The beginning of every year comes with promise. For Afropop, specifically, it’s the promise that the continent’s diverse urban music scene continues to be inventive, flush with great music and attention-holding at home and to the rest of the world. For those positive things to manifest, there has to breakthrough artists taking the next steps in their careers and pushing the envelope. At The NATIVE, we’ve always taken pride in championing the artist and music of tomorrow in this moment, and we’re back on the job.
For this year’s first edition of ‘uNder’, our column spotlighting breakout and intriguing acts, we’re sharing with you seven artists the editorial team is excited about as 2023 unfolds. There’s Libianca, the Cameroonian singer whose recent breakout has been helped along by a deeply, emotionally resonant hit song; Fresh Meat alum Tyla, the South African starlet set to fulfil her potentials; Bloody Civilian, a fiercely talented Nigerian singer and producer; and more artists who deserve our collective attention. Read through our list, hit play on our playlist, and you’re guaranteed to find and hold on to more than one new favourite artist.
LIBIANCA
No song this year has been more penetrating than “People.” Emotions of abandonment and pending doom are universally felt, but no one could have written the record like Libianca. With vocal measure and expressiveness in perfect sync, the Liberian-American artist unfurled a layer of her artistry which now has millions around the globe hooked. On TikTok and just about everywhere, the famous query of its chorus (“I’ve been drinking more alcohol for the past five days, did you check on me?”) has been a fixture, while industry bigwigs like RCA/Jae5 and BNXN have sought her affiliation through a record deal, as in the former, or a melancholic cover as delivered by the Nigerian singer.
Libianca’s journey in music goes far back. Born in the US, she moved to Cameroon when she was four. She was exposed to a variety of music and began writing songs at ten, getting a local record deal when she moved back to America during her teens. Last year’s showing on The Voice was a fitting rite-of-passage for an artist who’s been working all their life for musical greatness. Her early-career cuts like “Level” and “My Place” possess the soulful awareness of her vocals and on the tear-inducing family ode “Thank You,” you’ll hear the sensuous blend of afropop and R&B which makes her so exciting. Even uber-popular hits like Doja Cat’s “Woman” and Billie Ellish’s “everything I wanted” sound better when covered by Libianca, her songwriting and vocal prowess turning the records on their heads.
Since Tems, seldom has an African artist been this intentional about the 360 aspects of her craft. And with Tems currently being where she is, there’s no doubt Libianca possesses the talent and grit to reach those same levels and possibly exceed them.
Emmanuel Esomnofu
Bloody Civilian
Last year must’ve been the best Bloody Civilian ever dreamt of. After securing a spot on NATIVE Sound System’s debut compilation project‘NATIVEWORLD,’ the Abuja-born singer/producer dropped a single and snagged production and artist credits on the Ludwig Göransson-helmedsoundtrack for Marvel’s Black Panther: Wakanda Forever. It was a host of incredible achievements for a DIY artist who, until 2021, went by a different stage name.
In 2019, under the stage name emosé, Bloody Civilian (born Emoseh Khamofu) released the single“Goliath,” a Folk-inspired tune steeped in biblical allusions where the singer railed at naysayers and swore to surmount trials. While her vocals floated with evident ease and the anger powering those lyrics was covert, her emotions are raw and inescapable on her audaciously-titled 2022 single “How To Kill A Man.” On the self-produced song, she sings that her “Anger wey dey boil like heater” is out for revenge against any man who dares to be on her wrong side. Alongside the song’s menacing rhythms, Bloody Civilian, fed up with injustice, details the ways she would gain her pound of flesh. It never feels gimmicky; the song works because you can feel it comes from an honest place. After all, frustration is a feeling we all have felt.
The accompanying video for “How To Kill A Man” packs high energy as Bloody Civilian plays the role of an action figure who battles her enemy. She also paraded an array of talents as she did her stunts, directed the visuals and was part of the editing team. With a Def Jam deal in the bag and an EP in the works, there is more greatness to be expected from the Bloody Civilian as she refines her sound.
Uzoma Iherijika
M. Rumbi
Rumbi’s discography is rich. The Kenya-born producer, singer, rapper and songwriter, has been making music since 2017. His sound is mostly a relaxing mix of R&B, Jazz, Soul and Hip-hop. A self-taught creative, M. Rumbi, who finds inspiration in the works of The Roots, FKJ, Tom Misch and Uyama Hiroto, has spent adequate time perfecting his craft and making music that touches on topics of love, existence and relationships.
An admirable quality of M. Rumbi’s music is his penchant for collaboration. He has worked with numerous local and international artists, with projects such as 2018’s‘Busy Body,’2020’s‘Si Me. See Me’ and‘Not All That,’and 2021’s‘A.Ms’highlighting his versatility. He is one half of the creative duo BasicCity and also produces under the moniker theNairobiNomad. On “Outplayed,” his first single of the year, M. Rumbi orchestrates a Jazz/R&B-influenced soundscape for Philippines-based singer Christine Cuare has fears about another woman in her lover’s life and questions his commitment to her: “Why always playing games?/If it will/If it will end the same?” The track also sizzles with elements of electronic music, rounding up a fine showing of M. Rumbi’s mastery. If “Outplayed” is a sign of things to come, it portends thatM. Rumbi has more delights up his sleeve.
Uzoma
SCUMIE
Surprise is a potent element of rap music. Within the South African music scene, few artists underline that truth as poignantly as Scumie. Though the youngster’s entry came about two years ago, an effortless charisma and writing which flosses while being sensitive has earned her a stellar profile. In 2021, her ‘066’ EP demonstrated a spitter with cutting edge, but even more mastery emboldens its follow-up released on the penultimate day of the year. With just one song exceeding two minutes, the seven tracks play out like cut-and-join pieces, a style which lends her urgent thoughts the brazen individual direction needed to thrive.
Scumie’s range comes alive on “Solitude” and “SRT,” two standouts from the project which culls in ambient synths and a menacing drill base respectively. On last year’s ‘Gangsters With Standards’, she collaborated with producer Moett to deliver her most riveting project yet. Full-throated declarations colour the opener “Sky” while her stylistic resume also includes emo-inspired crooning (“NO MORE”) and scattershot rapping, as you’ll hear on eight-minute cut “Party/Pressure”. Her ear for beats is remarkably brilliant and with a collaborative edge to her artistry, Scumie wields significant tools for breaking through into mainstream influence. After impressing on the pop-leaning “Give Me Ya Luv?” which features Blxckie, she returned the favour on the rapper’s “investigate”, delivering a Nicki Minaj-reminiscent last verse on the gritty trap production. More than anything, those performances verify the buzz of Scumie’s talent as legitimate.
Emmanuel
IkeN
Kenyan born singer and songwriter Ike Ngala, recording and performing under the moniker IkeN, fell in love with music from a young age. The 19-year old musician, songwriter, and producer began experimenting with writing and recording on his computer in his early teens, with his production and vocal talent swiftly developing to the mature alt-pop music we hear today. He brings together delicately powerful vocals with rich soundscapes, and pop-leaning songwriting.
Since he made his debut in 2020 with “Vibe With You,” IkeN has only solidified his footing in the music industry with records such as “Twisted” and “I hear Angels” both of which allowed the artist to show off his distinct and sonorous vocals. To round up the year last year, he released the infectious record “Your Turn,” an open letter to his love interest that also doubles as his best song yet. A largely DIY artist, what the singer has been able to put together so far is as impressive as it is intriguing, setting him up for a future that will draw more ears and eyes to him. IkeN is ready for the next phase of his career and we’re here to see him shine.
Wonu Osikoya
TYLA
For the budding 19-year old superstar Tyla, becoming a global pop star was always a huge part of her plan. When Tyla released her dance-ready bop “Gettin Late,”it ended up taking over TikTok and Instagram due to its up tempo beat. Taking off during the pandemic, the song earned the singer her big break, its glossy Amapiano-meets-pop sheen quickly helping to anoint her as South African music’s latest starlet. Ever since then, Tyla has only become a force to be reckoned with. When her song is not featured in some of the biggest Netflix SA TV shows, ‘Blood & Water,’ she’s performing her hit songs on world stages.
In the two years since her first taste of mainstream, Tyla has been seemingly playing the long game, with a deliberate slow drip of music that signals a focus on her development. Right now, it feels like go time. To end last year, she released “To Last,” and has quickly opened her account for this year with the sparkling “Been Thinking.” In typical Tyla fashion, she brings forward a vibrant and radiant effect to the new record with her stellar lyricism, as she opens her heart up to her love interest and dazzles with her porcelain voice. These releases have set Tyla up to move to the next stage of greatness, from growing star to potential great.
Wonu
Wizard Chan
Wizard Chan believes he’s a messenger from the Creator. At least, that’s what he projects on“Earth Song,” the December 2022-released single that’s currently serving as his breakthrough single. “Lord have mercy/I’m on my knees ‘cos a man must sin,” he quips on the song. The spiritually-inclined song is also a stunning feat of self-awareness from an artist who’s never lacked it across his earlier songs. The Port Harcourt-raised artist is versatile, sometimes couching those sort of poignant lines and more playful lines into fusion-pop songs with palpable Reggae influences.
Releasing his first single “Halo Halo” in 2020 he has morphed into a multifaceted artist dabbling between discrete storytelling and releasing bangers. On “Truth,” he uses society as his canvas, tackling everyday ills and injustices while shining a ray of hope for the days to come. After a brief hiatus, he made his come back earlier in 2022 with the lovelorn “Miss You,” where he proved his range beyond rapping and highlighting how the break helped grow his craft as an artist, as he harmonises on the chorus. Wizard Chan is obvious dragging around a big bag of tricks and deep artistic arsenal, and that is synonymous with world-beating potential. There’s already a lot to love about him, and there will be much more to admire as he unfolds he abilities to the world as 2023 goes by.
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.