Halfway into the 2020s, the album as a format still remains the standard of musical execution. Over the years, that claim has been propped up by the success of a variety of African albums that straddle the divide between tradition and innovation. Our list of best albums from 2025 pays homage to that ideal, balancing the tightrope between madcap innovation and genre-furthering exploration.

Whether it was Moonchild Sanelly making light work of supposed boundaries between South African House variants or The Cavemen. broadening the scope of Highlife as ever, we have been invigorated over and over by the albums on this list. Even when the aim has not been euphoric escapism, other albums have faithfully captured the contradiction at the heart of the human experience like Boj’s ‘Duplicity.’ All in all, the albums on this list had us genuinely enthralled, representing all that keeps us hopeful about the present and future of music.

20. ‘FUJI’ – Adekunle Gold 

For his sixth LP album, ‘FUJI,’ Adekunle Gold doubled down on his approach of co-opting Yoruba music into his contemporary brand of Afropop. Gold appeals to his grassroots followers this time, slightly dropping his urbane campaign a notch. The result is an even album that borrows as much from past Nigerian music genres as it does from R&B standards administered with a contemporary American Hip-Hop sensibility. ‘FUJI’ is lush and smooth, considered and thoughtful. It’s filled with enough biographical details for us to see that there is a father, a husband, a son, and a sickle cell survivor here willing to show off his vulnerabilities and his victories. With standout tracks like the Yinka Aiyefele-assisted “Many People,” 6LACK-conscripted “Love is An Action” and the star-studded “Bobo,” ‘FUJI’ is Adekunle Gold’s best album since ‘AfroPop Vol. 1.’ – Dami Ajayi. 

19. ‘Full Moon’ – Moonchild Sanelly

‘Full Moon’ captures Moonchild Sanelly at her most imaginative. She’s in command of all her powers, swinging wildly between Kwaito, Amapiano, Gqom, Afro-Punk, and Electro-Pop. She lets her playful wit carry songs about bodily autonomy, desire, and self-actualisation, as the elastic rhythms provide structure. The album is fun, light on its feet, and very thoughtfully composed, providing a solid beam for Moonchild to stretch her sonic universe without losing the exuberance and unpredictability that make her enjoyably unique. – Melony Akpoghene. 

18. ‘Juvie’ – Joshua Baraka

2025 was a fruitful year for East African R&B, but Joshua Baraka pushes the boundaries of the style in a way that feels wholly unique without losing the emotive cognition of it all. He took that ability to task across his debut album, ‘Juvie,’ released in November 2025. A coming-of-age epistle, ‘Juvie’ contends with guilt, gratitude, and romance without losing sight of the human heart that is responsible for its creation. It’s that recognition of needing to parse emotions through different formats that makes the 12 songs of ‘Juvie’ fascinating, whether Baraka is launching into a stirring rap flow on “Morocco” or deconstructing the parameters of a romance on “Wrong Places” over a percussion-led instrumental by JAE5. – Wale Oloworekende

17. ‘Bab’motha’ – Kabza De Small

Ever perceptive of how South African House continues to evolve and find new form, Kabza De Small has kept his sound lithe and nimble over two decades into his career. On ‘Bad’Motha,’ the king of Amapiano finds himself at the cutting edge of the sound that he helped to break to an international audience. There is a link-up with 3-Step innovator Dlala Thukzin on “Ngyozama,” a rip-roaring declaration of gratitude on “Siyabonga” with Nontokozo Mkhize and Mthunzi. In a year of many highs for South African House music,  ‘Bad’Motha’ offered a timely reminder of Kabza’s curatorial prowess and the abiding brilliance that has made him one of Africa’s foremost musical minds. – W.O

16. ‘Duplicity’ – Boj

With six solo projects under his belt, Boj continues to demonstrate an impressive work rate and a capacity for keeping his sound and artistic vision fresh. His latest album, ‘Duplicity,’ released just a couple of weeks ago, is a testament to his continuous evolution as the singer fully leans into the exploration of a dual personality, showcasing both his rogue, assertive side as well as his softer and introspective persona. Thanks to the varied and stellar production work from Genio, he can achieve the intricate balance required for a concept album of this nature. – Boluwatife Adeyemi

15. ‘Cavy in the City’ – The Cavemen.

Ever since they emerged, The Cavemen. have served as a vessel for the timelessness of Highlife, and on ‘Cavy in the City,’ that vessel is confidently steered into international waters. The duo’s latest effort is a sumptuous expansion of their mandate, leaning further into globalism than ever and weaving their warm guitar lines and sunny polyrhythms across the album’s cosmopolitan fabric, with contributions from Pa Salieu and Angélique Kidjo. – M.A

14. ‘catharsis’ – Fola

Fola’s Afropop ancestry is tricky. He is collegial with Kizz Daniel and mentored by Bella Shmurda, but the strongest influence on his style is post-‘Made In Lagos’ Wizkid. Fola sits within that slow tempo, psychedelic-invoking Afropop that melds American R&B mood with the unadorned realities of Nigerian Street-Pop. On the first listen, ‘catharsis’ feels like an understated statement album. On the umpteenth listen, it is an incurable earworm where the track-listed songs meld into each other, achieving a spool of dramatised traumatic experiences. – D.A

13. ‘Less Trouble’ – Shekhinah

‘Less Trouble’ finds Shekhinah doing what she’s always done: laying her heart bare with so much depth that it knocks the wind out of you. She’s an exacting lyricist whose reliance on mood and scene-setting broadens her music’s scope to cover the full spectrum of longing, love, and loss. On this album, she traces the bruised contours of her emotional world and pushes further in, singing plainly from places that still ache. The music transports you somewhere beyond words and tears open whatever vulnerability you’ve tried to tuck away. Whether she’s singing wistfully about letting go of a ne’er-do-well lover on “Bare Minimum” or belting out passionate lines of devotion—“I put your love on, boy, I wear it”—on “Steady Pt. 2,” ‘Less Trouble’ is filled with vignettes of a self-aware yearner determined to keep trying, no matter how many attempts it takes. – M.A

12. ‘The Summer That Saved Me’ – Odeal

Odeal has been on an incredible run for the past 18 months, releasing a succession of well-received singles and projects that have earned him a reputation as one of the leading figures operating at the intersection of Afropop and R&B. A highlight of this recent run is ‘The Summer That Saved Me,’ the first instalment of his two-part project, which arrived earlier this year. He’s as dynamic as he’s ever been on here, moving from a tranquil acoustic affair with R&B sensation Leon Thomas to the bounce and buoyancy of “London Summers,” without losing his soothing flair. – B.A

11. ‘punKstA*’ – Luwa.Mp4 

Luwa.Mp4’s standout quality is his freewheeling Punk-Rock spirit; a constant desire to experiment, merging a kaleidoscope of influences to create a unique, nostalgic, and instantly recognisable sound. ‘punKstA*,’ his official debut album, is the ultimate showcase of this riotous, non-conformist energy. He dismantles convention across the project’s 12 tracks, morphing elements from Afropop, Grunge, Hyper-pop, R&B, and Rap into a cohesive yet delightfully chaotic whole. – B.A

10. ‘Very Stubborn’ – Victony

Victony’s eight-track EP, ‘Very Stubborn,’ is an  addendum to his exquisite 2024 LP album, ‘Stubborn.’ A sonic rebound of lush production, it boasts smooth lyrical excursions drawing from his rough working-class background in Lagos suburb Ojo. Victony juggles several experiences, including his ongoing survival guilt, which follows his remarkable success. Adjusting to the demands of his newfound fame, particularly the attention and affection of niceties, including beautiful women, Victony lends his falsetto to songs that glean joy from an edgy biography of precarious Nigerian youth. However, he doesn’t walk alone; he pulls heavy hitters like Don Jazzy on “E Go Be,” second-generation Afrobeats legend Terry G on “Tanko,” and Afropop royalty Olamide on “Skido,” easily the album’s standout dance track. – D.A

9. ‘INDUSTRY MACHINE’ – ODUMODUBLVCK

Fans of ODUMODUBLVCK would not believe their luck after getting two full-length projects from the rapper in 2025, but it is on the long-anticipated ‘INDUSTRY MACHINE’ that he unfurled the full range of his ability. Clocking in with 23 songs, ‘INDUSTRY MACHINE’ runs through influences from Highlife, House, Afrobeat, and Trap with aplomb. It was all held together by ODUMODUBLVCK’s signature grit and charisma. There is an edge to his flow on “UNAWARE,” “LAYI WASABI,” and “IF YOU LIKE GYM,” but for the most part, he’s keen to assure his lover that he has her best interests in mind with highlights like “DO YANGA,” “CANDY MUSIC,” and “MY ANGEL” showing a sentimental side to the rapper. – W.O

8. ‘Sogolo’ – Witch 

WITCH (We Intend to Cause Havoc), a renowned Zambian band, have been around for about five decades, pioneering a legacy of Zamrock and Native Zambian music from the inception of their 1977 debut ‘WITCH.’ ‘Sogolo’ follows their 2023 project ‘Zango,’ and it is just as  multifaceted as the latter, exploring a psychedelic approach on “Nadi, ” Rock inspiration on  “Kamusale,” Alternative R&B on  “Set Free,” and tilting towards spirituality and worship on “Totally Devoted.” Across 39 minutes, WITCH creates a listening experience that feels nostalgic thanks to its retention of their ’70s approach, but also refreshing enough to make a difference in a year like 2025. – Michelle Ejiro

7. ‘The Godmother’ – Dbn GoGo

Dbn GoGo understands more than anyone that referring to oneself as the godmother requires a level of sophistication that significantly permeates the music and aura to accompany said claim. She has been at the forefront of Amapiano’s global rise, and ‘The Godmother’ solidifies her stance. With production credits across all tracks, she employed extra vocals from some of South Africa’s renowned voices, including Scotts Maphuma on “DLALA GOGO” and Moonchild Sanelly on “THE BOY IS MINE.” With ‘The Godmother,’  Dbn GoGo establishes herself deeper as a game lover and, particularly, a player who understands the intricacies of staying afloat. – M.E

6. ‘031 Studio Camp 2.0’ – Dlala Thukzin 

The nature of South Africa’s vibrant Dance music scene is such that there’s perpetually a new talent emerging to captivate audiences, alongside a broader, developing subgenre that is simultaneously sweeping the nation. Durban’s Dlala Thukzin has recently emerged as one of the country’s most compelling names thanks to his exploratory and collaborative spirit. The 2025 instalment of his running series, ‘031 Studio Camp 2.0,’  is already proving to be an essential catalyst for the evolution of South African music, bringing together some of the country’s finest musical talents to creatively explore Afro-House and its burgeoning offshoot Afro-Tech. – B.A

5. ‘Captain’ – Bnxn

Easily Bnxn’s most experimental and widely acclaimed body of work yet, he evolves from his signature ballady style to a heavily influenced Afropop style. The change had been set in motion with the release of  “Phenomena” and the Rema-supported  “Fi Kan We Kan” in 2024. ‘Captain’ being his sophomore album, was an incredible showreel of his growth from the melancholy of ‘Sincerely, Benson,’ and even though he still retained a core of his rhythmic style on songs like  “I Alone,” “In Jesus Name,” and “5hrs Till Nairobi,” his bolder nuance shines on “Jies” and “Cutesy,” which shaped a versatile body of work. – M.E

4. ‘Thato Ya Modimo’ – Kelvin Momo

A leading figure in the private school iteration of Amapiano, Kelvin Momo has forged a unique path with songs that gently build up into grand treatises on the human condition and life’s vicissitudes. Much like all that has come before it in Momo’s oeuvre, ‘Thato Ya Modimo’ is a soothing tribute to destiny, culture, and family. Inspired by the producer’s name, the title translates to ‘God’s Will,’ signifying a sense of surrender that’s explored on songs like “Take Me to the River,” “Modimo,” and “Bring Me Back to Life.” As one of the foremost Amapiano acts of his generation, Momo’s work on  ‘Thato Ya Modimo’ is both a promise and demonstration that amapiano will never abandon its soulful origins come what may. – W.O

3. ‘Paradise Now’ – Obongjayar

Listening to an Obongjayar project can best be likened to being on a Ferris wheel, going round and round, adrenaline pumping through one’s veins. ‘Paradise Now’  imitates an exotic ride. Songs like the  solemn album opener, “It’s Time,” and the tearjerkers, “Born In This Body” and “Happy Head,” were emotionally gripping, while the album’s upbeat gems, “Holy Mountain” and “Just My Luck,” gave rise to a revving energy.  In sum, listening to ‘Paradise Now’ is not a linear experience, and Obongjayar’s sonorous, heartfelt vocals accentuate its perfection.  – M.E

2. ‘BLACK STAR’ – Amaraee

Amaarae is always tugging the dancefloor toward some brighter, stranger place. Her glorious third album, ‘BLACK STAR,’ is a full-throttle commitment to the hedonistic lifestyle she has spent much of her career projecting. The album is one of this year’s most exhilarating global Pop statements, collapsing different forms of Black dance music into a sensual, pleasure-soaked soundworld. Amaarae sings with disarming directness about sex, drugs, and more sex. But even in its bawdiest moments, the album never loses its composure, each beat slotted precisely where the body wants it. It’s a record that banks on joy, pleasure, and freedom—and wins because it takes none of those things for granted. – M.A 

1. ‘then 1t g0T crazy’ – Zaylevlten

It’s remarkable how much can change in just 12 months. Near the end of 2024, Zaylevelten released a ruminative tape titled ‘before 1t g0t crazy,’ tunnelling into his interests, motivations, and quirks across a thrilling 15-song dispatch from the heart of Yaba, a densely populated student area on the mainland of Lagos. One year later, the ambitions of ‘before 1t g0t crazy’ are more or less realised on ‘then 1t g0t crazy,’ a madcap exploration of just how wildly one’s dreams can mutate when long-held hopes become a reality. An empathic tome from the depths of the Nigerian underground in a year when the scene has revitalised Afropop, ‘then 1t g0t crazy’ cackles with invention and  an insouciant brilliance, whether Zay is flexing his financial muscle on “Guide Pass” or detailing how much his listener base has expanded on “Isa Lot.” Things get wild across the original and deluxe version of ‘then 1t g0t crazy,’ but you get the sense that Zaylevelten is just having a blast, whatever comes. – W.O