Burna Boy is the living, breathing representation of the popular saying, “we go again.” Earlier today, the afro-fusion singer dropped ‘Twice As Tall’, his fifth studio album and his third full-length in three consecutive years. Since ‘Outside’ dropped in early 2018, Burna has been on a tear, selling out concerts across the world, gracing international festival stages, snagging a Grammy nomination, amongst many other achievements.
Still, Burna has made a commitment to going again at every chance possible, using his prolific streak to cement himself as one of the greatest voices of his generation. In recent interviews leading up to the album release, Burna Boy made it a duty to emphasise that ‘Twice As Tall’ is a continuation of the mission he started with ‘African Giant’ last year – putting on for African pride and raging against colonial structures.
The album’s short, yet extremely intentional roll out shows just how dedicated Burna Boy is to giving his fans the best album experience, even beyond the music; and our clamouring for the album regardless showing just how much his actual music is revered. The result, a carefully-curated, reflective 15-track project houses all the versions of Burna we have become familiar with over his 7-year stint in the game, and after a full day of listening, we have many thoughts.
From the incredible sonic quality to his intricate songwriting, ‘Twice As Tall’ definitely leaves an unforgettable impression. While we get more and more familiar, we’ve put together a list of 5 things that stood out to us, after our first few listens:
Burna Boy definitely relishes setbacks
Last year, Burna called out the organisers of Coachella for putting his name in small fonts on the digital flier announcing the list of 2019 performers. “I am an AFRICAN GIANT and will not be reduced to whatever that tiny writing means,” he wrote on his Instagram stories at the time. Even though he faced some backlash for his comments, Burna clearly went on to acquit himself – through the music. This time around, the motivation behind ‘Twice As Tall’ seems to be the fact that he didn’t win the Grammy award for Best World Music album, and it’s made clear from the first track where he sings: “I remember I couldn’t level up, ‘cos the Grammys had me sick as fuck, throwing up. Asking questions like, why it wasn’t us?”. It doesn’t take long to shoot right back to his swaggering ways when he reaffirms us and possible himself singing: “tell them, they can’t bury us.”Since his rebirth, Burna has seized being the underdog, however, through his music, each time, he uses any hint of underappreciation as fuel to drive him to whatever next level he wants to attain.
Giants feel things too
Burna Boy isn’t afraid of getting real about his emotions. On the title track of 2018’s ‘Outside’, he referenced the currently incarcerated Jamaican dancehall singer, Vybz Kartel, laying out his mother’s—and indirectly, his—fears that he would get in his own way before truly blossoming into a superstar. In the same vein as its intro track, ‘Twice As Tall’ is littered with gripping moments of honesty and introspection, offering us sharp insights into Burna’s mindset as he surveys his surroundings and digs deeper into his psyche. On closing track, “Bank on It”, he spits the gut-wrenching passage: “Anyone of us could have been Pop Smoke, we must go when the most high call us/So I’m paranoid, borderline bipolar/wear my vest and clean my gun up, I ain’t going out breda”. It’s in moments like these, Burna reminds us that he’s human and just like us, he has fears. This relatability, which he communicates pretty well through the music, is his real superpower.
At the same time, Giants are truly invincible
As comfortable as he is with expressing the softness on the inside, there has never been any doubt in the fact that Burna is not the one to fuck with. Bravado has been a constant part of his music, but on ‘Twice As Tall’, it forms the foundation and hangs on the veneer. There’s a shit tonne of boastful moments throughout the album, and rather than just being vainglorious, Burna’s stance is informed by a knowledge of self and an assurance that he’s doing exactly what he’s supposed to be doing.
This is where he shows that he’s a writer’s writer, which is ironic because he’s told anyone who cares to listen that he never puts pen to paper. Many of the greatest writers adopt this method, from Jay Z to Roddy Ricch, and it’s clear that when he’s in god mode, the intricacies of his writing glimmer even brighter. Quotable lyrics such as “I bring the thunder like Muri”, “Used to roll with a shank like Julie” and many more come bursting out of him unabated.
Well-placed features and sonic malleability
In comparison to the packed line-up of guests on ‘African Giant’, Burna’s new album is sparsely populated by visiting voices, who are all placed to be at their most effective. On “Level Up”, the drums are dropped out for Senegalese legend, Youssou N’Dour’s otherworldly chants along orchestral strings and synths, while Chris Martin’s soft tenor only serves to anneal the rumbling energy Burna dissipates while he’s violently shaking colonialist tables on “Monsters You Made”. Elsewhere on “Time Flies” and “Real Life” he shows off his musical malleability where his synergy with each featured artist and previous collaborators – Sauti Sol and Stormzy.
The stellar assists also extend beyond vocal assists, as Burna gathers an elite army of producers to craft the soundscape of ‘Twice As Tall’. Eleven producers show up on the 15-track project, with multiple credits to Telz, Leriq and Rexxie, while DJDS, Jae5, Skread, Sauti Sol and P2J all snag up solitary production credits. The album also includes contributions from legendary American producers Mike Dean, Mario Winans, Andre Harris and Timbaland. With all these hands behind the boards, ‘Twice As Tall’ is arguably Burna Boy’s most cohesive album yet, sonically; the beats are eclectic, but they all pull together in enhancing the front-to-back listening experience. In addition, the sound quality is phenomenal—there are no noticeable engineering missteps like there were on ‘AG’ with say, “This Side”. The album is great to listen to with good earphones, but you really should try listening to it on good loud speakers.
Get in loser, we’re not contributing to homophobia in 2020
Last week, Sam Smith shared “My Oasis”, featuring Burna Boy, and a section of the timeline was ticked off at an openly queer person who was working with an artist who had expressed homophobia in the past. While there were those who defended Burna with the idea that he’s probably grown past those tweets, the singer might have just handed his critics the stones with which to pelt him with. On two occasions in ‘Twice As Tall’, Burna Boy sings questionable, homophobic lyrics which could quite frankly have been left out to absolutely no effect.“I no be one of those men fear toto, fuck nyash”, he sings on “Wetin Dey Sup”; “But if dem wan fuck you for nyash, make you no lie down”, he says on the Stormzy-assisted “Real Life”.
Both times, Burna takes a swipe at members of the LGBT community as a way of affirming his own personhood, and in turn regurgitates the same retrograde, nonsense thinking that continues to play a role in making life more difficult for queer people all over the world. What makes it even worse is that, he clearly knows better but he chooses to espouse this ideal with zero provocation. For someone who’s publicly proclaimed that he’s fighting for all Africans against the systematic oppression of colonialism, it’s off-putting to hear him express homophobia in his music, and it begs the question of whether he’s truly interested in seeing the end of all forms of oppression on the continent.
Dennis is not an interesting person. Tweet Your Favourite Playboi Carti Songs at him @dennisadepeter
The Rave Lorde has kept to his word to deliver a summer hit.
Rema has released his highly anticipated new single “Kelebu.” Early last month, the Benin-born star took...
Rema has released his highly anticipated new single “Kelebu.” Early last month, the Benin-born star took to social media to promise an incoming summer release. ‘Still owe y’all that summer Banger,’ he tweeted. Weeks later, he gave more insight about the direction of his forthcoming release, tweeting, ‘Ok.. I want y’all to DANCE this summer!’
After much anticipation, the singer posted a snippet of “Kelebu” in usual fashion, promising $10k for whoever comes up with an easy dance challenge and raising excitement for what is probably about to become a dancefloor staple quickly.
The self-proclaimed Rave Lorde seemed to have favoured a more tempered approach in the last few months, opting for the sheen and soulfulness of R&B on his first two releases of the year. “Baby (Is it a Crime),” which had already taken on a life of its own even before its official release, gives Sade’s 1985 classic “Is It A Crime” an Afropop and R&B facelift, while “Bout U” sounds like it was picked out of a 2004 Marion Winans release.
With the release of “Kelebu,” Rema returns to the familiar chaos of 2024’s ‘HEIS,’ borrowing from an array of genres to create what is, without a doubt, one of his most exhilarating releases to date. Teaming up with close collaborator London and the German-born Ambezza, “Kelebu” takes inspiration from a host of regional genres like Dominica’s Bouyon and Mara, the new Street-Pop subgenre that’s recently come into prominence. There’s also strong Makossa and Coupé-Décalé influences across the track as Rema tears through the riotous beat with breakneck pace.
Whether “Kelebu” fits into a bigger picture oris the start of something new remains to be seen. You can never be too sure with Rema. He could be teasing several Trap-inspired songs one minute, and then go ahead to release a sensual R&B record the next. The Mavin star is somewhat unpredictable, and that’s part of his huge appeal. You’re not certain what comes next, but you’re seated for the ride regardless.
Markers of those places inevitably show up in the music of our favorite stars, enriching our soundscape and...
The concept of origin and heritage has never been more important in Afropop than right now. As the edges of...
The concept of origin and heritage has never been more important in Afropop than right now. As the edges of the sound broaden and influences spring forth from all over, artists are increasingly taking on ambassadorial roles that see them represent the people, attitude, and ideals of where they hail from. Whether by birth or upbringing, artists are intrinsically tied to and influenced by these places where they have spent significant time socialising and soaking up influences. The markers of those places inevitably show up in their music, enriching our soundscape and furthering our collective cultural memory.
Whether it is Olamide putting on for Bariga on “Oga Nla 1” in tandem with Alhaji Wasiu Alabi Pasuma and Lil Kesh or Burna Boy beautifying Port Harcourt on “City Vibration,” we get a glimpse into these places beyond run-of-the-mill news that doesn’t offer a rounded perspective on the inner workings of the community. We are at once witnesses to communal struggles and pain via these artists’ perspectives, as well as willful participants in their ascension to musical superstardom while doing their best to hold on to their communities.
We compiled a list of some artists whose rise and continued success pay homage to the communities that raised them.
Wizkid, Ojuelegba, Surulere
It’s pretty befitting that the quintessential Wizkid song is “Ojuelegba,” a cut from his 2014 sophomore studio album, ‘Ayo’. While the singer has paid homage to his birthplace on a few previous occasions, no song venerates the Lagos suburb quite like “Ojuelegba.” Even as he made the smooth transition from national hero to global superstar shortly after the release of ‘Ayo,’ the album’s standout track continued to serve as a melodious autobiography that helps establish his roots for those unfamiliar. The song’s accompanying music video also captures the suburb’s bustling energy, as well as the unforgiving conditions that produced him. – B.A
Burna Boy, Port Harcourt
One of the many things that Burna Boy speaks with pride about is his native Port Harcourt. He constantly ensures that his city is at the forefront of his craft, dedicating songs that either narrate his experiences in the Garden City or highlight some of the social and political issues plaguing his home city. Songs like “Where I’m From” and “Ph City Vibration,” highlights from his third studio album ‘Outside,’ double as sturdy deep cuts and brief history lessons about Port Harcourt. In late 2022, the pop star also released a short documentary for “Whiskey,” detailing the environmental crisis in his birthplace. – B.A
Olamide, Bariga
No Nigerian artist is as representative of mainland Lagos as Olamide Baddo. Still, even the mainland is not a monolith, as different areas have their quirks and unique colorations. Bariga, Olamide’s neck of the woods, has been an ever-present in his music from the very beginning of his career, providing inspiration and grounding for the street-pop juggernaut who references the lessons learned and tales handed down in his hood. “Money,” the opening track from his sophomore album, ‘YBNL,’ features a bus conductor calling out for passengers to Ladilak, Bariga, forever immortalising the Lagos hood on wax. On “Rep Adugbo” from his incendiary ‘Baddest Guy Ever Liveth,’ he’s similarly unabashed about his dedication to Bariga, its inhabitants, and authority figures. Even superstardom hasn’t dulled those representative instincts: on “Supplier,” from his 2023 album, ‘Unruly,’ he’s keen to remind anyone listening that he carries Bariga with him everywhere he goes. – W.O
Asake, Lagos Island
Asake could only have emerged from the crucible of Lagos Island. There’s something about his carriage that undoubtedly suggests an upbringing in the oldest part of Lagos, and even though he doesn’t always directly reference Lagos Island, the seeds of its influence are in the margin of his work. The back and forth between Islamic and Christian motifs in his work is a legacy of the religiously tolerant culture of Lagos Island, and his slang usage reflects a stint living in the ocean-side community. Perhaps the clearest sign of his connection to Lagos Island came on his third studio album, ‘Lungu Boy,’ a detailing of his come-up story from Lagos Island hopeful to global superstar. On “Uhh Yeahh,” he sings, “Beere mi ni Kakawa,” directly shouting out the popular street in Lagos Island. Visual elements of his tour dates from 2024 also heavily featured and celebrated the streets of Lagos Island as the singer leaned into his heritage. Places like Adeniji Adele, Freedom Park, and Marina were featured, letting the world know that Asake has not forgotten his roots. – W.O
Zlatan, Ikorodu
Zlatan Ibile takes great pride in giving game to ambitious young hustlers looking to move beyond the current situation of their lives. His rise from Ikorodu hoodrat to Nigerian Hip-Hop royalty is the stuff of legend, but the stories of his woes, troubles, and sufferings in Ikorodu keenly display the relentlessness and dogged determination that saw Zlatan make a name for himself. He’s keen to reminisce on those days from time to time. On “Elevated,” off SuperWozzy’s 2021 ‘Light Of The Trenches,’ he sings, “Won fe k’enu mi gbe seh, biti church rat/ Mo moyan pupo n’Ikorodu ton ti te Shoprite,” reflecting on the lack that plagues huge swathes of Ikorodu. It’s a similar impulse that births his verse on Ajebo Hustlers’ “Dreams II,” which features a reference to his mischievous streak growing in Ikorodu. – W.O
Rema, Ekenhuan Road, Benin
If the syrupy trap-adjacent flow Rema employed on his introductory project or his incursions into diverse genres on several occasions since then have fooled you, his 2023 album, ‘HEIS,’ was a defiant reclamation of his identity as a Benin boy. To be fair, ‘HEIS’ didn’t just drop out of the blues; the Mavin singer had been preparing his audience for that home-leaning lurch since he stepped on stage adorned in a replica of the iconic mask of storied Benin royal, Queen Idia, during his first sold-out concert at the O2 Arena in London.
Reminding his audience of the painful history of British incursion in Benin, Rema set the stage for ‘HEIS,’ an album steeped in Benin-specific lore and acts of remembrance. “BENIN BOYS,” his blockbuster collaboration with Shallipopi, could not have passed the message of his origin better. Featuring a shoutout to his old neighbourhood, Ekenhuan Road, and an urge to the Oba to award him a medal, “BENIN BOYS” is a larger-than-life celebration of his city. Taken together with the rage-inducing “OZEBA,” it was a spiritual return home for one of Benin’s most iconic sons that showcased his identity for the world to see. – W.O
Seyi Vibez, Ikorodu
No one puts on for Ikorodu quite like Seyi Vibez. While the singer was originally born in Ketu, it’s in Ikorodu that he honed his craft as a skilled musician. He’s referenced his upbringing and Ikorodu specifically in a lot of his earlier interviews and songs, and it’s in that same administrative division that he put together his first show that pulled a crowd of about 200 people. The singer returned in 2023 for a free homecoming concert as a way to celebrate and give back to the community that helped kickstart and support his musical journey. He’s continued to rep Ikorodu even in recent times, most notably on his hit record “Shaolin.”– B.A
Mohbad, Ikorodu
Mohbad was one of Ikorodu’s crown jewels. In August 2023, just about a month before his passing, the singer posted a video of himself on Instagram visiting his old neighbourhood in Ikorodu. He went around distributing gifts and reconciling with longtime friends without any security, interacting organically with a community that regarded him as one of their own. He put on for his community just as much as they did for him. After his unfortunate passing, the youth rallies that were organised in Ikorodu to commemorate and demand justice for his death highlighted just how important he was to one of Lagos’s most populous hubs. – B.A
Shallipopi, Sapele Road, Benin
Even if his golden drawl and sonorous pidgin didn’t betray his Benin heritage, Shallipopi wouldn’t pretend to be from anywhere else but his hometown. That Benin heritage is in how Shallipopi perceives the world, the way he talks, and, particularly, how he approaches his music. “Obapluto,” the standout on his debut project, ‘Planet Pluto,’ features a prominent sample of Pa Monday Edo’s “Ogbaisi,” an homage to the Oba of Benin. It’s a trick he repeated on “ASAP,” off his sophomore album, ‘Shakespopi,’ sampling Alhaji Waziri Oshomah’s “Ikwekiame Nedumhe.” The chorus of his 2025 hit single is almost entirely sung in Bini, displaying the reverence that Shallipopi has for Benin – W.O.
Omah Lay, Port Harcourt
On the opener of Omah Lay’s critically acclaimed debut album ‘Boy Alone,’ he’s unequivocal about where he’s from. ‘All of the way from Port Harcourt/Water Side,’ he sings proudly, emphasising the city that shaped his music and creative voice. Throughout the album, he makes multiple other references to his background, whether it’s singing in his native Ikweere language or name-dropping neighbourhoods like the Marine Base area. In a Hypebeast interview from 2022, the singer spoke about his city with similar pride. “Port Harcourt is different from the rest of Nigeria in the way that we talk, eat– everything. It’s really different. All of that definitely influenced my music so much because it was really tough growing up in Port Harcourt, but that experience made me who I am today. I’ll never forget that or stop repping my city.” – B.A
On “Hot Body,” Ayra Starr sings with the relaxed certitude of a woman in command of her sexuality and...
All year, Ayra Starr’s music, visual aesthetic, and social media presence have shown us a new version of...
All year, Ayra Starr’s music, visual aesthetic, and social media presence have shown us a new version of her. She seems to be outgrowing the teenager we met in 2021, and molding her grown woman identity right in our presence. In the video for “Gimme Dat,” her second single of the year, featuring Wizkid, we see the red convertible that featured on the cover for her 2024 album, ‘TYIT21,’ and extensively across music videos from that era being blown up into a crisp. It seemingly symbolised the end of one era and the birth of “Hot Body” and everything it represents.
When Ayra was introduced, her music explored themes tied to youth and the emotional fragility that comes with navigating that period of your life. The ‘19 and Dangerous’ era showed us a self-confident teenager who was sure of who she wanted to be. However, “Hot Body” signals something entirely different. Produced by Ragee with additional input from The Elements, it’s crystal clear from the first listen that Ayra is owning her allure and agency.
Employing a rhythm that feels retro-made for a cross between GRWM prep with the girls and sweaty dancefloor shifts, her vocal delivery feels almost like an incantation. It’s seductive. She’s fully in control of your gaze and even dictates what you do with it. On “Hot Body,” Ayra Starr sings with the relaxed certitude of a woman in command of her sexuality and space.
Her performance here is rife with context. Having graduated from teenage histrionics on ‘19 & Dangerous’ to the introspective, emotional maturity of her 2024 sophomore album, ‘The Year I Turned 21,’ Ayra Starr has grown not only in voice, but in message and presence. ‘The Year I Turned 21’ charted at No. 1 across DSPs in Nigeria and cracked the US Billboard 200, making her the first Nigerian female artist to enter that chart. This is a clear marker of her ascension into adulthood, and we can hear it in the music and see it in its visual accompaniment.
“Hot Body” feels like the logical next step after ‘The Year I Turned 21.’ Where that record explored vulnerability, grief, ambition, and identity, “Hot Body” distills the confidence born from that journey into a potent, sensual exhale. She’s no longer defining herself against the world; instead, she’s defining how the world should perceive her.
Lyrically, “Hot Body” is playful but bold, with just enough suggestion to feel grown and sexy without losing the thrill of young self‑discovery. Sonically, it’s sleek and minimalist, yet it’s brimming with the palpable charm of some of the best music of the 2000s–think Beyoncé and Sean Paul’s “Baby Boy” or Rihanna’s “Rehab.”
The rollout for the song matched its effortless energy. A snippet on TikTok and Instagram teased an accompanying dance to the song, and fans responded instantly, turning the anticipation into instant engagement. Capped at two minutes, it’s a release primed for our era of bite‑size virality: short, immediate, and boasting insane replay value.
Yet, what distinguishes “Hot Body” from many viral tracks is the assuredness of Ayra’s journey. She stormed charts with “Rush,” became the youngest Nigerian woman to surpass 100 million YouTube views, and earned a Grammy nomination for it–a badge of early achievement and youthful potential.
That youth is now transfigured. On “Hot Body,” Ayra embodies her new identity. What once sounded like a prophecy has become her reality: global collaborations, awards, stadium stages, modeling runways, and a major film role all fit into a broader canvas that her early self prayed for. “Hot Body” sits at the convergence of Ayra’s journey. It’s youthful swagger that has mutated into deliberate elegance; curious vulnerability solidified into mastery; and ambition shaped into ownership.
“Hot Body” is made for the dancefloor, but when you’re alone, it’s the perfect backdrop for the walk of recognition in a well-lit room as you give yourself flowers. Ayra tells us in this song that she knows who she is, what she looks like, and that’s enough.