A ranked list of the 12 Hennessy Cypher 2020 verses
An improved edition featuring appearance from Falz, M.I Abaga, Vector, Show Dem Camp, CDQ, Phlow & more
While it’s a joy to see that cypher culture is alive and well, thanks to consistent efforts such as Hennessy’s long-standing, annual cypher, these efforts in Nigeria don’t always hit the mark. In the past two years, fans have been graced with the good, the mid, and the awful, which makes it abundantly clear that there’s room for some growth.
Launched early last decade, the Hennessy cyphers took this pre-existing mode of informal rap collaboration to a higher level of popularity, becoming one of the marquee events many rap fans in Nigeria look forward to each year. In the last few years, however, the organisation and production quality of the cyphers deteriorated, and with that came a slump in interest from formerly excited viewers. Last year, however, things got a bit interesting for the scene, as a lot of people expected things to step up, on the heels of warning shots from another cognac brand, which eventually snowballed into the biggest rap beef in recent times.
Following an uninspired turn of events, however, the stakes were clearly higher for this year’s edition, and anything other than a fine showing would question Hennessy’s commitment to the growth of rap music in Nigeria. Fortunately and thankfully, they put in a commendable showing this time around. Last week, Hennessy shared three cyphers over three days (Wednesday to Friday), and it’s easily the best Hennessy cypher series in at least five years.
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Featuring Falz, M.I Abaga, Vector, Jesse Jagz, Phlow and more, the 2020 edition of the Hennessy cyphers brought together 12 Nigerian rappers grouped into apparent tiers. Aided by knocking beats courtesy of veteran producer, Chopstix, each rapper performed their verses in the company of tier colleagues, with sound mixing that kept their vocals loose enough to fit into the freewheeling, showboating nature of a cypher.
From the continued cordoning off indigenous rap artists (CDQ being the only one), to almost non-existent inclusion of female rappers, the Hennessy cyphers still have a long way to go in reflecting the diverse nature of rap music in Nigeria. These are issues that need to be addressed really soon, and while it does affect the enjoyability of the cyphers to anyone who wants more than the same old line-up characteristics, this year’s edition did provide some good verses and memorable moments.
Here’s a ranking of all 12 verses that graced the 2020 Hennessy cyphers.
12. Barrylane
Here’s the thing, I like Kendrick Lamar, A LOT. The Compton-born rap superstar has grown into one of the most innovative auteurs and lyricists in recent times, so it’s only appropriate that he’s influenced a slew of rappers. But influencing doesn’t mean sounding like a direct copy. Barrylane is a direct Kendrick copy, and it’s distracting enough to put several bumps into his locomotive flow. Maybe it’s little of his fault, after all, we don’t get to choose our natural vocal tone, but at the same time Barry’s schtick seems like he memorised every inflection and vocal tick on ‘Good Kid, M.A.A.D City’ and decided to regurgitate them. There’s some interesting schemes in his verse, but… that voice.
(Memorable bars: “I’m assasinator, I don’t knock on doors/I pass the chimney but fully gifted like Santa Claus”)
11. CDQ
In a line-up alongside Falz and Show Dem Camp, CDQ seemed like a fish on dry land. Entering the limelight as a make of hit singles, CDQ has never fronted himself as a fang-bearing lyricist looking to shred beats apart with raw technique, so his posturing here seemed a bit comical. As a street-bred rapper, there’s a very high chance he participated in his fair share of rap battles, but it’s clearly been a while since he played in this sort of arena. Don’t get me wrong, his raps are adequate and the growl he employs is occasionally intriguing, but it doesn’t take too much to see that the seams are a bit off.
(Memorable bars: “I move as like, don’t want nobody bringing hell on me/ti’n ba lo ku l’eni, o d’ola won ma p’elomi” [“If I get killed today, someone else will get killed tomorrow])
10. Jesse Jagz
It’s 2020 and Jesse Jagz is still going, “characteristics of ballistics when I spit it/it’s parasitic, acidic, pacific, carries eou with it”. Depending on who you ask, this sequence is either the entry to an unknown portal, or it’s pointless and verbose. Maybe the actual answer is in between, because Jesse Jagz has worked himself into something of a mystical dark knight who only appears to work musical miracles, but if you peek in a bit closer, his lyricism can be winded and vacuous. Jesse’s best weapon is still his ability to traffic in riveting flows, which he does a monster job of on his verse, but his raps don’t have the same compelling effect.
(Memorable bars: “Can’t shake it, the flow is jaded/apparel for those who naked, hope for those who didn’t make it/the flow is initiated, body and spirit, take it”)
9. Ghost (Show Dem Camp)
As far as pure technical brilliance when it comes to lyricism, Ghost is near peerless in all of Africa (Stogie T is the only one I put on the same pedestal, IYKYK). In less than 60 seconds, the Titanic wordsmith packs expected brilliance into his verse, leaning into the commanding baritone of his voice as he drops a phenomenal Frank Lucas reference, and takes aim at mumble rap, calling it “shenanigans” like the chastising uncle that he is. (Disclaimer: I like “mumble” rap.) Usually, Ghost is adept at bending a beat to his will, but on this occasion, there are a few moments his flow is choppy, almost like he can’t control his aggression to stay perfectly on beat.
(Memorable bars: “All these artificial intelligence rappers/claiming they making moves, mistaking motion for action/this is rap vigilantism from the African garrison, far from your mumble rap shenanigans”)
8. Phlow
In a male-dominated English rap space, Str8buttah affiliate, Phlow used to feel a need to justify her place as the only woman amongst the guys. Having eased herself out of that pressure, she’s a lot more confident and comfortable playing by her own rules, and she sounds very much like the rejuvenated artist in the cypher. Right from the moment she opens her mouth, her verse unfolds like a Michelle Obama speech: articulate, poised, and dripping with so much swagger, Soulja Boy would grin with pride. She flips between casual livewire schemes and insouciant pidgin-infused raps, taking Chopstix’s groovy beat on the ride of its life.
(Memorable bars: “I mean, it’s obvious I shoot for the kill/I couldn’t care for the way the rest of them feel/two hands to the wheel, driving them crazy/been unfair with the skill”)
7. Payper Corleone
Payper Corleone’s “Don” shtick can come across a bit over-flogged, but when he’s at full tilt, he can sound quite engaging and entertaining, as he does in this year’s cypher. A regular name at cyphers and freestyles, Payper is a highly respected lyricist amongst peers and rap fans in the country, partly because he hearkens back to the “real hip-hop” ideals of the ‘90s. As last year’s ‘Fly Gangsta from the ‘90s’ showed, he’s evolving into a mix of those sensibilities and something more recognisable to the average Nigerian. For his verse, he shows how far he’s gone into that evolution, spinning a verse marked by loose, infectious flow, without slacking on the bars.
(Memorable bars: “Real life, we don’t go off hype/no pressure, dropped jewels and the flow caught nice/all my collabs dem dey go alright, because the flow so smooth like breeze wey dey blow from bike”)
6. Teeto Ceemos
Teeto Ceemos’ cypher verse is a fever dream for rap fans who understand pop culture and hip-hop-related references and can appreciate when they’re used impressively. He opens with a sinister summon of the Michael Jordan-centred documentary, “The Last Dance”, later going religious, then switching to a “Game of Thrones” callback, which eventually transforms into a sequence involving mentions for some of the greatest rap diss tracks of all time. With all of these inspiration sources, there’s an indelible directness leaking out of his bars, with Teeto’s commanding voice ensuring that every line rings out as loud as the preceding ones. Hope Hennessy paid that 2k.
(Memorable Bars: “My comments and my mentions filled with unworthy opponents/an idol to my rivals, this is your moment of atonement/Ice Cube with the flow, stay focused it’s higher learning/take your sandals off, you can smell the bush burning”)
5. M.I Abaga
M.I Abaga is a man who loves making moments. Following his viral beef with Vector, and his very public denouncement of the shoddiness of the Hennessy cyphers, his return was another moment for a rapper who’s maintained well over a decade of dominance on Nigeria’s rap scene. In the last two years, M.I has taken to cyphers and freestyles his means of airing grievances, but with no rivals to swing at, he takes the opportunity to address several pertinent issues, namely: the end of his beef with Vector, why we should all be feminists, Black Lives Matter, and the need for the #EndSARS protests to snowball into change via election polls. It’s a lot of ground to cover, but there are very few rap artists adept at being topical than M.I. While he sacrifices the clever edge he usually brings (e.g. that Ruga line on ‘Martell Cypher 2’), it doesn’t prove detrimental to his performance.
(Memorable bars: “And by the way, we all should be feminist/no man should be offended by women empowered and outspoken/who try to fix the country that rapes them and leaves them broken/we should fight for all our women instead of trying to provoke them”)
4. Vader the Wildcard
At full tilt, Vader the Wildcard raps like he’s annoyed by the notion that there’s any other rapper better skilled at weaving words and entendres together. Since winning the Hennessy VS Class competition in 2017, he’s been playing around with varying facets of his creative skill-set, but his head rattling cypher verse reinforces the notion that he’s at his most viscerally dazzling when he’s ripping through beats unencumbered. Vader’s verse is like watching Thor casually pulling down thunder with Mjolnir in order to smack the shit out of an opposition army. For about a minute, Vader sounds casually invincible, and in that duration it does sound like there’s no better rap lyricist around these parts.
(Memorable bars: “It’s the wildcard making sure you niggas have a bad day/band aid ripping gorrila, I’m on a rampage/champagne sipping with chicks that look like Tinnashe/sashay through opposition like the apache”)
3. Tec (Show Dem Camp)
Tec raps like he’s in a constant moment of clarity. Fewer rappers have the ability to say what they mean in exact words while sounding downright imperial. Partnering with a rapper who’s lyrical technique is near insurmountable, Tec has mastered the art of being artfully plain and constantly intriguing to listen to. Coming in after Ghost’s slightly fumbled rampage, Tec enters with the assured poise and nimbleness of 2012 Lionel Messi bearing down on goal. He employs a staccato flow that hugs Chopstix’s drums at the beginning, and peels away for an eye-widening salvo in the second half, culminating in a masterclass on being self-reverential without the need for unnecessary embellishments.
(Memorable bars: “With the pen I’m Joe Pesci/imagine me tryna spar with the best rapper in Lekki/that’s like, young Iwobi trying to measure with to Messi/it won’t gel”)
2. Vector
The best line of the entire cypher belongs to Vector tha Viper. “My neo-Black movement will slow bullets” is the sort of phenomenal entendre that will crack your jaw open, but maybe the best part is that Vector raps the line so casually, almost as though he’s jogging past so you can catch him. A lot of the time, Vector has a thing for overcomplicating his simplest lines, and overdramatising the complex ones. What’s stunning about his verse is that he does neither, unspooling each line with the same unceremonious vigour that makes the entire thing feel instantly special. Darting from pro-Black sentiments, to jibes at the colonial effects still plaguing Nigeria, and plain old self-exhortation, Vector’s verse is loaded without being tedious to listen to, covering a lot of ground while remaining enjoyable.
(Memorable bars: “Don’t get lost in my English story, shebi Naija na English glory/I may decide to rap in English only, the slave master pushed English on me/your weak shots can only miss me/Twitter hate won’t ignore or free me…dem carry V for head lime Don Jazzy DP”)
1. Falz
Very often, rappers get so carried away with extolling their greatness in cyphers, that they forget there’s listeners on the receiving end not only looking to be wowed, but also looking to be entertained. This the reason Falz’s verse is the best of the bunch in this year’s Hennessy cyphers. On more than a few occasions, Falz has shown he’s comfortable on the “traditional” rap tip (see: “Chardonnay Music” and much of Moral Instruction), but it’s his comic persona, complete with the Brother Taju inflections, that pops up on this cypher. Without mincing words, it’s instantly refreshing and thrilling.
Falz has always carried himself as the people’s rapper, and on a platform where other colleague is trying to prove they’re a rapper’s (or hip-hop head’s) rapper, this distinction differentiates him. In his verse, he’s as playful as he self-assured, coming across like he was genuinely having fun while rapping, instead of trying to prove any unnecessary points. He doesn’t fall into the trap of feigning aggression, choosing to assert himself through a familiar, entertaining route. For a moment, Falz considers his legacy, a weighty topic to broach in a cypher; but if there’s any encapsulation of his best self as a rap artist, this phenomenal verse is the moment.
(Memorable bars: “I’m classy to my taste buds, my choice of brown is Hennessy/I’m the type of man to buy a house before I buy some necklaces/I no dey brag, I dey show wetin I back”)
Dennis is a staff writer at the NATIVE. Let me know your favourite mumble rap songs @dennisadepeter
ICYMI: IT’S FINALLY TIME FOR NIGERIAN RAP TO EMBRACE ITS WOMEN
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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