Staying True To Our Mission Reshape The Face Of African Popular Culture, The NATIVE Team Curates A Monthly List To Spotlight The Best And Most Exciting New Artists On The Continent. Some Of These Artists Have Dropped Songs To Some Regional Acclaim, While Others Are Brand New On The Block, Working Towards Their First Big Break. Tune In To What’s Next. Click Here For May’s Fresh Meat.

Music is the most accessible it’s ever been. It might be trite to say, but the impact of streaming and social media can just not be overstated. In the era of tap/click to listen, the endless scroll, and multiple avenues for instant connectivity, there’s an endless stream of new music always waiting for us. With this and the effect of the democratisation of music-making and distribution tools, there’s an influx of young, exciting and rule-breaking artists to discover.

As a publication and community dedicated to championing the sounds of tomorrow, today, The NATIVE’s editorial team always look forward to the end of each month where we share some of the best, nascent musicians we’ve become enamoured by over the last few weeks. On a perhaps more selfish note, our Fresh Meat column, now in its 16^th consecutive month, is the team’s consistent way of rededicating itself to music discovery, a tenet that’s always been integral to The NATIVE even as we’ve improved and diversified how we cover music and youth culture. The column offers us a chance to intensify the spotlight on budding stars, and champion artists helping to redefine the perception of the music meant to be made by Africans.

This month’s instalment is no different. As usual, the selection of artists don’t cater to any stringent sonic rules, emboldening the diversity of the music being made by young Africans on the continent and in the diaspora. From PRVNA’s lilting, Dance-meets-R&B melodies, to Skolleywood’s unflappable raps, to the vulnerable Neo-Soul of Dato Seiko, and more, here are eight artists you should be paying attention to—if you haven’t been already. (Check out last month’s instalment here.)

Dato Seiko

Dato Seiko took the scenic route to becoming Botswana’s latest breakout star. The singer began to garner initial attention with moving, innovative covers, and acoustic live renditions of her own written material, establishing the efficacy of her sweetly-scented voice. If you scroll long enough on her Instagram page and go through her YouTube channel, these covers and acoustic performances date as far back as 2017. “I started singing since my consciousness, and I haven’t stopped since,” she said in an interview with Sunday Standard last December. “It has always been my way of expressing myself.”

Last year, she made a wondrous guest appearance on “How It Feels,” the emotional centrepiece on Botswanan rapper/comedian William Last KRM’s debut album, Willian. On the song, Dato serves the anchor, singing the affecting chorus that perfectly accompanies the introspective gushing on William’s verses. With the early year release of its equally moving music video, which has amassed respectable 800k-plus views and counting, “How It Feels” quickly became Dato’s biggest star turn yet, setting the tone for a year that has seen the release of her long-awaited debut project.

Grace Effect, Dato’s 5-track EP, is a superb presentation of the artist’s inclination towards creating songs with intimacy and vulnerability at their core. Listening to the project is akin to gaining unfettered viewing as she fills out pages of her diary. The opener “The Wait (Gravity)” dramatizes the winding process of resolving a romantic situation where one party is hesitant. Similar to several other songs on the EP, her voice emotively stretches out over minimalist musical choices—usually just languid piano and/or guitar chords, and a little percussion. This inclination draws attention to her expressive writing and the way it impressively depicts the tensions in interpersonal relationships, like on “Lunathi,” where a piano is the only instrument as she sings of being platonically enamoured.

Showcasing her versatility beyond acoustic/ballad sensibilities, Dato also turns in looser, more blue-eyed cuts. On “Kaone Kario,” she slinks over a fleshy Neo-Soul groove, in her coy and sweet attempt to woo a love interest. Joined by Botswanan R&B star Mpho Sebina, she rues falling into an unsuccessful romantic situation on “Moonstone,” the chill bounce of the contemporary R&B production helping to convey their optimism that next time will be better. With Grace Effect, Dato Seiko has created an atmosphere for listeners—especially Black women and Queer folks—to relate with the relationship woes and hopes she shares on wax. Already, there are loyal supporters singing Dato’s songs faithfully, a fan-base that will continue to expand as her music enters more pairs of ears and connects with more hearts.

(Recommended if you like: Jazmine Sullivan, Elaine, Kehlani)

Skolleywood

The first thing I noticed about Johannesburg-born rapper Skolleywood is the glaring portmanteau that makes up her stage name. In a recent interview released earlier this year on BreakRoom Africa, the rapper was faced with a very important, yet seemingly daunting question that would frighten any newcomer. Who was Skolleywood? However, her response made an excellent showcase for her unfiltered confidence in herself and her musical abilities. “I am a rapper who is just trying to show inspiration to other kids out there, by being unique and unapologetically expressing yourself by creating your own SKOLLEYWOOD (world),” she shared, admitting the secret ingredient behind her confidence was her remarkable worldview as a storyteller. With lyrics imagining shopping trips round to the Vivien Westwood store and dallying with the rich and famous in Hollywood, it was clear that this was an artist armed with all the tools within herself to fully immerse others into her vibrant world.

It’s no surprise that Skolleywood has this innate sense of identity in herself given that the rapper has been making music for as long as she can remember. When Skolleywood was a young girl, she created an all-female band with her sisters but as she tells it, she was undeniably the main character in their dynamic. Bolstered by these experiences over the years, the newcomer released her debut single “Giddy Up!” last year April, just as the world around her descended into lockdowns and screeched to a standstill. In contrast, “Giddy Up!” was fast-paced, urgent and packed with sharp, clear raps that showed the rapper came into the game cocky, loud and ready for a good time. “Niggas out here pissed on facts that I’m spittin’/It’s in my DNA, I’m a star player” she quipped over the bass-thumping beat produced by Redash as she delivers a glittering debut that in one breath curses out the competition and in another, stakes her claim in the South African rap scene.

By her sophomore release “Thanks For Nothing”, released three months after her debut, it was clear that Skolleywood was just getting started. Once again, she linked up with close collaborator, producer Redash who delivered an uptempo hi-hat heavy beat with ample space for Skolleywood to fire off her menacing raps. “They thinkin’ I’m countin’ on their tips cause they asked for me/ Don’t need your call cause I know what you gon’ ask of me” she raps grimly, unafraid to mince her words and full of all the smoke for her last nigga. It’s hard to imagine Skolleywood letting anything get in the way of where she wants to be and that applies with niggas and coons alike.

Although women rappers have always been an integral part of rap culture’s fabric, they’ve often been shifted to the background as decoration for their male contemporaries or pitted against one another whereby only one can come out victorious, but this new generation of female emcees are changing the narrative. From the big-ticket names such as Doja Cat and Megan thee Stallion to new names arising on the continent including SGaWD, Lioness, Benzo, Brazy and more, it’s clear that the female rap evolution is well underway and anyone still sleeping on them is sorely doing themselves a great disservice. Tap in before it’s too late.

Jody

Jody makes music that is translucently confessional, subsuming desire, angst, and pain into smartly engineered mid-tempo songs that convey vivid messages. Born and raised in Lagos, the singer born Chukwuemeka Ugemba Emmanuel has always used music as an outlet for his feelings for as long as he can remember, drawing broad strokes with his pentatonic voice. Initially, he was drawn to hip-hop, joining his elder brother to rap over rudimentary beats as a secondary school student in the early 2000s before graduating to professionally recording a series of demos at the tail-end of his time in secondary school.

Beset by financial hindrances, Jody’s path into the music industry was plotted via strategically-released covers and freestyles, with one such effort catching the attention of Jos-born producer, Chopstix, in 2018. Drawn to his emotion-laden delivery and nimble flow, the producer worked extensively with Jody before introducing him to Skales. A chance to work with Skales on his Mr. Love album was a part of Jody’s development and, by the end of 2020, he appeared alongside Skales and Shegxz on a freestyle titled “Bounce On Beat” where his sing-rapping cameo was the highlight of the song.  Concurrently, Jody was working on a series of songs that’d form the bulk of his introductory project as the finer details of a record deal with Skales’ OHK Entertainment were being smoothed over.

Set entirely with a minimalist palette, Waves, Jody’s debut EP, features more of his rueful emoting set to simple beat patterns bolstered by his latitudinal voice. Mixing neo-soul and R&B with the skittering drums of Afropop, his project is rangey, introducing listeners to new planes of rhythmicity while keeping his lyrics light, memorable, and incisive. But the real highlight here is his voice and how he wields it to express his yearnings like on “Fling,” where he expresses his fancy for a love interest over a light dancehall-influenced instrumental with the material troupe of Afropop without sounding cringey. The previously released single, “Non Stop,” sees him glide over a spectral beat to detail his affection before switching up his cadence around the 1-minute mark to intently reveal the depths of his passion.

At other places within Waves, Jody is almost languid, stretching out his vocals over warm guitar riffs on “For Nobody” to chronicle how he wants to be loved, before flipping the song to how he enjoys a love interest’s company. The back end of the project bears marks of an artist under Skales tutelage, with songs like “Moscow” and “Slide Slide” showing pop leanings, but, even then, Jody’s lively vocals don’t make these songs slapstick fodder, they are songs of elation taped unto songs of desire and want for those who choose to indulge. Not many can move through styles without diluting standards as Jody does here. On his debut, his voice emerges almost fully formed, breezily documenting his interests and dreams with grace and clear-mindedness.

Jaye IV

In Nigeria, indigenous rap has been a slow burn, as many people from Hip-Hop purists to music fans alike believe that the language barriers pose a challenge to the genre. However, over the years, rappers from Ruggedman to Olamide to Davolee and more, have shown through their success that their local tongue is not a hindrance to their rapping abilities. Cue in Alternative Hip-Hop/Afrobeat rapper Jaye IV who might just be taking the genre in a subtly different direction than his peers. Visiting his growing discography, you’d discover that the rapper’s melodious delivery on every track he puts his mind to is refreshingly distinct from any other artist out today. There’s definitely a thing or two to learn from an artist of his calibre.

The 24-year-old wunderkind from Lagos Nigeria makes sure that his melodies are front and centre on everything that he makes, as he takes advantage of the uniqueness of his sound to express pain and passion. In late 2019, he released his debut EP ‘Pick A Side’, a smooth 18-minute listen which he used to connect with the streets, telling his story as a hustler and painting a clear picture that visualises his journey to finding himself in the face of adversity. Barely a week ago, the rapper followed up this project with the release of his sophomore tape ‘Pay The Price’, a 7-tracker with the gritty number “DND” as the lead single off the project. The lyrical genius also uses songs such as “Messiah Complex” and “My Life” to walk listeners through his journey of pain and his hustle story to success; “Imma grind for the money now, it’s my fight /put my mind on the game now it’s alright”. The songwriter, rapper and record producer has proven his versatility with this tape as he has successfully crafted what seems to be his own unique sound in every way. Jaye IV with his growing discography has proven that he has a lot more to offer and deserves to be on your radar this year. Watch this space.

Mo$hpit Cindy

Stumbling upon the Instagram account of Mo$hpit Cindy, home to the singer’s budding 2K following, you’re likely to confuse her for your regular, down-to-earth 20-year-old with her quirky captions and distinct sartorial choices but the Zimbabwean-born singer is one of the past year’s best discoveries. Armed with a timeless voice of gold, the singer, born Nono Madzi is a fresh face on the scene whose music constantly teeters the intersection between crisp R&B melodies and trap-leaning production.

Raised in Johannesburg, South Africa, Mo$hpit Cindy made her official musical debut last year during the lockdowns in May. Titled “You Thought”, the smooth R&B number was filled with instant quotables on how women could treat these niggas exactly the same way they do them dirty. Mo$hpit Cindy then spent the rest of the year releasing a string of loose singles including “Post Club Depression”, “Karma” and “Alter Ego”, each number widening the scope of her ability and the depth of her lyricism. While the singer may be considered a rookie by most veterans, there’s no denying the potential star quality she exudes through music. Her songs are best described as coming-of-age numbers that chronicle the love trysts and life experiences of Gen Z Africans in a rhythmically captivating way that appeals to anyone who has been through similar moments in their lives. In the past month, Mo$hpit Cindy has released her biggest effort yet, her debut EP ‘21st Century Luv’, a title that aptly describes the project’s subject matter which never strays far from her own worldview as a young Black African woman.

It follows Cindy’s journey to loving herself and others around her. Intro track “Indifferent” is a bold assertion of her confidence as she finds the courage to move on from an undeserving lover. “Nothing seems to faze, haven’t felt things lately/I’m kinda suffocating/I told you baby there’s no fixing me”, she sings over the song’s bass-thumping production. While she’s focused on talking about love, she uses it as an opportunity to talk about the state of her mental health. This theme follows through into the next track “Daily Affirmation”, where she delivers affirming words for women like her “Loving who I am and I’m trying, I’m evolving/I am a work of art/Cup runneth over, I don’t know famished”. On “Therapist”, she gives listeners a further purview of her mental state and her tendency to overthink every situation. Her lyrics are deeply thought out and straightforward but also far beyond her years as she quips “to know me is to leave me”, a line that perfectly encapsulates her skilled lyricism. She showcases a unique mixture of versatility and style over the project, at one moment skating over different productions with ease and at another, adopting the jaded detachment of a rapper. ‘21st Century Luv’ is a 23-minute melancholic confessional from a fresh face on the scene whose inspiringly firm sense of identity is welcome and should be encouraged in young African women just like her. If you’re looking for a little release this month, check out Mo$hpit Cindy.

PRVNA

South London-based, Mauritian-born singer, PRVNA, has a voice that sounds like melted butter, flowing stickily over thrashing electro-inspired beats with a calm certitude. Since starting music a little over five years ago, her range has expanded from the party-starting rawness of jungle music to incorporate alternative R&B as well as funky House, seeing her sing over genre-melding instrumentals that retain the heart of her Londoner origin in them. In a dreary world beclouded by sadness and negatives, PRVNA envisions her music as something to help people feel better. “The music I create needs to be the right cocktail of relatability and release,” she says. “Making music that people can dance to and also find a bit of hope in too.”

It is a testament to the sense of hope that she hopes to inspire that there is such a steering sense of warmth within her small catalogue, primarily composed of singles from the very beginning of her career in 2017. “Homework,” a lilting ballad is her most morose song, mourning the complexities of opening up intimate aspects of one’s life to the wrong person; while her voice quite intently mourns the loss of what could have been, there is a sense of letting go within the pulse of the song. Another standout from her catalogue, “Fever,” sees him luxuriate in the melodrama of past bad relationships.

If PRVNA’s music from that age can be characterized as her nostalgic period, the music she is making presently is hopeful, playful even, seeing her dance across genres to create experimental melodies bolstered by a scenic songwriting skill that recalls details in warm fashion. On “Get Down,” PRVNA urges her listeners to take control of their lives with the song flatlining into “get it, get it, get it together,” while her distinctive, poignant voice gives soul to the record. Her latest song, “Believe,” is even more buoyant as she asks a love interest to believe that their affections can take care of any obstacle in the way of their romance; the song sounds sentimental and capable of powering a party, hinting at PRVNA’s evolving of the mystery of both emotions are dual sides of one cohesive story.

T3agray

Beyond music-related information, there isn’t really anything on the internet by way of personal details on T3agray. His Instagram page is sparsely populated, with the only post not related to a music release being a short gaming video. It seems to be on purpose, directing every ounce of focus from both familiar and new listeners to his music, which makes sense since his songs are evidently, deeply personal. These are vignettes from his life, raw emotions distilled into a catalogue portraying a teenager dealing with classic teenage issues.

With Punk Rock, and the offshoot Emo Rap, as his primary sounds, the U.S.-based singer has a long list of forebears who’ve defined the (sub)genres’ musical thrash and thematic, self-exploratory tropes. T3agray follows in that tradition, and it’s his willingness to be unabashedly open with his own experiences that make his songs affecting—or worthwhile, at the very least. There’s very little novelty to what he sings about since his music mostly centres on the quest to establishing a personal identity and the rollercoaster of falling in and out of young love, but there’s an intensity and conversational depth to his voice and writing that positively heightens how it all lands.

On “Crawl Back,” the intro to his late 2020 project Altruism, he adopts a lethargic flow to deliver a toxic kiss-off to a previous love interest, dismissing the idea of calling back and promising to make them double back simply because he’s all that and more. It’s a place most of us have been, swearing off someone and posturing even though there’s more to the situation. By the very next track, “3Xoneration,” he admits to missing the same person. In a way, Altruism is an admission that life isn’t exactly linear, especially when it comes to figuring one’s self out and how to approach interpersonal connections.

Between his SoundCloud and Apple Music pages, it appears T3agray has only been making music for little more than a year, but his commitment is represented in his already prolific streak. Chamomile, his project released earlier this year, is a collection of emotional exhales. On the 6-track EP, he’s as open as ever, wondering out loud about his place in the world (“Home”), groaning about his wounded heart (“Obliviate”), and ranting about being grounded for watching “Adult Cartoons.” By definition, T3agray’s music isn’t catchy, but it’s set to draw more people in due to its intensely personal tilt, especially amongst those of the same age range going through similar motions.

(Recommended if you like: Lil Peep, JELEEL!, Santi)

Written by Wonu Osikoya, Tami Makinde, Dennis Ade Peter & Wale Oloworekende

ICYMI: DIGITAL COVER: PRIDE 2021

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South African House Duo, Black Motion, Return With Rhythmic “Khululeka”

The SA house music pioneers are back with a deeply moving and rhythmic new release.

South African house music pioneers, Black Motion, are back with a deeply moving and rhythmic new release...

South African house music pioneers, Black Motion, are back with a deeply moving and rhythmic new release titled “Khululeka.” True to its meaning in isiZulu— “be free” or “find peace”—this track is an anthem of liberation, urging listeners to let go, embrace love, and heal through the power of music.

With their signature percussion-driven melodies and the soul-stirring vocal chants of King Monopoly, “Khululeka” transcends the dancefloor. It is a spiritual and emotional journey, carrying an energy that is both uplifting and transformative. Whether in personal reflection or in the collective movement of a crowd, the song invites listeners to surrender to its message and rediscover love—both within and around them.

Since their formation in 2010 in Soshanguve, Black Motion—made up of Murdah Bongz (born Robert Mahosana), and Thabo (born Roy Thabo Mabogwane)—has become a dominant force in global house music. Their debut single, “Banane Mavoko,” put them on the map, and their albums, including the gold-certified Fortune Teller and the platinum-selling Ya Badimo, have cemented their status as pioneers of the genre. Their collaborations with artists like Oskido and Black Coffee, along with accolades such as multiple South African Music Awards (SAMAs), have solidified their place at the forefront of African electronic music.

Over the years, Black Motion has partnered with brands like Ballantine’s, Sony Xperia, and Coke Studio, and they are looking to partner with more under their new label Intascore, expanding their influence beyond music. With a combined social media reach of over 2.2 million followers, their music resonates with audiences worldwide, uniting people through rhythm, culture, and movement.

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KEMENA FINDS BALANCE

Following the release of '888', Kemena reflects on artistic evolution, self-acceptance, and balancing...

A little over two weeks after the release of his first project of 2025, Kemena and I sat down to discuss the...

A little over two weeks after the release of his first project of 2025, Kemena and I sat down to discuss the joys of creating art, the clarity that powers ‘888,’ and the freedom he found in surrendering to his path. Even though we were speaking virtually, his presence feels steady. He is speaking with the quiet confidence that defines his music–intentional yet fluid, deeply personal yet resonant. Over the years, his artistry has evolved, shaped by a desire for creative independence and the pressures of an industry that often demands compromise.

With ‘888,’ Kemena has reclaimed his space. The project neither chases the mainstream nor rejects it; instead, it exists on its terms, rooted in self-assurance. Across seven tracks, he weaves through stories with a sharp lyrical style and layered production, a testament to an artist fully in tune with his craft. In many ways, ‘888’ feels like an arrival—not to the commercial peak the industry might expect, but to something more valuable: a place of artistic certainty.

Standout tracks like “Rainy Day” and “Bola” remind you that Kemena is a storyteller in more ways than one. On “Rainy Day” he flexes his production prowess but the summery vibe of the song does not blunt the sentimentality of his lyricism. With “Bola,” Kemena taps into his element, deploying witty puns and his brilliant approach of social commentary and “I’m not mad, just hungry” is as relatable as it is envy-worthy—to be so intertwined with a lover that they can complete your lines.

Totaling seven tracks with a runtime of 16 minutes, ‘888’ is brief but expansive, a collection of ruminative thoughts, nimble melodies, and declarations of self-assurance. There is no hesitance in Kemena’s voice when he speaks about the album, no lingering doubt about whether he made the right choices, which is the same confidence he’s communicating in “You don’t need me”. ‘888’ is the product of someone who knows who they are and, more importantly, knows that they do not have to prove it to anyone. From the powerful declaration of “I Will Never” to the easy groove of “Evelyn’s Vibration,” the album takes you on a journey. It is a return to himself, a rekindling of the mindset he had before industry expectations clouded his creative instincts. It is also reminiscent of ‘Bond,’ the project that first put him on the radar of music lovers.

“I made ‘Bond’ as a student,” he reflected during our conversation. “I wasn’t trying to be anything. I just wanted to make music. And then all of a sudden, people started calling me—people I never expected. That was how I got into songwriting for other artists. But somewhere along the line, I forgot what it felt like to make music just because I wanted to.” When I asked him how he found his way back, his answer was certain: “I stopped overthinking. I just made what felt right.”

Our conversation, lightly edited, follows.

‘888’ just dropped. How are you feeling?

I feel cool. It’s been nice. I feel like a celebrity, to be honest. I’ve done a couple of interviews already, and I feel like I’m saying the same thing over and over again. But that’s a good thing, right?

‘888’ feels different from ‘Guitars and Malaria.’ Did you approach this project differently?

‘888’ feels like me making music the way I want to again. With ‘Guitars and Malaria,’ there were a lot of industry conversations and people saying, “Work with this guy, collaborate with that person, do this to make the music more commercial.” I don’t regret making that album, but looking back, I think I was trying to fit into something instead of just being myself. I wouldn’t say I lost myself completely but, I lost the balance between the business and my authenticity. I started to feel like my music wasn’t valid unless it was getting industry attention. And for a while, I was chasing that. I was doing what I thought I should be doing, instead of what I wanted to do. I had to learn that I’m probably a project artist. I needed to stop feeling like my music wasn’t enough just because it wasn’t ‘blowing up.’

I started thinking about why people liked ‘Bond’ and, back then, I wasn’t overthinking it. I was a student just making music because I loved it. I wasn’t trying to force anything. But then, suddenly, things started happening—I started getting calls from people I never expected. That’s actually how I got into songwriting for other artists. People in the industry heard ‘Bond,’ reached out, and asked me to write for them. And before I knew it, I was deep in that world. But in the process, I started to forget what it felt like to just make music for me.

Was there a specific moment that made you realize you needed to return to that authenticity?

Yeah. At some point, I just stopped overthinking. I realized [that] I didn’t have to prove anything to anyone. I didn’t have to chase industry validation. I could just make what felt right. That’s where ‘888’ came from.

One of the things that stands out about your music is how it feels both deeply personal and universally relatable. Do your lyrics come from lived experiences?

Not exactly. I think the way my music is put together—the energy, the emotions—is influenced by what I’m going through at the time. But the actual content? Almost none of it comes from my personal life. I don’t write songs like, “Oh, this happened to me, let me put it in a song.” Instead, I take a feeling, a perspective, or something I’ve observed and build a fictional story around it. I also like humor. I like to be witty, to play with words in a way that feels natural but unexpected. That’s always been part of my music.

That makes sense. Your lyrics often have a layered meaning like they say one thing on the surface, but there’s a deeper story underneath.

Exactly. I like to phrase things in ways that make people stop and think. I want someone to hear a line and go, “I’ve thought about this before, but I never knew how to put it into words.” Or sometimes, I just want the music to feel good. It doesn’t always have to make sense, it just has to resonate.

Would you say that’s why artists like Omah Lay and Jon Bellion resonate with you? Because they do something similar with their songwriting?

Yes! Jon Bellion especially. His music is almost like sermons sometimes. He says things in a way that makes you pause and reflect. Like in “Conversations with My Wife,” when he sings, “What if all the things I’ve done were just attempts at earning love? Cause the hole inside my heart is stupid deep” That’s the kind of songwriting that gets to me. That’s such a simple way to express love. He could have said it in a hundred different ways, but he chose that one. That’s what I admire. Not just what they’re saying, but how they say it.

That approach is very present in your music, especially in ‘888.’ What’s your favorite lyrical moment on the album?

It’s a conversation. It’s not one person talking. On ‘I will never,’ there’s this part where one voice says, “The things you want for me, I want it too. The things you like for me, I like it too.” And then another voice—almost like a god-like figure—responds: “Hope you know that I would never say something I don’t mean.” That moment feels special to me. It’s basically a prayer, but I don’t like to box my lyrics in, I keep it open-ended.

With the album it feels like you weren’t just making music but you were reclaiming something. Would you say this project is a turning point for you?

Yes, I think so. It’s not my first turning point, though. ‘Bond’ was the first one. ‘Bond’ was the project that put me in rooms I never expected to be in. Before that, I was just a student making music. Then, suddenly, people were calling me—people I respected. That was how I got into songwriting for other artists. But then, in trying to navigate that world, I lost a bit of myself. ‘Guitars and Malaria’ was me trying to find that balance, and ‘888’ is me realizing that I don’t have to balance anything, I just have to be.

You’ve mentioned that you’re at peace with not chasing commercial success. Is there a part of you that wants mainstream recognition?

If it comes, great. But I’m not going to force it. I know how the game works. I’ve written for big artists, so I know the kind of songs that work in that space. And if I wanted to, I could sit down and make those songs. I could make music that fits neatly into what’s trending. But that’s not why I do this.

Does songwriting for other artists help you keep your music pure?

Yes! That’s a big part of it. Since I also write and produce for other artists, I don’t have to rely on my music to pay my bills. That takes a lot of pressure off. It means I can release what I want, when I want, without thinking, “Will this chart? Will this go viral?”

That freedom must be refreshing.

It is and it’s why I don’t overthink my releases anymore. I’m constantly creating. So when something feels ready, I put it out. I don’t have to wait for industry validation or the “perfect” timing.

What does that mean for the future? More projects?

A lot more. I’ve realized that my way forward is to just keep giving. The Lord has put me in a position where I can create without stress, so that’s what I’m going to do. No long breaks. No holding back. I’ll just keep releasing.

What is the biggest takeaway from ‘888’ for you?
That you don’t have to force anything. Whether it’s love, creativity, or success—what’s meant for you will come when you’re aligned with yourself. And if you have to fight too hard to keep something, maybe it was never really yours to begin with.

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Afropop is the love child of its many influences

In a reversal of events at the turn of the 2000s, Afropop is profoundly reshaping the texture of music...

Over the last two and a half years, some of Afropop’s biggest stars have denounced the genre to advance...

Over the last two and a half years, some of Afropop’s biggest stars have denounced the genre to advance their personal agendas. In a wide-ranging interview from 2023 with Apple Music’s Zane Lowe just ahead of the release of his last album, ‘I Told Them…,’ Burna Boy derided Afrobeats for a perceived lack of contextual subject matter. “Afrobeats, as people call it, it’s mostly about nothing, literally nothing,” he said. “There’s no substance to it. Nobody’s talking about anything. It’s just a great time, it’s an amazing time. But at the end of the day, life is not an amazing time.” 

Just a few months later, Nigerian music superstar, Wizkid, also disavowed the genre, claiming that he was not an Afrobeats act and that his then-forthcoming album, ‘Morayo,’ would not be an Afrobeats album as he considered the genre – and the classification it infers – too limiting for the type of music he made. Predictably, fans were incensed by both artists’ stances and the casual dismissal of the genre that their statements invited. What was almost lost in the whirlwind of that discourse is that for all the attempts to capture the totality of African music under the loaded ‘Afrobeats’ label, African music has never been just one thing; and, in that spirit, Afrobeats itself has always been all-welcoming of a multiplicity of influences and styles.

From its earliest iteration, Afropop has always been a potpourri of sounds that took influences from various parts of the Black diaspora and distilled them with an African sensibility. The work of early Afrobeats pioneers like Junior and Pretty is a direct descendant of the burgeoning Hip-Hop blueprint of the ‘80s; while the early 2000s popularity of Ajegunle-based rabble-rousers like Daddy Showkey, Danfo Drivers, and African China occurred tangentially to the rising profile of Reggae on a global scale. The mid-2000s to early 2010s saw the arrival of several dulcet-toned singers like Banky W and Tiwa Savage rooted in the R&B and Soul traditions, introducing a slicker dimension to Nigerian popular music. As always, homegrown stars adapted these foreign styles for their own market while continuing to work on a distinctive style that centered genuine indigenous expression and ingenuity. 

Over the years, the fruit of those experiments has ripened to produce a scene that’s bustling with life and talent. As the genre has attained global attention, many sub-genres have come to the fore, showcasing the depth of African music on a global scale. If Wizkid’s sonorous melodies and unbeatable charisma made him the sun of Afrobeats in the 2010s, Olamide’s militaristic bars and Pop anthems rooted in their street sensibilities mark him out as the genre’s moon. It was on Oamide’s back that a nascent indigenous rap circuit rested. Taking the mantle of DaGrin, the Bariga-raised rapper who helped institutionalize rapping in Nigerian languages with cult classics like “Eni Duro” and “Voice Of The Street.” Along with the effort of other stars like Reminisce, Phyno, Lil Kesh, and CDQ,  the indigenous rap movement gained steam and, recognizing the Nigerian market’s zest for melodies, soon morphed into Street-Pop, a distinct hybridization of local genres like Fuji, Apala, and Highlife. 

Inspired by the work of their forebearers, a new crop of artists have taken Street-Pop to new heights. Zlatan and Naira Marley served as a transitory generation; together with Rexxie, they patented a more melodic take on Street-Pop while infusing a devil-may-care disposition that launched them to the top of Nigerian music. It is fitting that Olamide was the one to hand the baton to Asake, the biggest Street-Pop star of the moment. Similar to the YBNL head’s legendary album run, Asake has released three albums and one extended play in three years, each coming out to a world paying more and more attention to his work. Impressively, Asake has also established himself as a global touring star, regularly playing sold out arena concerts across the world with a music style that is rooted in Yoruba oral tradition. 

Asake is not spreading the Street-Pop gospel alone, though. Ikorodu star, Seyi Vibez, has also grabbed mainstream attention for his gritty take on the genre. Initially a divisive figure, his 2023 song, “Different Pattern,” saw him reach a new level of cultural relevance in 2024 and his new extended play, ‘Children Of Africa,’ arrived in February 2025, marking a new era in his career. The yearning for a reclamation of cultural heritage that has created a Street-Pop golden era has not evaded other parts of Nigeria. Shallipopi’s drawling, sprawled-out sound mimics the playful pulse of South-South pidgin while Jeriq, hailing from Nigeria’s South-East, has emerged as one of Nigeria’s most acclaimed rappers. Outside Nigeria, there’s a yearning in Ghana to preserve the purity and history of its Highlife genre, an elemental component of Afrobeats. British-Ghanaian producer, Juls’, ‘PALMWINE DIARIES’ and ‘High Life Sessions,’ both pulsate with the beguiling riffs of the storied genre while the work of Nigerian brother-duo, The Cavemen, is reintroducing Eastern Nigerian highlife to a new generation of listeners. 

A youth-led zest for exploration outside the framework of Afropop has also produced a sub-culture that rejects the tenets of mainstream conservatism. Beginning as a band of friends and collaborators who prioritized freewheeling experimentation, Alte music has emerged as one of the most important sonic evolutions of the last two decades. First championed by OG pioneers like DRB Lasgidi, LOS, and Show Dem Camp, the Alte community drew in left-field thinkers and madcap auteurs setting the stage for a new generation of stars to emerge from the depths of SoundCloud circa 2016. In the hands of stars like Odunsi (The Engine), Cruel Santino, and Lady Donli, the Alte experiment reached an unprecedented level of critical and commercial success. 

Odunsi’s ‘rare.,’ throbbing with influences from ‘70s Disco and Funk, sits in the canon of great Nigerian debuts and Lady Donli’s ‘Enjoy Your Life’ artfully melded Folk music with Afrobeat and Soul across its 15 tracks. Taken along with the work of producers like GMK and Genio Bambino, these acts built a community that successfully created the blueprint for a sound that reflected the tensions and joys of younger Nigerians who saw life in a specific fashion. It even took flight beyond the borders of Nigeria with a young Amaarae cutting her teeth working alongside some of the most prominent names in the Alte community. The inventiveness and clarity of vision that the community prioritises is evident across both of the Ghanaian-American artist’s albums, ‘The Angel You Don’t Know’ and ‘Fountain Baby.’ 

In a reversal of events at the turn of the 2000s when Afropop was heavily influenced by outside sounds and genres, music from the continent is profoundly reshaping the texture of music outside its borders. Much like how the Windrush Generation and other immigrants from the West Indies helped to introduce Britain to Reggae, Dancehall and Soca, generations of African immigrants are making music that signals their African heritage, with Afropop as a base influence. The rise in popularity of African sounds has helped UK artists mesh the lingo and sonics from the continent into their work, creating a new genre referred to as Afroswing. Taking influences from Afrobeat, Dancehall, and Grime, Afroswing is distinctive for its use of lyrics from Africa with British rapper, J Hus, credited as one of its pioneers. Songs like J Hus’ “Did You See,” Ramz’s “Barking,” and Not3s’s “Aladdin” signal to the sound of the homeland and speak to Afrobeats’ incredible stride to global popularity as a base reference point for global Black music. 

Nearly a decade out from “One Dance,” the Drake, Wizkid, and Kyla collab that pushed Afropop into a different stratosphere, the genre is in safe hands with several stars emerging across different sub-genres that speak to our past, present and future. It is perhaps more than the pioneers imagined when they were making music all those years ago, but all the roads have led here to Afropop being a global sensation that offers various forms of expression to a watching world. There are no limitations on what can be done within the genre, that sense of open-endedness and possibility was always our strength, and it’s why Afropop will stand the test of time. 

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