkid surprise-dropped his first project of 2023 at the tail-end of the year with the four-track EP S2. On the opening track “Ololufe,” the Grammy-winning superstar links back up with renowned hitmaker Wande Coal (following Wiz’s feature on “Ebelebe” from Coal’s Legend Or No Legend album earlier this year) for an amapiano banger, filled with energetic shakers and audacious percussion that can get every party started this Detty December. But Wizzy’s tender-hearted profession of his love for his darling, paired with Coal’s featherlight melodies, remind listeners that “Ololufe” is also a love song — and that feeling in and of itself is exhilarating.
Zinoleesky, “Sakara”
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Zinoleesky’s lyrics have always tended towards the raw, and this year-end single is as introspective as they come, as he sings about struggling to keep his head above water in a world of constant judgment and comparison. But it’s the emotion in his voice that stands out — rarely has he dipped so deeply to convey his feelings beyond just his words, and it makes this song stand out amid his catalog.
Seyi Vibez, “Different Pattern”
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Seyi Vibes has proven to be a chameleon when it comes to his sound, yet his particular flow and vocals always make his songs distinctly his own. “Different Pattern” is a perfect example, combining Highlife instrumentation with his multi-layered vocal delivery to make something that seems odd on paper function seamlessly in practice. It’s a fitting way to bookend a banner year for the young street artist, who held things down from beginning to end with a string of worthy projects in 2023.
Chike & Mohbad, “Egwu”
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From the single artwork, to the production, to the lyrics and the melodies, everything about “Egwu” serves as a tribute to the late Mohbad, who died suddenly and tragically in September at the age of 27. Over an almost orchestral backdrop and with a gorgeous hook, the song turns on a line from Mohbad that serves as a thesis statement: “Music no need permission to enter your spirit.”
Sarz, Asake & Gunna, “Happiness”
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The second single off Nigerian super-producer Sarz’s forthcoming album sees him tap into the talents of two bonafide stars of 2023 in Asake and Gunna over a major-keyed guitar-based beat. Asake carries the track with his infectious delivery reminiscent of some of the themes on his Work of Art album from the summer, while Gunna comes through with a breezy verse that nods to the good life.
Kizz Daniel, “Too Busy to Be Bae”
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Kizz Daniel caps a big year, bookended by the release of his single “Rich Til I Die” and highlighted by his latest album, Maverick, with a new single about the downsides of a suffocating relationship. But despite the subject matter, he can’t help but craft a catchy hook for the earworm single.
After Harvey Mason Jr. embarked on a series of trips to Africa in 2022 that were “guided by curiosity,” the Recording Academy CEO and the organization at large were determined to become an “effective collaborator” for the creative communities across the continent. The first step arrived this year, when the category of best African music performance was unveiled. “Artists throughout the U.S., Africa and worldwide see this as a pivotal acknowledgment by the academy that African music has achieved extraordinary impact [and] influence throughout the globe,” chief awards and industry officer Ruby Marchand says. The academy’s African music genre manager, Shawn Thwaites, agrees, noting that the addition not only reflects the current music landscape but also “Africa’s profound influence on music history.” As Mason says, it is “the beginning of our journey to serve global music creators even more ambitiously.”
Here, each of the nominees discuss the historic new category — and what it means for African music’s future.
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How did you feel when you heard about the new best African music performance category?
Asake: I felt excited and grateful at the same time because African music and traditions have been a direct influence on the world for far too long to not have its own category. It is a great moment to be a part of.
What was your reaction to your collaboration, “Amapiano,” being nominated?
Olamide: Watching all the hard work pay off after our team has dominated the African continent and the world over the years is a blessing and a huge win already.
What do you think of this first class of nominees?
Asake: It is a brilliant, diverse and very necessary first class of nominees. Thank you to the team at the Recording Academy for coming up with this and giving us the reach we deserve.
How do you think this first year of the category will positively affect the industry?
Asake: Every young artist coming up out there can now relate to the fact that their dreams are valid and can now be showcased on the biggest stage in music.
Olamide: The category will greatly impact the industry. African music has exploded globally over the years and will now be exposed on a large scale to the rest of the world.
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How did you feel when you heard about the new best African music performance category?
It’s a significant milestone, not only for me, but for the entire African music industry. It’s a testament to the global recognition and appreciation of the diverse and rich musical traditions coming out of Africa, which I am a part of. This category symbolizes a bridge connecting the world to our continent. [It is] something I have believed in and pushed for, so I couldn’t be prouder to see it come to fruition.
What is it like to be nominated in the category’s historic first class?
It’s an immense honor. It’s like being part of history in the making. This category represents a platform for the incredible diversity and talent within the landscape of African music. It’s a moment of celebration for every African artist who has contributed to our vibrant music scene.
How do you think this first year of the category will positively affect the industry?
[It] is a game-changer for African musicians. It opens up a new world of opportunities for African artists to gain global recognition and reach wider audiences. It will also encourage more collaborations and cultural exchanges within the music industry. This category not only celebrates African talent but also fosters a sense of pride and achievement within the community. It certainly makes the Grammys more accessible to African artists.
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How did you react to “Unavailable,” which features Musa Keys, being nominated?
I was so happy. I feel like this moment was a long time coming for me, and I’m extremely grateful.
How does it feel to not only be nominated but be included in the category’s historic first class?
It feels like further breaking the glass ceiling into the mainstream. Step by step, African influences and artists are getting more shine within the industry, and this feels like another win toward being acknowledged. To be a part of this historic moment is an honor.
What do you think of this first class of nominees?
I think it’s a well-curated group. Obviously, there’s so much talent in the African music community and definitely some other names I’d include, but I look forward to seeing future nominees in this category. And hopefully, more categories specifically for African music will be created in the future, too. This first year will definitely set the tone.
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How did you feel when you heard about the new best African music performance category?
I was quite elated because it shows inclusivity. Beyond being African artists, this category shows that the world is watching and seeing the effort we put in and does not mind giving us our flowers to smell.
How does it feel to not only be nominated for “Rush” but be represented in this category’s historic first class?
It feels iconic. To be doing this at 21? Whew! [It’s so] mind-blowing for me that I sometimes have to pinch myself that it’s all real and I’m not dreaming.
What do you think of this first class of nominees?
I think everyone in this category is badass, and I can only imagine the amount of tough work it took to put together these incredible artists in a category, all truly amazing artists I look up to and I’m proud to be nominated alongside.
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How did you feel when you heard about the new best African music performance category?
Hearing about the new category was very exciting because growing up, I watched the Grammys every year and watched all my favorite artists get awarded and nominated. It was something that I always imagined, and now that there’s a whole category dedicated to African artists, it means so much. I feel like it’s going to open so many more doors for us African artists and introduce our sound and artists to the world.
What is it like to not only be nominated but be included in this category’s first class?
Being nominated for a Grammy is such an honor, but the fact that I’m nominated for the first time in a category that’s an African category [in the year it has] been introduced, I couldn’t have asked for a better moment. I just feel super blessed, happy and excited to attend and enjoy the evening no matter what the outcome is. It’s such a huge moment for Africa, and I’m so happy I get to be a part of it.
Whom will you bring to the Grammys?
You know me. If I could, I would bring all of South Africa — but I’m sure my mama and papa will be there.
This story will appear in the Dec. 16, 2023, issue of Billboard.
Tega Oghenejobo could see it coming — but didn’t realize just how big it would be.
In March 2022, Nigerian record label Mavin Records and its subsidiary Jonzing World released Rave & Roses, the debut album by budding Nigerian star Rema, who had already achieved success in his home country and was steadily making inroads internationally. The album was well-received, but it was its second single, the bouncy earworm “Calm Down,” that was really making noise. “Its initial growth in Europe, particularly in France, where it dominated the radio charts for months, hinted at its potential,” says Oghenejobo, Mavin’s COO. “Then breaking records in regions like India and the Middle East, becoming the first No. 1 song on the MENA [Middle East and North Africa] charts showcased its global appeal even before it hit the U.S.”
The song began picking up traction on TikTok and across social media, followed by marketing support from Mavin and distributor Virgin Music, all while Rema toured Europe and Africa to help “Calm Down” gain steam. Then, in August 2022, Mavin and Interscope Records released a remix with Selena Gomez, and the song began to catch on stateside, both on streaming services and at radio. It would take another 10 months, but “Calm Down” would ultimately reach No. 3 on the Billboard Hot 100 and No. 1 on the all-genre Radio Songs chart, both history-making feats for a song by an African lead artist.
“The success of ‘Calm Down’ highlighted several crucial lessons: Solid partnerships, a competent team and an artist aligned with the vision are indispensable for global success, while the ability to adapt and capitalize on every opportunity, as well as maintaining momentum, emerged as key strategies,” Oghenejobo says. “And collaborations, exemplified by Rema and Selena Gomez, underscore the potential for unexpected pairings to achieve remarkable results.”
The coronation of “Calm Down” across the charts — it also reached No. 1 on the Global Excl. U.S., Pop Airplay and U.S. Afrobeats charts, ultimately spending 58 weeks atop the lattermost list — didn’t happen in a vacuum. For the past seven years — since Wizkid became the first Nigerian act to reach No. 1 on the Hot 100, as a featured artist on Drake’s 2016 smash “One Dance” — African artists and African music, for which “Afrobeats” serves as a sort of catchall term, have been steadily making headway on the U.S. charts, radio station playlists and arena headlining slots. Wizkid, Burna Boy and Davido have been at the forefront leading the charge, but the past two years have also heralded breakthroughs for a number of younger artists, such as Rema, Tems, Libianca, Asake and Tyla. The Grammys acknowledged that growth by introducing the best African music performance category; the award will be given out for the first time next year.
“For the past 30 to 40 years, American culture influenced the world,” says Tunde Balogun, president of LVRN, which co-manages Davido and Nigerian DJ-producer Spinall. “Now, through Africa and Latin in particular, we’re seeing the world influence American music. We’re seeing the industry’s institutions change, and we’re seeing it on the top 40 radio charts as well as the Hot 100. It’s a really exciting time.”
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Some of that is due to the success of collaborators like Rema and Gomez. For example, “Essence,” Wizkid’s breezy breakout hit with Tems, took off in 2021, then exploded after Justin Bieber hopped on the remix, while Tems herself won a Grammy for a guest feature on Future’s “Wait for U.” And this year, Becky G remixed Libianca’s “People” to reach a broader audience. But it’s also a reflection of a growing appetite for music from beyond the borders of the United States — and labels are following consumer tastes.
“Most labels right now are essentially looking at the world’s music population — they’re no longer just looking at what’s happening in Ohio or Portland or wherever, they’re looking at what is actually being consumed in the world,” says RCA COO John Fleckenstein, whose roster includes Wizkid, Davido, Tems and Libianca. “That, to me, shows that we’re starting to recognize that the whole world is full of fans and artists and those borders are coming down, the economic ones and the political ones. It’s just about fans and artists. Perhaps most excitingly, the stage is already set for a true global superstar to emerge in the genre.”
And that superstar might already be here. For all the excitement around the music itself, there is more groundwork to do for the artists and the business — work that is already well underway. “The numerous wins, valuable lessons learned and opportunities for growth have been incredibly rewarding, and the validation through successful tours, enthusiastic audiences, awards and accolades motivates us to aim higher and work harder,” Oghenejobo says. “With determination and respect for the craft, there’s limitless potential for what African music can accomplish. The future looks incredibly promising.”
This story originally appeared in the Dec. 9, 2023, issue of Billboard.
Come next spring, Davido will perform his first concert at NYC’s Madison Square Garden, Billboard can exclusively announce. The Afrobeats superstar will perform at the legendary venue on April 17, 2024, as part of his extended Timeless Tour. Produced by Duke Concept, the three new North American arena dates will start with the MSG show, […]
Renowned producer Sarz has recruited fellow Nigerian hitmaker Asake and chart-topping Atlanta rapper Gunna for their “Happiness” collaboration, Billboard is exclusively announcing Tuesday (Dec. 5). The single will be available on Friday, Dec. 8, via UnitedMasters, which partnered with Sarz earlier this year on his 1789 imprint in an effort to empower African artists and […]
As the year winds down to a close, the hits keep coming, as big singles from Victony, Oxlade and P Prime, Minz and Young Jonn have kept the worlds of Afrobeats, Afropop, Afrofusion and genres beyond moving through November. And that’s before even mentioning the new album from Teni, Tears of the Sun, which might just be one of the best albums of the entire year, from any genre.
In short, the month of November has produced some of the best songs yet. (And yes, we know, it’s the first of December — but hey, things get busy at the end of the year.) Here, we’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our latest Spotify playlist below.
Teni feat. ODUMODUBLVCK, “Devil Dance”
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Teni’s sophomore album Tears of the Sun is stuffed full of great songs, and as a whole is a confident statement from a performer, artist and person who knows exactly who she is and isn’t going to apologize for it. On “Devil Dance” she delivers one of the best tracks on the project, with a catchy guitar line, sassy melody and confident, swaggering hook, complete with a trademark ODUMODUBLVCK verse, which demands repeat plays, and is a thesis statement that stands out on an album that’s overflowing with them. A landmark song for the year for sure.
Teni, “Jalingo”
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Following reports that she had been kidnapped during a performance gone wrong last year, the Nigerian singer-songwriter set the record straight and recorded “Jalingo” from her sophomore album, Tears of the Sun. “I was actually at a show where a fight broke out. A lot was happening and everybody was fighting,” she told Apple Music. “It was deep inside one place in Port Harcourt and, for us to leave there, our security officers were shooting. It was chaos in the middle of the night….” Teni touches on a heavy subject but gets right back on her feet (and gets everyone on theirs, too) for a lighthearted club banger.
Boj & Ajebutter22, “42”
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The feel-good duo dropped the third installment of their Make E No Cause Fight EP series – off Boj’s own label Action Boyz under Moves Recordings – and the sumptuous blend of jazz, R&B, highlife, palm wine and alté is filled with tropical vibes and laid-back flows. The first track, “42,” isn’t a typical party anthem about getting f–ked up on Don Julio, but a reflective, toast-worthy ode to how far the two have come (and how much money they now have), which instantly draws in listeners with its cascading guitar licks.
Oxlade & P.Priime, “PIANO”
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The “KU LO SA” star teams up with fellow Nigerian hitmaker P.Priime on the scintillating “PIANO” track from Oxlade’s KATIGORI/PIANO two-pack, which he said in a statement is meant to show off his two sides: “the cautious Oxlade and the party Oxlade.” The pitter-patter of the log drums mimics his heartbeat when he’s with that special someone, but his falsettos scattered throughout the love song could woo just about anyone. “‘PIANO’ is the strongest song I’ve dropped this year MUSICALLY,” Oxlade added.
Minz, “BLESSING$”
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The “WO WO” artist soulfully reflects on his “BLESSING$” and encourages others to count theirs in his latest uplifting track. The soothing piano melodies and introspective percussion strike a chord with listeners, but his “I’m out of your league so you can’t touch, MC Hammer” lyric adds a nice sprinkle of braggadocio.
Ratii Rsa, Tyler ICU & Catzico feat. Katarina, “Mnandini”
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At 17 years old, Ratii Rsa is demanding the world’s attention with her ultra-bubbly amapiano single “Mnandini.” She taps fellow South African DJ/producers Tyler ICU and Catzico to transport listeners on a tranquil eight-minute journey, where they can easily lose themselves in the sweet-sounding arpeggios, while Katarina’s breathy vocals build tension for the song’s most exhilarating moments.
Victony feat. Crayon & Bella Shmurda, “Ohema”
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The song may be credited to these three artists, but more than a dozen appear on the track — OkayAfrica called the all-star cast “The Avengers of Afrobeats” — including Rema, Ayra Starr, ODUMODUBLVCK, Blaqbonez, Lojay, Oxlade, YKB, Bloody Civilian and more. All together the crew create a layered tapestry that pulses with energy, an anthem for this generation of established and budding stars of the genre.
Young Jonn, “Disconnect”
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Young Jonn hasn’t missed this year with a string of excellent singles, from “Currency” with Olamide, “Stamina” with Tiwa Savage and Ayra Starr, to “Aquafina” and “Sharpally.” “Disconnect” is the next entry into that lineage, as the superproducer continues to establish himself as one of the best hitmaking artists out there right now. And, as he promises on this track, this string of singles portends plenty of “better days ahead.”
YKB & King Promise, “This Must Be Love”
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Both YKB and King Promise have enjoyed breakout years in 2023, with the former’s “komplete riddim” a standout hit and the latter’s “Terminator” making waves around the world. So their collaboration on this sweetly catchy single is a welcome joining of forces, as the two go back and forth in both English and Yoruba opining about a girl changing their minds about love and affection, with production that absolutely pops.
Qing Madi, “Vision”
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Young Alté singer Qing Madi may be relatively new to the scene, but she’s burst out with a string of singles that clearly articulate her artistry and showcase her arresting, effortless vocals. “Vision” is just the latest, with an understated R&B groove over which she sings about the distraction of someone she can’t get out of her mind. Still just 17, her range is impressive.