State Champ Radio afrobeats
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Burna Boy is back with the new summer anthem “Sittin’ on Top of the World,” which he released Thursday (June 1) via Atlantic Records. The African Giant makes a triumphant return nearly a year after he released his sixth studio album Love, Damini on July 8, 2022, which peaked at No. 14 on the Billboard […]
It’s come to the end of May, which can only mean one thing: Summertime has arrived. And with it, we have a new crop of songs by a slew of African artists that are set to dominate playlists across several continents for the next few months.
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Whether it’s amapiano, Afropop, R&B, neo-soul, highlife or just uncategorizably beautiful music, there’s more that’s come out this month that we could include here. But to try to help you cut through that flood of feel-good vibes, there are a few songs that have particularly caught our ears — by the likes of Teni, Tyla & Ayra Starr, Asake & Olamide, Kizz Daniel, Kwesi Arthur and Oxlade & Flavour.
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 us by listening to our Spotify playlist below.
Tyla & Ayra Starr, “Girl Next Door”
Africa’s Gen-Z It-girls Tyla and Ayra Starr come together to caution their wandering lovers not to leave them for the “Girl Next Door” in their first collaboration. Both artists somehow keep their cool, as Tyla touts her many options and Ayra warns, “And you know I won’t waste no time/ I can have another you by 9.” But their passionate plea in the repeating chorus (“Don’t you leave me for the girl next door, girl next door”) revs up the sizzling amapiano-meets-R&B beat (courtesy of producer P.Priime) that’s prime for getting any party started this summer.
Tay Iwar & Twelve XII, “Undercover Lover”
Tay Iwar injects his silver-tongued, neo-soul sound into “Undercover Lover,” which finds him and fellow Nigerian artist Twelve XII detailing their dalliance with a beautiful woman. Lyrics like “Somethin’ good for the moment/ Just for the moment” and “Her personality no matter at all/ ‘Cause she’s lookin’ so fine” make it crystal clear they’re not looking for anything serious, and the groovy, atmospheric production further emphasizes the chill vibes.
Teni, “No Days Off”
Teni has taken “No Days Off,” as evident by her latest single. The Nigerian artist raps about her homies (Tobi, Bunmi, Brenda and Wale), hometowns (Lagos and Atlanta) and everything else in her life that she’s had to leave to the sidelines for her career. In a press release, Teni explains that “No Days Off” started as a freestyle and “was made everywhere in the world – that’s why it really is called ‘No Days Off.’ It was made in Lagos, it was made in LA, some parts of it were also made in Cape Town.” She invites listeners to her own world by enveloping them in a kaleidoscopic sound comprised of airy synth melodies and frenetic Afropop percussion that will have anyone yelling, “Motherf–ker, will you come on play that sh– back!” by the end of the track.
Asake & Olamide, “Amapiano”
Asake links up with his YBNL Nation boss Olamide on this scorching “Amapiano” club banger. He salutes the South African house genre for being a “big vibe” while adding his own spin to it, from the lively violin and saxophone to the larger-than-life crowd vocals. Meanwhile, Olamide flexes his mesmerizing flow when he raps, “One thing I know, I’m happy I know/ Amapiano, all of my P I know.” “Amapiano” will accompany Asake’s previously released singles “Yoga” and “2:30” on his upcoming sophomore album, Work of Art, due June 16 via YBNL Nation and EMPIRE.
Nonso Amadi, “Paper”
Amadi reflects on his personal and artistic growth “from seeds to a flower, uncoiling naturally for you,” according to a press release, on his debut album When It Blooms. On the highlight track “Paper,” the Canadian-based Nigerian singer makes the case for why he deserves a bigger bag. And regardless of renowned Nigerian producer London’s scintillating, playful percussion, Amadi’s clearly not playing when it comes to his paper as he sings, “Tell me why the hell you calling/ I don’t wanna know what you’re talking/ When I see the cash am all in.”
Iyanya & BNXN, “Sinner”
A seductive song in both lyric and feel, this collab between Iyanya and BNXN has an alluring aspect to it that is hard to get out of your head — and a falsetto hook that is somehow even more of an earworm than the verses, perfect for a late night vibe that still keeps you moving. Also check out BNXN’s single “Pray” — its choral and orchestral feel fills the soul, and it just barely missed out on inclusion here.
Oxlade & Flavour, “OVAMI”
Oxlade already landed a huge hit this year with “Ku Lo Sa,” and “OVAMI” is in a similar vein, with his soulful vocals soaring above the production. Bringing in veteran vocalist Flavour to add a different element to the second verse was another smart move; Flavour had another great song in the last two years with “Levels,” and he fits in seamlessly here. Essentially a love song, it transcends with its irresistible melodies.
Kwesi Arthur, “Penny”
This one from the Ghanaian rapper is a laid back groove about the come up, thinking back to the days when he didn’t have any cash and now looking around and realizing that not only are those distant memories, but that there isn’t really a limit to how far things can go. What makes this one stand out is that the sentiment doesn’t feel flamboyant or boastful, but more matter-of-fact — this is going to happen, but let’s just keep in mind how far we’ve come.
King Promise, “Terminator”
An ode to finding peace in life — despite what the title may imply — “Terminator” is a melting pot of styles and languages, with a simple overriding message clearly articulated in the second verse: “And my happiness comes first/ I never come life to stress, yeah.” The Ghanaian nails the mix of production and lyricism that gets the feel across almost effortlessly — that being the goal, in the end, of course.
Kizz Daniel, “Shu-Peru”
The perennially upbeat Nigerian Afropop singer came through with another fun groove for the summertime, flipping Salt-N-Pepa’s “Shoop” in the process. As a thesis statement for an artist, does it get more appropriate than Kizz singing: “We are the happy people / We are the world”? It fits him perfectly.
Nigerian superstar Tiwa Savage will embark on a North American tour this summer, which was announced Monday (May 22). Produced by Live Nation and Duke Concept, the nine-date jaunt will start Aug. 24 at Washington, D.C.’s The Theater at MGM National Harbor and go through other major U.S. cities like New York, Chicago, Atlanta and […]
Nigerian Afrobeats star Seun Kuti was arrested Monday (May 15) after being accused of assaulting a police officer in the commercial hub of Lagos. Kuti was detained at the Lagos State police headquarters after turning himself in, according to police spokesperson Benjamin Hundeyin, who tweeted photos of the celebrity in handcuffs. The son of Nigerian […]
Rema and Selena Gomez’s “Calm Down” ascends to No. 1 on Billboard’s Rhythmic Airplay chart, jumping to the top of the May 6-dated survey.
It’s Rema’s first Rhythmic Airplay No. 1, earned with his first charting title. The format now has two straight No. 1s by first-time leaders, following Coi Leray’s six-week reign with “Players.”
“Calm Down” is the first No. 1 by an artist in a first Rhythmic Airplay appearance since Steve Lacy, whose “Bad Habit” led for a week last November.
As for Gomez, “Calm Down” is also her first No. 1 on Rhythmic Airplay, logged with her 14th charting title. She boasts a pair of previous top 10s: “Good for You,” featuring A$AP Rocky (No. 4, 2015), and “Same Old Love” (No. 6, 2016).
Concurrently, “Calm Down” lifts 3-2 for a new high on Pop Airplay. It also bullets at No. 24 on Adult Pop Airplay and No. 35 on R&B/Hip-Hop Airplay.
On the all-format Radio Songs chart, “Calm Down” held at its No. 4 best on the April 29-dated list with 72.4 million audience impressions in the April 21-27 tracking week, according to Luminate.
The April 29-dated Billboard Hot 100 found “Calm Down” at No. 7, after rising as high as No. 6 so far. In addition to its radio airplay, the song earned 15.7 million official U.S. streams and sold 5,000 downloads April 14-20.
The collaboration has also topped the Billboard U.S. Afrobeats Songs chart for 34 weeks running, the longest rule since the ranking began a year ago in partnership with music festival and global brand Afro Nation.
“Calm Down” is the second single from Rave & Roses, Rema’s debut studio album, released in March 2022. Since its release, the set has earned 291,000 equivalent album units.
As we get closer and closer to warmer weather, the song of the summer debate heats up. One of Billboard‘s front runners is Rema‘s “Calm Down” remix with Selena Gomez, but it’s not the only Afrobeats track that’s bound to bring people to the dancefloor all summer long.
The winner of our Song of the Summer Face-Off bracket game last year — Harry Styles‘ “Watermelon Sugar” — has found its African counterpart: Suté Iwar’s “SHUGA PEACH.” Listeners can sink their teeth into this juicy song, or sip on “Casamigos (Pour It In My Cup),” courtesy of Afro B and Sukihana. There’s also the breezy “Trumpet” from Olamide and Ckay, as well as Asake‘s amapiano dance floor banger “2:30” and the effortlessly gorgeous debut single from Inkabe Zezwe. But Davido‘s latest album, Timeless, ensures endless vibes that he explores through various triumphant sounds — and we clearly couldn’t get enough of it, considering we shouted out multiple tracks. Just try getting through the summer without dropping “In the Garden,” “Na Money” or “U (JUJU),” just to name a few.
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 us by listening to our Spotify playlist below.
Davido feat. Skepta, “U (JUJU)”
Davido and Skepta got their girls covered in the utterly enchanting “U (JUJU)” collaboration, from the former’s latest album, Timeless. The Afrobeats superstar worries if he’s stuck under a woman’s spell when he sings in the mesmerizing chorus, “You dey do me like juju, dey worry me” (a nice nod to Ice Prince’s 2011 track “Juju”), and promises her anything she so desires. Meanwhile, the British-Nigerian grime MC commends his partner for sticking by his side and reassures her he won’t leave hers.
Sukihana & Afro B, “Casamigos (Pour It in My Cup)”
British-Ivorian DJ/singer/songwriter Afro B and American rapper Sukihana craft a refreshing summer vibe with “Casamigos (Pour It in My Cup).” While blending his instantly party-starting vocals with her seductive, smooth melodies that slip right off her tongue, “Casamigos” isn’t just an ode to George Clooney’s ultra-premium tequila brand, but just a little taste of warmer weather and the frivolousness that it brings. Once the song’s amapiano production (courtesy of Team Solut and co-producer Oghenekevwe Bojeghre) takes hold of the song toward the end, it’ll have everyone in a chokehold.
L.A.X, “Zaza”
Afrobeats star L.A.X only provides the best vibes, as confirmed by his new album No Bad Vibes. On its highlight track “Zaza,” he expresses his feelings for a woman while gassing her up (“On the dance floor you fire them/ On the finish line you finish them,” he boasts in the pre-chorus) – all while staying true to his characteristically laidback demeanor. “Zaza” will have any listener whining their hips to its mesmerizing, chugging beat pattern (courtesy of Clemzy).
Suté Iwar, “SHUGA PEACH”
For those craving another “Watermelon Sugar”-like summer anthem, look no further than Suté Iwar’s “SHUGA PEACH” highlight track from his new album, ULTRALIGHT. The Nigerian singer’s mouth waters at the sight of a “golden lady,” whom he later describes as his “favorite late-night craving” because… well, you get the picture. Iwar wrote on his Bandcamp page that ULTRALIGHT is a “journey that takes you through a range of emotions, from the high energy and excitement of life to the introspection and self-reflection that comes with it.” Listeners experience that entire range in the 3:51 runtime of “SHUGA PEACH,” as its tender keys and sultry saxophone runs accentuate Iwar’s carnal desires, while a wavy guitar and meditative beats introduce his self-aware rap about commitment in the track’s latter half.
Uncle Waffles, Tony Duardo, Jelly Babie & Chley, “Babiee”
Ahead of her historic Coachella performance this month, rising amapiano star Uncle Waffles set a moody, yet mesmerizing tone on her new Asylum project. On the highlight track “Babiee” – alongside Tony Duardo, Jelly Babie and Chley – listeners tiptoe into Waffles’ world with the guidance of a pitter-pattering synth loop that’s supplemented by steadily building percussion. Babie seizes the song’s peak by praising two of South Africa’s house genres, bacardi and amapiano, before chanting hers and Waffles’ stage names until “Babiee” fizzles out in a hypnotic rhythm.
Davido feat. Morravey, “In the Garden”
A simple major-key guitar line, a stripped down drum pattern with a supplementary amapiano log drum and a positive vibe underlines this breezy, beautiful track from Timeless — but it is the power of Morravey’s voice that elevates this track into something special, and possibly the best song on the entire album. It’s at heart a wistful love song, but the driving hook — “I’ll change your status, yeah” — adds a coy determination to take the initiative, while Davido’s verse adds another layer of catchiness to a song that has the capacity to dig into your head and never leave.
Davido feat. The Cavemen. & Angélique Kidjo, “Na Money”
One of the best things about Davido’s Timeless album is how seamlessly he weaves together different styles, and “Na Money” is among the best examples, blending highlife with amapiano through this collaboration with Nigerian highlife duo The Cavemen. and iconic Beninese singer Angélique Kidjo. The result is a driving, upbeat song about the intersection of love and money, with a joyful hook and highlife horns underscoring the production. A standout for its departure from the rest of the record.
Asake, “2:30”
Asake has leaned deeply into amapiano in many of his biggest songs, and this latest single, which should be on his forthcoming next album, really drives home the point in an ode to the party life. Log drums propel the verses, while a typically-choral hook gives it some of the space and majesty that has come to define Asake’s biggest records. The only complaint — voiced with some humor by his fans online — is that the actual audio of the track isn’t even 2:30 long. And yet!
Inkabi Zezwe (Big Zulu & Sjava), “Umbayimbayi”
South African rappers and singers Big Zulu and Sjava have linked up for a joint album under the duo moniker Inkabi Zezwe, with “Umbayimbayi” as the first single off that project — and from the opening notes the song unfurls as a gorgeous piano-based ballad that sonically cuts to the soul. The song has already been certified platinum in their home country, which is hardly surprising given its vibe — the Hammond organ flourishes as the song floats to its finish, emphasizing the emotion just as much as the duo’s voices. A special record.
Olamide feat. Ckay, “Trumpet”
A Nigerian hip-hop legend teaming up with one of the most successful young Nigerian singers of the past few years, this track was always going to catch the ear — and its plaintive piano base over some Afrobeats drums gives it an instantly catchy vibe. That it’s essentially a barely-disguised ode to beautiful women and the things they do makes the title amusing, but it’s a great, understated record (sonically, at least) and an absolute earworm.
Producer LONDON is keeping busy. At just 23, the Nigerian-British music maker, born Michael Hunter, is scoring hits with artists like Rema, Wizkid, Ayra Starr, Black Sherif and Tiwa Savage — including the global smash “Calm Down,” which he co-produced with Andre Vibez.
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“We have the same frequency, the same taste in music,” he says of collaborator Rema. “That’s why whenever we work with each other, it’s always straight bangers.”
“Calm Down,” which added Selena Gomez to its breakout remix, has taken the world by storm, reaching No. 8 on the Billboard Hot 100 and No. 3 on the Global 200. It’s also soundtracked millions of videos on TikTok, including a viral clip of a group of Iranian teenage girls performing the song’s dance challenge without hajibs in protest — for which they were later found and reportedly detained by authorities. (“To all the beautiful women who are fighting for a better world, I’m inspired by you, I sing for you, and I dream with you,” Rema tweeted in response to the video).
Rema and LONDON’s first viral TikTok moment was by way of the 2021 single, “Soundgasm,” which was co-produced by LONDON, Dro and Shanti. The sensual and danceable cut peaked at No. 15 on the Billboard U.S. Afrobeats Songs chart and racked up over a hundred thousand videos on TikTok, including many for its popular sped-up version.
LONDON says that the ever-growing attraction to Afrobeats on a global level has given way to a number of opportunities for African artists and producers. In 2018, he signed a publishing deal with Sony, which gave him access to “sessions and rooms normally I wouldn’t be able to get into.”
While LONDON has made a name for himself within the world of Afrobeats, he got his start making R&B and trap beats while working for a graphic design company. At the time, his aspirations were set on becoming a lawyer. “I wasn’t really thinking of taking like the whole music thing seriously,” he explains, “Not until I got that first track.”
The first track in question was DJ Tunez’s “Turn Up,” a shuffling 2018 cut featuring Reekado Banks and Wizkid. From there, LONDON continued his working relationship with Wizkid, landing a spot on his critically acclaimed 2020 album Made in Lagos with “Gyrate.”
LONDON is currently working on more music with Rema, a joint EP with Ayra Starr and his own album set to come out next year. “We [Africans] are so hungry for that spotlight to be on us,” he says. “And now that we have it, there’s no way we’re going to [lose it].”
Tell me about how you got your start in music.
I was born in Kaduna, a small state in [northern] Nigeria. I used to play drums in church, so that’s kind of where I started off musically. After high school, I was trying to get into college — but the system in Nigeria is really weird. You have to know someone that knows someone to get into college. So I had to stay back home for two years or so. Instead of just staying at home doing nothing, I decided to learn something.
[When I was 18], I used to work as a graphic designer and I got introduced to Fruity Loops by a friend of mine at the same firm. Everything kind of kicked off from there. I started playing around with the software and learned how to make beats pretty. And now I’m here talking to you.
What kind of music like were you hearing growing up?
My mom was a big music lover. I never really had a taste of my own because I was forced to always listen to what she was listening to. Every morning it was her tunes waking me up. A lot of Tina Turner, Whitney Houston, Michael Jackson.
How did “Calm Down” come together?
“Calm Down” is actually a crazy record, because I wasn’t part of the beginning process. Andre Vibez, the other producer on the record, started the song with Rema. Rema played me “Calm Down” because I was executive producing his album — and he liked the song, but he felt like there were certain things missing. So we basically had to take everything apart [to make] everything work. We rearranged it, adding layers, adding some sounds, adding some effects, just to make everything blend together.
What were some of the changes you made to the song?
The arrangement of the song and the strings. He said he needed more emotion on the song, so I helped him putting more strings on the songs, he needed the drums to knock harder. So I just helped beef it up a bit. I helped him take the record to the next level. That’s pretty much what I did for his album in general. I produced 14 out of the 16 songs, and out of that 14, a few songs I co-produced with other people. When it comes to music [and] sound, we understand each other properly.
How were you discovered?
In Nigeria, it’s not really a thing to have a management body behind you. You basically just have to hustle, build your connects, always put your stuff out there for people to see. I used to like post little clips of me making beats on Instagram. That’s how I got discovered by [producer] Baby Fresh, who also played a big role in mentoring me.
Another person was Ozedikus, who produced Rema’s first hit, “Dumebi.” He used to put me through beatmaking and take me around for sessions. When I’d go for the sessions, I always happened to connect with everyone and exchange numbers. It was basically all through connections. I had no manager at that time. It was all just solo efforts just trying make it through the industry. But as you grow, you [need] a proper team to take you to the next level.
What was it like signing a publishing deal with Sony?
The deal came when I was fresh in the whole music thing. It was great news for me that Sony was interested to sign a young producer from Nigeria. I was really happy. I saw it as an opportunity to extend my reach globally.
Who is an artist you dream to work with?
I always say this man — I want to work with Drake.
Drake does love dipping into other cultural sounds.
Yeah, I want to do a full Afrobeats EP with him. He’s one of those artists I look up to and just want to make music with, because I really enjoy listening to them as well.
When you look at the landscape of Afrobeats, what do you think has to happen for the genre to continue growing in the mainstream market?
It just needs to keep evolving. If you listen to Afrobeats from way back, it was really dope, but it’s not what you’re hearing right now. The sound has evolved. Everyone is learning, picking up new things, trying different sounds. I feel like Afrobeats is going to stay [popular] and get bigger, because we Africans love to explore. We love to create something different, so we’re going to keep evolving and taking the sound to the next level.
Amapiano, too. It’s vibey, it’s dancey, everyone is having fun. It’s kind of taking over the “oontz” music in the club. No one’s listening to that stuff anymore, everybody’s on Amapiano right now.
The Afrobeats label is applied to a lot of different African artists. How do you define “Afrobeats?”
When you listen to Afrobeats, it makes you dance. It’s a big genre with multiple possibilities. You can have Afropop, Afro-R&B. It’s like pizza and you put whatever you want on it — like pepperoni, or like Domino’s putting pineapple on it. [Laughs.] It’s literally a blank sheet of paper and you can do whatever you want to do. We already have the base, which is the groove.
When it comes to your sessions, how do you create a comfortable space for artists?
I think my personality speaks for itself — I’m a really calm and happy person. You can’t be in the room with me and be serious. If I’m in a session and I feel like everyone is getting too tense, I pretty much just make jokes. I’ve never really been in a session where anyone is feeling awkward or everything is too serious. I’d rather not go for the session if I feel it’s going to be like that.
Libianca will always remember last year’s Friendsgiving — after all, she ran to the bathroom sobbing in the middle of it.
The former contestant on The Voice had recently quit her job as an independent living skills worker, and had been questioning her future as a professional singer. She was no longer interested in covering already established hits; she wanted to create a life-changing one of her own.
“I was talking to God, [thinking], ‘This life is so hard.’ I don’t know what the next step is, but I was working, working, and working, and not seeing anything in return,” she recalls over Zoom.
But the Friendsgiving breakdown left her inspired, and later in November, the embattled singer — who has been diagnosed with cyclothymia, a rare mood disorder that can cause extreme emotional highs and lows — chose to detail her pain through songwriting. She went on YouTube and found a beat that captured her discomfort, then recorded on Apple’s Logic Pro. Within a day, what began as a therapy session formed the foundation for “People,” the 22-year-old R&B-Afrobeats artist’s breakout hit and long-awaited ticket to stardom.
Born in Minnesota, Libianca Kenzonkinboum Fonji moved to Cameroon with her family when she was 4. There, she drew inspiration from her first babysitter, who enjoyed singing while cleaning around the house. Their relationship sparked Libianca’s initial love for singing, and by the age of 10, she began writing her own songs.
At 13, she moved back to Minnesota and joined a local choir, learning how to engineer, record and mix her vocals soon after. By her late teens, she was covering songs like SZA’s “Good Days” and Billie Eilish’s “Everything I Wanted,” the latter of which she also performed on The Voice in 2021.
Though she was ultimately eliminated after making the show’s top 20, her departure was soon followed by a string of independent one-off releases, including her cover of “Everything I Wanted” at the end of 2021 and a spin on Doja Cat’s “Woman” the following spring.
Libianca photographed on March 17, 2023 in Los Angeles.
Liam Woods
Yet the original single “People” is the one that cut through — and is a shining example of how sourcing your pain can have impactful results. While the track bursts with Afrobeats flavor, poignant lyrics like the opening line “I’ve been drinking more alcohol for the past five days/Did you check on me? Now, did you look for me?” ground the song while addressing the impact of substance abuse on mental health.
Libianca played the song for her manager M3tro, whom she met five years ago during her time as a student at the University of Minnesota (the two creatives became fast friends, and eventually roommates). And while he raved about the record, he instantly became concerned while listening to the lyrics. “Once she played the song, I asked her, ‘I know something’s going on, but what’s up?’ ” M3tro remembers. “That’s when I was like, ‘I really have to pay more attention.’ ”
Several days after writing and recording the breakthrough hit, Libianca posted a teaser clip on TikTok in which she was holding a bottle of wine as a snippet of the song played in the background. According to M3tro, within 30 minutes of uploading the clip, likes and comments started flooding her notifications. “Waking up the next morning to so many people feeling so connected to the song [was special],” Libianca says. “I saw families sending me videos of their babies singing the song, and [had] women messaging me about the sh-t that they go through in their homes and how this song needs to drop ASAP because it’s calling to their hearts.”
To date, the viral clip has compiled more than 4.8 million views on TikTok. Less than a week after the initial post, she upped the ante with a live rendition of the track in front of a simple color backdrop. The DIY clip has since earned 1.3 million views on Instagram and 2.5 million on TikTok.
The buzz surrounding the unreleased track soon caught the attention of acclaimed U.K. producer Jae5, who quickly reached out in hopes of signing Libianca to his 5K Records label, and did so last December — just one month after her memorable Friendsgiving. Once the deal was done, Jae quickly mixed the record and helped with the song’s final arrangement before its official release on Dec. 6.
“When it comes to music, that man is my big brother for life,” says M3tro of Jae5. “Not only is he that, but he’s also humble and genuine. He comes in like, ‘How can the music be the best way it needs to be?’ And we applaud him for that.”
Libianca (left) and M3tro photographed on March 17, 2023 in Los Angeles.
Liam Woods
“People” debuted on the Billboard U.S. Afrobeats Songs chart in mid-December — where it has held at a No. 2 high since January — and has 288.7 million official on-demand global streams through March 30, according to Luminate. The song also became Libianca’s first entry on the Billboard Global 200 and Billboard Global Excl U.S. charts. And in March, she dropped multiple remixes to maximize the crossover momentum, including one with fellow Afrobeats stars Omah Lay and Ayra Starr and another with Irish singer-songwriter Cian Ducrot.
“We were very particular about who else was gonna hop on this song, because the message is very crystal-clear,” says Libianca. “[‘People’] is very vulnerable, and anyone that comes on there has to be vulnerable as well in their own way.”
Libianca says that her next single, due later this month, will be about “a bunch of real sh-t we don’t like to talk about.” An EP will soon follow. “It doesn’t have to be sad, per se, but if it’s not something I can feel, I’m not gon’ release it,” she explains. “I want every single one of my songs to be an experience rather than just doing what I need to do to get the next check.”
A version of this story originally appeared in the April 1, 2023, issue of Billboard.
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.
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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.
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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.
