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Nothing marks November better than Billboard African Rookie of the Year Odeal releasing a new project. In keeping his OVMBR tradition alive, the British Nigerian star dropped The Fall That Saved Us EP, a neo-soul/R&B-driven reflection of complicated romance and self-discovery that builds on the somber world he created in his November 2024 EP Lustropolis and that arrives four months after The Summer That Saved Me.
But what did come as a total surprise this month was Tems‘ Love is a Kingdom EP. Across seven tracks, she confronts the fickleness of love head-on, while embracing self-renewal. Tems, along with rising Afropop star Taves and more notable artists, also appear on Show Dem Camp’s masterful AFRIKA MAGIK album, which is deeply rooted in the timeless sounds of the continent.
We’ve highlighted 10 of our favorite new songs by African acts that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our Spotify playlist below.
Show Dem Camp & Ajebutter22, “Small Chops and Champers”
Tec and Ghost of Show Dem Camp toast to the soft life with alté leader Ajebutter22 on the celebratory “Small Chops and Champers” track from the Nigerian rap duo’s latest album AFRIKA MAGIK. Named after nibbles and bubbles, the laidback collab delights in their successes. “For us, AFRIKA MAGIK isn’t just an album; it’s a cultural document. A reminder that our stories, in all their beauty and chaos, are magic,” SDC said in a press statement.
Taves, “Popstar Party”
Taves gets the “Popstar Party” started with his electric new single from his forthcoming debut studio album Popstar. The Afropop star captures the intoxicating thrill of fame and late-night festivities with his melodic bravado, while SirBastien’s guitar solo on the outro further highlights Taves’ moment in the spotlight. “‘Popstar Party’ is me having fun in the sun – letting go, unleashing energy that’s been building inside me,” Billboard’s former African Rookie of the Month said in a press release. “I want people to move, to feel alive, and to see what kind of world I’m bringing in Popstar.”
Nonso Amadi, “Drown”
Nonso Amadi passionately pleads with a lover to not let him “Drown” in his deep affection for her on the highlight track from his To Cry a Flood EP. The Afro R&B trailblazer’s suave flow anchors the vulnerable number, which interpolates Amerie’s 2005 classic “1 Thing” on the chorus.
Odeal feat. Wizkid, “Nights in the Sun”
Amid Odeal’s wintry world of Lustropolis, the “Nights in the Sun” closing track from his The Fall That Saved Us EP radiates with a refreshing warmth. Odeal imagines sweet mornings with someone over P2J’s sweltering production, while Wiz dreams of “sipping on fine wine, a perfect whine.” “This is the glow, the nights that feel like they could go on forever, where everything is light and easy again,” Odeal told Clash. “[Wizkid] carries that feeling of effortless joy and nostalgia in his voice, and it brought another dimension to the world I was building.”
Tems, “What You Need”
Tems delivers a hauntingly beautiful epilogue about a relationship not worth salvaging on the “What You Need” standout track from her surprise EP Love Is a Kingdom. Her frequent collaborator GuiltyBeatz’s stripped-back R&B production gives her the floor to stand firm in rebuking a love that no longer belongs to her, singing, “Your love is not my lifeline, you love is not my home.” After Tems previewed it during an Instagram Live years ago, even declaring “this song is not coming out,” “What You Need” absolutely deserves a home in her discography.
Tems, “Big Daddy”
From its first notes, this latest single from Tems — off her new EP Love Is a Kingdom — grabs the listener, well before her distinctive voice invites you into her latest tale, a cutting takedown of an ex who has come crawling back. It’s a celebration of her own power over a person she used to love, and the ways in which she wields it. But more than anything it is also a song with a clear and nuanced vision, not unlike the star herself. A welcome return.
King Promise & Davido, “Bad Habits”
Davido is, of course, an established superstar by now, but King Promise is still on the rise, and he may have one of the best voices in the Nigerian pop scene right now, as evidenced by his breakout his “Terminator.” On this track, though, he trades in obvious vocal prowess for songcraft, and this song succeeds in every way, from the production to the vibe to the lyrics that celebrate the level of success that Promise is exuding right now. Davido adds to that effortlessly, creating one of the best African songs of the year.
LAX & Olamide, “Belinda”
L.A.X. has a strong track record now of crafting irresistible vibes, and “Belinda” is no different on that front. This one, produced by Davido collaborator Ragee, is a little more hard-driving than some of his previous work, but leans strongly on amapiano elements to hammer home its beat, while the legendary Olamide slides through with the assist on this lovesick yet confident cut.
Ayo Maff, “Tension”
Still just 20 years old, Ayo Maff is the next young Nigerian singer/songwriter to emerge on the scene overflowing with talent. He’s already got an EP (Maffian) and an album (Prince of the Street) under his belt, and “Tension” is his latest single to raise the bar on what he’s capable of. With ambitious production reminiscent of Fireboy DML’s Playboy album, “Tension” leans contemplative and emotional, but remains catchy and positive, with a pulsing undercurrent that keeps the song from slipping into melancholy. It’s a two-minute statement of intent: next year is his.
Omah Lay, “Waist”
Omah Lay has kept a relatively low profile since breaking out with his Boy Alone album a few years ago, but “Waist” feels like a return to form for the young artist — versatile, creative and unexpected in different ways, all of which keeps people coming back to his music again and again. He feels like a refreshing voice in a scene that at times can follow trends, and this track portends big things to come in his next era.
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When Mavo celebrated his 22nd birthday at the top of this month, he had “1” “2” and “3” LED marquee numbers to symbolize another significant figure. He had occupied the top three spots of the Apple Music Nigeria Top Songs chart with “Money Constant” with DJ Maphorisa, DJ Tunez and Wizkid, “BODY (danz)” with CKay, and the “Shakabulizzy (Remix)” with Davido.
“My friends actually did that for me. My friends did a surprise party for me,” he tells Billboard while on Zoom in Cape Town, South Africa, where he reveals he’s recorded another song with Davido (their “Galorizzy” collaboration with Scotts Maphuma, Morravey, Ecool and Iphxne DJ was announced less than a week after our interview and released the following week). “Davido is my friend. After I dropped the ‘Shakabulizzy’ remix, we’ve been always talking.”
Such an auspicious musical career is quite the extracurricular for someone who’s currently studying optometry at Afe Babalola University in Ekiti State, Nigeria, where Mavo (real name Oseremen Marvin Ukanigbe) will graduate in July 2026. But outside of wanting to specialize in eye care, he’s also taken a special interest in linguistics when it comes to his music.
His self-described “Burbur music” is an experimental hybrid of Afrobeats and rap that’s riddled with his idiosyncratic slang and unfiltered storytelling. “Burbur” – meaning “something that’s crazy, something that’s busting out speakers,” he describes – is one of 80 terms that Mavo has devised for his Bizzylingua vocabulary and defined in the Bizzpedia, A Native Bur Bur Dictionary that he worked on for two years and recently published with NATIVE Mag.
The “Bizzy” prefix is Mavo’s self-appointed nickname, which personifies his hustle as an independent artist and university student. He says listening to Wizkid at a young age inspired the semantic highlight of his music. “He’d start songs by saying ‘yaga.’ This guy’s feeling fly on the song. I’m like, ‘These are things I need to think about. How can I create words that when you say them, you’d be like, ‘What’s he saying?’ But they also sound cool at the same time,” he explains.
His favorite slang is “burti,” a “term referring to a great deal of swag and motion” as defined by the Bizzypedia. Many words in the Bizzylingua are suffixed with “izzy,” as popularized by his witty street-hop “Escaladizzy” hit with WAVE$TAR that BNXN co-signed, while ZerryDL put his own spin on it. Zerry’s brother and Plutomania Records boss Shallipopi individually reached out to contribute a verse to the remix, as did Ayra Starr and Zlatan, so Mavo combined their starpower on “Escaladizzy II.”
“I knew that anything was possible,” he reflects after “Escaladizzy II.” And while the stars continue aligning for – and collaborating with – Mavo, he’s determined to end his breakout year on a high note and continue his ascent into the new year.
Billboard spoke with November’s African Rookie of the Month about juggling his optometrist career goal and A-list artist ambitions, educating his listeners on the Bizzylingua, and cooking up the viral “Your body na meat pie” lyric from “BODY.”
When did you know music was your calling?
When I was in secondary school, there was a music club. So before I went to university, I had already written songs but not so full of metaphors or any form of literature, just basic lyrics. When I went to uni, I wanted to be more imaginative and innovative in my lyrics. I always try to trigger people with what I’m saying. I don’t want to say triggering, but that’s what it does. People [ask], “Why would you say this?” And that’s what works for me: the ability to make people want to know more.
How did your upbringing in Ekpoma, Edo State impact the music you listen to and the music you make?
It was a do-it-yourself thing. You had to be independent. I was in an all-boys school. There’s no impressing any girl. Nobody’s going to do anything for you because they like you. I was growing the habit of being independent for six years while I was in school before I went to uni.
Who are some of your favorite artists whom you grew up listening to?
Wizkid, Travis Scott, Playboi Carti, Burna [Boy], Lil Uzi Vert, Davido, Rema, Seyi Vibez, Omah Lay. Future and Young Thug are my greatest inspirations ever. I’ve not dropped a lot of music, so people can’t tell that, but in due time. I’ve worked on so much music. Right now, I have over 1,500 songs on my laptop.
You’ve recorded that many songs since you’ve started making music in general or just recently?
Over the past three years. I started recording commercial music when I was in 300 level optometry. When I got to 300 level, I had time to multitask by recording songs and reading my books.
As you’re recording and studying at the same time, what does your schedule look like these days?
I had to choose channeling my school energy into my music. I have some songs where I met this girl when I was coming from class, or I met this girl when I went to buy food last night and I just tell the story. What I could do during my leisure [time], when guys are going to play basketball, I just record in my room. I have my microphone and everything.
Most of my songs, like “Escaladizzy,” were recorded in my room in my hostel. I believed that me doing it in my room is actually better than me going to a bigger studio. But for “Shakabulizzy” and moving forward, I saw the importance of actually going into the studio and following proper engineering routes.
How did you learn to record music in your room?
In my 200 level, I had friends that did music as well. We bought the equipment then started recording. My friend already knew about FL Studio and he started telling me about it and setting me up. Because I was in medicine, I had to stay back in school for three months. I was practicing FL Studio every day and finally made one banger, the song was so sweet. I sent it to my manager like, “Bro, can you hear the song?” She’s like, “Yeah, this song is crazy.” I’m like, “Yeah, man, I just recorded it.” And that’s how everything started.
And what made you pursue optometry?
My mom had some issues. I don’t know what it was, but I knew it was some issues with her eye. That was when I was really small. It was really hard for me to juggle school and my mom. I already had it in mind I wanted to become a doctor but not an eye doctor in particular. I was studying medicine originally. After a while, I told my lecturers I wanted to change and study optometry.
I already knew I was going to do music. I just needed something to inspire my educational side. I didn’t want to study music. I was doing really, really well in science. And my parents didn’t really want me to do art. Funny thing is when I started studying optometry, I realized that it was so fun. It’s different from being an optician or a regular eye specialist. You have a lot of things in your hands, you are closer to the patients. You are next to the ophthalmologist. It’s a lovely opportunity to become an optometrist.
How do you envision your career path being post-grad?
It’s going to be very interesting. I’m not really a person that likes to spill tea. I have a song with Wizkid and Davido, and nobody actually knew about it until the day they were dropping. But I have a really, really big thing happening during the first quarter of next year. That’s all I can say. Serious music. What I’m going to do is going to actually blow minds by God’s grace.
Take me back through the making of “Escaladizzy.”
I wrote it when I was in school. I had classes that week and during the weekend, I had shows in Lagos. After writing the song on Thursday, I had to go to Homecoming [Festival] on Friday. I performed [it] in my set the next day, it was unreleased. [WAVE$TAR] was like, “You should come to the studio” the next day. I was like, “No problem. I’ll pull up to your studio tomorrow.”
I went to the studio, I recorded one song, then I’m like, “Yo, yo. I’m still feeling the vibes. I feel like we need to record another song.” He’s like, “Oh yeah, yeah, that’s calm. Let’s do it.” Then I recorded “Escaladizzy.” I had the beat on my phone already. I had already written my part before I came there. But we didn’t finish it. I had to finish it three weeks later when it was hitting on TikTok.
When did you know that that song was special? Were you caught by surprise by the fan reaction to the snippet you shared on TikTok?
Trust me, I have a lot of songs that I know would do a lot of things, like more than 100, but I didn’t know this one was going to do this. After I recorded “Escaladizzy,” the only way it was going to work out for me business-wise was if I made another song like “Escaladizzy.” So I went to make “Shakabulizzy.”
Between “Escaladizzy” and “Shakabulizzy,” what is the significance of your signature “izzy” suffix?
The Bizzy form of something is going to be “izzy,” so the Bizzy form of an Escalade is Escaladizzy. The Bizzy form of Shakabula is Shakabulizzy. The Bizzy form of a clock is a clockizzy. The Bizzy form of a socket is a socketizzy. It just depends on if you want to do this. I don’t use my words all the time. It’s like an alternate word if I want to joke with my friends or be funny.
How did you get Davido on the “Shakabulizzy” remix?
He just texted me on Instagram. He’s like, “Could you send me ‘Shakabulizzy’? I want to do something.” I sent it to him. And he sent it to me the next day. Then he sent me a lot of money for the video as well. He’s a really nice person.
When did you realize that you were going to have a song with Wizkid and a song with Davido come out on the same day?
I knew that a month before it happened. They came to me. DJ Tunez texted me in September saying, “Wiz and you should do a song. Can you send the chorus?” I’m like, “OK, can you send me the beat?” Then he sent it. I just did my thing.
What was your reaction to occupying Nos. 1, 2 and 3 on Apple Music Nigeria Top Songs chart with “MONEY CONSTANT,” “BODY (danz)” and the “Shakabulizzy (Remix)”?
We knew it was going to happen. My team already told me. Surprisingly, I felt like there was going to be some sort of shuffling, like it was going to come on, go off, maybe [Nos.] 1, 2 [and] 5. But the funny thing is my team already told me it was going to go [Nos.] 1, 2 and 3.
Speaking of “BODY (danz),” how did you come up with the viral lyric “Your body na meat pie?”
I initially was telling you about being more metaphorical in my music, being more literature-based, trying to make a body of work an actual art piece. Let’s just say “meat pie” is metaphorical.
Did you expect that line to get as much attention as it has?
That, I can’t say — because I’ve related the body to a lot of other foods, trust me.
One X user commended you as a “lyrical genius” and broke down the mathematical meaning behind “meat pie,” equating that to “she’s a ten.” What do you think of all the lyrical breakdowns?
I see a lot of crazy breakdowns. I didn’t even know this was happening. But it’s cool to know that if you do that, it actually works.
You performed “BODY” at a club where everyone was holding up meat pies. What was going through your head as that was happening?
[Laughs.] I was like, “Why are you guys holding up meat pies?” Yeah, I said, “Your body na meat pie.” But this doesn’t mean you guys [should] actually hold up meat pies. I think for my live show in December, I’m going to give free meat pies to everybody there.
Who would you love to collaborate with next?
SZA, Travis Scott or Drake. Future and Young Thug is going to happen, but I want to go step by step. The way original Afrobeats artists have already worked, I feel like it’s only right if I do a song with Drake or Chris Brown. My music doesn’t really go in line with Chris Brown’s music. But I love Drake so much.
What’s been the biggest “pinch me” moment of your career so far?
Wizkid calling me. Anytime Wizkid calls me, it still doesn’t feel like it’s him calling. It’s crazy. Somebody I’ve been looking up to can just call me like, “Yo, Mavo, I’m coming in December. Hold it down for me.”
You’ve had multiple causes of celebration recently, since you just turned 22. What’s at least one career goal you have for yourself in the new year?
In 2026, I’ll be a mainstream international artist, like A-list. I personally want to drop three projects next year. And I want to make sure I get the collaboration of the year award.
MOLIY was working at a Victoria’s Secret in Orlando, Fla. after dropping out of college at 19 when her back started hurting from all the restocking. One day, “they were calling me in for work. I just muted my phone and never went back,” she tells Billboard with a chuckle.
She moved back home to Accra, Ghana soon after and decided to pursue music full time after her friends connected her to local creatives, and she constantly found herself in the studio. MOLIY grew up around all kinds of music: Her mother owned a restaurant/bar called The Gomeries right next to their house that played Céline Dion, Michael Jackson and Whitney Houston all night long. Meanwhile at the crib, MOLIY listened to Rihanna, Beyoncé, Missy Elliott and Keri Hilson as well as Ghanaian acts like Eazzy, Itz Tiffany, Sister Deborah and MzBel. Her eclectic music taste, paired with the rise of Nigeria’s subcultural alté scene that has also influenced some Ghanaian artists, “opened my mind to thinking even though I may not sound like the ideal Ghanaian artist, I could create a space for myself,” she says. “That just kept me going.”
Months after dropping her introspective, Afro-fusion debut EP Wondergirl, MOLIY garnered buzz in 2020 when she appeared on fellow Ghanaian artist Amaarae’s Afropop bop “Sad Girlz Luv Money.” The remix, featuring Kali Uchis, reached No. 80 on the Billboard Hot 100 the following year, and it hit No. 28 on Rhythmic Airplay.
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Then at the end of last year – after months of teasing it with a now-viral dance of her whining her waist while covering her face with her hands – MOLIY released “Shake It To The Max (FLY),” an Afro-dancehall club banger that’s bound to make any listener “bend your back,” “bend your knees” and buss it down once the bass-bumping production and scratching hits. Jamaican stars Shenseea and Skillibeng – the latter of whom assisted another African darling, Tyla, on last year’s “Jump” – enhanced the dancehall vibes when they hopped on the remix. And Davido, Victoria Monét, Ciara, J-Hope, Spice and many more have been shaking it to the max all over the internet.
With the help of the remix, “Shake It To The Max” has spent six weeks (and counting) at No. 1 on U.S. Afrobeats Songs and is in the top 10 of the Billboard Global 200 and Billboard Global Excl. US. Four years after her feature on “Sad Girlz Luv Money,” MOLIY has returned to the Hot 100, as “Shake It to the Max” has reached No. 55 (chart dated June 21), and she’s back at radio with the song reaching No. 18 on R&B/Hip-Hop Airplay. “Shake It to the Max” has registered 47 million official on-demand U.S. streams and 289.3 million official on-demand global streams (through June 12), according to Luminate.
Billboard spoke with June’s African Rookie of the Month about reflecting on the success of “Sad Girlz Luv Money,” creating a more “upbeat and energetic” vibe with “Shake It to the Max,” officially meeting Vybz Kartel after performing with him at his first U.S. show in 20 years, and anticipating the remix with him and Stefflon Don.
How did your upbringing impact the music you listen to and the music you make?
Although we have our own local music heavy on rotation, we’re also very in touch with worldwide music. There’s a lot of music that tends to cross over especially from major acts, like Céline Dion, MJ, Whitney Houston, Chris Brown. I went to an international high school, so [I was] around students from different cultures who would play stuff. I was lucky enough to have heard lots of different styles that I was drawn to, like hip-hop, R&B, dancehall, Afrobeats, highlife, hiplife.
And what kind of music do you listen to now?
I’m listening to Brazilian funk, Caribbean music, soca, EDM-infused Caribbean music as well like Major Lazer. I’m trying to create a sound that’s in that realm, so that’s all I listen to right now.
While you were in Florida, you started studying business administration in college but eventually dropped out. What made you decide to move back to Ghana?
My brother and sister were able to figure out [work and school] a lot better. I don’t know why I didn’t feel like it was working. I don’t think I was making friends that much, and the whole job thing was not what I expected when I was moving to the U.S. There’s a certain fantasy of how people assume leaving Ghana and going to live outside is. For more fortunate people with heavy bank accounts, it’s probably easier to adjust. But when you’re trying to hustle and figure it out by yourself, and you’re young, it’s difficult. I gave up. I wasn’t down for that, so I went back to my mom. I’m like, “Mom, I’m home!” [Laughs.]
How did you transition into making music full time in Ghana?
It started with me listening to YouTube beats and trying to write music. I would pour myself a glass of wine in the middle of the night and just be vibing, freestyling melodies and writing. I was also observing the music industry in Ghana and Africa, especially in Nigeria, because Nigeria has this whole scene of alternative music, and people were coming out with some crazy sounds — sounds you wouldn’t expect to hear from an African. It opened my mind to thinking even though I may not sound like the ideal Ghanaian artist, I could create a space for myself. That just kept me going.
What kind of sounds and styles does your music encompass? How would you describe your music in your own words?
It’s very worldwide. I sing in English even though I could try to tap into some of the Ghanaian dialects like Twi. Sometimes people ask me, “Why don’t you make music in this language?” That’s because I feel English is the most universal language. My sound is worldwide, but it’s Afro-fusion because you can hear it in my accent, in my wordplay and even in some of things I speak about. It’s very influenced by hip-hop, dancehall and a lot of the music I grew up listening to.
I remember early stages of being obsessed with music. The first stage was pop, which is Michael. And then the second stage was hip-hop. Oh my God, did I love Eminem! I would just listen to an entire song, especially “Mockingbird,” and write down all the lyrics and try to sing it in the same way. Then after hip-hop, I graduated to dancehall. From dancehall is when I started listening to Afrobeats because at that stage, the sound was growing globally. I was being introduced to Wizkid, Davido and Burna Boy. I went through all these stages of loving these genres so much that now [my music] is a combination.
Prior to the success of “Shake It to the Max (FLY),” you debuted on the Hot 100 in 2021 with the Kali Uchis remix of Amaarae’s “Sad Girlz Luv Money.” Four years later, what does the success of that song mean to you and your career?
When that happened, it made me a big believer in what I was doing. You can have success at home, but once it’s crossing over to the U.S. and the rest of the world, it grew my faith a lot more. It’s a reassuring feeling because I’m living in my purpose when I’m making my music. When something like that happens, it’s a big pat on the shoulder like, “OK, babes, you’re on the right track. Keep going.”
Outside of “Sad Girlz Luv Money,” you appear on another song on Amaarae’s THE ANGEL YOU DON’T KNOW album: “Feel a Way,” alongside your sister Mellissa. You and Mellissa are also both featured on Boj’s “In a Loop” in 2022. Were those merely coincidences, or did you two purposefully hop on those songs together?
Most of the time, we’re together. When I’m going into a session, I need her moral support. At the time, I felt like I would be more comfortable if she was there. She’s also super creative and talented, so if I needed help, she could tap in. Boj requested the both of us to pull up. But with Amaarae, she came with me to support me, but while she was there, she’s like, “Wait, I have this idea.” And then Amaarae is like, “Well, do it.” [Laughs.] That’s how that happened.
At the 2025 Telecel Ghana Music Awards, Stonebwoy shouted you out during his acceptance speech when he won best reggae/dancehall song of the year, saying that he “respected” how you’ve been “taking [dancehall] where nobody expected it to go within a very short while.” Why have you gravitated toward dancehall so much?
I wouldn’t say my initial decision was to just make dancehall music. I knew I wanted to make something that was upbeat and energetic, something people could dance to. Most of my previous music people would say is chill, sexy and vibey. I would hear comments like, “I love to hear your music when I’m taking a drive” or “I love to hear your music when I’m in my room chilling with my girl.” But I want to be heard in different places. I want to be heard in the club. I want to be heard at the festivals. When I met [producers Silent Addy and Disco Neil], it was a combination of me knowing I wanted to create a certain vibe and knowing that these guys make dancehall, we merged these two ideas and went from there.
Prior to “Shake It to the Max,” “Shake It” was featured on your 2022 EP Mahogany St. Is there any relationship between the two songs?
No, not at all. [Laughs.] It’s so funny because when I was teasing “Shake It to the Max” and it wasn’t out yet, I could see the streaming numbers for that song going up because people thought they were searching for it and they were gonna find it there.
Take me back through the making of “Shake It to the Max.”
I was in Orlando and I was speaking to this producer Tejiri, he worked with Tems on “Wait For U.” I found him on Instagram and I’m like, “Hey, let’s work.” We were trying to find ways to make it happen. I went to LA specifically to work with him, and then the second time, he was like, “I’m coming to Miami and I’m going to be working with a whole bunch of different people. You should pull up.” So we linked up. I met a couple different producers: Mr. NaisGai (he works with Rauw Alejandro), Silent Addy and Disco Neil. Tejiri was trying to work on something with them for their artists’ projects. At the time, we were thinking, “OK, MOLIY is here, maybe we can create something for her to collab on the projects, or we could just make some records.” Some of the work we did was a collaboration between Tejiri and Silent Addy and Disco Neil.
A year later, we had had three separate sessions together. The last session was in August, and we created three or four songs. The last one was “Shake It to the Max.” Earlier in 2024, I hadn’t dropped any music by myself. [My manager Therese Jones and I] were trying to figure out how we can take things to the next level for me. She was like, “You know what, MOLIY? Why don’t you tease some music?” I teased about three or four songs in one Instagram post. When I added “Shake It to the Max,” I was like, “Hmm, this song is actually a vibe.” After that post, I wouldn’t say anyone particularly screamed out, “Oh my God, we love that one!” I just kept doing videos to this one song on TikTok and that’s when I started trying to be creative with what I do and how I’m posting it.
Why were Shenseea and Skillibeng the right artists for the remix?
In my opinion, they’re the top of the top of the top, top, top of the top in Jamaica. I genuinely love each of their music, and I wouldn’t have had it any other way. I would not change anything with how that remix happened. They loved the song. The original song was No. 1 in Jamaica, and it was great leverage to make them feel like it was a good idea. I didn’t make it happen, however. It was Silent Addy and Disco Neil. The producers made the conversations happen.
Since that remix has blown up, you’ve released more with other artists like Major Lazer, Gladdest and Kalash and Maureen. What inspired that strategy?
With the Kalash and Maureen one, that was also the producers. They’re very hands-on with how these remixes came about. Even with Major Lazer, it was them as well. They have relationships with these people already [because of] the dancehall industry. The first time I came across Gladdest was [when] she was doing the dance challenge in the middle of NYC. The next time I came across her, she did a freestyle to it on her TikTok. It was [getting] a lot of positive reactions. The same way I was posting practically every day to promote the “Shake It to the Max” remix, she was posting every day to promote her freestyle. She was super passionate about it, and there was no way we were not going to put out the record with her as well. What I love most about all of this is the people that we’ve worked with genuinely wanted to be part of the moment. They’re supported it, they’ve promoted it, and it feels so organic and amazing.
When can fans expect the Stefflon Don and Vybz Kartel remix?
I honestly don’t know. I want it to come out. She wants it to come out. Vybz is also excited for it to come out. We’re working on it with our teams. There were some [Vybz] verses going around TikTok. I remember people asking me, “Why are you not putting out the Vybz version?” I’m like, “Guys, it’s not official.” Some DJ probably put one of his old verses on the song and it was making rounds on TikTok. And then Steff comes along and was like, “Babe, I got Vybz.” [Laughs.] It’s really dope, and I’m excited for it to come out.
Vybz brought you out as one of his special guests during his one of his two historic sold-out shows at Brooklyn’s Barclays Center in April. How did the opportunity come about? Considering dancehall is a crucial element in your music’s DNA, what was it like to share the stage with the King of Dancehall himself?
It’s insane. Everything happens so fast, you don’t get a moment to soak it all in. But every moment of that was super exciting. Prior to being on stage, I actually hadn’t met him yet. So afterwards, I got to meet him, and he was just so nice and so cool. The aura was there. Gamma made that happen. They spoke to him about it, and they also got Skilli and Shen to pull up.
Would you say that’s the biggest “pinch me” moment of your career so far, or does another moment come to mind?
It’s definitely one of the first “pinch me” moments during this entire process. No, the first one would be hearing Shen and Skilli on the song officially. People were dropping freestyles, and they posted their verses as freestyles. But me knowing that the song is actually coming out with them was the first “pinch me” moment because I wouldn’t have wanted anyone else for the first remix.
The second would be this Billboard Hot 100 second moment. When you’re an artist and people see you doing something great, it’s like, “Wow, amazing! But can you do it again?” Throughout this process, there are so many highs and lows and so many moments I’ve had to remind myself to be positive and be hopeful. It’s crazy to see when something amazing does happen. It’s not all for nothing.
Who would you love to collaborate with this year?
Me and Drake would be fire. Me and Wizkid would be fire. Doja Cat would be amazing. I also really like Ice Spice. That would be so, so, so cute. Cash Cobain would be dope.
What’s next for MOLIY in 2025?
There should be a project, I wouldn’t say an album, but there should be a project coming out. I would hope it would be more like I’m dropping singles and then at the end of it, there ends up being a project. I’m also on the road right now. We’re doing MOLIY on the road and I have so many shows lined up, just trying to spread the gospel of “Shake It to the Max.”
It’s the end of March, and suddenly it’s already a quarter of the way through 2025. How did that happen? We’re not sure, but there’s been plenty of good music from Africa to get us through so far.
After collaborating with Nigerian superstar Burna Boy and renowned Ghanaian producer GuiltyBeatz, Jorja Smith gets (back) together with South African DJ/producers Major League Djz on the hypnotic Afro house banger “Come With Me.” And alté producer Genio Bambino has been helping rising Nigerian stars from DEELA to Moyoswlrd cultivate their sound — with the latter recently releasing her eclectic eight-track EP First Ep!c.
Not only that, but a couple of veterans return with new albums — particularly Ruger and Joeboy, both of whom have singles that made the cut this month — while now-reliable hitmakers Khaid and Young Jonn also put out new tracks worth hearing.
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We’ve highlighted 10 of our favorite new songs by African acts that have come out roughly within the last month. Check out our latest Fresh Picks, and enjoy some springtime tunes with our Spotify playlist below.
NSG, “A.L.Y.B.H.B.”
British Afroswing collective NSG knows we’re about to be outside bumping “A.L.Y.B.H.B.,” from its latest album The Big 6. The irresistible track’s singalong “hey, ho!” and titular “act like you’ve been here before!” chants, paired with LP producer 4Play’s groovy, sun-soaked rhythm, is sure to become the next go-to banger at day parties this spring and summer.
Efosa & Sparbz, “SKIN”
British-Nigerian singer-songwriter Efosa and his right-hand producer/manager Sparbz heat things up again on their latest sexy number “SKIN.” “Your waistline tells a story/ Whine on me till the night’s complete/ Lemme whisper in your ear/ ‘Baby, leave with me,’” Efosa croons in the second verse. His soothing voice draws listeners dangerously close, while Sparbz’s spine-chilling synth riffs heighten the erotic sensation.
Moyoswrld, Mofe. & Genio Bambino, “Pocket Money”
Alté artist Moyoswrld links with one of the scene’s most esteemed producers, Genio Bambino, and viral “Prince of Egypt” singer Mofe. on the kaleidoscopic “Pocket Money” cut from her latest EP First Ep!c. Moyoswlrd and Mofe. swap verses about being deep in their bag over Genio and Zamir’s frenetic production, characterized by laser beam-like synths and a booming bassline that makes listeners feel like they’re zooming through the track’s one-minute, 23-second runtime.
Kelvyn Boy, “Break It”
Ghanaian Afropop star Kelvyn Boy is getting the baddies to “Break It” down for him on this sensual dancefloor-filler. If your name is Ayisha, Kilisha, Amina, Abena, Maria or Monica, you better “go down (break it)” to Anel Worldwide’s bouncy beat, like Kelvyn Boy calls them out to do on the chorus.
Major League DJz feat. Jorja Smith, “Come With Me”
Jorja Smith is no stranger to collaborating with African musicians, from showing off her chemistry with Burna Boy on the sensual “Gum Body” from his 2018 album African Giant and the sweltering 2019 single “Be Honest” to linking with GuiltyBeatz on the slinky “All Of This” in 2021 (which South African DJ/producers like Major League Djz remixed).
So it comes as no surprise that the soulful English singer reunited with Major League Djz on “Come With Me.” The amapiano ambassadors trade their signature sound for an Afro house-focused approach, while Smith anchors the buoyant track with her comforting, resonant vocals. “We knew we wanted to step into the electronic space in a way that still felt authentic to who we are, and this track was the perfect balance,” Major League Djz says in a press release, adding that the duo had “been wanting to work with Jorja on an original track for a while and now the timing feels perfect.”
Khaid, “FOR YOU”
Still young, Khaid has cornered the market in super-melodic Afropop with a string of extremely catchy singles over the past few years, and “FOR YOU” adds to that lineage with a breezy paean to a lover who remains just out of reach. The song’s video seems to position it as one designed to showcase, or kick off, a dance craze — but the young singer’s vocals are just as enticing, hopefully heralding a new full project from him.
Ruger, “Toro (A Colors Show)”
The “Asiwaju” hitmaker’s voice is one of the most distinctive on the scene right now, with his almost understated delivery sometimes overshadowing his lyricism. But here it’s the overall melodies that shine through, similar to some of his bigger singles, as he leans into the laid-back vibe to croon over the hook rather than delving too deep into the topic of a broken relationship.
Zlatan feat. FOLA, “Get Better”
A contemplative cut that is almost a prayer over the understated production, the track centers largely on FOLA’s plaintive hook, which buffers Zlatan’s more aspirational and energetic verses. The two blend voices effortlessly near the end, and produce another step forward in each of their respective careers.
Joeboy, “Taxi Driver”
Joeboy’s latest album, Viva Lavida, picks up where his 2023 effort Body & Soul left off, showcasing the Nigerian singer’s silky smooth voice and layered vocal production. This track is a standout on what is generally another great album from him, with features from the legend Olamide and rising voice Qing Madi, among others, and this one layers a classic Afrobeats drum pattern with a plodding groove, letting his voice lead the charge.
Young Jonn, “Only Fans”
At this point, the super-producer has fully made the successful transition to leading artist, with his 2024 Jiggy Forever album pulling together the long string of bangers he’s released into one cohesive place last year. “Only Fans” now continues that streak with an almost luxurious new hit, more in the pocket than some of his more uptempo songs like “Sharpally” and “Xtra Cool,” but one that serves as a deserved victory lap given the past decade of Jonn’s work. Performing as an artist now, in addition to his lauded production, he’s here to stay.
Billboard is expanding its Rookie of the Month interview series by highlighting rising stars from more genres like dance and rock. But the new crop of artists emerging out of the African continent have continued making it clearer that their music can exist beyond the borders of “Afrobeats” and should not be broadly and lackadaisically labeled as such. “It has African intonations in it,” Tems said of her genre-bending music during her Women in Music interview last year.
Like Tems, many African artists have discovered one-of-a-kind ways to express themselves that cannot fit into one box while staying true to their roots. And Billboard is dedicating a spotlight to them through our new African Rookie of the Month series, which Odeal kicked off in January and Qing Madi is continuing in February.
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Qing Madi learned in high school that “the only reason a queen exists is because of the king.” But her majestic moniker – pronounced “King” and spelled with a “Q” to symbolize her femininity – honors her rapid ascent in the African music space, and foreshadows her lasting reign.
Upon graduation, the Benin City native (real name Chimamanda Pearl Chukwuma) moved to Lagos with her family and started writing songs for the country’s stars like Skales, Iyanya and Larry Gaaga. While she was grateful her pengame paid the bills, she also posted covers on TikTok and freestyles with guitarist and producer Wademix on Instagram. “He created this safe space where I could create my music even though I didn’t have a platform or anyone that was going to download it,” Madi, now 18, tells Billboard at Soho Warehouse in downtown Los Angeles, California.
One day, she went to the studio to record backup vocals for Blaqbonez, and his producer Ramoni played her the beat’s warped acoustic guitar loop and subtle trap hi-hats. Madi asked Ramoni if she could freestyle over it, and her poignant debut single “See Finish” was born in 2022. “I never put out anything original, because I wasn’t bold enough and didn’t think people would like it,” she told Billboard in an interview last year.
The viral TikTok success of “See Finish” eventually landed Madi a label deal with JTON Music and Columbia Records via BuVision. With only three singles to her name – “See Finish,” “Why” and the saucy standout “Ole” – Madi opened her “Ole” collaborator BNXN‘s six-date U.S. tour in October 2023, before dropping her eponymous debut EP the following month. The seven-track project melds her sweet R&B melodies and innocent, imaginative lyricism about embracing love and what the future holds while not letting her enemies get the best of her with irresistibly smooth Afropop production. “Vision” – a mesmerizing Afrobeats/R&B track Madi believes is “the most perfect thing I’ve ever written” – received an even dreamier remix treatment from her Columbia labelmate Chlöe for the deluxe edition of Qing Madi.
But for her debut studio album I Am the Blueprint, which dropped at the end of January, there’s only room for the Qing. She’s self-assured in the artist she’s always meant to become, and incredibly in tune with her emotions when it comes to love.
“You can tell that this is coming from a teenager, someone who’s lived a certain life and is trying to open her heart to the public,” she says. “My music is euphoric, it’s timeless. It’s going to live 100 years, even when I’m gone.”
Below, Billboard speaks with February’s African Rookie of the Month about the years-long journey of making I Am the Bluepint, the meaning behind her blue motif, how “The Rumble in the Jungle” inspired her single “Ali Bomaye,” and why “love songs are the easiest songs to write.”
My first question has to be about Kendrick Lamar’s Super Bowl halftime show performance since you’re a superfan of his. What did you think about it?
There were a lot of things were I was like, “Kendriiick.” I liked the Easter eggs, especially with the [Laughs] “A minor” necklace. I liked the coordination of Uncle Sam. There was a lot of stuff I pinpointed and was like, “Wow, this is so tough.” I like the fact he didn’t start with “Not Like Us,” because that was such an expected move. It was so sick.
When did you know music was your calling?
I genuinely believed songwriting was my calling because I loved it so much. I liked impressing other people because I would sing what I had written and everyone was like, “Oh, this is so sick!” I felt fulfilled. I never had stage fright, I was quite confident, but I didn’t think the world would put me in a position where I had to sing my own lyrics. But when I blew up on TikTok, and I got signed and started performing, I was like, “Ooh, this is definitely what I’m meant to do.”
I read in your OkayAfrica interview that you were “very jealous” of people who got to sing your lyrics, because “people appreciated it way more, because they had a familiar face in front of it.” How did you eventually transition from songwriter to the stars to a star in your own right?
It was really God — because originally, I hated the fact that I couldn’t really be a face to my music. I felt like I was selling a part of me, and I couldn’t argue with it because I was getting money off of it. But then I was always intimately hurt by the fact that I couldn’t really say, “Yo, these are my lyrics you’re singing!” I didn’t think it was possible, because at the time I was doing all of this, there wasn’t a lot of African female artists that were being appreciated. This space was very small for us. Once the new people started popping up, and I popped up, I was like, “Oh, OK, y’all letting us in? Thanks.” [Laughs.]
What kind of music did you grow up listening to, and how did that influence the music that you make?
I grew up listening to Kendrick Lamar, Brandy and a lot of other artists that I’m not even certain I know their names, because I lived next to a bar [that] used to play music all night. I would fall asleep to ‘90s R&B. And then I fell in love with rap music. Because of how much storytelling Kendrick has in his songs, I always want to think my songs should have a direction, a storyline, a target. I’m trying to hit a particular nerve or emotion. I’m like, “OK, if I’m writing a heartbreak song, there has to be a reason, a subject and a person.” I also listened to a lot of Wande Coal – he’s an African GOAT, melodic genius.
And what kind of music do you listen to now?
Kendrick Lamar. I was listening to GNX, DAMN., To Pimp A Butterfly. It’s a nostalgia thing, because I grew up on him. Listening to him puts me back in Benin [City], in that house.
You’ve also sung background vocals for other artists. How did you get on Wizkid’s 2023 “Diamonds” track?
My friend P. Prime called me and told me he needed assistance on a particular record. I pulled up to put my vocals on the song — but when I got there, I met Wizkid and Wande Coal. I was like [nervously chuckling], “Hi.” That is such a random thing to do on a Tuesday. Growing up, [I was] in school and trying to have discussions about these artists, and now I’m right in front of them [and] on their songs. It was an insane feeling.
They really did a good job of making me feel comfortable. [Wizkid] vocally led me on what he wanted, because he knows exactly what he wants on his record. He loved it, he was like, “Yeah, this is it. It’s perfect.”
How did you get Chloe on the “Vision” remix?
For my deluxe, I remember my team saying we have to get a feature on a record. And I’m like, “Oh, ‘American Love.’” And they were like, “No, no, no, no. We can’t hear nobody on it. We want to get a feature for ‘Vision.’” At the time, I was like, “I cannot hear anybody on ‘Vision.’ That is my baby, do not put nobody on that record.” I was so against it. Then they went ahead and reached out to Chloe’s team and sent her the record. She recorded her verse, and they sent it to me.
I loved it a lot, I can’t even lie. I was like, “Wow.” I never thought anyone would sound good on ‘Vision’ ‘cause it’s such an alternative track, and I’m like, “What are you going to add to it? It’s perfect.” But she really brought out a different perspective, and because she’s an R&B-based artist, it was such a perfect blend.
When you toured the U.S. for the first time with BNXN in 2023, how was seeing your fans live and the way they received your music?
It was great. I had never traveled to America before in my life, so [it’s] my first time in America and I’m going on tour. I got to meet fans, like, “How do people even know me?” I was shocked.
BNXN [is] the best big brother in the entire world. He would always hype me up on stage and say, “Everybody say, ‘Go Madi! Go Madi!’” It was less of a performance and more of a family reunion. It felt great being on stage and knowing that music is beyond my geographical area. The world is actually paying attention.
What’s your favorite place that you’ve performed at, and why?
Uganda. It was my concert, and as a new artist, that is an insane thing to do. Having a whole country that I’ve never been to – I don’t have any relatives from there, I don’t know anyone from there, it’s a place that is so alien to me – and receiving so much love, it’s definitely a significant place in my mind.
Take me back through the making of your debut album I Am the Blueprint.
There are songs from different versions of me as a person. There are songs I wrote when I was 14, when I was 16, when I was 18. I’m 18 now. It’s like a letter to myself. The first record is called “Bucket List.” It’s me prophesying a bunch of things I want to achieve, and saying, “I hope I become that artist.” And the last record is called “Right Here.” It’s me being more confident and being like, “I’m that artist.” It’s a confirmation.
I Am the Blueprint is a journey of me growing to discover that I am the blueprint. It doesn’t start with so much confidence. It starts with this 14-year-old girl confirming that, “This is who I am, this is who I believe I am” — and it ends with this is who I’ve become.
Explain the blue motif that’s not only been central to I Am the Blueprint but your overall aesthetics, from your hair to your style.
According to my mom, I’ve loved blue since I was literally conscious. It’s funny, because I was born left-handed, so she would beat my hand and tell me, “No, no, you’re doing things the wrong way. You’re supposed to use your right hand. Pink is for girls.”
I never changed. Every time, I’d be like, “I want it in blue.” Whenever I talk about blue or I implement blue in my hair or my album, it’s me putting in that little piece of me, that younger version of me, in everything I’m doing. If I have blue hair, I’m trying to say Chimamanda is still there. That blue is a remembrance of her.
Love plays a paramount role in this album, from feeling that intense chemistry for the first time with someone special on “Goosebumps” to questioning if your feelings are even valid or reciprocated on “It’s a Game.” Are you singing from personal experiences, or where does your source of inspiration come from?
Love songs are the easiest songs to write, because when I used to write for other artists, I prioritized putting myself in different people’s situations because they were very specific. They would say, “I want to buy a love song about this,” and tell you exactly what they wanted. I play with it sometimes. I have songs like “Ole” that talk about wanting another person’s partner. I’m like, “How crazy would it be to talk about love from this perspective?” So when it comes to love songs, it’s just me playing with my imagination and trying to talk about love in every way possible because it’s such a broad topic.
Considering this album reflects the emotional roller coaster that comes with being in a relationship, how did you figure out the sequencing of the tracks?
I purposefully arranged them to tell a story. We have “Bucket List,” “Ali Bomaye” and “Akanchawa,” and you can tell that slowly this person is growing from a very positive, energetic person to a very rage-filled person. From there, you slowly lurk into songs like “Pressure” and “Damn It All” that are so aggressive that you’re like, “Where does she come from?” In the beginning of the album, it was so welcoming and we’re just trying to lure you into this person who was so sweet and saw the world from this angle, and now she’s growing into realizing not everyone is as pure as she imagines.
It’s a journey of my emotions as a person and how I’ve seen life. The album sequencing is very intentional. I feel like we got the perfect arrangement to tell that story.
“Ali Bomaye” is derived from the chant yelled during Muhammed Ali and George Foreman’s 1974 match in Zaire (now called the Democratic Republic of Congo), also known as “The Rumble in the Jungle.” How did you find inspiration from that?
I learned that in school, and I was like, “That is so tough.” Having a word that is so significant to a violent sport put into love was something I thought would be so sick. Some people say, “You knock me off my feet,” like the wind. And I’m like, “You knock me off my feet,” because literally he knocked his opponent off. It’s wordplay for me — and then, obviously, referencing the legend Muhammed Ali is. It shows how deep in knowledge I am about being descriptive about my love toward you.
If you grew up in Lagos, Lagos is such a busy place, everything is always on the go. The record “Ali Bomaye” is about living in this place where there’s so much stress — but when you meet that person, it just knocks you off your feet.
BNXN, Chloe and Kizz Daniel were all featured on the deluxe version of your self-titled EP last year. Why did you decide to not have any features on I Am the Blueprint?
With the album, I really wanted to be selfish. I wanted to show the world, “This is about me. This is not about any other artist.” There are so many artists that would have sounded so great with a lot of the records, but I’m more concerned about showing you who I am. It’s a statement, it’s a movement, it’s a whole confirmation. That’s the artistic part of it.
On the business side, you could put a bunch of artists and say it’s for promotion. But I’m a true artist — I really care more about making sure that my message is heard and I’m able to accomplish the artistry I’m going for.
“Bucket List” mentions some things on your bucket list that you want to accomplish, like winning a Grammy and buying your mom a mansion. What else is on your bucket list?
Definitely tour. I want to go on tour so bad. There are so many countries I’ve never been to, and the fact that I’m not going as a regular person is intriguing to me. I want to meet my fans all over the world. I would try different aspects of art – acting, maybe screenwriting.
What’s been the biggest “pinch me” moment of your career so far?
Naomi Campbell followed me on Instagram. I was like, “No freaking way!” And then I saw she commented, and I was like, “OK, stop.” It was a lot for me, because it’s Naomi Campbell.
Who would you love to collaborate with this year?
I would love to collaborate with Wande Coal, Fave, Chris Brown, Billie Eilish. Kendrick Lamar. I would love to collaborate with him for sure.
What’s next for Qing Madi in 2025?
More collaborations — so many surprises that me and my team are working on. I can’t wait for the whole world to be a part of it.
It’s officially fall, and these African artists have plenty of new music to usher in the new season with.
Oxlade transcends the continent’s borders with a vibrant combination of old-school African music and modern-day Afrobeats — and an international array of guest artists, from Jamaican dancehall star Popcaan to U.K. rapper Dave to legendary Nigerian singer-songwriter Wande Coal and Congolese icon Fally Ipupa — on his long-awaited debut album OFA (Oxlade From Africa). And Fireboy DML puts his heart on his sleeve and stays true to the sounds he grew up listening to on his self-titled fourth studio album Adedamola.
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.
Mofe., “Good Day”
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Mofe. fuses Afrobeats and disco for his self-branded Afrodisco jam “Good Day.” The Nigerian American artist behind the viral track “Prince of Egypt” – which Destroy Lonely sampled on “Cadillac,” from his latest Love Lasts Forever album – adds a funkier groove, assisted by shimmering synths, to Afrobeats’ syncopated percussion and overall feel-good vibe. It’s kind of impossible to not have a good day while listening to this song.
Fireboy DML feat. Seun Kuti, “ecstasy”
Fireboy DML craves a woman’s body like “ecstasy” on this erotic number from his eponymous fourth album Adedamola. Producer Bassiqally’s ebullient percussion occasionally dotted with log drums and chanting ad-libs, paired with featured artist Seun Kuti’s sexy and soulful saxophone melodies, make “ecstasy” sound as addicting as the real deal. “It’s a song that sounds like sex – I always have a record like that on every album, because it’s somewhat a part of my personality,” he told Apple Music, adding that he “had an image of [Kuti] on the sax for the record…. He’s an amazing person with a very crazy and colorful personality that resonates with me.”
Odunsi (The Engine), “BACK IN OFFICE”
Odunsi (The Engine) makes being “BACK IN OFFICE” much more amusing in the opening track of his latest EP Nigerian Boyfriend. The alté artist assumes the position of a boss who entices women with his “tune and bounce,” this time with a swelling orchestral intro and outro that bookend the song’s polyrhythmic production (courtesy of OTE, who’s also the sole songwriter). And with its corporate-themed visualizer, “BACK IN OFFICE” would’ve been the perfect campaign song for I AM GIA’s new Gia Office.03 collection.
Minz, “mo de ma [by any minz]”
Minz becomes a soothing voice of reason on his “mo de ma [by any minz]” single that dropped ahead of his debut album By Any Minz, due Oct. 4. He reflects on his journey to the spotlight, including the “dark days when man never glow,” over Puffy Beatz’s relaxed production. Grammy-winning singer Angélique Kidjo is heard in the outro, calling out his album title within seconds of meeting Minz. “This felt like a revelation…. Sometimes, the signs show up exactly when you need them, and they make everything make sense,” he wrote on Instagram underneath a clip that captured the kismet moment.
Oxlade, “RMF”
Oxlade is “all about that life” on “RMF” from his debut studio album OFA (Oxlade From Africa). “RMF,” which stands for “Rich Motherf—er,” finds the Nigerian hitmaker relishing in his new luxe lifestyle while going back to his rapping roots. “When I was in secondary school, I stopped singing because of peer pressure. I had to learn how to rap to fit in. I’m grateful now cos [sic] it’s affected my pen!” he told Wonderland. And its Fela Kuti-inspired Afrobeat production, from the grandiose horn melody to the dizzying saxophone outro, pays homage to the vintage African sound.
Fireboy DML, “Change Your Life”
The YBNL crooner gets into the groove on “Change Your Life,” off his latest album adedamola. Propelled by an insistent backbeat, an adventurous bassline and a track-opening trumpet solo — that’s right — producer Bassiqally quickly sets a tone that makes “Change Your Life” stand out from the rest of the project musically, even if it remains firmly within the romantic love-life stories that populate the album. But “Change Your Life” continues to surprise throughout, with Fireboy bringing melody on top of melody and proving adept at riding the rhythm.
Oxlade feat. Sarkodie, “OLOLUFE”
There are plenty of standouts on the latest Oxlade album OFA, which essentially serves as a clearinghouse for his best singles of the past 18 months. Oxlade himself is adept at setting the vibe, with his vocals soaring over the production, a mix of doubled-melody and falsetto that reaches into the stratosphere. This track really shines, however, with the forehand punch that is Sarkodie’s verse, which punctuates the ambiance and brings a renewed energy and a swagger to the track that sets it apart.
Morravey, “Ifineme”
One of the breakout stars of Davido’s phenomenal Timeless album from 2023 on the track “The Garden,” Morravey — also signed to David’s Davido Music Worldwide label — is a dynamic singer with a gorgeous voice, and this new cut “Ifineme” is another from a similar mold. The song came hand in hand with another single, “Upstandin,” that also showcases her vocal prowess, but it’s “Ifineme” that truly feels transcendent: a track that builds organically with its feeling of the early days of love, until reaching a soaring hook complete with a full choir that fills to the rafters. It’s a great song, and her winking metaphors demand repeat listens.
LADIPOE & taves, “Compose”
A low key intro and a reverb-soaked background quickly give way to a tight groove on this latest collab, with LADIPOE flowing effortlessly over the beat, bouncing in time, as he raps about his latest romantic interest. Featured guest taves makes little more than a cameo, but it’s really the hook that makes the song such an earworm — “You wan make my head explode” — with a catchy melody that burrows into the brain. There’s a joy to this one that bubbles under the surface but comes through nevertheless, and which stamps itself on the listener.
Khaid feat. Olamide, “Way Back”
Few young singers have made as much of an impact in the past two years as Khaid, who despite his string of infectious singles is still just a teenager. But this track sees him linking up with one of Nigeria’s OGs, as Olamide comes through with a verse in his classic style — cocky, on and off the beat, always dripping with swagger and effortless cool — before ceding the floor back to Khaid and his penchant for crafting melodies that seem timeless, despite his years. It helps that the music video is pure fun, too, with the duo clearly enjoying themselves in the studios. Khaid hasn’t missed yet.
Rema‘s rebelliousness and deep reverence for Afrobeats take center stage on his boundary-pushing sophomore album HEIS, stemming from his social media handle @heisrema and meaning the one in Greek. It reached No. 7 on Billboard‘s World Albums chart. Alté pioneer Boj delivers one of the season’s brightest LPs — while recruiting an international array of featured artists — on 12 Summers, which represents the dozen years he’s spent making music.
Tyla hops on her first song since releasing her eponymous debut album in March with Spinall’s “One Call” (also featuring Omah Lay), and it debuted at No. 12 on Billboard’s U.S. Afrobeats Songs chart this week (dated Aug. 3). And ODUMODUBLVCK flexes his chart success when he raps “22 weeks on the Billboard charts” on his braggadocious single “Not All That.”
Trending on Billboard
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.
Odeal, “Soh-Soh”
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Odeal heats things up on “Soh-Soh,” the scintillating dancefloor highlight from his four-track EP Sunday At Zuri’s that’s influenced by Zuri Awela, an individual of Nigerian and South African descent he shouts out on X, and “represents parts of our Sunday at her beach house: noon (arrival), afternoon, evening, and night,” he wrote. While Odeal reminisces about last summer’s turnt vibes on “Soh-Soh,” he’s creating new memories this summer with a shorty he’s mesmerized by and willing to “spend one milli’ on” to win her heart. It’s impossible not to groove to the song’s sexy saxophone and crisp shakers – even Ciara can’t get enough of it.
Rema, “HEHEHE”
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“Monday morning, talking about me while I’m making money,” Rema boasts before bursting into his maniacal, cartoonish laugh that’s at the heart of his “HEHEHE” single from HEIS. The 24-year-old star guffaws at his haters with mischievous staccato chords punctuating each “HE,” the only time Rema catches his breath from his hoarse flow. His self-confidence reaches a fever pitch when he asserts himself in Afrobeats’ upper echelon alongside Wizkid, Burna Boy and Davido and doubles down on his three-month-old X statement: “No more big three, there’s now a big four.” But given Rema’s track record, and his latest LP being heralded for breathing new life into Afrobeats, it’s not a far-fetched statement.
Tay Iwar, Le Mav & GOLD, “Rock Steady”
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Five years after their first GOLD album, Tay Iwar and Le Mav (who are collectively known as GOLD) reunite on its glistening sequel EP GOLD II. On the highlight “Rock Steady,” Iwar muses about morning sex and his lover’s golden body, while Le Mav’s sultry production makes them want to linger in bed for just a little longer. But the tempo switch in the track’s final minute, where Iwar revs up the “These days, I’m feeling like I’ve been chosen” hook and Le Mav builds tension with the bridge’s piano chords before setting off the kaleidoscopic synth outro, ends “Rock Steady” on a highly spirited note.
Gabzy, JayO & Odeal, “Too Fine”
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UK R&B/Afrobeats artists Gabzy, JayO and Odeal aren’t letting a girl that’s “Too Fine” out of their sights in their latest collaboration. The trio combines swoon-worthy melodies, soulful guitar licks and saccharine lyrics to not just take a girl home for the night but to make her their wife, with Gabzy, whose alter ego is Mr. Malone, claiming she could be “Mrs. Malone” in the chorus. It’s hard not to succumb to their individual, irresistible charm, and their Vevo DSCVR performance is further proof.
Boj & Sainté, “Koshi”
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Boj taps fellow UK artist Sainté on the breezy opener “Koshi” from the former’s latest album 12 Summers. Tropical guitar melodies complement the DRB LasGidi member’s effortless swagger (“Rock best drip on legendary, fresh to death to cemetery,” he sings in the first verse), while Sainté raps about impressing a girl with the kind of money her previous man never had. But no amount of money or level of drip could make anyone compare to these two.
ODUMODUBLVCK, “Not All That”
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Few MCs have a more distinctive aesthetic as ODUMODUBLVCK, and in this latest single he ramps the energy up to the maximum, delivering a relentless series of verses that overflow with self-confidence, both listing his co-signs — Burna Boy, Skepta, Wizkid, Davido, Stormzy and Olamide all get name checked — and comparing himself to a reincarnated Tupac, while celebrating his wins over the past few years since he exploded on to the scene, like his two Headies Awards and “22 weeks on the Billboard charts.” If he’s talking about his breakout hit “DECLAN RICE,” it was actually 27 weeks on U.S. Afrobeats Songs, but after a while, it’s got to be hard to keep track. This song is a deserved victory lap.
Olamide, Fireboy DML & Asake, “Uptown Disco”
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The YBNL boys join forces again for this posse cut off label boss Olamide’s latest EP, Ikigai / (生き甲斐), Vol. 1, which, while certainly not a disco groove, pulses with electricity regardless. Fireboy sets the tone and helms the first verse and trades on and off with Olamide for the hook, before deferring to the latter for the second verse, as the two effortlessly slip in and out of languages and sports references. Asake brings the track home, putting an exclamation point on one of the only songs that features all three artists
Spinall feat. Tyla & Omah Lay, “One Call”
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Spinall has been one of the most consistently great DJs/producers in West Africa over the past several years, and here he brings together stalwart Omah Lay with one of the brightest lights of the past 18 months in Tyla for an infectious and sultry track, with Tyla in particular providing an irresistible contribution. The production grows along with the song, bringing it to a collaborative finale, and making it one of the best tracks of the month.
Rema, “YAYO”
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Rema’s HEIS album represents a step forward in the young singer’s career as he continues to progress beyond the astronomical success of “Calm Down.” With “YAYO,” he delivers a frenetic track that ripples with energy, with a blistering hook that provides the only half-second break in the whole song — and a burst of melody that feels at once surprising and infectious.
Boj feat. Victony, “Pressure”
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This silky cut from Boj’s excellent new album 12 Summers represents another palette on which crooner Victony can paint, as he comes through with his distinctive voice to take over the track with a verse that brings his mind to the gutter. Which is not to say that Boj himself is lacking on the track, a standout on his collab-filled project — his vocal is the steady counterpoint, the tamer side of the human spirit that helps make the song whole, a great late-night single.
BOJ ’12 Summers’
Courtesy Photo
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.
Trending on Billboard
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.
As the year winds down to a close, the hits keep coming, as big singles from Victony, Oxlade and P Prime, Minz and Young Jonn have kept the worlds of Afrobeats, Afropop, Afrofusion and genres beyond moving through November. And that’s before even mentioning the new album from Teni, Tears of the Sun, which might just be one of the best albums of the entire year, from any genre.
In short, the month of November has produced some of the best songs yet. (And yes, we know, it’s the first of December — but hey, things get busy at the end of the year.) Here, we’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and catch a vibe with our latest Spotify playlist below.
Teni feat. ODUMODUBLVCK, “Devil Dance”
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Teni’s sophomore album Tears of the Sun is stuffed full of great songs, and as a whole is a confident statement from a performer, artist and person who knows exactly who she is and isn’t going to apologize for it. On “Devil Dance” she delivers one of the best tracks on the project, with a catchy guitar line, sassy melody and confident, swaggering hook, complete with a trademark ODUMODUBLVCK verse, which demands repeat plays, and is a thesis statement that stands out on an album that’s overflowing with them. A landmark song for the year for sure.
Teni, “Jalingo”
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Following reports that she had been kidnapped during a performance gone wrong last year, the Nigerian singer-songwriter set the record straight and recorded “Jalingo” from her sophomore album, Tears of the Sun. “I was actually at a show where a fight broke out. A lot was happening and everybody was fighting,” she told Apple Music. “It was deep inside one place in Port Harcourt and, for us to leave there, our security officers were shooting. It was chaos in the middle of the night….” Teni touches on a heavy subject but gets right back on her feet (and gets everyone on theirs, too) for a lighthearted club banger.
Boj & Ajebutter22, “42”
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The feel-good duo dropped the third installment of their Make E No Cause Fight EP series – off Boj’s own label Action Boyz under Moves Recordings – and the sumptuous blend of jazz, R&B, highlife, palm wine and alté is filled with tropical vibes and laid-back flows. The first track, “42,” isn’t a typical party anthem about getting f–ked up on Don Julio, but a reflective, toast-worthy ode to how far the two have come (and how much money they now have), which instantly draws in listeners with its cascading guitar licks.
Oxlade & P.Priime, “PIANO”
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The “KU LO SA” star teams up with fellow Nigerian hitmaker P.Priime on the scintillating “PIANO” track from Oxlade’s KATIGORI/PIANO two-pack, which he said in a statement is meant to show off his two sides: “the cautious Oxlade and the party Oxlade.” The pitter-patter of the log drums mimics his heartbeat when he’s with that special someone, but his falsettos scattered throughout the love song could woo just about anyone. “‘PIANO’ is the strongest song I’ve dropped this year MUSICALLY,” Oxlade added.
Minz, “BLESSING$”
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The “WO WO” artist soulfully reflects on his “BLESSING$” and encourages others to count theirs in his latest uplifting track. The soothing piano melodies and introspective percussion strike a chord with listeners, but his “I’m out of your league so you can’t touch, MC Hammer” lyric adds a nice sprinkle of braggadocio.
Ratii Rsa, Tyler ICU & Catzico feat. Katarina, “Mnandini”
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At 17 years old, Ratii Rsa is demanding the world’s attention with her ultra-bubbly amapiano single “Mnandini.” She taps fellow South African DJ/producers Tyler ICU and Catzico to transport listeners on a tranquil eight-minute journey, where they can easily lose themselves in the sweet-sounding arpeggios, while Katarina’s breathy vocals build tension for the song’s most exhilarating moments.
Victony feat. Crayon & Bella Shmurda, “Ohema”
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The song may be credited to these three artists, but more than a dozen appear on the track — OkayAfrica called the all-star cast “The Avengers of Afrobeats” — including Rema, Ayra Starr, ODUMODUBLVCK, Blaqbonez, Lojay, Oxlade, YKB, Bloody Civilian and more. All together the crew create a layered tapestry that pulses with energy, an anthem for this generation of established and budding stars of the genre.
Young Jonn, “Disconnect”
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Young Jonn hasn’t missed this year with a string of excellent singles, from “Currency” with Olamide, “Stamina” with Tiwa Savage and Ayra Starr, to “Aquafina” and “Sharpally.” “Disconnect” is the next entry into that lineage, as the superproducer continues to establish himself as one of the best hitmaking artists out there right now. And, as he promises on this track, this string of singles portends plenty of “better days ahead.”
YKB & King Promise, “This Must Be Love”
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Both YKB and King Promise have enjoyed breakout years in 2023, with the former’s “komplete riddim” a standout hit and the latter’s “Terminator” making waves around the world. So their collaboration on this sweetly catchy single is a welcome joining of forces, as the two go back and forth in both English and Yoruba opining about a girl changing their minds about love and affection, with production that absolutely pops.
Qing Madi, “Vision”
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Young Alté singer Qing Madi may be relatively new to the scene, but she’s burst out with a string of singles that clearly articulate her artistry and showcase her arresting, effortless vocals. “Vision” is just the latest, with an understated R&B groove over which she sings about the distraction of someone she can’t get out of her mind. Still just 17, her range is impressive.
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.
