afrobeats
Page: 7
Burna Boy will make history come July when he becomes the first Nigerian artist to headline a U.S. stadium, Billboard can exclusively announce Monday (April 3).
His July 8-dated show at NYC’s Citi Field marks another major stadium date in the Afro-fusion superstar’s Love, Damini world tour, which includes future stops at Paris La Defense, London Stadium and Gelre Dome in Amsterdam. The Citi Field stop, which is produced by Live Nation, falls on the first anniversary of Burna’s most recent album, Love, Damini, which peaked at No. 2 on Billboard‘s World Albums chart and received a 2023 Grammy nomination for best global music album.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Just last April, the “Last Last” singer became the first Nigerian act to headline Madison Square Garden for his concert that was billed “Burna Boy Presents One Night in Space.”
Burna Boy’s Global Vision: Taking Afro-Fusion to the Next Level
04/03/2023
Citi cardmembers will have special access to pre-sale tickets starting Tuesday, April 4 at 10 a.m. local time through Thursday, April 6 at 10 p.m. local time through the Citi Entertainment program. For pre-sale details, go to www.citientertainment.com. General on-sale will start on Friday, April 7 at 10 a.m. local time on wwww.onaspaceship.com.
Burna has a busy couple of months ahead of him. Over the weekend, he performed at Dreamville Music Festival in Raleigh, N.C. He’ll also return to Indio Valley, Calif., for Coachella in April, then headline Afro Nation Miami in May. He’s also slated to co-headline the 2023 UEFA Champions League Final Kick Off Show by Pepsi in June at Istanbul’s Atatürk Olympic Stadium.
“It has always been my vision to build a bridge between all Black people in all parts of the world through the music and performance,” he told Billboard in his previous cover story. “Music is the No. 1 messenger.”
The Billboard’s U.S. Afrobeats Songs chart hits a major milestone this week with its first anniversary on the list dated April 1, 2023. The chart’s 53rd weekly edition brings it to the one-year mark, dating to its launch with the chart dated April 2, 2022. Since its debut, the U.S. Afrobeats Songs chart, a partnership chart between Billboard and the music festival and global Afrobeats brand Afro Nation, has tracked the genre’s 50 most popular tracks stateside each week through a weighted formula incorporating U.S. official streams and sales, according to Luminate. In the past year, the Afrobeats genre has continued to expand its global footprint and reach, exposing millions of fans to new sounds and songs, making international stars out of its biggest acts, and inspiring new creative directions and collaborations for artists in every part of the globe.
Explore
See latest videos, charts and news
See latest videos, charts and news
As Billboard celebrates the U.S. Afrobeats Songs’ charts first birthday, let’s recap some of the highlights from the past 12 months.
Six of One: In the first 53 weeks of the U.S. Afrobeats Songs chart, only six songs have managed to lay claim to the No. 1 spot. Nigerian singer-songwriter Ckay owns a piece of chart history with the inaugural No. 1, “Love Nwantiti (Ah Ah Ah),” which eventually ruled for six non-consecutive weeks. Of the half-dozen champs, however, one overshadows them all: Rema and Selena Gomez’s smash collaboration “Calm Down,” which has dominated for 30 of the chart’s first 53 weeks, or nearly 57% of that first year.
Here’s a full rundown of the six lucky No. 1s:
“Love Nwantiti (Ah Ah Ah),” CKay, six weeks at No. 1, beginning April 2, 2022“Peru,” Fireboy DML & Ed Sheeran, six, April 9, 2022“Free Mind,” Tems, one, June 25, 2022“Essence,” WizKid featuring Justin Bieber & Tems, two, July 2, 2022“Last Last,” Burna Boy, eight, July 16, 2022“Calm Down,” Rema & Selena Gomez, 30, Sept. 10, 2022
Tems, notably, is the only repeat champion that we’ve seen thus far, thanks to “Free Mind” and her featured appearance on “Essence.” Burna Boy almost became the first act to capture two lead-role No. 1s. In addition to “Last Last,” he ranked at No. 2 for two weeks with “Hold My Hand,” featuring Ed Sheeran in July 2022 and returned to the runner-up spot in November 2022 with “Alone.”
Perfect Attendance: Of the 217 songs to have appeared on the U.S. Afrobeats Songs chart since its inception, just 13 have been on the chart for all 53 weeks the chart has existed. Tems claims the most of the crew, with five tracks. Let’s revisit those 13 continual hits, based on their position rank on the most recently published list:
Song Title, Artist, Rank on chart dated April 2, 2023“Calm Down,” Rema & Selena Gomez, No. 1“Free Mind,” Tems, No. 3“Essence,” Wizkid featuring Justin Bieber & Tems, No. 6“Love Nwantiti (Ah Ah Ah),” CKay, No. 7“Peru,” Fireboy DML & Ed Sheeran, No. 8“Found,” Tems featuring Brent Faiyaz, No. 14“Ye,” Burna Boy, No. 19“Finesse,” Pheelz x BNXN, No. 26“Damages,” Tems, No. 32“On the Low,” Burna Boy, No. 36“Replay,” Tems, No. 38
Burna Boy’s Hot Streak: His song may be “Last Last,” but Burna Boy is … first first (had to) in the count for the artists with the most charted songs in the first year of the U.S. Afrobeats Songs chart. The global hitmaker posted 28 titles on the list in its initial 12 months, with Wizkid (22) winning the silver medal and Nigerian singer Asake (16) claiming bronze. In total, six acts crossed the double-digit mark in the inaugural year:
Burna Boy, 28Wizkid, 22Asake, 16Rema, 14Zinoleesky, 13BNXN, 12Tems, 12
Burna Boy also heads the leaderboard for most top 10 hits on U.S. Afrobeats Songs, with eight different cuts that have reached the region: “Last Last,” (No. 1 for eight weeks), “For My Hand,” featuring Ed Sheeran (No. 2), “Solid,” featuring Kehlani and Blxst (No. 8), “It’s Plenty” (No. 8), “Cloak and Dagger,” featuring J Hus (No. 10) and “Alone” (No. 2). The remaining pair are through guest spots, on Asake’s “Sunbga” (No. 7), and Master KG’s “Jerusalema” (No. 10).
Thanks in part to that Burna Boy teamup, Asake owns six top 10s, putting him next in line behind his former collaborator. Tems’ five top 10s puts her in third place, while Fireboy DML and Wizkid round out the top five, with four top 10s each.
March is coming to an end, and with it comes another installment of our Afrobeats Fresh Picks column, an endeavor that is heating up along with the weather.
At this point in the year, a quarter of the way through, there are already a handful of contenders for songs that will define the summer and carry us through all of 2023. But there’s also still plenty of room to pad out those playlists and a lot more music coming down the pipeline — including full albums from many of the artists who have been steadily building through singles in the first few months of this year.
Explore
See latest videos, charts and news
See latest videos, charts and news
The stars have been shining brighter together lately, from Major Lazer and Major League Djz‘s international alliance to the electric duo of Adekunle Gold and Zinoleesky to the triple team up of Tiwa Savage, Ayra Starr and Young Jonn — in fact, this month’s edition features half collaborations and half solo tracks. Even songs we’ve previously featured, Libianca‘s “People” and Victony and Tempoe‘s “Soweto,” have added illustrious guests to new versions of their original tracks: Ayra Starr and Omah Lay on the former as well as Don Toliver and Rema on the latter. But there are plenty of solo gems from the likes of Amaarae, Bella Shmurda and Lil Kesh on the playlist, too, with plenty more deserving tracks just missing the cut.
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 cue up our Spotify playlist below as you’re reading along.
Adekunle Gold feat. Zinoleesky, “Party No Dey Stop”
Adekunle Gold makes sure the “Party No Dey Stop” in his new up-tempo, Afropop single, which also marks his debut under Def Jam Recordings. Apart from his new major label deal, AG Baby flexes his co-sign from Oluwa (which means God in Yoruba) and his riches on the vivacious beat, co-produced by Kel-P and Monro, which ensures the vibes are not just immaculate but also eternal. He reflects on relying on God’s grace and having a good time alongside his fellow Agege native Zinoleesky, who’s featured on the track. “The world should be expecting madness from that guy – he’s so good,” Gold recently told Billboard. “I reached out to him, and then we got in the studio. In a matter of hours, we wrote his verse together and it was a banger.”
JayO, “22”
Rising North London-born, Nigerian singer JayO is the ultimate charmer in his sensual single “22,” which has an all-too-fitting Feb. 22 official release date. While scintillating snippets had been swarming TikTok before then – with “22” garnering almost 300,000 user-generated videos to date on the platform – the full 2-minute, 22-second single captures JayO’s explicit desires with a girl who’s (you guessed it) 22 years old and “too hot to handle,” as he croons over the lush R&B piano loop and sizzling percussion. While JayO can’t keep his hands off this girl, our ears can’t get enough of this song.
Amaarae, “Reckless & Sweet”
Amaarae delivers a “Reckless and Sweet” yet slightly savage offering from her forthcoming sophomore album Fountain Baby. The Ghanaian Afropop singer draws in (and calls out) her money-hungry admirer with the siren-like hook “Call me when the money come, come, come, come, come/ To the money I’ma run, run, run, run, run,” which sounds just as mesmerizing and attractive as Amaarae’s spending habits. Nothing less is expected from the “SAD GIRLZ LUV MONEY” hitmaker, whose irresistible swagger can be found in the latest Mugler x H&M campaign or front row during Milan Fashion Week as she also builds up her name in the neighboring fashion world, where she can further relish in opulence.
Tay Iwar, “Healing”
Nigerian alté singer Tay Iwar provides himself with a musical antidote from a previous, harmful relationship on “Healing,” his first single of 2023. His hypnotizing, digitized “healing from your stress” hook floats above a bubbling percussive pattern that can wash anyone’s worries away with the simple press of the play button. But for Iwar himself, his healing journey doesn’t just involve uncomfortable revelations as to what went wrong, but also “[killing] all of my worries with champagne.” After being featured on “True Love” from Wizkid’s critically acclaimed Made in Lagos and co-writing/co-producing Burna Boy’s standout “Alone” from the Black Panther: Wakanda Forever soundtrack, Iwar continues to show his fans that he can lend his talents to the biggest stars while also being a star in his own right.
Major Lazer & Major League Djz feat. Brenda Fassie, “Mamgobhozi”
American EDM DJ trio Major Lazer and African DJ/producer duo Major League Djz join forces on their new amapiano album, Piano Republik. On the single “Mamgobhozi,” the late Queen of African Pop Brenda Fassie’s vocals come to life, via a sample of her 1997 hit “Vuli Ndlela,” adding an honorable touch to a project dedicated to celebrating the amapiano sound traveling across the globe from its native South African townships. “Brenda Fassie was not only an icon, but she inspired many Black South Africans to be their authentic selves,” Major League Djz say in a press statement. “’Vuli Ndlela’ is undoubtedly one of Brenda Fassie’s best bodies of work, holding the title of ‘Song of the Decade,’ and a song we heard playing at every South African wedding and home then and now … Her music catalog speaks for her long after she has left us, a true force.”
Tiwa Savage, Ayra Starr & Young Jonn, “Stamina”
Young Jonn has been on a hell of a run with his singles of late — see “Mood” and “Currency” previously — and this track sees him sandwiched in between two fantastic singers from two different generations in Tiwa Savage and Ayra Starr. Those two have been on hot streaks of their own lately — witness Tiwa on the “Who Is Your Guy?” remix with Spyro and duetting with Asake on “Loaded” earlier this year, while Starr has one of the biggest songs out in “Rush” and another one growing in prominence with “Sability.” Is that enough reason to listen to this? If not, take our word for it: It’s great. Treat yourself.
Bella Shmurda, “Ara (Gen Gen Tin)”
Almost ominous in its opening notes, the latest single from Bella Shmurda quickly opens up (through the production of Larry Lanes) into one of the most infectious hooks of the year so far, propelled by its call and response. And, yes, there’s a dance challenge, so go check that out too. And while we’re here, check out that new track he dropped with Nasty C, the “Philo” remix — but good luck getting “Ara” out of your head first.
Khaid & Boy Spyce, “Carry Me Go”
Last month we included Khaid’s sweet ode “Jolie” on our playlist, and this month we’ve got another one from the young Nigerian singer with an innate knack for melody and inviting hooks. Here, the collaboration with Boy Spyce somehow turns those melodies up a notch, with the track steadily building and layering into a full-on choir production, taking the song into the stratosphere.
Jaido P & Fireboy DML, “One of a Kind”
Fireboy dropped a pair of red-hot features this month, between this one and Peruzzi’s “Pressure,” but there’s something about the melding of his voice with the more streetwise rapping of Jaido P, each of them switching back and forth between Yoruba and English, that sets this one apart from the rest of what’s coming out right now. You could easily see this one going off in the U.K. at the drop of a hat.
Lil Kesh, “Good Bad Boy”
As mentioned in a previous column, Lil Kesh had one of the hands-down best songs of 2022 with “Don’t Call Me,” alongside Zinoleesky. “Good Bad Boy” has a completely different feel, incorporating horns and a back-and-forth bridge supported by rapped verses that pile on top of one another, creating an energy that propels the track forward. Kesh is one of the more elastic vocalists around right now, mixing in all kinds of styles, melodies and flows — sometimes even into the same line of a verse — and that’s all on display here.
Nigerian Afropop singer Adekunle Gold has officially signed with Def Jam Recordings, the company tells Billboard.
“I’ve been following Adekunle Gold since I first heard his record ‘Sade’ in 2016. Over the years, everything in AG’s world has elevated — his songwriting has refined, the scope of his artistry has widened, his vocals have strengthened, his approach to fashion is more distinct, and his showmanship and performance ability have grown exponentially,” says Def Jam CEO/chairman Tunji Balogun in a statement to Billboard. “He’s stepped into stardom on his own terms and is completely comfortable being his true self.”
Balogun added, “When I started at Def Jam, I knew I wanted to bring the label into the Afrobeats space tastefully, with the right artists and partnership. Adekunle felt like the perfect fit – he’d already done so much work on his own to build a base, but I knew that we could scale his audience to an even bigger level if we combined our energies and worked together.”
Gold (real name Adekunle Almoruf Kosoko) describes his signing as a “full circle moment” after Balogun tried signing him years ago, prior to the executive’s 2022 arrival at Def Jam. The “5 Star” singer said that because he and Balogun share Nigerian roots, “he understands it, so signing to Tunji makes sense. He’s like my studio buddy that just comes everywhere I go. The day he doesn’t have time to be there, I know he must’ve been like stupidly busy. He’s great.”
When it comes to signing with Def Jam, Gold continued, “The track record is there. The history is there. They break artists, and they have niche, unique artists like me, so I think it’s the right move for me. All of the things that I’ve done for myself already, they know already and that’s why they’re on board.”
Balogun was in Lagos, Nigeria, says Gold, when he and fellow Nigerian singer Zinoleesky were writing and recording “Party Dey no Stop,” Gold’s new single featuring Zinoleesky that marks his Def Jam debut. “When we started to make the music, it was so easy for me to go in and just attack the song. I wrote my verse, I wrote the chorus, and it was a rap. I knew from then that this song was a jam,” Gold says of the track.
“Party Dey no Stop” arrives ahead of Gold’s fifth studio album due in June. In support of the project, he’ll embark on a four-month world tour that’s set to kick off in North America in September and run through the United Kingdom, Europe, Africa, Australia, New Zealand, South America and the Caribbean through next year.
Gold first rose to fame in 2015 with the single “Sade,” a highlife love song that samples instrumentals from One Direction‘s 2013 hit “Story of My Life.” “Sade” went on to win best alternative song at the 2015 edition of The Headies, a Nigerian music awards show. Gold eventually signed his first record label deal with Olamide‘s YBNL Nation and released his debut studio album, Gold, in 2017. It peaked at No. 7 on Billboard‘s World Albums chart.
After Gold’s YBNL Nation contract expired, “I didn’t quite know what to do,” he says. “I was signed for two years, fresh off the industry. I was just thinking, ‘What am I going to do from here?’ [And] I’m like, ‘You know what? I got this. Let me just start my own thing.’”
The Afrobeats star then started his own label, Afro Urban Records — “one of the best decisions I’ve made,” he says — and put out two albums: 2018’s About 30 and 2022’s Catch Me If You Can. He released his 2020 album, Afro Pop, Vol. 1, under EMI.
In a previous Billboard interview, Gold explained why he switched labels and the benefits of working with distributor Platoon, which helped with the rollout for his last album, Catch Me If You Can, featuring Davido, Lucky Daye, Fatoumata Diawara, Fousheé, Ty Dolla $ign and Stefflon Don. “When I was fully Afro Urban Records and no distribution label, me and my manager [Elizabeth Sobowale] had to do a lot of work. Platoon has the best hands in everything from PR to marketing,” he said at the time. “All I had to do was work on the music and they’re ready to take the rest upon themselves.”
After his groundbreaking success with Wizkid and Tems during his tenure as executive vp of A&R at RCA, Balogun has been playing a monumental role in bolstering Def Jam’s roster with more talent from the African diaspora. In September 2022, the label signed an exclusive worldwide joint venture with Native Records to develop African artists.
“I think AG is a truly global artist, and a rightful ambassador for Nigerian music and the emerging Afrobeats scene,” Balogun says. “He has the talent, virtuosity, focus, work ethic and temperament required to be a worldwide superstar. I’m excited to work with him and the Def Jam team to bring more fans into his world.”
“Hear it from me,” Gold says. “Afrobeats is taking over the world.”
It’s shortly after 5:00 p.m., and nearly two dozen recording engineers, producers and A&Rs are crowded into Studio A at EMPIRE’s recording studios in San Francisco, where Grammy-winning mix engineer Jaycen Joshua is in command of the center console. Joshua — who has been in the studio with everyone from Snoop Dogg to Future, Ariana Grande to Luis Fonsi, Justin Bieber to BTS, and won Grammys for his work with Beyoncé and Mary J. Blige, among others — is holding a masterclass for EMPIRE’s studio staff. Currently, he’s walking them through the ProTools plugin he’s created, called the God Particle, that will allow them to tap into some of the secrets he’s developed over the past 20 years honing his craft.
“People fail to realize that we’re artists,” he says, to fervent nods around the room, while explaining why the nuance of being an engineer is so important. “We paint like a producer paints. You want to make the colors of a painting as vibrant as possible.”
His audience is rapt, peppering him with questions and interruptions — none more eager than EMPIRE’s founder/CEO Ghazi, himself a longtime former recording engineer, who made sure to rearrange the day’s schedule so he could sit in with his staff. Ghazi flew Joshua up specially for this African writing camp EMPIRE is hosting for its top Nigerian talents Fireboy DML, Asake and Olamide, and had Joshua himself tune Studio A to his specifications, resulting in what Joshua calls “the second greatest sounding room in the world — next to mine.” (“I’ll take that,” Ghazi laughs. “It’s like being Kobe to Jordan.”)
The masterclass, frankly, seems like it’s being conducted in a different language, given the shorthand in which engineers communicate about compressors, limiters, microphones, ambient noise and the shape and quality of a particular snare drum sound wave compared to another. It’s like a PhD-level class, and each of the engineers will get access to the God Particle plugin in order to enhance their own mixes, as well — a plugin that is so successful (Joshua refers to it as his “cheat code”) that he’s sold over 100,000 copies of it in less than a year, with another coming out soon that caters specifically to drums. And it lines up with a mantra that Ghazi uses often: one about finding the sweet spot “where science meets creativity” — essentially, finding the place where technology can meet up with the inherent creativity of an artist and enhance the work of everyone.
Daniel Aziz and Matthew Fong
The masterclass wraps after about an hour, and it’s time for individual sessions to get back on track. When we got to the studio at 4:00 p.m., Olamide was eating in the dining room, though he soon would go back to his hotel, and the energy of the place is much brighter than the subdued day before — with a big crew of songwriters, engineers and EMPIRE staffers in and out of the rooms. Terrace Martin is in Studio A, adding keys to an Olamide record; Fireboy is in vocal training for an upcoming tour, a process that involves trampolines and yoga; and the kitchen, after a day of Tupac, is back to blasting Kevin Gates again. Just before the masterclass, Kenny Hamilton, who manages EMPIRE artist Rotimi, is playing new music for EMPIRE vp of A&R Tina Davis and regional head of West Africa Mobolaji Kareem, discussing plans for possible features for a forthcoming album.
Later, around 6:45, Asake comes through the studio with Olamide’s brother and DJ Enimoney, headphones around his neck, talking about plans for the next few days. His engineer and producer Magicsticks is coming in from Nigeria tomorrow — “he really gets me,” Asake explains — and the plan is to finish a bunch of records that are in various stages of mixing before he starts to work on anything new. He wants to bring in a chorus, between four and six singers, to help get an anthemic feel, and EMPIRE artist and songwriter Rexx Life Raj is employed to reach out to his network of contacts to help get the right people in the building. Then Asake heads outside — after living all his life in Nigeria, he says, he enjoys the cold of San Francisco in the late winter.
Daniel Aziz and Matthew Fong
It’s outside, sitting around the electric fire pit, that I find Asake again about an hour later, in a meeting with Bolaji, Ghazi, EMPIRE COO Nima Etminan and a slew of others about a music video he plans to shoot. (Dinner was again a mix of Nigerian food, and while it was delicious, I finally came face to face with the rumored pepper sauce from the night before — just as spicy as dreaded.) There are several video shoots planned for the coming days, and the conversation around the dinner table ranges from studio etiquette — specifically, what to do about the “couch producers,” a term for the random person laying down on the couch in the studio while a record is made who nonetheless demands five percent of the record — to the brilliance of a melody like “Baby Shark.”
But in each studio there’s more work underway — Joshua mixing in Studio A, Fireboy locked away in a closed session in Studio B, interviews happening in Studio C and more plotting out in the back yard around the fire pit. By 10:45, Asake had left, Olamide had long been back at his hotel and much of the EMPIRE staff had filtered out towards home. But Fireboy remained, locked in the studio, cooking up his next big record. The crew has less than a week now in the States, and there’s still plenty to do — and a lot for which to prepare.
This is the third installment of Billboard‘s series on EMPIRE’s Africa writing camp. Find the first installment here and the second here.
The conference room on the 22nd floor of EMPIRE’s San Francisco office is brightly lit, with plaques covering the walls: a gold single for King Von’s “Crazy Story,” a gold album for Kendrick Lamar’s Section.80, a seven-times platinum certification for D.R.A.M. and Lil Yachty’s “Broccoli.” Every chair around the big central table is full of EMPIRE staff members, each charged with different aspects of bringing to life the next project from Dinner Party, the collective comprised of Terrace Martin, Robert Glasper, Kamasi Washington and 9th Wonder, among others; their first EP was released by EMPIRE in 2020 and subsequently nominated for a Grammy for best progressive R&B album.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Standing by the table near the door is Martin — the multi-talented producer, saxophonist and vocalist — who introduces the project to the staff and lays out his vision for how he wants to see it rolled out.
“I look at Dinner Party as like the hip-hop version of Steely Dan,” Martin says, referencing the classic rock group’s famous aversion to touring. “Let’s keep this one thing as like an expensive art piece.”
It’s late afternoon, and the EMPIRE crew is hosting another day of its Africa writing camp at its San Francisco studio for Nigerian stars Fireboy DML, Asake and Olamide. But first, there’s other business to attend to, and the Dinner Party project is high on the agenda. Martin holds court for nearly two hours, discussing plans for the physical release, for spot-date performances and for possible brand tie-ins and content plans when the project is rolled out. But he’s also playing near-final mixes of the album, which he hopes to complete within the week, and telling stories about how it came together (“We’re all in our 40s now,” he jokes about he and his Dinner Party cohorts. “You get us all together and it’s just story time, story after story.”)
One song, for instance, originally sampled Mtume’s “Juicy Fruit,” more famous these days as the basis for The Notorious B.I.G.’s “Juicy.” When Martin heard it, he called Mtume’s son to ask about clearing the sample, who replied not with permission but with the stems to his father’s original track; that allowed Martin to bypass clearing the master recording and left him needing only to clear the publishing side. For another song, Martin eschewed drums altogether — something he picked up from his 19-year-old daughter, who is now a producer herself. “I come from the era where a beat with no drums was an interlude,” he says. “I’m following her now.”
YBNL & EMPIRE teams meet in Studio A to listen over Olamide, Asake and Fireboy DML’s newly recorded records
Daniel Aziz
The meeting wraps before 6 p.m., and now it’s time to head over to the studio. The vibe is a little different tonight. Asake and Olamide have stayed at their hotel — where Olamide has been recording vocals in his room — the kitchen is playing Tupac instead of Kevin Gates, and Nigerian vegetable soup, fried catfish, smothered turkey wings and mac and cheese are the main events at dinner. (Though all anyone is talking about is how hot the pepper sauce is.)
Fireboy and Asake stayed in the studio until after midnight the night before cooking up another collaboration, and while Asake isn’t there now, Fireboy is, meeting Martin and adding in vocals and guitar to another song he’s working on. (The guitarist, Tone, sports a black triple-humbucker Fender Telecaster Deluxe, for those curious.) The vocals constitute an anthemic plea that Fireboy pores over with his engineer in Studio C, looping the vocals on the hook again and again to get them right then hopping back into the vocal booth to add harmonies and ad-libs while reading lyrics off his phone. Steadily, over the course of 45 minutes, the two add layer after layer to the track, reinforcing melodies and bringing forth different textures until Fireboy sits back in his chair, looking up at the ceiling and taking it all in.
It’s been more than a week since the camp began, and the conversations around the studio are diverse. Topics include the benefits of vocal coaching for an artist going on tour; the Nigerian presidential election; who is leaving from and coming to camp (songwriter Ivory Scott left this morning, Rexx Life Raj is set to arrive tomorrow, and Nigerian producer Magicsticks is on the way); and the studio’s many renovations. EMPIRE is planning to open a space in Los Angeles, too, and recently did the same in New York, though San Francisco will always be home.
Daniel Aziz
Shortly after 8 p.m., EMPIRE regional head of West Africa, Mobolaji Kareem, pulls us into Studio A to listen to a final mix of a new Kizz Daniel track that engineer Jaycen Joshua completed that morning. Right on cue, Daniel calls on FaceTime, dictating the custom lighting to tell us which color the room needs to be to listen to the track and promising to get out to the new studio when he can. But it’s an early night for just about everyone involved. The exception is Fireboy, who stays in the studio after many have left even though his voice is tired from the constant grind of recording. Tomorrow is another day, and more work is expected before things wrap in another week.
It was just over 18 months ago that Fireboy DML released the record that would change his life.
But the song — “Peru,” which, aided by a remix with Ed Sheeran, would ultimately reach No. 53 on the Billboard Hot 100, No. 2 on the UK Official Singles Chart and No. 1 on U.S. Afrobeats Songs — was almost never released at all. Standing in the lounge of EMPIRE’s studio space in San Francisco, where he originally cut the record in 2021 (memorialized by the line “I’m in San Francisco jamming”), he’s explaining how, if it wasn’t for the enthusiasm of EMPIRE founder/CEO Ghazi pushing him to release the record, he might never have put it out due to his own perfectionism. (Which, as an EMPIRE staffer standing nearby points out, is due to him being an Aquarius.)
But four hours later, that alternate timeline where Fireboy’s single didn’t break through into the U.S. and help Afrobeats’ global takeover seems implausible, even absurd. Shortly after 10:00 p.m., Ghazi leads Fireboy into the studio’s white marble lobby, where two dozen EMPIRE employees, songwriters, producers and managers, as well as fellow Nigerian Afrobeats artists Asake and Olamide, the latter of whom also runs their YBNL record label, are waiting to surprise Fireboy with an RIAA plaque of platinum certification for “Peru.” After a short bow and a swig from a bottle of champagne, Fireboy gives in to the calls for a speech, thanking everyone in the room and calling the plaque the “perfect definition of success,” to a round of applause.
Explore
See latest videos, charts and news
See latest videos, charts and news
The impromptu ceremony is the highlight of another day at EMPIRE’s afrobeats writing camp, which the Bay Area-based independent music company initiated last month to bring together some of its leading African artists to record together at the ever-evolving studio space near San Francisco’s Mission District. It’s a space that currently boasts three studios and a live room, but one that is still being developed. When it’s finished, some time this summer, it will include two more recording studios, a pair of podcast studios, a gaming room with a massive, 30-foot LED screen along one wall and a swimming pool in the back yard, in addition to the lounge (which will eventually become a theater space with Dolby Atmos sound), kitchen and dining room, all of which is outfitted with EMPIRE logos, custom lighting and specially designed sound systems, which Ghazi has overseen.
“We’ll literally be able to create pieces of content around all these verticals, and then this becomes a hub of where you gotta visit,” he says, giving a tour of the space earlier in the afternoon. “There’s gonna be no way around it. It’s going to create too much energy, it’s going to be impossible to overlook.”
The studio serves as the center of the writing camp, with Fireboy, Asake and Olamide the resident stars of the show. It hasn’t all been work since the three Nigerian artists got to the Bay — over the previous few days, they sat courtside at a Golden State Warriors game, went to wine country in the Napa Valley and took in the sights on a tour around the city. But each day, starting around 3:00 p.m., it’s back to the studio to get back to business, building on the momentum of recordings from previous days and channeling the creativity that comes from working in an environment designed to let them simply exist as artists, with few distractions.
For us, however, this particular Tuesday started out with oysters and clam chowder at Hog Island Oyster Bar on the water (Shrimpy is the hookup; if you know you know) before braving the spitting rain to head to a photo shoot for Fireboy and the shoe company Clarks, where he’ll be part of a campaign that will result in a concert in the metaverse down the line. (In addition to the regular photo shoot, Fireboy was tasked with filming things like catching a rolled up magazine, which will be transformed into a microphone in the digital realm.) The shoot had been in progress since 10am, but the afternoon started to wear on, so soon it was into a sprinter van and off to the studio, where Asake and Olamide are holed up in Studio B, looping a section of a track that Asake is workshopping, with Olamide over Asake’s shoulder reading lyrics off his phone.
Forty-five minutes later, Olamide was holding court outside around an electric fire pit, while two engineers — one of them multi-Grammy winning mix engineer Jaycen Joshua, who EMPIRE flew up from L.A. for the occasion — worked on the mix to Olamide’s next single in Studio A, tweaking drums to get the punch just right. The room was still under construction just days before, and was finished just as the artists started to arrive in the city, having been rebuilt in just three weeks. In the lounge, Fireboy was talking about his new grill and his plans to dye his hair blue — while in the kitchen, a local chef, brought in to make okra soup, smoked mackerel, shrimp and garlic crabs and cornbread for the Nigerian contingent each night, was mid-cook, blasting Kevin Gates in the newly-remodeled space. But then it was back to work, with Asake and Fireboy disappearing into different studios, then swapping spaces a half hour later.
Shortly after 7:00, it was time to eat, with staff and crew at the long banquet tables and the artists sitting in the backyard, before EMPIRE’s regional head of West Africa, Mobolaji Kareem, brought a half-dozen of us into the live room to hear new Asake and Olamide records that the two have been working on over the past week. The songs are unmixed and only half done, he said, and I was the first non-EMPIRE person to hear them, and he danced through them and broke them down after each. We moved to Studio A — for the bigger speakers — to hear them again, as well as forthcoming records from Kizz Daniel, who is also working on his next release, albeit not in San Francisco at the moment. Eventually, EMPIRE’s senior vp of A&R Tina Davis kicked us out of Studio A — there was mixing to do, after all, and while listening to the records is exhilarating, there’s still work ahead.
Indeed, even as everyone gathers in the lobby for Fireboy’s plaque presentation, the celebration is short-lived; before long, Fireboy is back in Studio B, listening back to a song he had initially cut last night. It was after 10:00, but time hardly matters; the night before, they were in the studio until around 3 a.m., and the likelihood is that the evening will be trending in that direction again. But what comes of those late night hours will be the subject of another day, and another round of listening, tinkering and building, creating the next generation of records that will continue spreading the Afrobeats movement across the globe.
Femme It Forward announced its inaugural R&B and Afrobeats music festival on Wednesday (March 1), which will be headlined by Tiwa Savage and Nao this spring.
The festival will be held at Coney Island Amphitheater in Brooklyn, New York on Saturday, May 6. Additional performers include Nigerian artist Ayra Starr as well as South African singers Elaine and Tyla, who are some of the most recent female stars coming out of the African continent and therefore the focus of this festival, alongside other women in the R&B, Afrobeats and adjacent genres.
Explore
See latest videos, charts and news
See latest videos, charts and news
Across the Pond “will shine a spotlight on the talented artists and creatives in these spaces who, too often, are overshadowed by their male counterparts,” according to a press release, and “further Femme It Forward’s mission to celebrate and empower women.”
Through a joint venture with Live Nation Entertainment, Femme It Forward is a female-led music and entertainment company that centers its mission in celebrating, educating and empowering the industry’s most creative and accomplished female visionaries through multi-format, multi-market consumer experiences.
General admission and VIP tickets will go on sale this Friday, March 3 at 10 a.m. local time at livenation.com.
See the Across the Pond festival poster below.
Courtesy Photo
To kick off 2023, Billboard launched a new, monthly Afrobeats column to keep you up to speed with the fast-rising stars coming out of the African continent and soaring across the globe. Burna Boy, Tems and Rema performing at the 2023 NBA All-Star Game halftime show in Salt Lake City, Utah this past weekend is proof that African artists will only continue to expand beyond their borders and push beyond Afrobeats’ traditional boundaries — incorporating hip-hop, amapiano, R&B, jazz, soul and just about everything else into a melting pot that, for lack of a better overarching term, we’ll still refer to as Afrobeats.
Explore
See latest videos, charts and news
See latest videos, charts and news
We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that’ve come out within the last month. Love’s certainly in the air this season, from Pheelz’s feel-good, romantic jam “Pheelz Like Summer” to Khaid’s sweet ode “Jolie,” and decisions on what to include or not have been particularly tough — Rema, for example, just dropped two new tracks, though neither made the list here. Check out our Fresh Picks, and don’t forget to tap into our Spotify playlist below so you can catch a vibe with us.
Tyla, “Been Thinking”
Epic’s latest signee Tyla clearly has love on the brain, as evidenced by her latest single “Been Thinking.” The 21-year-old singer’s otherworldly pop and R&B sensibilities blend with her native South African amapiano in this slinky earworm that’ll have you wishing you were grinding on the love of your life in the middle of the dance floor before going home with them. “I’m just praying that [African music] keeps going the way it’s going. I feel like all eyes are on us right now,” Tyla told Billboard earlier at the Recording Academy Honors Black Music Collective event. “It’s a huge opportunity for us to now take it and run with it. We’ve been wanting this for a long time, so it’s about time.”
Pheelz, “Pheelz Like Summer”
Fresh off the success of his single “Finesse,” Pheelz delivers his Warner Records debut EP Pheelz Good, which is precisely how it makes you pheel. On the highlight track “Pheelz Like Summer,” the award-winning Nigerian producer-turned-singer gushes over a girl whose radiant smile makes him feel so warm inside that it reminds him of summer – even if it’s still only February. The sensual sax intro and buoyant beats evoke the warmer season, while Pheelz ushers in a season of love every time he coos, “Ooh-ooh-ooh/ Ooh-ooh-ooh, ooh-ooh.”
Stonebwoy, “More Of You”
Def Jam’s latest signee Stonebwoy begs his girl to give him “More of You” in his sultry latest single. The Ghanaian Afropop/reggae artist clearly can’t get enough of her, pleading with her to dance with him to a spellbinding rhythm – courtesy of Grammy-nominated producer Supa Dups – that we can’t get enough of. Ultimately, Stonebwoy becomes so mesmerized by her beauty in the animated visual that he succumbs to her like the Biblical forbidden fruit and ends up naked in a garden like Eden.
Tayc, “Success”
The Cameroonian-French crooner makes listeners swoon with dreamy scenarios and explicit rendezvous details that just roll off the tip of his French mother tongue with his latest album, ROOM 96. On the highlight “Success,” Tayc reflects on a woman who can’t handle his success and its side effects (like extra eyes on her), continuing to assuage her with sweet nothings that’ll make anyone’s ears tingle. Yet the ultra-sexy production of “Success” glosses over Tayc’s biting outro: “You’re just not ready for this, you should let me know/ ‘Cause, um, basically my life ain’t gonna change for you/ I, I love my life/ I love my place and I’m not gonna move anything for anybody.”
Michaël Brun feat. Oxlade, “Clueless”
Haitian DJ/producer Michaël Brun teams up with the “KU LO SA” Nigerian singer on the infectious Carribbean-Afro-fusion collaboration “Clueless.” Oxlade delivers a chant-worthy chorus with his enunciation of the track’s title, while he toys with the idea of loving a girl who’s equally his “antidote and poison” over Brun’s laidback beats. “Working with Oxlade was such an honor,” Brun says in a press release. “The operatic elements of his voice and the ways in which he uses harmonies and layers are what make Oxlade who he is — a true legend.”
Asake, “Yoga”
Asake has been on a heater for almost a year now, peaking with his debut album Mr. Money With the Vibe last September — and he hasn’t slowed down his output since, with “Yoga” his latest single to make waves. There’s a comfortable, soothing vibe to the track that comes across in his vocals and belies the lyrics, which stress the need to protect against things that will disrupt your peace — and the hook is a balm to alleviate such stresses. “Yoga” is the calm in the midst of a firestorm, a perfect song for imperfect times.
Khaid, “Jolie”
More than a simple love song, “Jolie” has melodies that pile on top of each other to get stuck in the mind and get stronger as the track goes on. Relatively new to the game — his first project of any kind was a six-song EP from last year, titled DIVERSITY — Khaid is still a teenager, and still developing as an artist, but “Jolie” shows there’s a lot of promise and talent that’s already there, with a world of possibility ahead of him.
Spinall feat. BNXN & Stefflon Don, “Oshey”
First things first — this DJ Spinall album has been spinning out phenomenal singles for about a year now, including his collaborations with Adekunle Gold (“Cloud 9”) and Asake (“Palazzo”), both of which initially came out last year. Now that the full project, titled Top Boy, was released Feb. 17, there’s more to dig into, with this collaboration with BNXN and Stefflon Don a particular highlight, showcasing all the different styles that weld together this diverse and compelling project. (But seriously, listen to “Cloud 9” and thank us later.)
BNXN, Kizz Daniel & Seyi Vibez, “GWAGWALADA”
A reference to an area of Nigeria, “GWAGWALADA” brings together three of the most intriguing Afrobeats artists from the country in BNXN, Kizz Daniel and Seyi Vibez, each bringing their distinctive vocals and styles to mesh seamlessly over the laid back, feel-good production by Sarz. BNXN has thrived in the last few years via collaborations with the likes of Wizkid, Burna Boy and Pheelz, and “GWAGWALADA” adds another flawless team-up to his growing discography.
Young Jonn feat. Olamide, “Currency”
Young Jonn has stepped beyond his producer title and has been dropping a series of infectious singles of late; “Xtra Cool,” released last October, probably should have been in this column last month, but “Currency” is another worthy entry. Longtime collaborator Olamide comes through to switch up the vibe, but it’s all additive, making this another insistent earworm of a record.
When Rema is in the studio, he pursues sounds and sensations that he says touch his soul. Ignoring this instinctive creative process could’ve yielded a different rendition of a “Calm Down” remix — possibly one without Selena Gomez.
The original version of the Nigerian musician’s midtempo hit “Calm Down” arrived a year ago as the second single from his March 2022 debut studio album, Rave & Roses. The enticing, ambient song finds Rema pleading with a young woman at a local club to trust that his intentions are pure. The track, produced by fellow Nigerian native Andre Vibez, oozes with his signature style of Afrobeats, which he calls Afro-rave — a subgenre influenced by his love for hip-hop, African music, lo-fi and alternative.
After Rema, 22, noticed the single beginning to take off (debuting on the Billboard U.S. Afrobeats Songs chart two months after its release), he knew he had to capitalize on the momentum, so he trusted his gut and recruited a woman “take it up to the next level” — and immediately knew that Gomez was the right fit. The “Calm Down” remix reaches a new No. 26 high on this week’s Billboard Hot 100 and holds its top position on the Billboard U.S. Afrobeats Songs chart for a 23rd week. Billboard spoke with the rising artist about the making of his biggest hit to date, his plans to give back to Nigeria and pushing Afrobeats forward.
How did you link with Selena Gomez for the “Calm Down” remix?
It started with being a fan [and] supporting her music. She actually came across my music too, and she also wrote to me. Our teams got familiar and we started working towards this good music that came out. It started that from friendship, to colliding our teams together, and everyone is like a big family right now. It was very much organic, and we made it happen, and it’s just so huge. I’m amazed.
When after the original “Calm Down” did you think you needed a remix, and why was Selena the right person to match the vibe?
[Around] June, I started seeing the impact. I hit my team [like], “I think this might be a song I would like to do a remix to.” I don’t really do remixes — most of my songs are solo or features. I wanted a female voice on the song. The song was already blowing up, so I felt like we needed someone that could take it up to the next level. From our discussions, planning, and available contacts and friendship, Selena was the best bet. I had my fingers crossed she would agree. Luckily for us, she did and we felt no need to reach out to anybody else.
What has it been like watching the song transform into a global hit?
Every day I wake up to good news. Not just good news about how well my career is going; it’s about how well my culture is flying. Afrobeats is going to the next level. This song is opening doors and bridges. Listeners want to know what more is coming from Nigeria, what more is coming from Africa. I’m so happy. I’m happy for me, my team, the culture and for Selena. She embraced the sound, and she did her own thing. It was the right timing [with] the right person, and the impact has been so huge. Seeing people who don’t speak my language sing my song word-for-word really shows that people are impacted by the sound, and I’m grateful for it.
Why do you think “Calm Down” has been such a long-lasting hit?
It’s not just about the song — it’s also about me and the gift that God has blessed me with. I work in the studio with no plans. I just create. However any of my songs go, I love them the same way. I push them the same way. I feel like people just pick whatever resonates with them. There’s no single element I could really pick out. If I focus on that, that would just box me in somehow. I don’t know what it is, it’s just good music.
Tell me about the song’s creative process. Did you assist Selena with her verse?
That was all Selena and her team. I don’t really know what her creative process is like, but we did it remotely and she was very concerned about how the record was supposed to turn out. Every move she made on the song, she always wanted to know if I was good with it. Some artists just be like, “Whatever I did is dope. Have it,” but she wanted to know if I resonated with whatever she did on it — and I did. I loved it. The only part I switched was with my producers: we touched more parts of the beat and let her verse breathe, but nothing else.
What have you learned from working with her?
When working with other artists, you should care every step of the way. She cared. I learned caring. When she started working on it, she called me on FaceTime, and we talked a little about it. The mixing, the music video, making sure that she didn’t take from it. It wasn’t like, “Oh, [it’s] Selena Gomez, so we have to switch the whole idea to something else,” she just embraced it. She’s such a hard worker, knowing how much she does. She acts, she has a makeup line, she does music. She has busy s–t to do, but she’s been promoting [to] her fanbase and has been very genuine, loving, kind and supportive of me. Even aside from “Calm Down,” [her fanbase] also supports my other music, just because I did a collaboration with Selena. That’s amazing.
What was the song’s initial inspiration?
I was at a party, and a couple of girls walked in, and I saw a girl in yellow. I wanted to talk to her and her friends were being really stuck up. They didn’t really want to chat. And I was like, “Yo, just calm down. Let’s have a chat.” And then she actually calmed down, and we started talking and dancing. When she left the party, she was on my mind, and I wanted to see her again. That was it. I walked in the studio fresh out of that emotion.
Who is your dream collaboration?
Bad Bunny. That’s my dream collab right now.
In an interview with Rolling Stone, you called your sound Afro-rave. Would “Calm Down” be a part of that movement or is this something entirely different?
Any music that comes from my mouth is Afro. You can tell that my sound is very distinctive out of every other Afrobeat artist, but it doesn’t take away the fact that Afro-rave was birthed through Afrobeats. [Afro-rave] is a subgenre. Burna [Boy] has his subgenre because he’s the only one doing him, you feel me? CKay, Fireboy DML, etc., they all got what they do, and some people just keep it straight with the old genres. I didn’t take it away from Afrobeat being my inspiration, but it’s just me posing to evolve the sound to something else. I worked hard for the sound, [and] I got criticized a lot until it started making its own wave. So I feel like it needs to be labeled. It’s knowing something is special and you trademark it. It’s me vouching for my art, my creation.
What’s next for you?
I really want to keep focusing on impacting the African youth. I feel like before I started getting global [recognition], my fellow Africans have been my huge propeller. They’re the ones who took me to the world.
I want to focus on building up our trust between artists and fanbases. We’re doing so much [in] other parts of the world [that] are developed and have better infrastructure. Whatever is coming into the culture, I would like to reinvest in it. We have to start putting up good shows. We have to start making people come to us. It’s good to do world tours, but we all need to come together to build Africa. As much as we are traveling, making the news, blah blah blah, I just really want to focus on home.
What do you want to do specifically to focus on the African youth and give back to your community?
I wouldn’t say it’s on some charity level type s–t. It’s based on the infrastructure that creators need. There are a lot of complaints coming from directors, painters, even musicians — fans don’t trust artists anymore because the shows are not being put up nicely. We need infrastructure. It’s important. The rest of the world is giving us that, but I think it’s very important that we actually invest in ourselves, because we really want the world to come to us.
They’re going to Ghana, they’re going to Tanzania, they’re going to a lot of places to watch Afrobeats artists, but we really need to focus on Nigeria here right now. The lineups in different African countries are a lot of Nigerian artists, but our infrastructure is very necessary.
A version of this story originally appeared in the Feb. 4, 2023, issue of Billboard.