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Afropop

The Lijadu Sisters and Numero Group have signed an expansive new partnership that seeks to bring justice to the legendary Nigerian duo’s catalog, it was announced on Wednesday (July 10).
Composed of identical twin sisters Taiwo and Kehinde Lijadu — who are second cousins to Afrobeat pioneer Fela Kuti — the Lijadu Sisters arose as fearless and groundbreaking leaders in the male-dominated Nigerian pop music scene. The duo fused Afrobeat, pop, psychedelic rock, reggae, disco and jazz music with messages about gender equality, government corruption, love and more in both English and Yoruba. They toured with Nigerian jùjú musician King Sunny Adé, David Byrne, Ginger Baker and Art Blakey and, during a 2014 appearance on The Tonight Show Starring Jimmy Fallon, performed in the Atomic Bomb! band tribute to Nigerian musician William Onyeabor.

The sisters, whose alté ethos paved the way for modern female African artists like Amaarae and Tems, released five albums in the 1970s under Decca Records’ Afrodisia imprint. That was followed by Double Trouble, a 1984 compilation featuring hits from those albums released by Shanachie Records. The Nigerian duo later signed a 10-year licensing agreement with Knitting Factory Records around 2011, according to a recent Rolling Stone profile, with four albums being reissued under the deal. They regained control of their catalog in 2021, two years after Kehinde died of metastatic breast cancer at age 71.

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While their work has inspired a wide range of artists, according to the Rolling Stone profile, the sisters’ music and likeness has been exploited for decades and they’ve struggled with copyright infringements and unpaid royalties. Nas‘ “Life’s Gone Low” track from his 2006 The Prophecy, Vol 2: The Beginning of the N mixtape contains an uncredited sample of the duo’s “Life’s Gone Down Low” from their 1976 album Danger. And Taiwo’s current manager, Eric Welles-Nyström, told Rolling Stone that Ayra Starr failed to properly clear “Orere-Elejigbo,” a song from the sisters’ 1979 album Horizon Unlimited that Starr sampled on her 2021 track “Sare”. He added that they’ve found more than 50 total infringements of the sisters’ work to date.

The new partnership with Numero Group is meant to honor the duo’s legacy through the launch of a multi-year, multi-record reissue campaign to finally — and rightfully — bring their entire discography to the masses.

Kicking off the campaign will be the release of a remastered and restored version of Horizon Unlimited, which contains the hit “Come On Home.” Five-time Grammy-winning engineer Michael Graves, who remastered Blondie‘s Against The Odds: 1974-1982 and Written In Their Soul: The Stax Songwriter Demos, is remastering the six-track album, which is currently available on DSPs and will be re-released on CD and vinyl on Sept. 20. The album’s physical packaging will include the first-ever transcription of the record’s lyrics in both Yoruba and English along with corrected album credits, original artwork and more.

Numero Group will eventually reissue all of the band’s albums as well as a collection of rediscovered, previously unavailable singles, promo EPs and rare recordings.

“I think one of the most exciting things about the reintroduction of Horizon Unlimited is the fact that young folk love our music and are surprised at the upbeat tempo and the lyrics, which are not only of today, but also very futuristic as well,” said Taiwo in a press release. “Horizon Unlimited was our last album with Decca that came out in 1979. It’s been a long time since then and this really is part of a much longer story, but amongst one of the most significant things I remember was that we, The Lijadu Sisters, paid for all the studio and band session fees. At the time, this was unusual, and not the arrangement we had with that record label. We were originally meant to record at Decca West Africa in Lagos, but when we got to the studio, no one had told us that it was being upgraded — from eight tracks to 24. So we brought everyone to London and made the album there instead.”

The Lijadu Sisters’ partnership with Numero Group “is allowing us to reach out to younger people. What’s going to come is creative collaborations with their music or their story, working with filmmakers and writers, trying to set stuff up creatively for Taiwo and younger artists,” Taiwo’s current manager, Eric Welles-Nyström, told Rolling Stone.

This year will surely go down as one of the best for full-length albums from some of the best emerging and established talents in African music. Already this year we’ve got projects from Tyla, Tems, Ayra Starr, Ruger x BNXN, Young Jonn, Victony and King Promise, with several of those coming just this past month alone. It’s a lot of great music — and presents some good problems for this column, with so many great options of songs to choose from.
Tems burns bright with soulful reflections about discovering her true destiny while navigating newfound fame, ridding relationships that no longer serve her and more on her debut album Born in the Wild. Meanwhile, Victony expands Afropop‘s borders by bringing an international assortment of artists like American rap-rock sensation Teezo Touchdown and Guyanese American rapper SAINt JHN on his first full-length project Stubborn. “It represents overcoming adversity and transforming life’s ‘lemons’ into powerful art,” Victony recently told Billboard. “I hope that when people listen to the album, they feel a sense of shared experience and inspiration to find strength and hope in their own journeys.”

And Tyler ICU and DJ Maphorisa’s scorching new single “Manzi Nte” — which is currently No. 10 onthe South Africa Songs chart (dated June 29) — is inescapable in the artists’ native South Africa. (Billboard‘s senior R&B/Hip-Hop/Afrobeats reporter Heran Mamo can attest to that given her recent travels to Johannesburg.) Meanwhile, Shallipopi turned in a slew of great guest appearances this month, and his features alongside King Promise and Rema both made the list this month, as did the latest loosie from Lil Kesh and a beautiful collaboration between L.A.X and Magicsticks, among others.

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We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our latest Spotify playlist below.

Ayra Starr feat. Asake, “Goodbye (Warm Up)”  

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Ayra Starr bids adieu to a manipulative ex on the glimmering kiss-off “Goodbye (Warm Up),” the Asake-assisted highlight from her resilient sophomore album The Year I Turned 21. P2J’s jazzy street pop production puts extra pep in Starr’s step, as lyrics like “I do not accept your apology” and “Gave you the cold shoulder, I really hope you freeze” deftly kick her ex to the curb. Meanwhile, Asake brushes off any woman with bad energy on his swaggering verse.  

Azanti & PsychoYP, “I Know”  

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Azanti & PsychoYP create the ultimate laid-back vibe on “I Know,” from their joint album YP & Azanti, Vol. 2. Malik Bawa’s funky, guitar-driven production assuages both artists during their fight for peace of mind, with PsychoYP also recognizing his phone’s focus mode as an essential weapon, as Azanti croons, “I’m trying to focus on me this time, I’m trying to save myself.” The track’s repetitive groove and chorus that just rolls off the tongue make “I Know” the perfect soundtrack for your next summer roadtrip when you’re getting away to find your own peace of mind.  

Tems, “Wickedest”  

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Tems didn’t come to play on “Wickedest” from her bold debut album Born in the Wild. The introductory sample of Ivorian zouglou group Magic System’s 1999 Pan-African smash “1er Gaou” evokes a nostalgic party vibe for her own dancefloor number that’s been bringing out Tems’ wickedest whine all around the world in her ongoing tour. But from the moment she launches into the first verse, Tems asserts her dominance and stays in the lane she’s set forth for herself, brushing past those who want to try her (a reference to her 2019 single “Try Me”) and sticking to the ones who bring her up and get down with her.  

Tyler ICU & DJ Maphorisa feat. Masterpiece YVK, Ceeka RSA, M.J, Silas Africa & Al Xapo, “Manzi Nte” 

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After scoring a nomination for best new international act at the 2024 BET Awards and helming one of Rihanna’s favorite songs of 2023, “Mnike” – which recently got a remix featuring Shallipopi and Lojay – Tyler ICU has been on fire. And what better way to keep the heat up this summer than to drop another fire song with “Manzi Nte,” alongside DJ Maphorisa featuring Masterpiece YVK, Ceeka RSA, M.J, Silas Africa and Al Xapo. The music video makes “Manzi Nte” out to be a wet-and-wild anthem – which is fitting given the song’s title translates to water it in Zulu, according to a press release. And the amapiano smash’s rattling production has been powering up participants of the accompanying dance challenge, which Maphorisa demonstrated on TikTok.  

Leather Park, Odunsi (The Engine) & Cruel Santino, “CHANEL”  

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Odunsi (The Engine) and Cruel Santino’s numerous collaborations have already proven that they’re the funkiest duo, and “CHANEL” from the former’s Leather Park (Vol. 1) album is a sparkling addition to their collection. In the same vein of Bryson Tiller’s “Whatever She Wants,” fulfilling a woman’s designer dreams is the key to unlocking her heart – and Odunsi and Santi flex how well-equipped they are to buy her Chanel, Bottega and anything else she desires. Odunsi also sharpens his alté production skills on “CHANEL” with kaleidoscopic synth patterns, crisp shakers and rollicking percussion that create the track’s irresistible bounce.

King Promise feat. Shallipopi, “Continental”

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In a month brimming with great albums from high-profile talents — Ayra Starr, Tems and Victony among them — King Promise may have delivered the best of all of them. The album’s two big prior singles, “Terminator” and “Paris,” previously appeared in this column, but “Continental,” with its assist from one of the of-the-moment street talents in Shallipopi, sits alongside them as one of the best songs of the past 18 months, combining Promise’s natural melodic feel with his memorable hooks to land a breezy summer hit.

Rema & Shallipopi, “BENIN BOYS”

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Rema is coming off one of the biggest years of any African artist ever, with the mind-blowing success of “Calm Down” — and while this link up with the inescapable Shallipopi is unlikely to replicate that crossover smash’s No. 3 peak on the Billboard Hot 100, it’s another song that showcases the many sides of Rema’s artistry, which goes much deeper than the ear worm that was “Calm Down.” “BENIN BOYS” is much harder, with a driving log drum production that propels both artists forward, and is a formidable entry into each of their catalogs.

Lil Kesh, “Lifestyle”

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Lil Kesh has one of the more distinctive styles among his contemporaries in the Nigerian pop scene, and “Lifestyle” fits perfectly into his oeuvre. With a soulful, soaring hook and an almost contemplative melody over an amapiano-esque production, Kesh lays out a carefree look at life in a track that’s perfect for the summertime. Kesh can pump out these types of tracks seemingly effortlessly, and the vibe is always right on point.

L.A.X & Magicsticks, “Loke”

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Linking with one of the most in-demand producers on the continent, L.A.X delivers a contemplative vocal performance, riding high on carefully crafted melodies while Magicsticks deploys his trademark log drums and a reassuring organ chords. The effect is comforting, in a way, with L.A.X switching back and forth between English and Yoruba to spin his lyrics.

Victony, “Anita”

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Victony’s album showcased his distinctive vocal talents; no one sounds like him, and his instantly-recognizable style is one of his best qualities as an artist. Another is his beat selection — and “Anita,” crafted by P2J, provides the perfect platform for an earworm of a track, which is just as catchy as his breakout hit “Soweto,” if not even moreso. It’s a standout on Stubborn, and one of the best songs of his career.

Superstardom might seem innate for someone like Ayra Starr. The Beninese-Nigerian singer-songwriter, born Oyinkansola Sarah Aderibigbe, possessed a certain level of self-assurance most teenagers lack on her 2021 debut album 19 & Dangerous, where her sweet, deep vocals documented her Gen-Z coming-of-age story.
“[It] was literally a flex when I named my first album 19 & Dangerous. It was very key for me to be a teenage superstar. It was very key to represent a teenage African girl. I wanted to become the Black Hannah Montana from Lagos, Nigeria,” she tells Billboard over Zoom with a laugh. “Naming my first album 19 & Dangerous was me registering for people, ‘This music you’re about to hear was done by a 19-year-old, by the way.’ I’m dangerous as a 19-year-old.”

Since then, the self-proclaimed “sabi girl” has been steadily increasing her star(r) power. She embarked on her first headlining tour, 21: The World Tour, with 40 stops in North America, Africa, Australia and Europe last year. Her 2022 smash “Rush” earned Starr her first-ever Grammy nomination this year, for best African music performance in the category’s inaugural year, and was included on former President Barack Obama’s favorite songs of 2022 playlist. She was also featured on BBC Radio 1’s Sound of 2024 list.

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Now, she’s starting a new chapter of her life with her sophomore album The Year I Turned 21, out Friday (May 31) via Mavin Records and Republic Records. The 15-track LP plays out like her “autobiography,” she describes, weaving in themes of love, loss, getting money and gaining wisdom over her seamless blend of Afrobeats, amapiano, R&B, hip-hop and pop. She’s in her bag as much as she is in her feels, trusting God’s goodness while getting her bread in the resilient anthem “Commas” and reflecting on her hard work paying off in the acoustic ballad “1942” (For a song named after the long-necked Don Julio tequila bottle, and by an artist who turned 21 last summer, it’s not the turn-up banger you might expect).

Her childhood love for Shakira is evident on the sensual-night-out number “Control,” when Starr sings, “I’m lit tonight/ You know my lips don’t lie.” And after collaborating with Destiny’s Child‘s Kelly Rowland on the remix of “Bloody Samaritan,” Starr imagined “the return of Destiny’s Child,” she says, when she recruited Anitta and Coco Jones for the log drum-powered female anthem “Woman Commando.” As an artist who grew up in three different cities (Cotonou, Lagos and Abuja) and speaks four different languages (Yoruba, Nigerian Pidgin, English and French), she continues expanding the borders of her music with her “Santa” bonus track with Rvssian and Rauw Alejandro, which earned Starr her first Latin chart hit when it reached No. 8 on Hot Latin Songs and No. 5 on Latin Streaming Songs earlier this month.

Even though she’ll be turning 22 in two weeks, Starr already has plans to end her 21st year on a strong note — starting next week, she’ll be joining the North American leg of Chris Brown’s 11:11 Tour as one of his opening guests, alongside Muni Long. And she’s up for three awards at next month’s BET Awards: best new artist, best international act and BET Her for “Commas.” But there’s still one more thing Starr wants to accomplish, since she’s finally 21.

“I really want to go to Vegas, though — because the last time I was in Vegas, they didn’t let me in anywhere, because I was 19,” she jokes.

Billboard spoke with Starr about her sophomore album The Year I Turned 21, 21 Savage’s impassioned cover of “Commas,” the heartfelt familial recording process of the LP’s closer “The Kids Are Alright,” and meeting her “idol” Rihanna.

Which local and international artists did you grow up listening to? What styles of music did you like listening to?

Rihanna, definitely. Beyoncé, Shakira, Nicki Minaj, Drake. I was listening to a lot of 2face, D’banj, Wande Coal – those are like the pioneers of Afrobeats for me. Aṣa, Simi. I was a Disney girl, so I had all of the Disney songs downloaded on my phone, like Hannah Montana.

And who are you currently listening to?

I’m listening to myself, obviously. Victoria Monét. mk.gee. His music gives me goosebumps, it’s just so beautiful. The new album is amazing. SZA. Beyoncé’s new album, too.

You’ve had such an incredible career trajectory. As a young African woman, who did you look up to as a success story that you could follow?

I feel like Rihanna was the closest thing to that, because I didn’t have a lot of representation. And I wanted to be that for my generation. I remember being like, “I want to be a teenage superstar.” As a teenage superstar, I can have young girls looking up to me.

You talk a lot about being a “sabi girl” in your music and on social media. Where did the term “sabi girl” come from? And what are the core characteristics of one?

“Sabi girl” is something you call somebody that just feels like an intelligent or smart person. When you say sabi, the word sabi means “to know” — like, to be smart, street smart and book smart. You can say, “Oh, that girl is sabi. That boy is sabi.” That means he knows what he’s doing, he gets it. The characteristics of a “sabi girl”: confidence; smart; on it; kind, has to be kind to everybody because a “sabi girl” is humble, even though she’s confident; and just bad – face card, body, outfit.  

What’s been the most rewarding part of your career so far? And what’s been the most challenging part?

The most rewarding part of my career so far is just being able to live my dream. This is something I wished for, this is not something that just came from nowhere. This has been my dream since I was a child. Being able to fulfill my dreams is the most rewarding thing ever, being able to improve myself and make money while doing it, girrrlllll. That’s definitely the most rewarding part.

The most challenging is trusting the process and being patient with oneself and also not always thinking about what other people think. Because when you [get] started, every artist is always [preoccupied with] what they think — it’s always about them and what they want to do. Then when they get into the spotlight, it’s like, “OK, what do people think?” I’d rather not do that. I’m already on the right path. But it has been challenging to just focus my energy on my own beliefs and my own ideologies.

Since your album is titled The Year I Turned 21, what are the biggest blessings and biggest lessons you’ve experienced at this age?

The biggest blessing is learning how to love myself — because you get a lot of love, but you never actually know what it is until you experience not loving yourself. I’m very sure of myself and I’m very confident in myself. It’s not just a flimsy confidence that can be moved by the way I look, or if I get bloated, I’ll start to feel bad. No, no, no, no. Working with people that I’ve always dreamed of working with and people that I grew up listening to has always been a blessing.

I feel like the blessings are the opposite of the lessons. The lesson was I had to learn to be patient with myself at some point, and now I’ve learned it, so I’m blessed. I had to learn how to work with other people and how to collaborate without thinking it’s a competition.

I love the breakdown of your life that you give in “21”: “1, 2, 3, 4, 5, 6, 7, 8, 9, 10/ I was at the house/ Tryna figure out who the f–k I am/ 11, 12 went too fast/ 3 to 16, too fast/ 7, 8 was a big year/ 19 got a big bag/ Counting hundreds playing 20 somethings/ Counting on myself now/ Crying by myself now/ I’m 21/ At my grown ass age.” Thinking about those teenage years that were “too fast,” what made them feel that way? Especially since 19 was such a massive year for you, how did ages 11-18 lead up to you having your big moment?

So 11-16, I felt like it was way too fast because I don’t really remember as much as I should. Most of my experiences then were not the best. Living with my mom, we didn’t really have much and I didn’t grow up the most comfortable. I used to daydream and imagine this life now. I can’t remember a lot of stuff from then, because I used to just think of having a better life.

“13-16, too fast.” I was [that age] in high school, and I just hated it so much because I was in a very religious school and I couldn’t be able to express myself. I’m Christian, but there are a certain type of religious schools that are like, “Oh, women are not allowed to wear trousers. Women should not sit in front of church. Women should not have extensions in their hair.” The best way to cope with it was not being aware. That’s why I feel like it was just too fast — because it was easier for me to be a zombie through those years.

How did you make a sonically diverse album that still feels cohesive?

It feels very cohesive because of my voice. My voice is my sound — so whatever genre I find myself in, as long as my voice is there, you’re gonna hear the Afrobeats. You’re gonna hear me in my Nigerian accent singing, and the richness of my voice and my range. I get bored really quickly, so I always like to do different sounds and try different things.

You have collaborations with Asake, Anitta and Coco Jones, Giveon, Seyi Vibez and your brother Milar. Why were those the artists you wanted to work with? Did you intentionally want to keep mixing up African and American guest artists, or did that come naturally?

With the features, except for “Woman Commando,” I just let stuff happen. With “Last Heartbreak Song,” I was like, “Oh, who would sound good on this? Let’s send it to Giveon.” Giveon was the first feature that came. Once I heard his verse, I just saw the whole album. I remember I cried in the car on my way to the airport. His voice sounded so good, he understood what I was trying to do. I was like, “OK, I’m just going to trust my intuition with who I want on each song.” I sent to Asake, I sent to Seyi Vibez.

With “Woman Commando,” I always knew I wanted two strong women. I wanted it to be like the return of Destiny’s Child. I wanted it to feel like a global anthem [with] women from different parts of the world. I was talking to my A&R like, “Let’s try and get a Spanish- or Portuguese[-speaking] person. And I want an R&B singer.” I’ve been listening to Coco Jones since Let It Shine. I’m a Disney girl, I told you! I remember the first day Let It Shine was going to air on Disney – I remember what I was wearing [and] every single thing about that day. And to have Coco Jones on my album is the craziest thing ever.

Anitta’s a no-brainer. [My choreographer and I] work out to her music [and] twerk to her music, so I was like, “Can we ask her for a verse?” She’s the sweetest human being ever.

How has the musical relationship between you and your brother evolved over the years?

We’ve always been a team. The phase we’re in right now is aligning ourselves to our things separately. He’s doing his own stuff, I’m doing my own stuff. But we still make music together. I trust his ear more than I trust mine. Every time I make something, I just send it to him — like, “What do you think?” And he’s like, “This sounds good.” And I’m like, “Are you sure? Because I don’t think so. I’m kind of nervous.” And he’ll just tell me what to do to make it better. He’s the most talented person I’ve ever met in my entire life. Since we were young, he’s been the musical one. My mom got us a guitar, and he could play chords, write songs on it already. One month on the piano, he was playing it perfectly. He’s literally a genius.  

When we were writing “1942,” I told him what I was trying to do, ‘cause I had just gotten back from my trip from Barbados. I was in the pool with a bottle of 1942 and I felt so good. I was like, “Oh, this moment makes it all worth it. This moment right here makes all the hard work, all the stress, worth it. This is what we work for, this little moment of satisfaction and happiness.” The song is about that.

Is your mom the one speaking at the beginning of “The Kids Are Alright,” and then you and your siblings throughout the track? It sounds like you’re all leaving a voicemail for your late father.

I told everybody to send a voicemail to the group chat — like, if they could talk to my dad right now, what would they want to tell him? Just give an update of your life. We’re sending voice notes, and everybody was snitching on each other! It was so funny and cute. It really was a huge bonding moment for us.

Two weeks before I recorded the song, I was on a three-day break from work. I wanted to rest, so I went to London. And I was overthinking a lot — because I was feeling guilty for taking a break, because I’m a workaholic. And my mom randomly sent me a voice note, as if she knew. She was like, “I want you to enjoy yourself. I want you to have a good time. Go out with your friends, enjoy yourself, be happy.” I was like, “Wow, wow, thank you!” It meant so much to me, so I put it in the song.  

You linked with Rihanna at her Fenty x Puma event in London last month. What was going through your head when you finally met her?

I don’t know what was going through my head. She was talking, and I was just looking at her lips and her nose. You can see my face, I was like [makes shocked expression with open mouth], “Wow! Rihanna!” But I was really calm, because she made me feel very calm and comfortable. No joke, in the back of my mind when I make music, I’m like, “There’s no way Rihanna doesn’t like this song.” When I made “Bloody Samaritan,” I kind of made that song for Rihanna. I was like, “Rihanna is gonna love this song.”

Even some of the songs on my album, like “Birds Sing of Money,” that was a song I wanted to send to her as a demo, but I never got a reply on time. I told her, “I have so many songs for you, but they are mine now! I’m not getting rid of them, they’re on my album!” [Laughs.] She was laughing.

We got to hang out after the event. Just spending time with my idol, the person that inspired me to do all of this, was the most amazing thing. She gave me so many pointers and advice. I love my voice, but I know I have a very deep voice like, “Is that a man?! Is that a boy?!” Rihanna was like, “You have the type of voice that can take over the males and take over the girls. You are here to take over both sides of the industry.” And I was like, “You think so?” She’s like, “Yes! Yes!” I was like, “Thank you so much!” She was like, “That’s your superpower.” I was like, “I never thought of it like that. Thank you.” She just put everything into perspective for me.

We need the collab ASAP.

Very soon. Very, very soon.

I saw a video on Twitter from her most recent Fenty event in LA where she said you taught her the difference between Afrobeats and amapiano. How did you break it down for her?

She knows! I just pointed out some things. But she knows a lot about African culture, I was so shocked. She knows tribes — she knew how to pronounce my government name, Oyinkansola. I didn’t have to teach her. I was like, “Rihanna, I can steal you in my bag right now and take you away?”

You have another superstar in your corner, 21 Savage, following his Instagram Live video performance of “Commas”? The mic was on!  

If we ever want to work together, it’s gonna be possible by God’s grace. I’ve been a big 21 Savage fan. And when I saw that video, I was laughing! It’s so funny. He’s singing the song like he wrote it! He’s singing the song like I wrote it for him. I love that so much!

Which song from The Year I Turned 21 are you most excited to perform live when you open for Chris Brown’s 11:11 Tour?

I can’t wait to perform “Goodbye (Warm Up).” I already have the choreography and everything. I can’t wait to be on stage. I can’t wait to perform “21” and “Birds Sing of Money,” “Last Heartbreak Song,” everything ahh! I feel like I’ve performed my last album for two years now — so it’s like, “Finally, new music!”

What goals do you have for your career moving forward?

I want to take over the entire universe. Insert evil laugh. [Laughs said evil laugh.] I want to be the best performer I possibly can be. I want to collaborate with more people. I want to reach all different parts of the world with my music. I want to have strong fanbases from all over the world. And just kill it.

Ayra Starr will release her sophomore album The Year I Turned 21 on May 31, the Afropop starr revealed on Wednesday (May 1). She also unveiled the album artwork, which features the 21-year-old Beninese-Nigerian singer sticking out of a red convertible, her windswept curly hair exposing her beautifully bejeweled floral dress. And she shared the […]

This month has produced the biggest bounty of great releases from African artists in 2024 so far, with some of the most exciting, innovative and fastest-rising artists and veterans releasing not just big singles, but long-awaited albums — and with much more promised for the coming months as summer approaches.
Tems released her reimagining of Nigerian singer-songwriter Seyi Sodimu’s 1997 smash “Love Me Jeje” following her debut performance of the single at Coachella. It’s the first single from her upcoming debut album Born in the Wild, which will be released in May. Meanwhile, Joeboy linked with teenage sensation Qing Madi, ODUMODUBLVCK and Blaqbonez lined up a distinctive collaboration and Black Sherif turned up the aggression with a new banger.

Nigerian Afropop singer Minz talks a big game on his new single “shadow” with German trio 255, who also produced 1da Banton and Bella Shmurda’s “Evidence” collaboration, which has been featured in this column. Speaking of collabs, Ruger and Bnxn put their past troubles behind them and celebrate their harmonious relationship on their joint album RnB. And Young Jonn helped Jamaican dancehall hitmaker Sean Paul earn his career-first entry on Billboard‘s U.S. Afrobeats Songs chart this month with “Hold On,” from the latter’s long-awaited debut album Jiggy Forever.

Trending on Billboard

“I’m an artist and I go to Africa, and they are so appreciative of what we brought to the table. It’s been a symbiotic relationship back and forth over the years,” he told Billboard in an interview last week about the dynamic between Afrobeats and dancehall music. “We’re using drums from the sound that’s been Afro music, people like Fela Kuti and all of these great musicians, and we’re producing it the way we hear it [and] feel it. In Afrobeats [now], they have taken the hint from how we produce and done their own thing with it.”

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.

Minz & 255, “shadow” 

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Minz dials up 255 for his bouncy new single “shadow.” “It’s certain, you know I’m killing it,” he flexes in the first verse, while assuring his haters won’t go far in the chorus. His self-assured flow fits perfectly with his and 255’s spirited production.  

Bloody Civilian, “Head Start”

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On the heels of her electrifying debut EP Anger Management, Bloody Civilian remains a force to be reckoned with on her first single of 2024, “Head Start.” She leaves her opps quaking, so much so “you go think say they be dancers. Congratulations, you’re the best dancers,” she jeers in the chorus. But the track’s stirring Afropop production, with its alarming sirens, ominous synths and intoxicating percussion, will leave listeners dancing right alongside her opps. “This track is quite raw. Basically, I made a vengeance track that’s Afrobeats but is also low-key Travis Scott coded,” Bloody says in a press release.  

1da Banton & Bella Shmurda, “Evidence” 

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Nigerian singer-songwriters 1da Banton and Bella Shmurda join forces for the first time on their summery two-track pack, Evidence / Holy Man. The first single, “Evidence,” is a vibrant, mid-tempo celebration of their success, with its hook “And the evidence choke/ Evidence choke, and the boys dem know/ Boys dem know, and the everywhere I go” proving its up for the boys. Produced by 255, the track’s acoustic guitar drives its laidback production, while the atmospheric pitched-up melodies interspersed throughout “Evidence” adds an extra touch of levity.  

Ruger & Bnxn, “Not Done” 

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Ruger and Bnxn make it clear that they’re “Not Done” with their past relationship (even if their ex feels otherwise) on the midtempo closing track of the Afropop stars’ remarkable joint album RnB. Produced by Blaisebeatz, “Not Done” tells the toxic tale of a man who won’t accept the end of a relationship, with Ruger questioning why she would ever want to leave him and Bnxn reminding her who treats her better in the bedroom. “When two artists like us come together, it’s sending a message to everyone around the industry,” Ruger said in a recent Billboard News interview. “For Afrobeats right now, many of us don’t really work together. People don’t drop joint projects like that. But this project actually is taking us to another level.” 

Young Jonn feat. Sean Paul, “Hold On”  

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Young Jonn links up with reggae legend Sean Paul on the sensual highlight “Hold On” from his debut album Jiggy Forever. With its stirring string arrangement, melodic vibes, Jonn’s come-hither vocals and Paul’s lustful lyrics, “Hold On” is the kind of record you sing while whining up on your significant other or even a stranger on the dance floor on a warm summer’s night. “I recorded this song in Madrid and was actually in the studio with Memphis Depay. He was actually gonna take the beat, but before you know it, I’d recorded the chorus!” he told Apple Music about the song. “I sent the song to my manager — she’s a very imaginative person and was like, ‘We should get Sean Paul on it.’ Earlier this year she sent me a message saying we got Sean Paul; it was crazy!”

Young Jonn, “Bahamas”

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The super-producer has been stringing us along with top-shelf single after top-shelf single for more than a year now, but his Jiggy Forever album is finally here, and it’s no surprise that there are a slew of absolutely beautiful songs sprinkled throughout. His songs have always had a touch of nostalgia, or yearning, to them, both lyrically and musically, and “Bahamas” fits into that lineage perfectly the latest in what is becoming a formidable catalog of big, aspirational hits.

Tems, “Love Me JeJe”

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As she gears up for the release of her debut album Born In the Wild in May, Tems comes with a new single that’s perfectly in her pocket, showcasing her voice and her laid-back style, on a track that takes its name from Seyi Sodimu’s 1997 hit. The hook “I’m on your wave right now/ I’m on your vibe now” — finds Tems right where she’s always been best: feeling her way through the music as effortlessly and coolly as any of us could ever hope to.

Black Sherif, “Shut Up”

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The Ghanaian street MC has been on a roll lately, with his latest single a fiery, in-your-face cut that takes a derisive swipe at the competition, both inviting attacks from others while chronicling his no-doubt rise to the point he’s at now. It’s more aggressive than the “January 9th” single he dropped earlier this year, which took a more introspective approach, but it’s a status he’s earned by this point.

Joeboy feat. Qing Madi, “Adenuga”

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Reliable hitmaker Joeboy recruits the young Nigerian singer Qing Madi to assist him on his latest, a platform for their two voices to dovetail in unexpectedly gorgeous ways as the song winds its way towards its finish. Before that, Joeboy himself tells the story of melting an icy tough exterior as he falls in love, displaying the melodic chops that helped him rise to the top of the Nigerian pop scene. It’s a duet that simply works fantastically.

ODUMODUBLVCK & Blaqbonez feat. Lekaa Beats, “Technician”

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There may not be a more distinctive voice in African music in the past two years than ODUMODUBLVCK, whose flow and style are instantly recognizable and add an element to his music that others could wish to have. But if anyone could rival him for originality it might be Blaqbonez, and this collaboration is two fighters sparring at the highest level, with Lekaa Beats’ vocals the perfect icing.

While rap beef continues making headlines, Afropop stars Ruger and BNXN have squashed their beef and come together on a new album, RnB.
The two had been taking shots at one another on X back in August 2022. “In Nigeria, the excessive stanship is real. If you like an artist or you feel an artist is your fave, you almost go to every extent to prove it — even if that means fighting somebody else that says otherwise. That was the primary reason,” BNXN explains in an interview with Billboard News. “I think someone came at [Ruger], and then he responded to the person. The response had me all in it, and I’m like … it’s that 50 Cent meme where he’s like, ‘Me?’ That little ego clash had a lot to play in that.”

But looking back, the “GWAGWALADA” singer thinks the whole thing was “unnecessary” and was “blown out of proportion.”

Ruger also believed their fans played a role, not just online, but in real life. “We blew up properly at the same time, you understand. We were going to the same shows at that time, you understand, and our fans were there. So if one’s coming out, another one is coming out, the fans would be like, ‘Ayo!’ and boo the other person,” he tells Billboard‘s Tetris Kelly. “The music is everything that we have; we have to fight for it.”

But when the two finally decided to bury the hatchet, fate brought them together. BNXN was sitting on a plane, waiting for his flight to London to take off, and Ruger tapped him on his shoulder. “Is it fight or flight?” BNXN recalls with a chuckle.

But the “Asiwaju” artist breaks down why it was easier to fight online than in real life. “The reason why most of us fight online [is] because we don’t get to meet each other. But when we meet each other, we see the kind of person we are, we’re just about the music. It’s not really about bad blood like that,” Ruger says.

Ruger and BNXN proved they’re really just about the music when they released their joint album RnB (which stands for Ruger and Benson) on Thursday (April 18), which includes previously released singles “Romeo Must Die (RMD)” and “POE.” “Romeo Must Die (RMD)” peaked at No. 11 on Billboard‘s U.S. Afrobeats Songs chart. Ruger reveals it took him and BNXN only three days to make the seven-track project.

“When two artists like us come together, it’s sending a message to everyone around the industry, whether Nigeria, America, London, wherever,” says Ruger. “Working together actually pushes the sound farther. Just like for Afrobeats right now, many of us don’t really work together. People don’t drop joint projects like that. But this project actually is taking us to another level, whether you like it or not.”

BNXN adds that making RnB together was a “seamless” experience. “We wanted a collaborative effort, something that felt genuine and at the same time fit for each other’s persona,” he adds. “The producers — shout-out to Blaise[beatz] and Kuk[beats] — we’ve worked with the producers individually before. Kuk was more of Ruger’s producer, and Blaise used to really work with me a lot. So it’s like, OK, we’re going to share ideas off what we’ve already done with these producers, and let’s see what we can connect with, what songs we can connect with. We’re bouncing off each other’s energies.”

Watch Ruger and BNXN’s full Billboard News interview above.

The year is starting to heat up, and with an extra day in February, this month’s Afrobeats Fresh Picks makes it to you just under the wire. This month, there is new heat from bright young hitmakers like Ayra Starr, Black Sherif and Boy Spyce and Khaid, plus new bangers from more established stars like Young Jonn, Joeboy and Adekunle Gold, and some fresh tracks from artists like Rowlene, YKB, Logos Olori and Crayon. And there’s already more great music on the horizon, meaning that this year is still just getting started.
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.

Black Sherif feat. Mabel, “Zero”  

Trending on Billboard

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While discerning all of the good (fame) and bad (gossip) that comes with being in the public eye, Ghanaian rapper Black Sherif calls for “Zero” drama in his new single with English R&B/pop singer-songwriter Mabel. The tender melodies evoke the peace Black Sherif is seeking, while Mabel preoccupies herself with “the piano in the hotel lobby” and lights up a “zoot” (British slang for a joint) and Palo Santo to create a carefree environment that cuts through all the other noise. The only voices that matter are theirs.  

Logos Olori feat. Davido, “Easy On Me”  

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After collaborating with Davido Music Worldwide label boss Davido on “Picasso” from the Grammy-nominated album Timeless, Logos Olori taps him for the easygoing “Easy On Me,” from his new OLORI EP. Olori’s sensual melodies and tropical-inspired production makes it the perfect baecation song, as both artists marvel at women who have them wrapped around their fingers. 

Young Jonn feat. Kizz Daniel & Seyi Vibez, “Big Big Things” 

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This trio of Nigerian singer-songwriters is only meant for “Big Big Things,” as evidenced by Young Jonn’s latest single that will be featured on his upcoming debut album Jiggy Forever. Powered by an amapiano-infused bassline, rap air horns and a tropical melody, this banger is all about being unstoppable. “When I walk through the valley of the shadow / All eyes on me cause I came in a Lambo,” Young Jonn flexes. In a press release, he describes “Big Big Things” as “a rallying cry for dreamers, go-getters and anyone with an unrelenting desire to achieve greatness.”   

Ayra Starr, “Commas”  

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The Beninese-Nigerian star simultaneously addresses those who’ve presented roadblocks in her path, and inspires others to never stop chasing their dreams, on her new Afropop single “Commas.” Over a swelling string arrangement and bubbling percussion, she delivers a personal message of resilience for those who need it most – including herself. During her recent Billboard News interview, she revealed that “Commas” will be included in her upcoming album. “The Ayra Starr I want to introduce is excellent, sonically amazing. This album is unique, because I’ve been evolving sonically,” she said.  

Adekunle Gold, “The Life I Chose”  

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The Nigerian star reflects on “The Life I Chose” in his new single. Produced by Kel-P, the track employs a spellbinding, psychedelic flavor of Afropop that draws listeners in just the way the rockstar lifestyle drew in Gold. He revels in its opulence – “Pool side, sippin’ Don Peri/ All the fine girls won fed gum-body” – while being wary of undercover opps when he realizes, “All of a sudden, everybody act like they love me (Fake love).”

Joeboy, “Osadebe”

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The first single under his new imprint for Warner Music Africa, Young Legend, finds Joeboy paying tribute to highlife icon Chief Osita Osadebe and his 1984 classic “Osondi Owendi,” and dealing with the emotions of balancing such a successful career with remaining humble. “Sometimes I feel like I’m supernatural / But I’m only human / I’m only human,” he sings. A good start to a new chapter for Joeboy.

YKB, “High & Sober”

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A gorgeous ballad, “High & Sober” finds YKB crooning a love letter to his girl over lush production from Pheelz, who supports the vocals with a full backing orchestral section underneath the hook, fleshing out the song and giving YKB the platform to showcase his vocals. After great singles “komplete riddim” and “This Must Be Love” with King Promise last year, YKB is on an upward trajectory.

Crayon, “FADE AWAY”

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An understated beat underscores this unconventional single from Crayon, whose syncopated rhythms and flexible melodies bring an unorthodox style to the track. With occasionally double-tracked vocals and production that relies mostly on its drum pattern but incorporates piano, organ, guitar and saxophone in different sections, the song stands out from a lot of the other songs coming out right now.

Rowlene, “don’t let go”

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For fans of the South African singer, it’s been a long wait after 2020’s excellent 11:11 album, but finally Rowlene has returned with a beautiful three-pack of songs called Moment In Between, with “don’t let go” a particular standout among them. A poignant plea, the song features her ever-engaging vocals, reminding that there’s a lot more to come from one of the leading lights of South African R&B.

Boy Spyce & Khaid, “I Don’t Care”

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Boy Spyce and Khaid made a big impact last year with the carefree, upbeat “Carry Me Go,” which combined an irresistible melody with an earworm of a hook to deliver a song that truly felt like the summertime. “I Don’t Care,” their most recent collaboration, is a different beast entirely, opening with a menacing beat that then gets its edge taken off, instead providing a propulsive platform for their intertwining vocals, a stylistic switch up that nonetheless still works well, with a fun video to accompany it.

As the sun’s long-awaited arrival signals the beginning of summer, we’ve been turning the volume up on the latest releases from African artists worldwide for this season’s new soundtrack. Ghanaian-American Afropop star Amaarae and Nigerian Afrobeats powerhouse Asake dropped flashy, boundary-pushing albums with Fountain Baby and Work of Art, respectively. But they’re not alone — both Omah Lay and Ckay dropped off deluxe editions of their recent albums with additional tracks, while Zinoleesky and Fireboy DML released eye-catching singles to herald future releases.

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 find your new summer soundtrack with our Spotify playlist below.

Reekado Banks, Adekunle Gold & Maleek Berry, “Feel Different”  

Nigerian singer Reekado Banks recruits Adekunle Gold and Maleek Berry for the feel-good single about a girl whose love makes them “Feel Different.” All three men try to convince themselves they’re better off alone – with Banks singing “If I fall again, I go look so dumb/ I no wan look so dumb/ So I will never never fall again” and Gold singing “Run, run, run, run/ I be running all alone” with a rock guitar hit underlining his point – but ultimately realize they’d go to great lengths just to be with her.  

Bloody Civilian, “Escapism”   

Nigerian singer-songwriter and producer Bloody Civilian blends amapiano’s log drums with pitched-up EDM vocal chops on “Escapism,” the first track off her experimental debut EP Anger Management. The repetition of her airy “Shoulda smoked that s–t since morning” line creates a carefree mantra she uses to distract herself from the disorderly world around her. But it’s her lithe, pacifying voice that assures listeners they don’t need to turn to vices to find hope.  

Amaarae, “Princess Going Digital”   

Amaarae’s plea in “Princess Going Digital,” from her critically acclaimed sophomore album Fountain Baby, is crystal clear: “Take me out the streets.” The synth-heavy, crystalline pop track follows the singer as she finds a potential partner that could put an end to her BS-riddled search for love. Vocalist/producer Maesu – who was previously featured on Amaarae’s “Fantasy,” alongside CKay – echoes her sentiments (literally) while promising the princess whatever she wants – just as long as it’s not commitment. “You know it’s just game, girl, you know how it goes,” he sings.  

Tay Iwar & Juls, “Summer Breeze”  

Tay Iwar teams up with frequent collaborator Juls for the breezy ode to summer off his aptly titled EP Summer Breeze. On its title track, Iwar’s featherweight melodies float over Juls’ dizzying jazz saxophone riffs and scintillating percussion that’s reminiscent of palmwine music. Lyrics like “Tease me baby and turn me on” and “What a sweet release I need” suggest a “Summer Breeze” isn’t the only thing that gets Iwar going, but it’s certainly one of the most divine highlights of this time of year.  

Asake, “Lonely at the Top” 

Asake offers a bittersweet reflection on “Lonely at the Top,” from his highly anticipated sophomore album Work Of Art. With a backing choir and introspective instrumentation (courtesy of producer Blaisebeatz), the fast-rising star sings about his chasing his lofty dreams of superstardom, while putting on his blinders to avoid the naysayers — and understanding the isolation that comes with it. But Asake remains unfazed while pursuing success, because there can only be one Mr. Money Ginger.

Omah Lay, “reason”

Executing the tried-and-true strategy of capitalizing off a popular release with a deluxe edition, Omah Lay reissued last year’s Boy Alone with five new tracks, including the powerful, insistent “reason.” Kicking off with a palm-muted guitar riff, Omah Lay layers vocals to hypnotic effect, questioning existence and purpose on a track that is at once consistent with and a departure from what we’ve come to expect from him.

Fireboy DML, “YAWA”

Fusing some of his R&B grooves with amapiano drums and a layered, triumphant hook, Fireboy delivers one of his best singles of the year — which is saying something, considering his output so far. He kicks the track off with a few lines in English before slipping into Yoruba, where he flows more comfortably, and puts a ton of energy and passion into it, which comes out clearly on the track.

Asake, “Sunshine”

Asake’s Work of Art album speaks for itself, and is so cohesive that it’s difficult to single out individual tracks to shine a light on. Luckily, there’s plenty to choose from — and “Sunshine” has one of the more memorable hooks on the album, a song brimming with positivity and Asake’s trademark angelic choral flourishes. It’s sometimes remarkable how agile he is with his flows given the sheer weight of musicality that each of his tracks brings to bear, but he is a rare artist for whom seemingly everything works. Check out the full album if you don’t believe us.

Ckay, “nwayi”

Ckay has carved a lane, both melodically and with his subject matter, as the poster child for “emo Afrobeats” (hence the name of his album, Sad Romance) — and this track is right in the sweet spot, paved by his first two major hits, “Love Nwantiti” and “Emiliana.” He’s become truly adept at these breezy earworms laced with sweet nothings, and this is directly in that lineage.

Zinoleesky, “A1 (Feeling Disorder)”

Brisk to the point of breathless is the Zinoleesky flow, and “A1” is the latest entry in his ever-growing canon. Built around a conflicted story of sex and love — or one instead of the other — the song hurtles into a bridge with brief introspection (“I’m emotionally downcast…”) before picking the pace up right where it left off, with a beat that propels him further every second. There’s a self-assurance to his flow that comes across on every track of his — “A1” is up there among his best.

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 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.”