amapiano
In a year of some of the brightest African music stars dropping some of the best work of their careers, this month saw Nigerian superstar Wizkid throw his hat into the ring.
“Mama call me, ‘Ayo Balogun, they can never find another you,’” Wizkid sings on the heartfelt closing track “Pray” from his sixth studio album Morayo, which translates to “I see joy” in Yoruba and is dedicated to and named after his late mother. The 16-track project finds the Starboy balancing that joy and grief over impeccable genre-hopping production. And following his 2021 debut album Sounds of My World, Juls, a key hitmaker behind Afrobeats heavyweights like Wiz, Burna Boy and Mr. Eazi, draws inspiration from his travels around the world to unify the Black diaspora through his expert fusion of South Africa’s amapiano, Ghanaian highlife, Jamaica’s dancehall, U.K. rap and more on his sophomore album Peace and Love.
But that’s not all. There have been plenty of great tracks released this month, and several that mix and match genre, instrumentation and tradition in ways that bring out new and innovative sounds, really emphasizing the fusion element of the burgeoning Afrofusion movement — new songs from Fave, Nasty C and Lekaa Beats, King Promise and E’Major all fit the bill in different ways.
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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 kick off Thanksgiving break with our Spotify playlist below.
Fave, “Lose My Mind”
The rising Afrofusion star (real name Godsfavour) remains anchored in her faith on “Lose My Mind” from her second EP Dutty Love. The gospel-tinged record is powered by producer Hylander’s skittering drums and Fave’s unshakable conviction that God will keep her sane and on a steady path. “‘Lose My Mind’ is really just one of my many odes to God. He’s such a wonder,” she told Wonderland.
JayO, “High Heels”
JayO adds extra pep to your long-legged step in “High Heels” from the British Nigerian singer-songwriter’s debut EP WHOSDAT. “The way you look in them high heels/ It’s keeping me on my toes,” he cleverly croons about a woman whose spellbinding composure makes JayO struggle to keep his. Ideally, you would strut to JayO and RZ’s scintillating syncopated beats while wearing your favorite stilettos.
Wizkid, “Bend”
Wizkid reflects on love, the loss of his mother and his musical legacy on his new album Morayo. On the highlight track “Bend,” Wiz taps into a nostalgic flow and commands us to dance with his enticing “Bend your body, kọ jó” hook on the Afrobeats club banger. Helmed by Made in Lagos executive producer P2J (who also produced the majority of Morayo) and Gaetan Judd, “Bend” invites you to get lost in its carefree rhythm characterized by bustling percussion.
Juls feat. Nkosazana Daughter, “Muntuwam”
The British Ghanaian hitmaker celebrates his 10-year musical career with a sonic odyssey across the Black Atlantic on his latest album Peace and Love. Crashing waves and chirping seagulls bookend its closing track “Muntuwam,” where Juls dips his toes in private school piano, a soulful amapiano subgenre that accentuates the South African sound’s jazz roots, and enlists popular South African singer-songwriter Nkosazana Daughter’s to add an authentic, breezy flare. “The meaning of the song is ‘the love is right in front of you, I’m here when you need me,’” he told Wonderland.
Nasty C & Lekaa Beats feat. Tiwa Savage, “One Time”
One month after dropping their genre-bending joint EP Confuse the Enemy, Nasty C and Lekaa Beats ran it back in the studio for the Reloaded version. Tiwa Savage blesses us on the smooth track “One Time,” where the South African MC has Hennessy to thank for an unforgettable night that the Afrobeats queen promises will not happen again, with the sweeping violins in Lekaa’s production heightening the drama.
Lil Kesh feat. Fireboy DML & Ayo Maff, “Vex for You”
Lil Kesh has made a name for himself with a series of brash, high-energy songs, particularly in the past few years, so this one is a change of pace for him: more contemplative, laid back and emotional, with an introspective and almost desperately romantic hook. Ayo Maff and Fireboy both slide in easily with the vibe — thematically, it’s right in Fireboy’s wheelhouse, for one — and help round out Kesh’s latest.
King Promise, “Keep It Sexy”
King Promise has a knack for picking the right beats that both provide a high level of musicality and help support and accent his great vocals, and this latest single is no exception. Produced by Killbeatz, the all-Ghanaian collaboration blends in local highlife and hiplife sounds but has broader aspirations, and Promise’s melodies once again help set him apart from his peers. A fun Western-themed music video adds a different element, too, but it’s really the production that helps make this song stand out.
Wizkid feat. Asake, “Bad Girl”
Following on the heels of their latest link up — “MMS,” off Asake’s latest album Lungu Boy, which was just nominated for a Grammy for best African music performance — two of the leading lights of Nigerian music come back together for another joint track that brings out the best of both of them, with Asake and Wiz doubling each other’s lines on the hook. The two vibe so well together that they trade off effortlessly, which helps make this one feel like a true collaboration rather than two stars sending each other verses. From Wizkid’s latest album, this is a standout on an album that is full of them.
E’Major, “All the Love”
E’Major’s brand is truly fusion in every way: the mix of styles, instrumentation, percussion, flows, harmonies and melodies that he employs varies wildly from song to song, giving him a malleable quality, able to pull off anything he puts his mind to. His latest, “All the Love,” fits right into that canon, and lyrically serves as a love letter, with his vocals at times slipping into near-falsetto and back, bringing a joy into the song that also runs through his catalog.
Kizz Daniel & Adekunle Gold, “Pano Tona”
Another big star collaboration in a year that has been full of them, the song is largely helmed by Kizz Daniel, with a verse that emphasizes his individuality, before Adekunle Gold comes through with one that drips with braggadocio. There’s a magnetism to this song that demands repeated listens — one of the reasons this has taken off since it dropped just a few weeks ago.
Seven months after Tyla released her self-titled debut album, which spent five weeks at No. 1 on Billboard‘s World Albums chart, the popiano princess returned with the deluxe edition TYLA +. And after gaining co-signs from SZA, Ciara and more from his “Soh-Soh” cut from his Sunday’s At Zuri’s EP this summer, Afro-R&B artist Odeal is feeding his growing fanbase with more new songs.
And those are just two of the best tracks of the month in African music, which in this edition of the column spans from Nigeria to Ghana to Zimbabwe to South Africa and back again. There’s the deep baritone of the rapper Holy Ten, the distinctive crooning of Ckay and BNXN, the aggressive stylings of Black Sherif and Stonebwoy and a high-profile guest spot from Afro Raver Rema, among several others.
Trending on Billboard
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 latest Spotify playlist below.
Phyno, “It’s Nothing”
Nigerian rapper Phyno doesn’t come to play on “It’s Nothing,” the opening track of his fifth studio album Full Time Job. He proclaims how his money and legacy are untouchable in his infectious Igbo flow. And Major Bangz’s ’90s hip-hop-inspired production, interspersed with a triumphant horn section, gives Phyno extra pep in his step.
Tyla feat. Tony Duardo, Optimist & Maestro, “SHAKE AH”
Tyla already had our booties shaking to her breakthrough smash “Water” last summer, and she’s bringing us back to the dancefloor with “Shake Ah,” the first of three new songs featured on the deluxe edition of her eponymous debut album. With producer Tony Duardo (who frequently works with fellow amapiano star Uncle Waffles) and vocalists Optimist and Maestro in tow, the Grammy-winning artist stays true to her amapiano roots with the track’s bustling log drums and folk-tinged melody. “Too serious, too serious/ Hands on my hips, he don’t wanna let go,” she breathily coos. Only a handful of the lyrics are sung in English, proving that Tyla can continue breaking through the mainstream without breaking away from the sounds of her native South Africa.
Odeal, “Temptress”
Following the success of his viral “Soh Soh” single, Odeal keeps his momentum going while sonically slowing things down on his latest enchanting offering “Temptress.” He croons about being in love with a woman whose lifestyle (“purple lights,” “cash on the bedroom floor,” you get the picture) clearly indicates the feelings aren’t mutual, while cleverly interpolating Aaliyah’s “Boy, I gotta watch my back, ‘cause I’m not just anybody” line from the chorus of “Are You That Somebody.” (“Friends told me to watch my back, ‘cause I’m one of many bodies,” he sings.) And Harry Westlake’s ‘90s R&B-inspired production has listeners as deep in their feelings as Odeal is in his.
Wizkid feat. Brent Faiyaz, “Piece of My Heart”
Wizkid and Brent Faiyaz are a pair of amorous, yet slightly misleading heartthrobs on the sexy “Piece of My Heart” single, which arrives ahead of Wiz’s sixth studio album Morayo that’s due Nov. 22. Both artists remind their lovers how inseparable they are (“Nothing can tear us apart,” Faiyaz reassures before delivering the track’s titular line) over a sultry guitar hook and bubbling percussion. The Afrobeats superstar playfully nods to his and Drake’s Hot 100 No. 1 smash “One Dance” before the track slows down in its second half. Here, Wiz and Faiyaz croon about how hard it is for their women to catch feelings for them when they’re always catching flights. “Stressful, I know/ Every other day, another timezone,” Wiz expresses. Maybe having only a piece of their hearts isn’t enough.
Nasty C, Lekaa Beats, ODUMODUBLVCK & Chip, “Trouble”
South African rapper Nasty C and Nigerian producer Lekaa Beats blend hip-hop, trap, Afrobeats and amapiano on their joint EP Confuse the Enemy. On the highlight track “Trouble,” Nasty C emphasizes the “pressure” he’s facing from all corners of his life, while featured guests Nigerian MC ODUMODUBLVCK and UK rapper Chip spit verses about their own hardships and how their hustle helped them persevere (“That’s why I let my heart pour every time I rhyme/ ‘Cause I never know who’s listening to me on the other side,” Chips raps). And Lekaa’s affecting Afrofusion production makes those listening to “Trouble” feel at ease.
Holy Ten feat. MrCandy, “Kilimanjaro”
Zimbabwean rapper Holy Ten’s deep baritone anchors this track off his new album Proud Father, with a plaintive acoustic guitar over a driving low-end beat providing a bouyant backbone for the song to soar. Alongside frequent collaborator MrCandy, who delivers a soaring guest verse, “Kilimanjaro” is a standout on the new album, which only suffers from being just 24 minutes long. The entire project is worth a listen.
Black Sherif, “Rebel Music”
Sherif’s aggressive vocal style is on full display on this latest single, with production that feels as big as his ambition and defies any easy categorization. There is something magnetic about Sherif’s confidence on the microphone, not the least because his lyrics center on defiance in the face of adversity and his own sheer force of will — not something to be taken lightly. If his last few singles are any indication, this next album will be an achievement.
BNXN & Rema, “Fi Kan We Kan”
Two of the most distinctive young voices in Nigeria teamed up for this new one, which features BNXN’s signature falsetto floating over the first verse and hook before Rema comes through and delivers a verse so slick that it’s hard to tell if he’s even taking a breath with a confidence that is infectious. The track grows in momentum throughout, with amapiano log drums becoming more pronounced as it goes along — with a cinematic music video that ties it all together.
Stonebwoy feat. Ir Sais, “Memories”
With an old school R&B feel, Ghana’s Stonebwoy delivers an infectious track that both shows off his vocal prowess and distinctive style, while Ir Sais croons over the hook. It’s a song that feels out of another place and time, but works because there’s nothing out like it right now — and is a great primer for his just-released album UP & RUNNIN6 which he dropped last week.
Ckay feat. The Cavemen., “Addicted”
Ckay’s emotional vocal stylings take a detour out of his usual minor-keyed environment into the much brighter highlife world of The Cavemen., resulting in a track that feels like watching an intimate performance at a late-night jazz club, something that’s completely different from what the young singer has done in the past. The band’s percussion gives the song a different vibe, while Ckay’s voice fits in effortlessly, for one of the strongest collaborations this year.
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.
Ayra Starr started a new chapter of her life with her sophomore album The Year I Turned 21, which was released Friday (May 31) via Mavin Records and Republic Records. In a recent Billboard interview, she explained that after Giveon turned in his verse for “Last Heartbreak Song,” “I was like, ‘OK, I’m just going to trust my intuition with who I want on each song” — and one of the artists she reached out to for a feature was Seyi Vibez, for the single “Bad Vibes.”
And three years after Tiwa Savage released her Water & Garri EP, she starred in and executive produced her first film by the same name and released a 10-song soundtrack to go along with it. Those are just two of the artists who feature on this month’s roundup, which also includes new singles from Ghanaian legend Sarkodie, a teamup from two of Nigeria’s finest in Victony and Asake, a new groove from Fireboy DML and plenty more.
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.
Azanti & PsychoYP, “Naija Funk”
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Abuja’s finest, Azanti and PsychoYP, are back at it again on “Naija Funk” from their new joint album, YP & Azanti, Vol. 2. Producer Aykbeats puts the “Funk” in “Naija Funk” with his nostalgic, folk-inspired drums and gliding synth melody, while Azanti takes blame for a failed relationship with the bold opening line “I should’ve done you better” — and PsychoYP puffs his chest and brags about why a girl would never want to fumble him. The Apex Village members’ musical chemistry has been apparent since their 2020 project YP & Azanti, Vol. 1, with Azanti’s transcendent blend of R&B and Afropop and PsychoYP’s exhilarating fusion of alté and drill creating an even more dynamic mix here.
Darkoo feat. Dess Dior, “Favourite Girl”
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British-Nigerian rapper/singer Darkoo and American rapper Dess Dior will have the girls whining on somebody’s son or daughter all summer long to “Favourite Girl.” The booming horns in the beginning and Diwali Riddim will have booties bouncing instantly — and Darkoo wants in on the action when she asks, “Would you come do it slowly?/ Girl, dutty whine/ Would you bend it for me?” Meanwhile, featured guest Dess Dior makes an irresistible case for why a starboy should “make me your star girl.” It’s safe to say “Favourite Girl” will be in rotation — just like our hips — all season.
Qing Madi & Chlöe, “Vision” (Remix)
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Nigerian singer-songwriter Qing Madi adds Chlöe for a sultry remix of “Vision,” originally from her eponymous debut EP last year. Qing describes the paralyzing feeling of unexpectedly falling hard for someone, while Chlöe loses even more control over her body when she sings, “Got my temperature comin’ high, oh.” But even if their vision’s in a blur, no man could ever impair their honeyed harmonies over the track’s scintillating percussion.
Tiwa Savage, “Lost Time”
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Tiwa Savage prepared an official soundtrack to accompany her debut Prime Video film Water & Garri — which follows fashion designer Aisha, who returns to her native Nigeria after spending the last 10 years away in the U.S. and reconnects with family, friends and an old flame. On the standout single “Lost Time,” Savage recalls what life was like before she met her love, singing, “Feels like I missed you before we met/ Not meeting you sooner, I regret,” and yearns to spend forever and ever with that person. Produced by Needlz and Poo Bear, “Lost Time” evokes the heart’s pitter-patter feeling when someone’s with their other half with the subtle plucking of a guitar in this romantic ode.
TitoM, Yuppe & Burna Boy feat. S.N.E, “Tshwala Bam (Remix)”
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Burna Boy adds more fuel to the fire created by the viral TikTok-driven success of TitoM, Yuppe and S.N.E’s amapiano smash “Tshwala Bam.” After hopping on the remixes of Master KG and Nomcebo Zikode’s “Jerusalema” and Asake’s “Sungba,” the African Giant continues sharpening his ear for the continent’s next biggest hit so he can make his mark on it – and he further touts his greatness when he sings, “Better recognize/ Greatest of all time/ No other name, them go call mine.”
“To surpass the success of the original, we sought a collaborator with both global appeal and a commitment to enhancing the song’s original vibe. Burna Boy was the perfect fit,” TitoM says in a press release; Burna Boy adds, “Jumping on the ‘Tshwala Bam’ remix was a no-brainer for me. It’s a track that resonates with everyone, and I’m thrilled to bring my energy to it and connect with fans in a whole new way.”
Ayra Starr feat. Seyi Vibez, “Bad Vibes”
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For a song called “Bad Vibes,” there’s something extremely smooth and calming about this track, a single off the Beninese-Nigerian “Commas” hitmaker Starr’s debut album, The Year I Turned 21, which dropped today. And Seyi Vibez, known much more for his scrappy street cuts that vividly bring the underground of Lagos to life, shows off a gentler side of himself, too, as the duo croon about deflecting the negativity life throws a person’s way.
Fireboy DML, “Everyday”
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Over a fantastic laid-back groove set by producer Blaisebeatz, Fireboy shows off his melodic flow in this ode to a woman he wants by his side. The young Nigerian star, who broke out in a major way over the past few years with crossover hit “Peru” and a string of high-profile singles and guest spots, puts his own twist on this R&B-inflected cut, one perfect for late nights and low lights.
Sarkodie feat. Beeztrap Kotm, “Amen”
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Ghanaian rapper Sarkodie is one of the most celebrated artists in his home country, and his skills are still at the highest level on this latest track. He flips through languages and flows, while Beeztrap Kotm comes through as the perfect complement, putting his stamp over this soulful production that comes straight from the church.
Victony & Asake, “Stubborn”
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Victony has established himself as one of the most soulful singers in Nigeria over the past few years, and this link-up with amapiano-inflected sensation Asake adds to the canon of each. The two weave a tale of coming up to success by staying true to their own respective vision, even before success and fame eventually found them.
Shenseea feat. Wizkid, “Work Me Out”
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A standout track on the new Shenseea album, this cut sees the Jamaican singer tap one of Nigeria’s resident superstars to craft a song that combines the standout vocal abilities of both to meet somewhere in the cultural middle, with a sultry jam that sets the right tone. It’s another reminder of Wizkid’s chameleonic ability to fit into any style, and Shenseea’s multi-genre approach to her music.
It’s March, and the year is starting to heat up with big albums and even bigger singles from some of the heavy hitters of the Afrobeats community.
Billboard‘s current cover star Tyla polishes her signature popiano sound with her self-titled debut album Tyla, while Odunsi (The Engine) recruits artists from around the world to expand the borders of the alté genre on his forthcoming Leather Park Vol. 1 compilation album. And different dynamic duos underline the power of collaboration, from Aya Nakamura and Ayra Starr getting the girls gassed up on “Hypé,” to Tiwa Savage and ODUMODUBLVCK (who was featured on Billboard‘s 2024 R&B/Hip-Hop Artists to Watch list alongside Tyla) reminding everyone about their worth on “100 Million,” to Ruger and BNXN squashing their beef to put together one of the best songs of the year so far.
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.
Leather Park & Odunsi (The Engine) feat. Minz & Elias Slay6rr, “Crown Bounce”
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Odunsi (The Engine) recruited underground and mainstream international artists as well as producers and engineers for his innovative Leather Park music camp, which took place in Paris Fashion Week last year. The alté leader tapped fellow Nigerian artists Minz and Elias Slay6rr (who were also part of the camp) for the super wavy “Crown Bounce,” the first single from the upcoming Leather Park Vol. 1 compilation album Odunsi executive produced and curated.
On “Crown Bounce,” he’s feeling himself more than all of the girls he has all around the world, comparing himself to both Michaels: “I felt like Jackson when I step/ I felt like Jordan when I shoot.” Minz and Slay6rr can also woo any woman with their infectious, idiosyncratic charm, while the song’s infectious groove can coax any listener to sway their hips. “‘Crown Bounce’ is an extension of a style I’ve been developing for years,” Odunsi tells Billboard. “It expresses my pursuit for mixing classical music as well as nostalgia with modern African groove.”
ODUMODUBLVCK feat. Tiwa Savage, “100 Million”
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Nigerian stars ODUMODUBLVCK and Tiwa Savage are ready to “f–k up the club” with their pricey collaboration “100 Million.” ODUMODUBLVCK fires off verses about his worth, while Tiwa stays in her melodic bag, solidifying her African Bad Gyal status. Sholz and Decster’s polished Afrobeats-meets-drill production (with an underlying lush string arrangement) provides the perfect backdrop for their luxurious lifestyle. That opulence is further highlighted in the accompanying music video, where ODUMODUBLVCK and Tiwa take over the palm tree-dotted streets of Los Angeles, as the former commands The Peppermint Club’s stage from his show back in February.
Tyla, Gunna & Skillibeng, “Jump”
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The South African popiano star recruits Atlanta rapper Gunna and Jamaican dancehall deejay/rapper Skillibeng for the sweltering club banger “Jump,” which will have all the girls sweating off their concealer. Skilli gasses up Tyla by rapping in the intro, “Original gyal, you aren’t a replica (No!)” before she flexes in the first verse, “They never had a pretty girl from Joburg/ See me now, and that’s what they prefer.” The sweat’s bound to be dripping off anyone listening, but leave it to Gunna to provide his girl with the drip: “Told the chauffer take you to a Chanel store/ Ever play with you, it be a world war.” While incorporating amapiano’s log drums, rap’s airhorns and dancehall’s pulsating bass, “Jump” jumps between genres, and can get the party started anywhere around the world.
Kizz Daniel, “Sooner”
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Having already fallen for one woman, Nigerian star Kizz Daniel wishes he had met a second one “Sooner,” the first single on his latest EP TZA — short for Thankz Alot, and meant as a “thank you” for his fans who have been supporting him during his decade-long career (His debut single “Woju” came out in 2014). The Nigerian singer-songwriter feels torn: On one hand, he’s aware he’s already committed to someone, but on the other hand, he doesn’t want to let a new woman go, and finds himself physically tempted to pursue her. Daniel makes his promiscuity entertaining with the song’s steady percussive bounce.
Aya Nakamura feat. Ayra Starr, “Hypé”
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French Malian popstar Aya Nakamura fuels more “Hype” for her first single of 2024 by adding Beninese Nigerian Afropop star Ayra Starr to the mix. Nakamura falls out of love with her terrible ex and hypes herself up as a “hit machine,” while Starr erases her former lover from her memory, singing, “Two chances, too many to track/ Just worry ’bout my bag, I don’t want you back.” And the playful music video makes the power of the Aya x Ayra linkup even more palpable.
Ruger & BNXN, “Romeo Must Die”
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After a few years of publicly jockeying and feuding — some of it in the spirit of competition, some of it petty — two of the most reliable hitmakers in Africa set aside their differences to join forces on this breezy, compelling collaboration that speaks to the primary strength for both artists: melody. It’s a worthy addition to both of their canons, but just as importantly, heals a rift in a way that benefits all — and especially fans.
Tyla feat. Tems, “No. 1”
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Tyla’s self-titled album is the first true event album of the year for African music, and this collaboration with Tems is a clear standout on a project stocked full of great songs. The South African singer-songwriter’s breakout in the past year — crowned with a Grammy for best African musical performance at the Grammys earlier this year — has been one of popular music’s greatest success stories of late, and her teaming up with one of Nigeria’s go-to vocalists of the past few years makes for an engaging and soulful duet that brings the best out of both artists.
King Promise, “Paris”
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King Promise’s rise has been remarkable in recent months, and last year’s “Terminator” was easily a top 10 song of 2023. “Paris” is a great follow, with an amapiano through-line and a hook that is an instant earworm. The Ghanaian star is building a truly top-tier oeuvre, and with a new album on deck for this year, there’s plenty more to come.
Bella Shmurda, “Loner”
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Following the street dance craze of last year’s “Ara (Gen Gen Tin),” Bella Shmurda returns with a more melodic, soulful and introspective cut that shows off his vocals and songwriting skills in a way that goes beyond what he’s been known for in his career so far. A great song, and another step forward for an artist that continues to evolve.
Pheelz, “Go Low”
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With this propulsive, dance-y track, super producer Pheelz comes back with another big track following up on the massive success of last year’s “Finesse.” With a groovy trumpet line, a silky vocal and its strong back line, it’s a perfect cut for dance floors this coming summer.
It’s been a year of incredible growth in the world of African music.
Music from every corner of the African continent, from West Africa’s contemporary, vibrant Afrobeats supergenre to South Africa’s groovy, bubbling amapiano scene, has continued expanding its reach across the globe, while further embedding itself in the U.S. pop market. Rema & Selena Gomez‘s “Calm Down” and Tyla‘s “Water” both became top 10 hits on the Billboard Hot 100. The Grammys, MTV Video Music Awards and American Music Awards added new categories honoring African music. And Uncle Waffles became the first amapiano act to perform at Coachella, while Burna Boy became the first Nigerian act to headline a U.S. stadium during his stint at NYC’s Citi Field.
And we wanted to honor the breadth of work by the continent’s established and emerging stars this year by sharing our individual favorite African songs (with an accompanying Spotify playlist) and albums of 2023, which can be found below.
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See latest videos, charts and news
Heran’s Favorite African Songs of 2023
Tyla, “Water”
Davido feat. Musa Keys, “Unavailable”
Libianca, “People”
Amaarae, “Princess Going Digital”
Teni, “No Days Off”
Adekunle Gold with Zinoleesky, “Party No Dey Stop”
Crayon & Ayra Starr, “Ngozi”
Victor Thompson & Ehis “D” Greatest, “THIS YEAR (Blessings)”
Ruger, “Tour”
Muzi, “eMtunzini”
Dan’s Favorite African Songs of 2023
Davido feat. Morravey, “In The Garden”
Teni feat. ODUMODUBLVCK, “Devil Dance”
Olamide, “Problem”
Asake, “2:30”
BNXN, Kizz Daniel & Seyi Vibez, “GWAGWALADA”
Khaid, “Jolie”
King Promise, “Terminator”
Tiwa Savage, Ayra Starr & Young Jonn, “Stamina”
Lil Kesh, “Bus Stop”
Libianca, “People”
Heran’s Favorite African Albums of 2023
Amaarae, Fountain Baby
June Freedom, 7 Seas
Bloody Civilian, Anger Management
Tay Iwar, Summer Breeze
Teni, TEARS OF THE SUN
Davido, Timeless
Asake, Work of Art
Burna Boy, I Told Them…
Spinall, Top Boy
Bnxn, Sincerely, Benson
Dan’s Favorite African Albums of 2023
Davido, Timeless
Teni, TEARS OF THE SUN
Olamide, Unruly
Asake, Work of Art
Kizz Daniel, Maverick
Spinall, Top Boy
Lil Kesh, Rhythm & Tunes EP
Joeboy, Body & Soul
Amaarae, Fountain Baby
Burna Boy, I Told Them…
And check out our last Fresh Picks of 2023, while keeping up with the hottest new Afrobeats releases before the year is over with our Spotify playlist below.
Tyla, “Truth or Dare”
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Ahead of her self-titled debut album, Tyla invites an old flame, who wants to reignite what they once had now that he sees how hot she’s become, to play a tantalizing game of “Truth or Dare.” “So let’s play truth or dare, dare you to forget/ That you used to treat me just like anyone/ Truth or dare? Is it true you care? Now that you can see the love from everyone,” she sings in the tongue-in-cheek chorus. But the shuffling beat from the scorching amapiano-infused R&B record feels like Tyla is inviting her past lover onto the dancefloor to win her back. Regardless, it’s Tyla who emerges victorious.
Victor Thompson, “Stallion”
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After blessing listeners with his and Ehis ‘D’ Greatest’s viral, inspirational anthem “THIS YEAR (Blessings),” the Nigerian gospel singer gives thanks to the One who’s given him the strength to conquer this year with his debut album Blessed. On its opening track “Stallion,” Thompson delivers a message of resilience over a buoyant beat that can inspire listeners to bounce back from any hardships they might be enduring. “I’m a stallion/ And I ride on like a champion/ ‘Cause my Father, He has won it all/ And I no fit fall,” he croons with grace.
PsychoYP feat. ECEE, Rhoma BTW & Zaylevelten, “LEAN!”
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From the deluxe version of his Osapa London album, the Nigerian alternative rapper talks his shit on the electrifying cut “LEAN!” Over menacing horns and a punchy bassline that could start mosh pits all over the continent and beyond, PsychoYP flexes that he has “forty mil in four different accounts” and other luxuries that make him untouchable, while up-and-comers ECEE, Rhoma BTW and Zaylevelten show off their distinctive flows that all seamlessly blend into the stimulating sonics of “LEAN!”
Libianca, Oxlade & Chlöe, “Mistaken”
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Following the success of her breakout hit “People,” Libianca continues using her stirring, soul-baring vocals to unload the “baggage that I’ve been carrying for my whole life,” she said in a press statement, with her debut EP Walk Away. On the highlight track “Mistaken,” the Cameroonian American singer-songwriter is pondering whether the man she’s preoccupied with is truly worth her time, with Oxlade playing the man in question, taunting her for being so obsessed with him. But Chlöe reforms from her old ways of being desperate for love from a man who never deserved her, ending “Mistaken” on a high note of resilience.
Wizkid feat. Wande Coal, “Ololufe”
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Wizkid surprise-dropped his first project of 2023 at the tail-end of the year with the four-track EP S2. On the opening track “Ololufe,” the Grammy-winning superstar links back up with renowned hitmaker Wande Coal (following Wiz’s feature on “Ebelebe” from Coal’s Legend Or No Legend album earlier this year) for an amapiano banger, filled with energetic shakers and audacious percussion that can get every party started this Detty December. But Wizzy’s tender-hearted profession of his love for his darling, paired with Coal’s featherlight melodies, remind listeners that “Ololufe” is also a love song — and that feeling in and of itself is exhilarating.
Zinoleesky, “Sakara”
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Zinoleesky’s lyrics have always tended towards the raw, and this year-end single is as introspective as they come, as he sings about struggling to keep his head above water in a world of constant judgment and comparison. But it’s the emotion in his voice that stands out — rarely has he dipped so deeply to convey his feelings beyond just his words, and it makes this song stand out amid his catalog.
Seyi Vibez, “Different Pattern”
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Seyi Vibes has proven to be a chameleon when it comes to his sound, yet his particular flow and vocals always make his songs distinctly his own. “Different Pattern” is a perfect example, combining Highlife instrumentation with his multi-layered vocal delivery to make something that seems odd on paper function seamlessly in practice. It’s a fitting way to bookend a banner year for the young street artist, who held things down from beginning to end with a string of worthy projects in 2023.
Chike & Mohbad, “Egwu”
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From the single artwork, to the production, to the lyrics and the melodies, everything about “Egwu” serves as a tribute to the late Mohbad, who died suddenly and tragically in September at the age of 27. Over an almost orchestral backdrop and with a gorgeous hook, the song turns on a line from Mohbad that serves as a thesis statement: “Music no need permission to enter your spirit.”
Sarz, Asake & Gunna, “Happiness”
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The second single off Nigerian super-producer Sarz’s forthcoming album sees him tap into the talents of two bonafide stars of 2023 in Asake and Gunna over a major-keyed guitar-based beat. Asake carries the track with his infectious delivery reminiscent of some of the themes on his Work of Art album from the summer, while Gunna comes through with a breezy verse that nods to the good life.
Kizz Daniel, “Too Busy to Be Bae”
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Kizz Daniel caps a big year, bookended by the release of his single “Rich Til I Die” and highlighted by his latest album, Maverick, with a new single about the downsides of a suffocating relationship. But despite the subject matter, he can’t help but craft a catchy hook for the earworm single.
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.
Tyla fogged up television screens across America last week when she performed the bacardi-inspired, wet-and-wild TikTok dance (surprisingly without her water bottle in tow) to her latest sultry single, “Water,” on The Tonight Show Starring Jimmy Fallon for her U.S. television debut.
“It’s crazy just being a normal girl in South Africa, and then living this dream that I’ve always wanted to live,” she tells Billboard. “I used to be so jealous watching all of the American celebrities on TV, like the Kardashians, Adele, Rihanna, Michael Jackson, Britney Spears, Nicki Minaj. I was like, ‘One day, I’m gonna be there.’ I actually used to want to be born in America only because I thought only Americans could be famous. I did not know it could happen for us because it didn’t really happen very often for people in Africa and especially South Africa.”
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Tyla (real name Tyla Laura Seethal) grew up in Johannesburg, listening to local house and kwaito artists, such as Black Coffee and Mi Casa, as well as American rap and R&B stars, like Tupac, Boyz II Men, Aaliyah and Rihanna. At age 11, she uploaded videos of herself singer covers (like of Justin Bieber‘s “Fall” and “Die in Your Arms”) to YouTube and even stole her father’s cellphone to create an Instagram account so she could post her covers and original songs on there, while also messaging them to celebrities and music industry figures. “I would do everything and anything — because I just felt like, one day, something was gonna catch on,” says Tyla, now 21.
After discovering Tyla from one of her Instagram videos, director and photographer Garth von Glehn (who eventually became her first manager) sent her an email. “I literally felt like I was going to get scammed, so I didn’t respond,” she recalls. “But then a few weeks went away, and something was telling me, ‘Just respond.’ I ended up responding, and then I met up with him with my parents. And I ended up recording for the first time.”
Tyla and her best friend/stylist, Thato Nzimande, proceeded to spend every weekend in 2019 at von Glehn’s apartment/studio, writing and recording music and conducting photo shoots. She eventually linked up with South African DJ/producer Kooldrink on her debut single “Getting Late,” which introduced her refreshing take on amapiano, the increasingly popular South African house subgenre that blends Afro and deep house, jazz and kwaito music, and is characterized by sizzling synths, rattling basslines and soulful piano melodies. “I mixed it with pop because I wanted to make a three-minute song,” she says. “Amapiano songs were like eight minutes, 10 minutes at that time. And I was like, ‘Oh, that’s a bit too long! Let me make an amapiano song that has the normal format of a pop song or an R&B song.”
Her unique “popiano” formula scored her a label deal with Epic Records in 2021, when she started gradually dropping singles — like the boisterous “Overdue,” featuring gqom pioneer DJ Lag and Kooldrink; the tantalizing “To Last,” which was later remixed by amapiano giant DJ Maphorisa and fellow South African singer Young Stunna; the super sleek “Been Thinking;” and the passionate “Girl Next Door” collaboration with Ayra Starr. But it wasn’t until she released “Water” — where her sensual pop/R&B melodies float over bubbling amapiano log drums — and its accompanying dance that Tyla really started experiencing the fame she had desperately desired since childhood.
“Water” debuted at No. 67 on the Billboard Hot 100 in the week ending Oct. 14, and it has since risen to No. 21 (for the week ending Nov. 4). It has spent three weeks at No. 1 on U.S. Afrobeats Songs, marking her first No. 1 on any Billboard chart and ending the record 58-week streak of Rema and Selena Gomez’s “Calm Down,” and it’s cracked into the top 10 of the Global 200. “Water” has also been making waves at radio, landing in the top 20 of Mainstream R&B/Hip-Hop Airplay and Rhythmic Airplay and debuting at No. 39 on Pop Airplay this week.
“This hasn’t happened in so long for a South African artist, born and raised in South Africa, with an African song, with an African dance style. Everything is so authentic, and the fact that all of that managed to translate overseas is crazy. It’s opening more doors for other South African artists and creatives to just have a place,” she says. “And for me personally, it’s unbelievable. I always wanted to be the biggest pop star in general. I didn’t want to be the biggest African pop star. I just want to be the biggest pop star that was born and raised in Africa. And the fact that I’m already getting a good response from the world [means] I’m one step closer to that dream.”
Billboard spoke with October’s R&B/Hip-Hop Rookie of the Month about Tyla’s signature “popiano” sound, opening for Chris Brown‘s European tour, making an unexpected cameo on The Kardashians and the inspiration behind her viral “Water” dance.
How did you first get introduced to amapiano?
The first time I heard a proper amapiano song was while I was in high school. I remember being in one of my classes and a friend was playing the song called “Gong Gong.” And it’s just a beat — there are no lyrics, no vocals on it. I remember that song till this day because it was my first time hearing something like that.
What makes the genre and the culture so special, in your opinion?
It’s ours. It’s a South African sound that has been able to travel. We haven’t had a genre that traveled this far. It’s brought a lot of pride to South Africans and a lot of jobs and opportunities for us. Amapiano has resulted in so many South Africans being able to travel the world now and make music and make a living off of it. It’s not really just a genre for us — it’s a culture and a movement. That’s why we’re always screaming, “Amapiano to the world! South Africa to the world!” It’s changed our lives.
And it’s very much an open place for us to work in. Everyone is welcoming. Our sessions in South Africa are not like the sessions overseas. All our sessions are open basically, so a session could be happening at this person’s house and then anybody is able to walk up and add a verse, anybody is able to come in and touch the beat. That’s why our songs have 20 people featured on it and the songs are so long.
What influenced you to come up with your signature “popiano” sound?
In 2019, the year I actually got in front of a mic for the first time, I was experimenting and trying everything to see what sat with me. It got to the point where I was like, “Let me try an amapiano song.” At that time, it was still booming and people weren’t really singing on it. So I tried it and I ended up making my first song “Getting Late.” It just felt right.
And since that day, I just gravitated to that sound more, and as the years went by, and the more songs I made, the more my sound developed. People started calling it “popiano” because it is my own sound. There’s no one that’s really doing it. I just knew that I wanted it to feel like me, and this genre feels like me because I’m able to mix the genres that I was influenced by — R&B and pop, with sounds from home, amapiano and Afrobeats.
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The story behind the “Getting Late” music video is inspiring: You wrote on Instagram that you had “set out wanting to make the best video South Africa has ever seen” and filmed a little before production was halted altogether when COVID-19 hit. After lockdown lifted, you resumed working on the video, which was your shot by your manager, and you were styled by your best friend for it.
It was literally like a family business. We shot one scene, COVID hit and then everything closed up. I felt like it was the end because my parents gave me that year to prove myself, because they wanted me to study. But I begged them and I was like, “No! I need to do the singing thing. Just give me one year. I’ll show you guys.” And they eventually gave me that year, and then COVID hit. And I was like, “Ugh! This is the worst time for them to give me the year to prove myself.”
But we made it work. When South Africa would open up a little bit, we would try and shoot a scene. Or we’d try to perform for free at this one place just so we can use the venue. It’s just crazy to think of how we made that video because everyone thinks that we had a huge budget, but it wasn’t that at all. My manager found a way to do it. We all found a way to make it work. And it literally changed my whole life.
At the time of its release, you wrote, “Even if it only gets 270 views on youtube and my career fails, I’ll just watch this video on repeat for the rest of my life and I’m pretty sure I’ll be happy.” Your video has nearly seven million views (so far) and was also nominated for music video of the year at last year’s South African Music Awards.
It’s literally crazy. We went through so much to make that video — like, I couldn’t stop watching that video, ’cause I was so proud of myself and proud of my team for pushing through it. I just love the video so much that I was like, “OK, guys. We did our best. We’re just putting it out there, [and] whatever happens, happens.”
How did you eventually sign with Epic?
“Getting Late” started doing its thing, and I was just excited that people were retweeting the video. Because I didn’t really know how record labels worked, a record label didn’t even cross my mind at the time. But then my manager told me that labels are reaching out and they want to sign me. I was so confused. I was like, “Cool, what do you mean?” Then they’re telling me, “Oh, this label and this label and Epic Records.” And I was like, “What?! American people? How do they even find me?” America always seemed like it wasn’t a real place for me, so hearing all of that was crazy.
My manager started setting up the calls, and the labels would speak to me over Zoom calls (because it was still COVID) and basically pitch themselves. Epic was actually the first one — and after going through everyone, Epic just felt right, so I ended up signing with them.
I was recently watching an episode of The Kardashians, and I saw you were sitting next to Kim Kardashian in the front row of Dolce & Gabbana’s Fall/Winter 2023 runway show during Milan Fashion Week. What was going through your head that night?
The crazy thing is: I didn’t even know I was going to be on the Kardashians show, especially during “Water” time. It honestly feels like everything is just falling into place at the right time. I was on the Chris Brown tour, and the offer came where I would need to fly to Milan to do the Dolce & Gabbana show. And I didn’t have a visa for it, so we were hassling one of the European countries trying to get a visa, and they were not having it. They were like, “We are not going to give you a visa. You need to go back to South Africa and then you can get a visa.”
We flew back to South Africa for 24 hours to try and get a visa, and we ended up getting it, and we had to fly out [to Milan] the next day. That same day, I had to shower, get ready and go straight to the show, where I’m sitting next to Kim Kardashian and I’m literally wearing a Dolce & Gabbana dress. It was like I was in Princess Diaries. It was so crazy even sitting next to [Kardashian], because I was like, “This person is real.” Especially when you only see these people on TV, it’s crazy when you see them in real life. She was nice, and it was just a cool environment to be in. It was also the first-ever fashion week I attended, so it was such a good first experience.
Being a supporting act on the European leg of Chris Brown’s Under the Influence Tour was also a big look for you. First of all, how did that opportunity come about? And what were the biggest lessons you learned from either Chris or the experience overall?
I was at Tricky Stewart‘s Grammy party and the head of the label, Sylvia Rhone, came to me and asked me, “Do [you] want to open for Chris Brown on his Europe tour?” I didn’t even know what to do. I was like, “What?” I wasn’t even sure I was hearing her correctly. But I just couldn’t stop thinking about that question the whole day. Obviously, I was like, “Yes.” It was such a huge opportunity. And then we literally had to start straightaway preparing. We flew to Europe. We had like two days of rehearsals, I’m not even joking, two days of rehearsals. Then the next day, we had to open at the O2 Arena. It was so crazy!
It taught me so much in terms of performing — especially from Chris, because he’s an amazing performer. He spoke to me a lot. He gave me a lot of tips, and I still use them to this day. I feel like it was literally the perfect bootcamp for me. It gave me a lot of confidence, and it helped me play around with my performance. It helped me get a wider audience, because I was traveling all of Europe, and videos started circling around of me, which was amazing. Opportunities just started falling into my lap. It was the best experience ever. I’ll never forget that tour.
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Take me back through the making of “Water.”
I’ve been recording music for over two years now, since I got signed to the label, making music for my album. And we got to a point where we were like, “OK, let’s start finalizing songs.” But I just felt like I needed that summer dance song, I felt like I was missing that. I said, “OK, I need it to sound like this. I need it to have African influence. It needs to sound like ‘popiano,’ Afrobeats, amapiano, R&B all in one. It needs to live in the clubs. It needs to be a banger.” And I’m not even joking, as soon as I heard “Water,” I was literally like, “It’s over. It’s over for everybody!” I just fell in love with it. I played it for everybody I could, and everyone fell in love with it. So I just knew in my soul that this was the one.
How did you come up with the viral “Water” dance?
The dance style is actually called bacardi, it’s a dance style in South Africa that originated in Pretoria. And the dance style is usually done with bacardi-type music. Usually when we have songs, I get on a call with my choreographer from South Africa [Lee-ché Janecke] [and] my best friend Thato for hours and we’re thinking, “OK, for this song, what are we going to do?” Then I was just like, “I really feel like this song needs a dance. I really want to do something on TikTok with this song.” Not all the songs I want to make are all TikTok songs where you dance and everything, but this one felt like it needed that.
And then I was like, “Why don’t we make it bacardi?” Obviously, everyone was like, “Um, this isn’t the genre for bacardi.” [Laughs] It felt like that type of style would just go with this song. We actually had a bacardi-type dance for a different song. And we changed it and made that dance for “Water.” We tried a little bit of it in Portugal, but we didn’t pour the water. We ended up reworking it and I was like, “Guys, this is what we’re going to do. You pass me the water, and I’m just going to pour it on my back when I do the bacardi move.” It was exciting for us.
We ended up doing it on the stage for the Giants of Africa Festival, and I was so worried after that performance ’cause I was like, “I don’t know if I did it right.” And then I got videos. I actually DM’ed someone that was in the audience because they posted on their story like, “Please, can you send me the video?” She sent me the video and I edited it and I posted it on my way to a different country. We were on a plane, and I posted it just before we took off and my phone got disconnected. When I landed, it was already at like five million views. I was in so much shock because that flight wasn’t even that long. I was like, “This is crazy!”
How many water bottles would you estimate you’ve spilled down your back while doing the dance?
[Laughs] I don’t know. Probably a whole water company. [Laughs]
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I loved that you teamed up with Ayra Starr on “Girl Next Door” and you performed at Uncle Waffles’ NYC show. What’s it like to shine alongside other female artists coming out of the continent?
I love it. I’m a girl’s girl for real. Waffles is a girl’s girl, Ayra is a girl’s girl. In general, we all have the same goal: Africa to the world. I feel like we’ve always had the great music and the culture and the vibe, but we haven’t had the audience. Social media helps so much because it’s been able to give us that access to more people. I love seeing Afrobeats artists win, amapiano artists win, everyone in Africa. It’s only up for us really.
Who would you love to collaborate with next?
I’d honestly love to have a song with Tems. I love her voice, I love her vibe. Her new song [“Me & U”] is on repeat.
I heard you’re finishing up your debut EP. What can fans expect from it?
Definitely more bangers. It’s going to be a short and sweet one, but it’s going to be a glimpse into my sound because I do feel like it has developed over time and it’s more where I want it to be. It’s my first project ever. I’ve been releasing music and making music for years now, so it’s exciting for me to start making worlds for people to listen to and tap into. But it’s definitely a new, fresh sound for the world. And it’s a fusion between my African world and my ideal popstar/R&B world. And I’m super excited for people to listen.
Considering amapiano has become increasingly popular in the U.S. over the last couple of years, what is your hope for the sound in the future?
I honestly feel like it’s going to be the next biggest thing in dance music. It’s going to be playing in all of the raves, all of the festivals, Ibiza, all of the [places] where they listen to [sings] oontz oontz oontz oontz oontz. I feel like ‘piano is really going to take over that whole world.
What advice do you have for up-and-coming African artists who are hoping to have their music travel across the globe?
It’s very hard because I’m still figuring out a lot because I’ve been coming [up] and trying to find my way. But based off my experience, just make music that feels like you, that’s very authentic to you. Don’t try copying other people. Just find your sound and what you want the world to see you as and push that forward and believe in it. If you keep working towards it and go day by day as if you’ve already achieved your goal, you will get there.
A lot of people say “manifestation” and whatnot. I don’t want to put a label on it, but personally, ever since I could remember, before “manifestation” was even a word I knew, I always believed that I already achieved that goal. I already believed that it was mine. It was just a matter of time that it was going to be given to me. That really helped me because it really happened. Everything happened the way it was supposed to happen. And if you as an artist feel like that, just keep believing that it’s yours already and I’m sure it will be one day.
The year is winding down, but the hits have kept coming. And the month of October has seen some quality ones, from both established African artists and newcomers dropping new EPs, as soulful singles from the likes of Mr. Eazi and the Soweto Gospel Choir (“Exit”) and the two super producers Pheelz and Young Jonn (“JELO”) mix with edgier cuts from the likes of Rema (“DND”) and ODUMODUBLVCK, Bloody Civilian and Wale (“Blood on the Dance Floor”) for real estate in our monthly roundup.
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Tems returns with “Me & U,” her first solo single since “Free Mind” (which was originally featured on her 2020 EP For Broken Ears and, in May 2023, broke the female record for most weeks at No. 1 on Billboard‘s R&B/Hip-Hop Airplay chart with 17 weeks) and first new music release since her 2021 EP If Orange Was a Place. Gunna getting in his Afrobeats bag was not on our 2023 bingo card, but he nailed his verse on the remix of Victor Thompson and Ehis ‘D’ Greatest’s “THIS YEAR (Blessings),” which he first teased during his L.A. show (as seen in the official music video). And the remix helped catapult the song to No. 1 on Hot Gospel Songs chart last week (dated Oct. 28) and No. 3 on the U.S. Afrobeats Songs chart.
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 accompanying Spotify playlist below.
Tems, “Me & U”
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Tems’ first new solo release in two years lands somewhere between a poignant pop ballad and a high-spirited Afrobeats record, but more importantly, it serves as the Nigerian star’s self-reflection observed through her relationship with God. Regardless of all the triumphs she’s had in the last few years – a Grammy award for her appearance (along with Drake) on Future’s Hot 100 No. 1 hit “Wait For U,” and an Oscar nod for co-writing Rihanna’s “Lift Me Up,” to name a couple – Tems reminds those marveling at her journey that she couldn’t have accomplished all of this on her own. When a fan compared the singer-songwriter to the Yoruba water spirits Yemoja and Oshun in one of the single’s promo photos, she replied, “It’s about Jesus Christ teaching me how to walk on water, to trust Him and not in human understanding. He changed my life. And if you seek Him He will fill you up too.”
Gwamz feat. Tay Iwar & Skeete, “PAMELA”
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Gwamz, Tay Iwar and Skeete individually compose sultry blends of R&B, dancehall, Afrobeats, rap and grime in their music, so it’s no surprise that their collaboration “PAMELA” embodies just that. Twinkling piano keys, bubbling log drums, enticing guitar riffs, suave melodies and lustful verses all come to play on “PAMELA,” who represents a woman all three men can’t resist (which is also how we feel about this song).
Victor Thompson & Gunna feat. Ehis ‘D’ Greatest, “THIS YEAR (Blessings) [Remix]”
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Nigerian gospel singer Victor Thompson and his brother Ehis ‘D’ Greatest inspired the masses (through TikTok) at the top of 2023 with their aspirational anthem “THIS YEAR (Blessings).” Then Gunna came and blessed the record even more with a new verse about how he’s a “walking testimony” after everything he’s endured and worked toward (“They say, ‘Young GunWunna is the G.O.A.T.,’” he sings), seamlessly blending his melodic superpowers with those of the original artists.
June Freedom, “Diana”
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“Diana” has become an incredibly common song subject in pop music history, from Michael Jackson’s “Dirty Diana” to Ice Spice and Nicki Minaj’s “Princess Diana.” But June Freedom’s “Diana” — off his latest album, 7 SEAS — is a vibrant, sumptuous ode to the familiar leading lady. The echo of her name on Freedom’s lips, paired with a sexy saxophone and rousing percussion, is the sound of a man who won’t let “Diana” dance alone for much longer.
Muzi, “Timer”
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While the South African artist and producer takes listeners on a vivid, vulnerable trip down memory lane on his latest album uMUZI, he explores his tumultuous relationship with his father on the LP’s closer “Timer.” “Our time is not through,” he pleads constantly over twinkling ‘80s synth chords and slow-burning electronic beats. Despite its easy-going production, “Timer” provides an important reminder that even when things are tough now, looking back in the rearview mirror and wishing for more time with someone won’t be any easier.
Mr. Eazi feat. Soweto Gospel Choir, “Exit”
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Life doesn’t always move smoothly, and it’s in those moments when it can be most difficult — but also when perseverance is the most important. Those are some of the themes Mr. Eazi addresses in this song, with a gorgeous assist from the Soweto Gospel Choir, as he addresses hardships that have come along the way through his life and career. It’s a propulsive and positive track, and perfectly closes out his latest album, The Evil Genius.
Mayorkun feat. Blxckie, “Lose Control”
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Mayorkun has one of the best pure voices making music right now, and the uplifting production on “Lose Control” provides him a perfect backdrop to spin this tale of the beginnings of a relationship alongside South African MC Blxckie, whose verse follows Mayorkun’s melodic lead. It’s a standout of the singer’s new Love… For Free EP, and one of his best songs in recent years.
Rema, “DND”
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On his latest EP, RAVAGE, Rema is making music that sounds like nothing else out right now, a melting pot of styles and genres that fits nowhere — but is just as compelling as the simplicity of “Calm Down,” though in entirely different ways. “DND” is a standout on the five-track project, but is by no means the only track worth checking out. For someone who could’ve followed the same formula to repeat success, credit to Rema for continuing to push his own creative limits.
ODUMODUBLVCK feat. Bloody Civilian & Wale, “Blood on the Dance Floor”
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ODUMODUBLVCK has been steadily building his profile this past year with a series of hits (“Declan Rice,” “FIREGUN”) that owe their success to his particular uncompromising style. On this track off his latest EP, he links up with fellow Def Jam signees Bloody Civilian and Wale for a song that combines his trademark intensity with a driving production that comes together with all three in the final hook, creating a compelling mix of different styles that mesh incredibly well.
Pheelz feat. Young Jonn, “JELO”
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Two of the more prolific Afrobeats hitmakers on the production side that have earned their stripes with big hits as artists themselves in the past few years, Pheelz and Young Jonn certainly know their way around a hook and a catchy beat. This collaboration furthers each of their reputations with a breezy feel-good song that slides seamlessly into each of their catalogs, with a soulful element that elevates the track as a whole.
Last December, the Recording Academy convened a listening session of artists, label executives and stakeholders both in the United States and across Africa to discuss the rising influence of music coming from the continent. The meeting, which lasted several hours, was a key part of the process that led to the addition of a category that will be presented for the first time at the 66th Grammy Awards on Feb. 4: best African music performance.
“There’s a threshold that you like to see for a genre of music before it actually could make for a healthy category,” says academy CEO Harvey Mason Jr., who led the meeting alongside global music genre manager Shawn Thwaites. “When you talk about music coming from Africa, you’re seeing Afrobeats grow, you’re seeing amapiano and other genres coming out of the continent over the last three to five years. That started the discussions around, ‘Is it the right time?’ ”
The new category reflects the exploding commercial and cultural appeal of music by African artists in the United States. Its growth over the past few years has been almost linear: Davido’s 2017 single “Fall” was the first Nigerian song to be certified gold in the United States by the RIAA in 2020; Wizkid and Tems’ “Essence” became the first Afropop song to reach the top 10 of the Billboard Hot 100 in 2021; Burna Boy’s Love, Damini debuted at No. 14 on the Billboard 200 in 2022, becoming the highest-charting Afro-fusion album in chart history; and in May, Rema and Selena Gomez’s “Calm Down” became the first song to ever top both the U.S. Afrobeats Songs and Pop Airplay charts and peaked at No. 3 on the Hot 100. (“Calm Down” was released too early to be eligible.)
“I don’t think currently there’s better or more advanced music being made anywhere outside the continent,” says Seni Saraki, CEO and editor in chief of The NATIVE Networks, the Lagos, Nigeria-based media and content company that launched a joint venture with Def Jam in September 2022. “From what we call Afrobeats — which is, really, just popular music from Nigeria — through amapiano, the rap music, Afropop, I genuinely think this is some of the most exciting music in the world right now. And the academy is becoming cognizant of that.”
The new category is also an attempt to address some of the controversy that has arisen around the global music album award, renamed from best world music album in 2020 due to “connotations of colonialism,” but still seen as little more than a catchall for non-Western music. As the music industry has itself become more global, the academy recognized that the time had come to offer a home for music from the African continent. But it also goes beyond the popularity of Afrobeats, which itself is more of an umbrella term: The academy listed some 30 different genres that could qualify for the category, including alté, fuji and high life.
“People know about Afrobeats and they’re learning about amapiano, but they don’t realize there are so many other genres on the continent that are underserved, and they can’t just be put in a bulk category called ‘world music,’ ” says Tina Davis, president of EMPIRE, which has invested heavily in African music and artists. “And much respect to the Recording Academy because they actually took the time to want to find out. [Mason] went to the continent to just learn more about it.”
The industry has also taken notice. In the past few years, an explosion of new signings, joint ventures and licensing deals for African artists and labels from U.S.-based companies and distributors has brought a new generation of stars like Rema, Asake and Ayra Starr to join the continent’s established hit-makers. “There was a time a few years ago when I was at RCA and it seemed like we were the only ones on it,” says Def Jam chairman/CEO Tunji Balogun, who signed Tems and worked closely with Wizkid and Davido while an A&R executive at RCA and has since signed Adekunle Gold and Stonebwoy to Def Jam. “Now every week, there’s another label signing someone. The budgets are open.”
“I think you see more labels paying attention to it, you see the marketplace paying more attention to it; there’s a spotlight on it,” RCA co-president John Fleckenstein says. “The Grammys are the big leagues of awards, one of those artistic validations that many artists dream about. It’s a bit of an awakening that we are more global than we’ve ever been.”
There is, however, a little reticence around the new category; in the past, artists from genres like hip-hop, R&B and some of the Latin sectors have looked at the genre categories as boxes that merely nod to their music while gatekeeping them from the more prestigious general-field categories like song, record or album of the year. Further, a category called best African music performance, while welcome, is itself incredibly broad, covering a continent with 54 countries and 1.4 billion people.
“It’s a really important moment for the Grammys,” says Temi Adeniji, managing director of Warner Music Africa and senior vp of strategy for Sub-Saharan Africa. “But then the next step is, how do you actually roll this thing out? Even regionally — East Africa, Southern Africa, West Africa — it would be great to see a diversity of nominees, and that would reflect a real understanding from the Grammys of how large the continent is and how diverse the sounds are that are coming out.”
Talks of additional categories around African music, as well as a possible African Grammys, could be part of a future that Mason says this category is just the start of. “We want to serve music people, regardless of where they are,” he says. “I don’t know what that means yet, but we will continue to try and make sure that we are reaching as many music people regardless of their geography.”
The Potential Nominees?
Five songs that are in strong contention for a nod for the inaugural best African music performance Grammy.
Wizkid feat. Ayra Starr, “2 Sugar” (Starboy/RCA)
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Following the crossover success of his “Essence” (featuring Tems) was this breakout hit from the Nigerian superstar’s More Love, Less Ego album, featuring a powerful vocal from Starr, who is herself blossoming into a major force in African music.
Libianca, “People” (5K/RCA)
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With an arresting, emotional vocal performance, the 22-year-old Cameroonian American singer — who previously appeared on season 21 of The Voice — has captivated fans and the industry alike. “People” spawned remixes by artists such as Ayra Starr, Omah Lay and Becky G on the way to a long-running No. 2 peak on the U.S. Afrobeats Songs chart.
Davido feat. Musa Keys, “Unavailable” (Davido Music Worldwide/RCA)
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The lead single from one of the year’s best albums in any genre, “Unavailable” showcases Davido at his irresistible best, combining Magicsticks’ amapiano production with a slick verse from South Africa’s Musa Keys to craft one of 2023’s more enduring anthems.
Adekunle Gold feat. Zinoleesky, “Party No Dey Stop” (Def Jam)
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Insistent, urgent and eminently catchy, Gold’s debut Def Jam single blends the street melodies of fellow Nigerian Zinoleesky with his own knack for songwriting for a club banger with substance. It’s aspirational yet relatable, much like the album on which it appears.
Asake feat. Olamide, “Amapiano” (YBNL/EMPIRE)
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Asake’s meteoric rise over the past few years led to a headlining slot at Brooklyn’s Barclays Center in September. This track, alongside label boss and Nigerian music legend Olamide, is among his best, celebrating his trademark amapiano vibe and orchestral backing vocals, yet elevating both artists.
This story will appear in the Oct. 7, 2023, issue of Billboard.