Afropop On The Rise: Just when you thought it couldn’t get any bigger, it did
breakout artists, sold out international venues and grammy nods
We’re very well beyond the point of surprise as we witness Afropop incessantly redefining the status quo, breaking the boundaries and peeling off all labels, as its key players garner attention of audiences beyond the home base. The commendation for this steady yet astronomical rise goes beyond the artists creating the music but to all creatives involved in the process, inclusive but not exhaustive of the producers, videographers, directors and most especially this year the DJ’s. From the back of the ever-evolving street pop corner in Nigerian Pop to the genre-defying acts in South Africa’s Amapiano and plethora of others, the power of Afropop aggressively grows stronger with every new release.
With COVID-19 almost completely out of the way and the scare of live, public gatherings practically non-existent, concerts, parties, clubs, Boiler Rooms and other venues that play a crucial role in flinging the ropes of Afropop far beyond its curbs are bigger, louder and brighter than ever. If the iconic dynamic duo, Major League DJz aren’t rocking the sound waves with the hottest and freshest sounds from these parts in Ibiza, then superstar DJ Uncle Waffles is debuting her Amapiano hit single “Tanzania,” on one of the biggest online music broadcasting and promotional platforms in the world, Boiler Room. Right off the heels of her viral video last year, where she captured audiences with her enthralling dance moves and masterful set, Uncle Waffles set out to display her skills beyond the deck.
As the proliferation Amapiano exceeds its borders, standout acts like Mellow and Sleazy are captivate audiences with their enthralling, Bacardi-infused take on the incredibly prominent sound, championing hood ‘Piano invention that continues to cross borders. Think “Abo Mvelo,” “Wenza Kanjani” and expanding its impact to this year via its music video release, the TikTok-favourite “Nkao Tempela.” It’s just one part of the inventive equation, when you consider the continued presence of Private School Amapiano and the Deep House-led excursions of veteran hands like Gabba Canal and newer faces like Sam Deep.
Recently, ‘Piano luminary Njelic sparked a conversation on the seeming one-way traffic effected by growing international attention on the dance subgenre, where more producers and artists are spending more time trotting foreign soil for gigs. Njelic believes South Africa, being the creative cradle of Amapiano, should be a Mecca for the rest of the world to travel to in order to truly experience the sound and culture around it. It’s a complex take, an idealistic one with its own demerits, but it’s an implicit testament to the strides a hood-originated sound has taken over the last few years. A lot of that, like nearly everything that has helped propel Afropop to global dominance, has been powered by ubiquitous digital tools: Internet, streaming and social media.
Music doesn’t just travel farther than the geographical point of its immediate audience, it does so at its fastest pace yet. Whether an artist travels outside their country to perform or not, all it takes a viral moment to reach worldwide recognition—a phenomenon that’s being aided by globally-viewed virtual performance platforms. Over the course of this year, COLORS Studios shared a batch of single song live sets from a slew of Nigerian Pop artists, including Lady Donli’s breezy “Thunderstorm in Surulere,” Victony’s contemplative “Many Man,” BNXN’s balmy “In My Mind,” Ayra Starr’s cheeky “ASE,” and more. While these COLORS performances were generally compelling, the clear standout was Oxlade’s helium-tinged voice and gyrating dances for his rendition of “KU LO SA.”
To those who’ve been unto the singer since his show-stealing feature on Blaqbonez’s “Mamiwota,” Oxlade’s voice is one of the most captivating in Nigerian pop and his on-stage presence is a joy to behold. Given a global platform and armed with a great song, those parts of his abilities were greatly amplified, helping him jump out as the latest viral superstar in Afropop. With help from TikTok, the singer’s movements seeped into pop culture through reverent and playful mimicry, and in a few months “KU LO SA” gradually grew into an international hit song. This path to popularity is reminiscent of CKay’s “Love Nwantiti,” and Amaarae’s “SAD GIRLZ LUV MONEY” remix assisted by Moliy and Kali Uchis, two already popular songs which went on to top international charts after they hit TikTok. Oxlade, like his counterparts, is on the cusp of further breakthrough as he contributes to the expansion of Afropop conversations using his infectious vocals.
And when the stars are not delivering ground-breaking performances on music platforms, they are gathering their fans from across the world and selling out some of the biggest concert venues and redefining live performances forever. In a pinch-me Afropop moment, Grammy-winning Nigerian singer Burna Boy performed to a sold out crowd at the prestigious Madison Square Garden in New York, that late April night coming just over three years after his Coachella line-up outburst. During his engaging and memorable MSG show, Burna Boy premiered “Last Last,” a then-new single ahead of his sixth studio album, ‘Love, Damini’. The song, a riveting track about failed romance and coping mechanisms quickly became a national smash, which was expected considering how much its songwriting conversed with Nigerian pop culture lingo.
What many didn’t envisage, though, is how huge of a global hit “Last Last” would become. Even as its housing album came out with several big name features—Ed Sheeran, Khalid, Kehlani, Popcaan and more—the song remained its commercial lodestar. For the second year in a row, Nigerian pop had submitted a veritable candidate for stateside and worldwide song of the summer, and it’s perhaps more impressive that it happened without a feature-based remix.
To be plain, features have been and remain an important tool to the spread of Nigerian pop, but it’s remarkable that they’re aren’t a do or die option to improve a song’s reach. Even before Justin Bieber eagerly jumped on the remix of Wizkid and Tems’ “Essence”, it was already a cultural needle mover. In fact, it reiterated just how drawn non-African artists are to the sounds emanating from these parts. If Destiny Child’s Kelly Rowland isn’t remixing Ayra Starr’s “Bloody Samarittan,” then Selena Gomez’s melluflous vocals are gracing Rema’s “Calm Down” garnering the young Mavins Records signee several plaques and certifications. While the long term effects of international influences on Afropop can be debated, there is undeniable benefit for African artists and their crossover to global audiences.
Coupled with the features, African artists continue to etch our sounds into the soundscape beyond Africa while maintaining the nonpariel elements that make it ours. South African DJ, Black Coffee, alongisde his son, Esona Tyolo, scored production credits on “Texts Go Green” and “Currents” off Drake’s dance album, ‘Honestly, Nevermind.’ On the subject of dance albums from some of the biggest names in the music industry, BET award winner Tems and dexterous producer P2J snagged performance and production credits on “Move” from Beyoncé’s ‘RENAISSANCE.’
Beyond that, a slew of African creatives graced the soundtrack for the highly anticipated film, ‘Black Panther 2: Wakanda Forever.’ Leading up to the release was Tems’ formidable cover of Bob Marley’s “No Woman, No Cry” for the films trailer alongside her writing credits on “Lift Me Up”, performed by Rihanna and an exceptional rendition by Ghanian superstar, Amaarae, on “A Body, A Coffin” for the prologue. This was followed up by some of the greatest talents in Afropop on the film’s soundtrack, including: Burna Boy, DBN Gogo, Sino Msolo, Fireboy DML, CKay, Rema, Young Stunna and Bloody Civilian -who learnt of her involvement before the release of her debut single “How To Kill A Man”– to name a few.
With or without international recognition, African artists are constantly breaking the boundaries and redefining the status quo and with notable mention are the younger generation of artists like Mellow and Sleazy and Mavins Records signee’s Ayra Star and Rema. Ayra Starr continues to witness groundbreaking success with innovative chart topping hits like “Rush” off ’19 and Dangerous: Deluxe’ and “2 Sugar,” standout track from Wizkid’s fifth studio album, ‘More Love, Less Ego.’ And with every new release, the starlet showcases maturity with her braggadocious lyricism and euphonious vocals. Her record label partner, Rema, from one concert venue to the other broadens the scope of his already trailblazing debut album ‘Rave and Roses’ with noteworthy tracks like Aj Tracey-assisted “FYN” and “Oroma Baby.” However, worth notable mention is indisputably one of the biggest, loudest and most relentless breakthrough acts of the year, Asake.
While he was thrown into the limelight this year with back to back hits—“Omo Ope,” “PALAZZO” and “Terminator”—Asake has been in the music scene for years now. Two years before memorable one-liners like “I just blow, but omo I know my set” off “Peace Be Unto You (PBUY),” Asake had inserted himself within Nigerian music conversations with popular street-pop hit, “Mr Money.” Following the success of such tracks and stellar visuals directed by industry key player, TG Omori, to accompany them, Asake announced his debut album, ‘Mr. Money With The Vibe.’ Every year, Nigerian pop ushers in several candidates to the mainstream, Asake’s run offers a standout cut from the group this year. With a stack of smash hit singles under his belt, conversation was steered around if his debut album -being a full body of work- would live up to expectations.
Undoubtedly, ‘Mr. Money With The Vibe.’ outlived the expectations of many. The 30 minute 12-track project, fit for today’s consumer with a low attention span, provided a mix of Asake’s typically catchy, upbeat productions and more slower-paced tracks like “Nzaza” and “Muse.” He also reinforced his versatility with tracks like “Dupe,” a house-influenced track, serving as an appreciation for his tumultuous journey thus far. Employing Yoruba, Pidgin and English, Asake with every release, including standout features like Tiwa Savage-assisted “Loaded” and Fireboy’s “Bandana,” has proven to be an unstoppable force.
From the sound waves in Nigeria to the airwaves in Johannesburg, acts like Prince Kaybee, Musa Keys, Focalistic, Kabza De Small and others are broadening our sonic palettes one ‘Piano track at a time. “Kancane,” a marriage of captivating cadences, heart-thumping and mellow rhythms, taps into the finest elements of Afropop, Amapiano and soulful house. 9umba 9umba’s hypnotic, hip-gyrating track, “uMlando,” which enlisted an all star cast including Young Stunna and Sino Msolo or Pabi Cooper’s “Banyana Ke Bafana” featuring Amapiano heavyweight, Focalistic, amongst others or Kabza De Small’s “Eningi” off ‘KOA II Part 1.’
One thing these artists are constantly doing is building a community of minds alike by tapping into their unique sounds and perspectives, making the genre an ever evolving one not slowing down any time soon. Beyond the country, they tap into artists who provide a fresh perspective on the already groundbreaking tracks. A perfect example are Musa Keys and Loui who enlisted Victony for a remix on their hot track, “Selema (Po Po).” The trajectory of Amapiano continues being shaped by other ground breaking acts like Tyler ICU, Virgo Deep, Mas Musiq, Mr JazziQ, Dali Wonga, Ami Faku and the likes as they drive the infamous lush keys and log drums to cult success.
Also taking the South African house-influenced sounds to a whole new levels by merging with R&B are acts like Venom and Shishiliza for their outstanding work on ‘Love is Pain.’ Promotional singles “Sondela” and “Vuka” which had the streets in a chokehold, built anticipation for the project – a perfect blend of mellow Amapiano soundscapes with jazz and soul sensibilities. Not only did the duo manage to draw the legendary Mr Selwyn out of retirement, they brought some contemporary rappers like Loki on board with industry legends like the late Riky Rick in an eclectic sonic palette. Doubling down on mentionable R&B projects this year is Ria Boss’ ‘Remember.’ The soulful Accra-based musician delivered a project on her sorrow, love, and frustrations with life in a way many other artists could not afford, in a live performance. The album boasts of exquisite productions as well as stellar vocals from the artist and the Ghanaian band, The Musical Lunatics.
While the musical year started off on sour notes with the Grammy snob for Wizkid’s genre-defying album, ‘Made In Lagos,’ with only a few days left till the year end, we’re now wrapping up with four Grammy nods split evenly between Burna Boy and Tems. It goes without saying that 2022 has been another outstanding year for the proliferation of the burgeoning Afropop scene. African creatives in the music scene are sustaining the momentum as they go head-to-head with their international counterparts. One thing’s for certain, they won’t be stopping anytime soon.
Featured Image Credits/The NATIVE
Nwanneamaka couples her creative interests with her individuality, using words as a vessel for her expression.
ICYMI: ASAKE’S TIME
Rema Has Another Banger With Explosive “Kelebu”
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 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 or is 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.
Listen to “Kelebu” here.
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The Locales That Shaped Our Favourite Afropop Stars
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 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
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Best New Music: Ayra Starr Turns Youthful Swagger Into Sensual Elegance On “Hot Body”
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 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.
Listen to “Hot Body” here.
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