A Ranking Of Burna Boy’s Albums
With an eighth album from the African Giant on the horizon, the team at The NATIVE gathered together to rank all the Burna Boy albums.
Twelve years into his storied career, Burna Boy is operating from the pinnacle of Afropop, praised for his non-conformist take on the genre and a propulsive personality that has moved the culture forward in many ways. Perhaps the biggest influence he has had on Afropop is the return of albums as a gold standard in the genre. Somewhere between 2013 and 2019, Afropop became a singles market that effectively catered to whoever had the hottest song out at any given moment.
While the place for those singles still exists, Burna Boy has shown, over the years, that there’s a need to prioritise albums for legacy-building in this zeitgeist. Ultimately, the most incisive Burna Boy moments have arrived within the confines of his albums, whether on the demons-exorcising ‘On A Spaceship’ or the triumphant ‘African Giant.’ As one of the few Nigerian acts who always cared about that form, he has one of the deepest catalogues in modern Afropop, starting from 2013’s ‘L.I.F.E (Leaving an Impact For Eternity).’ With an eighth album from the African Giant on the horizon, the team at The NATIVE gathered together to rank all the Burna Boy albums and revisit the catalogue of one of Africa’s most gifted musicians.
‘African Giant’
Burna Boy’s infamous response to his position on the 2019 Coachella billing meant that he had to deliver on his 4th studio album. “I am an AFRICAN GIANT and will not be reduced to whatever that tiny writing means,” he wrote on Instagram, asserting that Africa will not be marginalised while also staking a claim as one of the continent’s best musicians. The music that came on ‘African Giant’ more than backed up this claim. While his previous album ‘Outside’ produced some of his finest cuts to date, ‘African Giant’ significantly raised the benchmark for Pop music in Africa, putting the world on notice that a new global superstar had been minted. – Boluwatife Adeyemi
‘Outside’
It’s very difficult to explain how precariously Burna Boy’s career hung in the balance pre-2018. The details of his personal life and reported misdemeanours threatened to overwhelm what was supposed to be a standout career; he needed an outlet for all he was feeling and where he was headed. 2018’s ‘Outside’ proved to be that outlet and launching pad for what is now regarded as an Afropop history-making run. From its start to finish, ‘Outside’ is packed with biographical details that capture Burna coming to terms with where he’s at in his career and grappling with what the future holds. “I ain’t gettin’ no younger,” he sang on “More Life.” Not one to be bothered by inconsequential details, that age quip quickly dissolved into the background as Burna Boy got to work on crafting a project that brought him back from the edge of the precipice. Originally billed as a mixtape, ‘Outside’ is now regarded as a seminal Burna Boy album, a living, breathing dedication to evolution and reinvention – Wale Oloworekende
‘Twice As Tall’
Burna Boy is at his best when his back is against the wall or when he has a point to prove. He seemed to have acquired the six infinity stones to create ‘African Giant,’ his magnum opus that earned him his first-ever Grammy nomination, which he famously lost to Beninese legend Angélique Kidjo. ‘Twice As Tall,’ which came a few months after the award show, was his swaggering response to this loss. The album’s striking vulnerability and kaleidoscopic interpretation of African Pop music helped him make giant strides, as the album secured his first Grammy in the Best Global Music category. – B.A
‘L.I.F.E (Leaving an Impact For Eternity)’
In many ways, ‘L.I.F.E (Leaving an Impact For Eternity)’ represents the original codex of everything that Burna Boy has gone on to achieve throughout his career. There are stylistic reinterpretations of several genres, a chameleonic understanding of what each situation demands, and an almost savant-like level of execution across diverse soundscapes. The album’s cover art featured a collage of musical icons, including Fela Kuti, King Sunny Ade, and Bob Marley, in the backdrop of a picture of Burna Boy as a kid, deliberately positioning himself as a generational talent in that lineage of artistic greats. Pieced together with LeriQ, the music on ‘L.I.F.E’ largely held up to that audacious estimation of self. There are slippery dedications to living up life (“Tonight” and “Like to Party”), superstar link-ups (“Jahs Love is True,” “Abeg Abeg,” and “My City”), as well as vivid pop hits (“Boom Boom Boom” and “Always Love You”). On ‘L.I.F.E,’ a promise was made to leave an impact for eternity, and it’s a promise that’s since been kept – W.O
‘’I Told Them…’
After his globetrotting efforts on ‘Love Damini,’ one of his weaker albums in recent times, Burna Boy took a more familiar and focused approach on his 7th studio album ‘I Told Them…’ The result is a sturdy and well-curated, Grammy-nominated album that indicates the superstar singer was showing no sign of weakness even before he announced the title of his eighth studio album. Save for the ludicrous penultimate track “Thanks,” which features American rapper J.Cole, ‘I Told Them…’ houses stellar cuts like “Dey Play,” “Giza,” “City Boys,” and a few others which are some of the most enjoyable and compelling cuts in Burna Boy’s robust discography so far. – B.A
‘Love, Damini’
Coming just two years after the euphoric Grammy-winning success of 2020’s ‘Twice As Tall,’ ‘Love, Damini’ revealed a new layer to the artistry of Burna Boy, showcasing a glossed-over sensitivity that the Port Harcourt-born star had rarely shown across the full length of a project. In homage to his global reputation, there were big blockbuster collaborations with Ed Sheeran, J Balvin, J Hus, and Khalid. Still, the narrative of ‘Love, Damini’ is effectively defined by tracks that reflect on topics that everyday Nigerians can relate to. On “Whiskey,” there’s a reference to the environmental hazard caused by oil flaring in Port Harcourt, “Common Person” was a heart-tugging attempt to remind everyone that he’s still a human being, while the record-breaking “Last Last” effectively showed that even the biggest stars were not immune to the destabilising effects of heartbreak. – W.O
‘On A Spaceship’
‘On A Spaceship’ is Burna Boy’s least memorable album, and for good reason. Along with his trusted producer LeriQ, the singer was able to craft a fine debut album that quickly set him apart as one of the most talented names around at the time. He, however, couldn’t meet the standards he set for himself on his lackluster sophomore. ‘On A Spaceship’ lacked the cohesion of its predecessor, and it was also noticeably missing the trusted hands of LeriQ. Even though the album managed to produce noteworthy songs like “Soke,” and “Rizzla,” they weren’t enough to save a body of work that felt largely uninspired. – B.A
Luwa.Mp4 Releases Riotous Debut Album, ‘punKstA*’
Across the album’s 12 tracks, Luwa.Mp4 continues his fiery exploration and fusion of genres like Punk Rock,...
Rising singer and rapper Luwa.Mp4 has released his debut album titled ‘punKstA*.’ The underground star who has been on a release spree all year long, announced the imminent arrival of his debut only a couple of days ago with a cryptic trailer video and an Instagram caption that simply read ‘PUNKSTA* MONDAY.’
Before the arrival of ‘punKstA*,’ the rising fusion star had been showcasing his diligence and talent with a consistent output that has seen him put out over a dozen songs since the start of the year. A string of singles led to a 6-pack titled ‘lore skooL,’ while a deluxe version that housed 5 new songs came just a month later.
His debut album’s lead single, “pUNK FANTASY,” arrived in late July, setting the stage for what could prove to be a pivotal moment in the underground star’s burgeoning career.
Across the album’s 12 tracks, the eclectic singer continues his fiery exploration and fusion of genres like Punk Rock, Afropop, Hyperpop, and Rap into something uniquely different. Tracks like “Pure Water,” which was previously teased on Cruel Santino’s Subaru Live Stream, the abrasive, Tecno-influenced “pROMISED NEVERLAND,” and the more laidback “pEEp MY RIDE” put on display the sort of varied, autotune-soaked approach that has set him apart and helped carve a growing niche.
While Luwa decided to go solo on his debut, credited as the only recording artist, the album was brought to life by a cast of talented producers like frequent collaborator TOPSY, Emyboi, JTRN, 3CB, FVKK.ANDI and Jeremy Cartier.
Listen to ‘punKstA*,’ here.
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Shekhinah Returns With Surprise Album, ‘Less Trouble’
The South African R&B star is at her most assertive on her first album in four years.
South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption.
The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight.
If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns.
Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,” and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’
Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album.
Listen to ‘Less Trouble’ here.
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The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’
‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...
Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music.
In the lead-up to her new album, ‘Black Star,’ she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.” Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’ As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens.
WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM?
Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.
Bamise: I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that.
Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different.
WHAT SONGS STOOD OUT ON THE FIRST LISTEN?
Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!
Daniel Akins: I need to hear “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2” with PinkPantheress is the collaboration I knew I needed, and I’m glad they finally linked up. It’s a clear standout on the project; their ethereal style complements each other.
Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!
HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?
Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.” The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.
Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.
Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen.
WHAT SONG IS THE BIGGEST SKIP?
Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album.
Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.
Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me.
WHAT SONG HAS THE BIGGEST HIT POTENTIAL?
Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically, TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”
Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.
Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.
OVERALL FIRST IMPRESSIONS
Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa.
Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae. Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will.
Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.
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