State Champ Radio amapiano
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”
Trending on Billboard
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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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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.
Fall is here, and so is a fresh crop of African music releases that’ll help you get into the swing of the new season.
Juls, one of the most sought-after modern Afrobeats producers, tries his hand at palmwine music — which incorporates Portuguese guitars brought from sailors, local West African melodies and Trinidadian calypso rhythms and is named after the traditional homebrew made from the sap of special palm trees — with his latest EP Palmwine Diaries Vol. 1. Rising Nigerian rapper ODUMODUBLVCK also introduces more listeners around the globe to his “okporoko rhythms,” his self-defined genre that blends hip-hop, grime, Afrobeat and progressive R&B.
Meanwhile, young singer Khaid drops another melodic banger, budding superstar Ayra Starr gets more personal than ever (without dropping the energy), BNXN releases another slow-burning single and the fusion of Afrobeats and Latin music continues with another potential hit from Feid and Rema.
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 kick off the new fall season with our latest Spotify playlist below.
Ruger, “Tour”
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The Afro-dancehall star reassures his mother that he’s doing well for himself and he’s only concerned about his money on “Tour,” the trap-tinged opener to his latest album RU the World. Ruger recorded “Tour” while shortly after wrapping up his tours in the U.S., Europe and Canada, and he revealed that his righthand producer Kukbeatz “made this beat in the toilet.” But regardless of where the song was made, Ruger’s here to remind everyone that he’s made it.
Patoranking feat. Zion Foster, “Woman of the Year”
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Following his and Wande Coal’s 2014 Afropop hit “My Woman, My Everything,” Patoranking delivers yet another sweet ode to women who deserve to be celebrated for their everyday contributions to others’ lives. With a sultry verse from British-Nigerian singer Zion Foster, and Dhannyjazz’s sumptuous saxophone leading the production, the Nigerian star serenades the only lady in his life as a way of thanking her for everything she does for him.
ODUMODUBLVCK, “MC OLUOMO”
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The Nigerian rapper gives us a taste of his upcoming EZIOKWU mixtape, due Oct. 6 via NATIVE Records/Def Jam, with his invigorating new single. “MC OLUOMO” first samples a video of a fan jokingly taunting the MC by yelling “Odumodu, on your feet, run!” after the fleeing MC during an event at Lagos State University (LASU). But his hustle, even in the literal sense, comes from his hard work, and he wouldn’t be able to get to the bag without it. ODUMODUBLVCK delivers this message over a flamenco-esque drill beat, a taste of his unique “okporoko rhythms.”
Juls, “Palmwine Riddim”
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British-Ghanaian producer Juls set out on a mission to bring his Ghanaian motherland back into the conversation about African popular music with his six-song set, Palmwine Diaries Vol. 1. The first single, “Palmwine Riddim,” is a lilting, laid-back instrumental that pays homage to highlife’s jazzy horns, and even though it incorporates Juls’ harmonies, he lets the music do most of the talking and solidifies its timelessness.
June Freedom, “Say Salud”
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The Cape Verdean American artist’s newest single deserves a toast. “Say Salud” is as refreshing as the Dom Pérignon, DeLeón or whatever drink you should be sipping on while getting lost in its irresistible rhythm. “Go-golo, go-golo, go-golo, ah/ You cool my temperature/ Making me sweat like you drippin’ agua/ Hamduli-hamdulilah,” Freedom sings, mesmerized by the way a woman moves (because who could stay still to this song?).
Khaid, “No Time”
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Khaid is not reinventing the wheel, but the teenager’s output this year is full of earworm melodies that are irresistible, and his voice has an emotional maturity beyond his years. “No Time” continues his hot streak, which dates back to 2022, and it’s a worthy addition to a catalog that is growing with one formidable banger after another. It should be exciting to see where he goes from here.
BNXN, “Sweet Tea”
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BNXN’s work this year has included a series of slow burners, and this one fits the bill as well, with an understated, almost wistful vocal propelled by contemplative production. But his songs often have the ability to fly under the radar until you wonder what, exactly, you’ve spent all day humming, only to revisit them and realize you’ve connected with them on an almost subconscious level. His songs demand repeat listens, and the rewards more than not reveal themselves.
Feid & Rema, “Bubalu”
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The fusion of Afrobeats and Latin music, in the broader senses of each, has been steadily gaining in popularity for months now, and this collaboration between two young yet established hitmakers from each sector was always likely to spark interest. But the result is something special, a danceable backbeat with vibes that are through the roof, which should find a home on plenty of dance floors even as the weather gets colder. This heralds a strong future for collaborations like these.
NSG, “NELLA ROSE”
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The latest single from the London-based six-piece group has plenty of energy and a fusion vibe, bringing in some amapiano drums to a distinctly British flair, and combining a wordless singalong hook with rapped verses in this cut named for the famous Belgian YouTuber. With a debut album out next month, the group has plenty more where that came from.
Ayra Starr, “Rhythm & Blues”
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After a breakout year-plus, the young singer decided to show off a more vulnerable side on her latest single. But don’t look at it as a simple R&B love song — there’s plenty of spark and even an urgent vibe to this one, as she sings about the type of relationship that provides energy and creativity rather than stress or anxiety. Perhaps the best thing about Starr’s growing catalog is that there are no limits to her sound — she’s succeeding on her own terms. This one reinforces that notion.
The summer may be winding down, but the Afrobeats release schedule has barely let up — and August has proven to be another big month, with major albums from superstars like Burna Boy and Olamide, plus EPs from Uncle Waffles and Kelvyn Boy, among others.
And that hectic schedule of great new music is unlikely to end soon, with forthcoming albums from the likes of Teni and Muzi — both of whom also have new tracks out this month — on the way, among many others. Before the Headie Awards this weekend — airing Sept. 3, with Burna Boy, Asake and Rema leading the nominations — there’s plenty of new music to check out.
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 end-of-summer soundtrack with our Spotify playlist below.
Uncle Waffles feat. Tony Duardo, Manana & Lusanda, “Echoes”
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The “princess of amapiano” returns with her second EP Solace, a tranquil, ethereal experience compared to her “very upbeat and explosive” debut EP Asylum, she described in a press release. Its lead single and first track, “Echoes,” envelops listeners in an array of mesmerizing harmonies from eSwatini-born singer Manana and South African singer Lusanda about wishing to patch up an old relationship (“Echoes/ ‘Cause this heart is hollow/ Empty from the hole you left,” Manana croons), and scintillating production from Waffles and frequent collaborator Tony Duardo.
Muzi, “eMtunzini”
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South African artist and producer Muzi plans on traveling down memory lane (in his family’s Toyota Cressida) for his upcoming album uMuzi, due Oct. 13 via Fool’s Gold Records. But for his first stop, the sun-soaked lead single “eMtunzini,” Muzi retells his parents’ love story, and his own origin story, while weaving in between his native Zulu and English. The impassioned, exhilarating house production and deep vocals repeating “Feel like we’re a vibe/ Feel like we should spend more time” make “eMtunzini” a prime addition to anyone’s roadtrip playlist.
Lord Afrixana feat. Firefly, “Pillow”
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After writing for Beyoncé, Davido and more, rising Ghanaian singer-songwriter Lord Afrixana is making a name for himself on his Protect the Culture/Warner Records debut Ghana Must Go. On highlight track “Pillow,” he comforts his love interest by promising to be the kind of man her ex never was while Firefly challenges whether he’s ready to provide the kind of loving she requires in her arousing retort.
Black Sherif, “YAYA”
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From the Ghanaian rapper’s introspective two-pack Take Care of Yourself Blacko, the single “YAYA” tells the story of strife, staying true to oneself despite the fame and success and searching for peace through the lens of Black Sherif’s alter ego, “a rebel who gave fate a chance and is in search of healing,” according to a press release.
Burna Boy, “City Boys”
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Move over City Girls, because Burna has something for the “City Boys” on his latest album I Told Them…. He starts the Jeremih-sampling track with audio from British rapper J Hus’ Instagram story, where he dismantles his “ugly” perception of himself and rather praises himself as “sexy.” The monologue sets the tone for the braggadocious anthem, where Burna blends his signature Afro-fusion with U.S. hip-hop (that’s amplified throughout the album as well as in his “City Boys” TikTok challenge). He even acknowledges fans’ misinterpretation (“I need a boat and shy hoes”) of his chant-worthy chorus from last summer’s smash “Last Last” (“I need Igbo and shyo”), proving that the Nigerian hitmaker’s fingers remain on the pulse of what’s hot in the culture.
Burna Boy feat. Seyi Vibez, “Giza”
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On an album in which he reaches across the Atlantic more than ever, it’s the song where he links up with Nigerian street king Seyi Vibez that stands out the most. There’s something about the distinct style that Seyi has been delivering over the past 18 months that is both raw and engaging, and Burna taps into his soundscape to deliver one of the best tracks on I Told Them… It may not have the U.S.-leaning pop appeal of other records on the project, but it’s arguably the most captivating.
Olamide, “Problem”
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If Unruly, as he’s threatened, is Olamide’s last album, it’s both a triumphant finale and a shame that he won’t continue to deliver tracks like the single “Problem” — one of the best distillations of his strengths that he’s put out across his illustrious career. Produced by Magicsticks, the beat itself is infectious, and Olamide’s delivery, particularly on the hook, is carefree and effortless. It’s easily the best track off the album.
Olamide, “Life Goes On”
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Unruly can be broken down into three parts — two five-song solo sections from the YBNL boss that bookend a slew of top-shelf collaborations. And the back end of the album has a number of tracks that stand out and tie the whole project together — “Supplier” and “Street Jam” could easily be included here, too — but “Life Goes On” is another of the best tracks of his career, combining his melodic flows and rapped verses, and serving as a farewell of sorts if this is, indeed, his final project. Let’s hope that’s not actually the case.
Kelvyn Boy feat. Babyboy AV, “Roma”
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Ghanaian singer Kelvyn Boy has a history of slipping effortlessly through various genres, and “Roma” sees him dipping into highlife styles for a breezy track that could be the perfect send off to the summertime. The major key instrumentation gives it an irresistible quality, and it’s an easy highlight off his great new EP For the Kulture.
Teni, “Lanke”
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Sometimes it feels like Teni can do everything; all three singles she’s released this year are wildly different from each other, and each are great in their own way. The latest, “Lanke,” is the most carefree and outwardly joyous, as expressed in its hook and its gleeful new music video, out today. “Feel good, regardless of what life throws at you,” she said about the track. “Omo Lanke is someone that owns a wheelbarrow. You never see a person that owns a wheel barrow drive straight. Good or bad, we stay pushing, we don’t stop, we keep going. We appreciate the good, we learn from the bad.”
(from left to right) Jonathan Bekele and Spinall at WORLD AFRIKA X AFROLITUATION party at Chinatown Country Club in Boston, Massachusetts on March 24, 2023.
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“An event whose culture and influence reaches far and wide across the globe” – Jonathan Bekele, founder of WORLD AFRIKA
Year started: 2022
Partners: EthioBoyzEnt (partner), NuWave Collective (partner), SuperSmashBroz (DJ/partner), King Collins (DJ)
Primary city: Boston
Main venue(s): Garage, Spirit of Boston, Shojo
What inspired you to come up with this party?
Before the pandemic, I created Anbessa. It was supposed to be a company that [had] different branches like events, clothing, miscellaneous things. It’s obviously based on our culture, the lion is embedded in Ethiopian culture. In the clothing brand, on the back of the T-shirts, you’ll see WORLD AFRIKA. The reason why I spell it WORLD AFRIKA with a “K” is because, initially, the name of Africa was with a “k” from the native countries, before colonization. Ethiopians never got colonized, so I was like, “I would love to keep that same identity with this.”
Back in March of last year, there was a need for a real curated event of experience in the city that focused around Afrobeats in Boston. My one-year anniversary with the clothing brand with the WORLD AFRIKA slogan on it was coming up in April. So I was like, “Let me just throw my first WORLD AFRIKA party.” I had SuperSmashBroz DJing, and it was received well. It gave a different feeling, like they felt like they were back home. And that’s what I want to bring: I want to make people walk out of the party and be like, “OK, I’m buying my ticket for December.”
How did you come up with its name?
When I was creating the T-shirts, one T-shirt [has] two women that graduated from the airline academy in Ethiopia and they have a lion right in front of them, which is the ambessa. And WORLD AFRIKA was [about] traveling around the world because it was based on the aviation thing. Ethiopian Airlines was the first airline in Africa that was really able to travel across. And the second T-shirt was a lion literally walking past an Ethiopian Airlines plane. So that’s where it stemmed from. WORLD AFRIKA is a connection of all the different countries and just grouping them together.
Who typically attends?
Obviously, my Habeshas support. There’s a huge West African population here — a lot of my friends are Nigerian — and Cape Verdeans. Anybody who’s from Cape Verde, all of their people for some reason immigrated to Massachusetts or Rhode Island. The second [WORLD AFRIKA party] was on a yacht in the middle of Boston Harbor that held like 650 people. It was like three levels, different DJs. And the bottom floor was Cape Verdean DJs. But then you’ll also see groups of Asian people that just want to show up and party, dance. You’ll see a bunch of white people slide up. But I would say for the most part, it’s West Africans, East Africans, Cape Verdeans. We did an amapiano party one time, and hella South Africans popped up.
Where does this typically take place or where has it taken place before?
The first venue I did was Garage. The second one was called Spirit of Boston. The funny thing is Garage is closed, Spirit of Boston actually caught on fire two months ago — so they are no longer operational. I went to Addis, and I did two WORLD AFRIKAs over there at Midtown Ultra Lounge right on Bole. One of my good friends, his name is Nate Enzo, owns it. He was like, “What do you think about doing it over here?” And I was like, “Yeah, why not? This will pay for my trip, basically.” So I did it over there, sold out both times. And I didn’t really realize the impact of what I had until that happened in Addis. Because when it happened it in Addis, and when I did the yacht event, I was like, “D–n, this is not just a Boston thing. It’s becoming more than that.”
At the top of 2023, I’ve been at this venue called Shojo. And they’ve been my most consistent venue. So I did one right before I went to Ethiopia, and I’ve done one every single month, so February, March, April, I’ve been there. I also did one in D.C. first week of March. That was nice. I have a lot of connects in D.C. One of my friends, he owns a lounge, and he was just like, “Why don’t you try doing it over here?” And I was like, “Yeah, why not?” And it did really well. I was like, “D–n, if I start out in these small spaces or mid-sized spaces, whether it be New York, Atlanta, L.A., the world will come organically.”
Why does your party stand out?
I’m able to connect with people, I’m very personable. And I’m very good with business. Dami came to me back in March, and Dami was like, “Hey, Spinall wants to come to Boston.” I know they couldn’t find a venue. Essentially, they came to me, and I had a venue already locked for WORLD AFRIKA that I was going to do on my own. Personally, I could have just done the event and probably took all that money to the head. But I thought bigger — because I was like, “OK, if I have Spinall and I work with Afrolituation and Dami and all of them, this would be great for the brand going forward.”
I think [it’s because of] those collabs and those teams I put together. I really work hard day by day making sure everything is exquisite from the beginning to the end. And I’m always asking people throughout the event, like, “You need anything? You having a good time?” People feel at home there. People leave the event wanting more, and wanting to buy that ticket back home, whether it’s West Africa, North Africa, South Africa, East Africa, Central. That’s my mission to drive that idea home.
Recall your favorite memory at one of your parties.
My favorite memory was we were in Addis, and K-Meta put on a song called “WATAWI” [by CKay feat. Davido, Focalistic and Abidoza]. I’m standing on a couch in the middle of the party. A lot of people don’t know this song. But he didn’t realize at that moment that that was my favorite song of the year. And as the song is playing, I’m screaming the lyrics. At the same time, I’m taking a video and I’m turning, turning, turning and the whole place was filled up. All my friends from the Bay, all my friends from D.C., all my friends from Dallas, New York, Boston, all over the place [were] just mingling and having a great time.
In my mind, I was like, “OK, this is lit. I’m here. And I’m here to stay.” This is something that can be for real for real going forward. I had a serious in-my-head moment of like, “I could do this every week here.” And the funny thing was I did it back-to-back weeks, and they were both sold out. Typically, I take a month off to do it. But because I was in Addis and my time there was limited, I did it back-to-back weeks, and both weeks were sold out. And I was like, “No way! This is for real!”
As the sun’s long-awaited arrival signals the beginning of summer, we’ve been turning the volume up on the latest releases from African artists worldwide for this season’s new soundtrack. Ghanaian-American Afropop star Amaarae and Nigerian Afrobeats powerhouse Asake dropped flashy, boundary-pushing albums with Fountain Baby and Work of Art, respectively. But they’re not alone — both Omah Lay and Ckay dropped off deluxe editions of their recent albums with additional tracks, while Zinoleesky and Fireboy DML released eye-catching singles to herald future releases.
We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and find your new summer soundtrack with our Spotify playlist below.
Reekado Banks, Adekunle Gold & Maleek Berry, “Feel Different”
Nigerian singer Reekado Banks recruits Adekunle Gold and Maleek Berry for the feel-good single about a girl whose love makes them “Feel Different.” All three men try to convince themselves they’re better off alone – with Banks singing “If I fall again, I go look so dumb/ I no wan look so dumb/ So I will never never fall again” and Gold singing “Run, run, run, run/ I be running all alone” with a rock guitar hit underlining his point – but ultimately realize they’d go to great lengths just to be with her.
Bloody Civilian, “Escapism”
Nigerian singer-songwriter and producer Bloody Civilian blends amapiano’s log drums with pitched-up EDM vocal chops on “Escapism,” the first track off her experimental debut EP Anger Management. The repetition of her airy “Shoulda smoked that s–t since morning” line creates a carefree mantra she uses to distract herself from the disorderly world around her. But it’s her lithe, pacifying voice that assures listeners they don’t need to turn to vices to find hope.
Amaarae, “Princess Going Digital”
Amaarae’s plea in “Princess Going Digital,” from her critically acclaimed sophomore album Fountain Baby, is crystal clear: “Take me out the streets.” The synth-heavy, crystalline pop track follows the singer as she finds a potential partner that could put an end to her BS-riddled search for love. Vocalist/producer Maesu – who was previously featured on Amaarae’s “Fantasy,” alongside CKay – echoes her sentiments (literally) while promising the princess whatever she wants – just as long as it’s not commitment. “You know it’s just game, girl, you know how it goes,” he sings.
Tay Iwar & Juls, “Summer Breeze”
Tay Iwar teams up with frequent collaborator Juls for the breezy ode to summer off his aptly titled EP Summer Breeze. On its title track, Iwar’s featherweight melodies float over Juls’ dizzying jazz saxophone riffs and scintillating percussion that’s reminiscent of palmwine music. Lyrics like “Tease me baby and turn me on” and “What a sweet release I need” suggest a “Summer Breeze” isn’t the only thing that gets Iwar going, but it’s certainly one of the most divine highlights of this time of year.
Asake, “Lonely at the Top”
Asake offers a bittersweet reflection on “Lonely at the Top,” from his highly anticipated sophomore album Work Of Art. With a backing choir and introspective instrumentation (courtesy of producer Blaisebeatz), the fast-rising star sings about his chasing his lofty dreams of superstardom, while putting on his blinders to avoid the naysayers — and understanding the isolation that comes with it. But Asake remains unfazed while pursuing success, because there can only be one Mr. Money Ginger.
Omah Lay, “reason”
Executing the tried-and-true strategy of capitalizing off a popular release with a deluxe edition, Omah Lay reissued last year’s Boy Alone with five new tracks, including the powerful, insistent “reason.” Kicking off with a palm-muted guitar riff, Omah Lay layers vocals to hypnotic effect, questioning existence and purpose on a track that is at once consistent with and a departure from what we’ve come to expect from him.
Fireboy DML, “YAWA”
Fusing some of his R&B grooves with amapiano drums and a layered, triumphant hook, Fireboy delivers one of his best singles of the year — which is saying something, considering his output so far. He kicks the track off with a few lines in English before slipping into Yoruba, where he flows more comfortably, and puts a ton of energy and passion into it, which comes out clearly on the track.
Asake, “Sunshine”
Asake’s Work of Art album speaks for itself, and is so cohesive that it’s difficult to single out individual tracks to shine a light on. Luckily, there’s plenty to choose from — and “Sunshine” has one of the more memorable hooks on the album, a song brimming with positivity and Asake’s trademark angelic choral flourishes. It’s sometimes remarkable how agile he is with his flows given the sheer weight of musicality that each of his tracks brings to bear, but he is a rare artist for whom seemingly everything works. Check out the full album if you don’t believe us.
Ckay, “nwayi”
Ckay has carved a lane, both melodically and with his subject matter, as the poster child for “emo Afrobeats” (hence the name of his album, Sad Romance) — and this track is right in the sweet spot, paved by his first two major hits, “Love Nwantiti” and “Emiliana.” He’s become truly adept at these breezy earworms laced with sweet nothings, and this is directly in that lineage.
Zinoleesky, “A1 (Feeling Disorder)”
Brisk to the point of breathless is the Zinoleesky flow, and “A1” is the latest entry in his ever-growing canon. Built around a conflicted story of sex and love — or one instead of the other — the song hurtles into a bridge with brief introspection (“I’m emotionally downcast…”) before picking the pace up right where it left off, with a beat that propels him further every second. There’s a self-assurance to his flow that comes across on every track of his — “A1” is up there among his best.
