Why Nigeria can’t & shouldn’t be aiming to ‘own’ Amapiano
The Mzansi-originated style of dance music is more than sound, it's a movement, a culture and a lifestyle; it should be respected as such
Mayorkun. Rema. Niniola. These are three notable Nigerian artists who have, in recent times, released songs heavily indebted to Amapiano, the South African House subgenre which rose to unquestionable dominance in the South African music mainstream last year. The adoption of this sound by these three mainstream artists is an indicator that more Nigerian artists will take to Amapiano in the near future. While this is positive validation for the creative quality of Amapiano, and will undoubtedly further the subgenre’s popularity, Nigeria has a tendency of taking on music from across African borders without giving due respect to its originators.
Back in July, Rema put out the phenomenal “Woman”, the final drop of an impressive 3-single run, a song which could easily been touted as the biggest songs this year. Upon release, there was an outpour of praise for Rema’s undeniable ability as a hit-maker, but that soon gave way to conversations about the sound he adopted, and its readiness for mainstream success in Nigeria. At their best, there were takes on the myriad of ways we can incorporate Amapiano elements into the distinct quirks of Nigerian pop; at their worst, it was insinuated that more artists adopting the SA House subgenre could lead to the point where we can claim absolute ownership.
In as much as these were takes given in the spur of the moment and can even be defended as harmless banter, there was a sinister sense of entitlement, especially with the latter set of opinions. It’s normal practice in pop music for artists and producers to take elements from existing music styles and refine them for a previously oblivious audience, however, when adopters start parading themselves as originators and outright owners – e.g. white people and Rock music – this is the point at which duplicitous appropriation rears it’s head.
While it has always been a fixture, the pace of cultural and creative exchanges between African countries has been enhanced by the ever-evolving internet, meaning that we get to see interesting trends across the continent almost in real time, and interested parties can quickly begin to figure out how to use these newly discovered fads to spur their creativity. It used to take some time, pre-internet. For example. the Makossa craze that overtook Nigeria in the early ‘00s, which had been the mainstream sound in Cameroon for decades prior, gained popularity in the Congo from the mid ‘90s and eventually led to the viral presence of Congolese singer Awilo Longomba within the country’s shores.
With the continued rise of on-demand music streaming, the ability to peek into whatever’s happening several thousand miles away thanks to the internet and social media, and constant pan-African collaborations between artists from different countries, sounds from several sides of the continent don’t have to take the scenic route to popularity away from its point of origin. In the case of Amapiano, it was a matter of how soon – not if at all – the addictive sound would begin to impact the Nigerian pop music scene.
A week before Rema’s “Woman”, ‘I Am the King of Amapiano: Sweet & Dust’, the blockbuster solo debut LP by South African DJ and Amapiano savant, Kabza De Small was released, and it notably contained “Sponono”, a frontrunner for record of the year, featuring vocal appearances by Wizkid, Burna Boy, Cassper Nyovest and Madumane – the former three being amongst the very biggest artists on the continent. On cue, the song quickly became, and has remained, a fan favourite in the Southern parts of Africa, while also garnering a sizeable buzz in Nigeria. “Sponono” is extra proof that these sort of star-studded collaborations can yield creative magic, diverse acclaim and general influence. Evidence of the latter point comes with the inference that “Woman” was recorded three days after “Sponono” came out (I’m not really insinuating direct influence, just pointing out an interesting detail).
Beyond inferences, the creative bridge between Nigeria and South Africa goes back several decades, from Hugh Masekela and Fela Kuti in the 1970s to Burna Boy and AKA in the last decade. The exchange of inspiration between SA and Naija is a two way street, Amapiano is just the latest import traded to us by our southern partners. It isn’t anything less than expected that Amapiano would begin to make its mark in Nigeria, however, as with whatever becomes the toast of the mainstream, the problem lies in our general (mis)treatment of relatively new sounds as something to claim ownership of, or disrespectfully strip for parts.
Thanks South Africa for creating Amapiano. But it's a Nigerian genre now. Go and create another one.
Love and light.
— Joey Akan (@JoeyAkan) July 4, 2020
Following his ascension to widespread popularity on the back of his patented Banku sound – which is heavily indebted to neo-highlife – Mr Eazi played a significant role in adjusting the standard pace of Nigerian pop songs. Although there were strong precursors like Burna Boy’s “Like to Party” and Wizkid’s “Ojuelegba”, Mr Eazi’s distinct style, along with hit songs like Tekno’s “Pana”, helped normalise the flamboyant cool that’s become a signifier of Nigerian pop music.
Considering the roots of his sound and his part in this musical shift, it was a bit shocking to see the singer come under fire from Nigerians for his early 2017 comments about the influence of Ghanaian music on Nigerian music, even though it’s a well-established fact that goes back all the way to Highlife in the 1950s. Rather than take it as a moment of giving credit where it is due, it many Nigerians saw it as an opportunity to assert supremacy.
Due to our sheer influence in determining what’s hot in Afropop, Nigerians often think every musical style that makes its way to popularity over here should solely revolve around us, an arrogance that makes us willing to place our narratives over the actual origins of the sound. In doing this, we come across as bullies who no longer have anything innovative to contribute to the African music canon, and are only on the prowl for influences to take from (sounds palely familiar). Amidst conversations about the global appropriation of Afropop, we should consider it pretty damning that appropriating with reckless abandon is a dominant part of Nigerian music, when all that is required is for us to simply not pass ourselves off as ‘owners’ of a sound we didn’t create.
Following the meteoric rise of “Legbegbe”, Mr Real made it a point to reiterate Gqom – the House variant that combines SA folk with bombastic, Techno-indented bassline – as the sound behind his game-changing smash hit. “I looped the beat and added some other sounds. It’s from an Uhuru song that I don’t even remember anymore”, he admitted to the NATIVE in a 2018 interview, name-checking the prolific South African producer Uhuru and giving direct props to the direct sonic inspiration. “Legbegbe”, alongside other similarly styled bangers like “Oshozondi” and “Shepeteri”, led the Shaku Shaku wave that has now become foundational to Nigerian street-hop music today. Through constant innovation, the sound has mutated and evolved into several dimensions that’s traceable down to Rexxie’s ‘Afro Streets’ as well as Jaido P and Olamide’s recent street banger, “Tesina Pot”.
One could argue that, the adaptation and retooling of Gqom into a sound that’s now inherently Nigerian has to do with its Techno elements, a style of dance music with a proven universality. Pulling off the same process with Amapiano, however, will be a lot more complex due to its musical specificity. Born from a combination of Kwaito, deep house, Jazz and the folk drums of diBacardi, Amapiano is an offspring of sounds deeply embedded in the DNA of South African music. With this sonic make-up, the subgenre is so vividly singular that it’s instantly clear when it’s been adopted, and retooling effects drastic changes such that it can no longer be deemed as Amapiano. It doesn’t mean the sound is limited, it just goes to show how unique it is.
None of this implies Nigerian artists and audiences can’t co-opt and enjoy the warm, strident grooves of Amapiano; what is does mean is that there has to be respect in approaching the sound and purging the idea of ownership. In May, British-Ghanaian DJ/producer Juls put out ‘Happy Place’, a short EP with its fair share of Amapiano-indented songs. “Soweto Blues” and “Tembisa”, the songs with clear influences from Amapiano, are stunning attempts at fusing the sound with his established identity as a purveyor of colourful neo-highlife grooves. Built off his trip to South Africa early in the year and created in tandem with local artists Busiswa and Aymos, Juls foray into Amapiano was clearly built on pure admiration rather than appropriation.
On September 22nd, Spotify brought together several key players for “Amapiano Keys”, a virtual panel event that dug into the rise of the subgenre, its local impact, as well as its growing appeal on continental and global scales. Juls featured in the third section of the event, alongside Spotify exec Phiona Okumu and South Africa-based Zimbabwean singer Sha Sha (aka the Queen of Amapiano) – the trio, despite their varying level of involvements in the Mzansi-originated sound, made it their duty to constantly reference it as such.
Before them, journalist/photographer Setumo-Thebe Mohlimo and several Amapiano artists including MFR Souls, Njelic, Semi Tee and Focalistic featured in the preceding sections, and what struck me the most was the fact none of them referred to Amapiano as a sound, rather they invariably described it as a movement, a culture and a lifestyle. In different words, they described Amapiano as a reflection of the day-to-day life of many South Africans, especially that of the youths who form the bulk of the country’s populations.
Considering this weighty context, it would be disingenuous to continue pushing the agenda, even jovially, of Nigeria eventually owning Amapiano. Having already proved its national dominance, the movement is looking to upscale internationally, which is an agenda we can assist with. As Afropop continues to make global in-roads, Nigerian pop music has dominated a large portion of the attention from the other side of the Atlantic, meaning that we can further Amapiano’s international appeal through collaborations like “Sponono”, respectful and inventive co-opting like Juls’ ‘Happy Place’, and other wholesome avenues that doesn’t involve us erroneously parading ourselves as the owners of the Mzansi movement.
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Dennis is not an interesting person. Tweet Your Favourite Vigro Deep Songs at him @dennisadepeter
AMAPIANO: THE GLOBAL SOUND OF THE SOUTH AFRICAN HOOD
Shekhinah Returns With Surprise Album, ‘Less Trouble’
The South African R&B star is at her most assertive on her first album in four years.
South African R&B and Pop singer Shekhinah has released a new surprise album titled ‘Less Trouble.’ The Durban star, who had been quiet for most of the year, took to social media shortly before midnight to share the new album’s cover, synopsis, and tracklist, simply stating, ‘If you’re seeing this my album LESS TROUBLE is out now at Midnight,’ in an Instagram caption.
The soulful singer first began teasing ‘Less Trouble,’ her first album in over four years, about a year ago when she released its lead single “Risk,” a bouncy Afropop-inspired collab with Ghanaian star MOLIY. A few months after the release of “Risk,” she put out “Steady,” a dreamy pop number that suggested that something bigger was on the horizon. But then it was largely radio silence about a project until its surprise arrival at midnight.
If 2021’s ‘Trouble In Paradise’ represented a coming-of-age for Shekhinah, subsisting some of the dreamy, youthful exuberance of her debut album for more measured musings on themes like heartbreak and grief, ‘Less Trouble’ finds her at her most assertive, writing and singing with the acuity of someone who is grown, decisive and discerning. The delicate opener “Break Up Season” sets the tone for the rest of the album as she shows little tolerance for shady behaviour and toxic patterns.
Other standout cuts on the album like “Bare Minimum,” a sombre collab with fellow South African award-winning singer lordkez, the ethereal, in-your-face interlude “New Casanova,” and the percussive “What Are We,” where Shekhinah contemplates the nature of a relationship but ultimately demands all or nothing, all drive home a part of the album’s synopsis, which reads ‘A BOOK ON MORE HEARTBREAK BUT LESS HEARTACHE.’
Shekhinah invites a couple of new collaborators on ‘Less Trouble,’ featuring the aforementioned MOLIY and lordkez as well as multi-instrumentalist Mars Baby and Young Stunna across the album’s 11 tracks. Mpilo Shabangu handled the majority of the album’s production, while other producers like Michael Morare, her longtime collaborator, Mthintheki Mzizi, and Vuyo also contributed to the album.
Listen to ‘Less Trouble’ here.
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The NATIVE’s First Impressions Of Amaarae’s ‘Black Star’
‘Black Star’ marks another evolutionary arc for Amaarae, and The NATIVE team offer our thoughts after a...
Change has always been a constant theme in any discussion about the career of Ghanaian-American star, Amaarae. Since she emerged as a singular voice in the late 2010s, she has evolved from a sirenic Afropop-adjacent singer into a Punk-Pop firestarter with minimal fuss. ‘Fountain Baby,’ her 2023 sophomore album, was a sweeping departure from the lilting melodies and shapeshifing cadences of the hypnotic ‘The Angel You Don’t Know,’ emphasizing her commitment to charting new courses with her music.
In the lead-up to her new album, ‘Black Star,’ she has wholly embraced a Pop aesthetic and sheen that was reflected on the album’s promotional singles, “S.M.O.” and “Girlie-Pop!.” Now that the album has arrived, the singer has advised listeners not to go in expecting a continuation of the soundscape on ‘Fountain Baby.’ As keen followers of Amaarae’s career from its start, we are sure that ‘Black Star’ marks another evolutionary arc for her, and we offer our thoughts after a few listens.
WHAT WERE YOUR EXPECTATIONS OF AMAARAE GOING INTO THIS ALBUM?
Kemnachi: I had zero doubts that she would impress me again. Amaarae always comes correct. She is audacious with her choices, taking creative risks most artists would not dare to imagine, and somehow rendering them seamless, deliberate, and effortless. Her music has a way of enveloping me: it’s fluid, slightly dangerous, and yet irresistibly sensual. Every project feels like an immersive world she has curated down to the finest detail. With ‘Black Star,’ I knew it was not going to be a mere collection of songs but another meticulously constructed realm.
Bamise: I expected something fun, genre-bending, and sonically diverse in the fashion that Amaarae’s music typically is. I may have taken the album title a bit too literally, though, because listening made me realise I had an eye out for some Pan-African statements or something to spark discourse on African identity, but I didn’t quite catch any of that.
Boluwatife: Amaarae has largely delivered throughout her career, so I knew she was going to come correct again. She’s one of those forward-thinking artists who take the kind of risks most others wouldn’t, but she always manages to make it work. She’s proven to be a musical omnivore who constantly meshes her wide-ranging influences into something new, fluid, icy, and more often than not, sensual. I knew ‘Black Star’ wasn’t going to be any different.
WHAT SONGS STOOD OUT ON THE FIRST LISTEN?
Wale: I liked “Girlie-Pop!.” I feel like it captures Amaarae’s vision of pushing Afropop into the future. She’s also really grown comfortable with music and lyricism and will not dumb down her message for anybody. The instrumental for “Girlie-Pop!” is also a wonder; it’s so dense, but there are pockets for Amaarae to be emotive about her feelings. Top song!
Daniel Akins: I need to hear “B2B” at the next rave I’m at. Amaarae is in her Dance era, and I’m here for it. Kiss Me Thru The Phone pt 2” with PinkPantheress is the collaboration I knew I needed, and I’m glad they finally linked up. It’s a clear standout on the project; their ethereal style complements each other.
Shina: “B2B” was the one that did it for me. That is my favourite track on the project. The number of times I ran it back was unhealthy for a first listen. It was also really fun to catch the Don Toliver “Best You Had” sample. I need to hear this outside!
HOW WELL YOU THINK THE GUEST APPEARANCES ENHANCED THE LISTENING EXPERIENCE?
Israel: The guest features on Black Star aren’t mere flexes. They’re strategic, theatrical, and sometimes emotionally resonant. They enhance, yes, but they do so on Amaarae’s terms. A standout for me was PinkPantheress on “Kiss Me Thru The Phone pt 2.” The tradeoff is that a few songs feel like dazzling cameos rather than an integrated conversation, yet overall they enhance the album’s drama, texture, and bravado with precision.
Daniel Banjoko: Everyone showed up and delivered, no weak links here. Instead of just guest spots, they felt like vital pieces of a bigger puzzle. Charlie Wilson on “Dream Scenario” nailed his part especially, making the track sound exactly like its name promises.
Moore: The guest appearances on ‘Black Star’ feel very intentional; each one enhances the album’s world without overshadowing Amaarae’s vision. PinkPantheress’s signature airy delivery meshes with Amaarae’s experimental pop sound. Naomi Campbell’s commanding voice on “ms60” is an unexpected but powerful addition, adding drama to the track. Each feature feels carefully chosen.
WHAT SONG IS THE BIGGEST SKIP?
Bamise: Not to be a party pooper, but I don’t get the PinkPantheress collab, “Kiss Me Thru The Phone pt 2.” It feels like a PinkPantheress song with less pop in it, and just borrows the title of the iconic Soulja Boy song but has no other similarities. It’s between that and “ms60.” For me, the chorus of that sounds like something I’ve heard from Amaarae before, and I doubt its absence would have diminished the album.
Shina: I feel like biggest skip is a strong word for a solid project, but if I have to pick a song to skip, it’ll be “ms60.” I think it’s easily forgettable.
Wale: It’s hard to single out a song that stuck out to me, but hearing Naomi Campbell on “ms60” threw me off. It’s just too contrived to bear for me.
WHAT SONG HAS THE BIGGEST HIT POTENTIAL?
Boluwatife: My gut answer would probably be “She Is My Drug,” just because of how she beautifully reworks the melodies from Cher’s “Believe.” DJ remixes of this song could go crazy. But if I were to think a bit more logically, TikTok would probably lap up “Kiss Me Thru The Phone pt 2.”
Daniel Banjoko: “Kiss Me Thru the Phone pt 2” goes crazy. Amaarae and PinkPantheress are the perfect match. This collab feels like it was destined to happen, and it delivers in full. Honestly, I can’t believe it took this long, and now I just need more tracks from these two, ASAP.
Moore: “Kiss Me Thru The Phone pt 2” has the biggest hit potential on the album. The song has a nostalgic, sad party girl vibe that makes it appealing, and it’s also catchy and well-produced. PinkPantheress consistently performs well on platforms like TikTok, and her fanbase overlaps in a really interesting way with Amaarae’s. The collaboration feels organic and exciting, and will likely create a lot of buzz.
OVERALL FIRST IMPRESSIONS
Wale: There is a very visceral quality to how Amaarae expresses desire that I don’t hear very often in a lot of music. It’s abstracted and warped in futuristic textures, but it’s very profoundly human, and it’s always great to hear that even as she advances the sonics of her delivery. I do, however, have an issue with the thematic scope of ‘Black Star.’ I thought there would be overt references to her experiences of navigating her Ghanaian identity, but those references are limited to samples and interpolations. It’s still an incisive listen and a triumph for finding ways to advance music from Africa.
Bamise: It’s Amaarae; she can never go wrong. But for me, this is the album that excites me the least from her catalogue. Other than how bass-heavy some songs on the album are, like “S.M.O.” and “She Is My Drug” among others, it feels similar to other projects I’ve heard from her in a way that’s not exactly refreshing or mind-bending. I may have gotten spoiled by how diverse and eclectic Amaarae’s music tends to be, but I wanted more from her. I expected more gangster, Hip-Hop Amaarae. Thematically, I didn’t get anything that gives the Black Star of Ghana, or black stars are ruling the world. Will I listen again and enjoy every bit of it still, though? Yes, I will.
Shina: So first off, this is a solid body of work. I love the fact that Amaarae stuck with the Dance, Electro-Pop route she was going with throughout the album. The features also played their part, adding their unique touches to each record. I would say, though, a feature I would’ve loved to hear on this project is 070Shake. I think she would have been perfect on “100DRUM,” but we don’t always get what we want, do we? Thematically, I think Amaarae could’ve leaned heavily on her Ghanaian heritage, seeing as the title and cover of the album are a nod to that. Maybe Amaarae just wants us to dance, and that’s what I’m just gonna do, and you should too.
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Tems Partners With Hennessy For Leading Vibe Initiative
Launching in Lagos, Nigeria, this event pioneered by Tems marks the beginning of a continent-wide movement to...
In July, Tems announced the Leading Vibe Initiative (LVI) to support women in music and the creative space on their journey to make a mark in their fields and create space for other women in those industries. Born from Tems’ journey as a self-taught artist with a focus on driving change, the initiative offers training, mentorship, industry access, and community for women in music in Africa.
After a rigorous selection process for its inaugural cohort, Hennessy will join the two-time Grammy Award-winning star to celebrate the launch of the Leading Vibe (LVI) Initiative in Lagos, Nigeria. Held from August 8 to 9, 2025, the two-day event is the beginning of a bold new chapter in Hennessy’s long-standing commitment to music and culture in Africa.
“I’m excited to partner with Hennessy in bringing this initiative to life, supporting talented young women in music as they find their voices, embrace their power, and shape the future of the industry across Africa and beyond,” Tems said about the partnership.
The Leading Vibe Initiative aims to champion the next generation of female artists, producers, songwriters, and music professionals, increasing representation within all areas of music across the continent and beyond.
With Hennessy as lead partner, this ambitious program kicks off with an immersive event in Lagos featuring curated workshops, networking moments, and panel discussions led by top-tier talent from across the global and African music industries.
“Her vision, talent, and purpose align deeply with Hennessy’s legacy of championing those who push boundaries and redefine the world around them. We’re honored to support the Leading Vibe Initiative and to continue empowering African communities and cultures,” said Vincent Montalescot, Hennessy Global Chief Marketing Officer.
Hennessy’s partnership with Tems builds on the brand’s decades-long history of supporting music and artistic expression globally and on the continent. From Hip-Hop to Afrobeats, Hennessy continues to stand beside the artists and communities that shape culture.
In Africa, the Maison has deepened its commitment through meaningful initiatives like In the Paint and now, with the Leading Vibe Initiative, is taking a focused step toward amplifying women’s voices in music. With the Lagos launch as a powerful first step, the Leading Vibe Initiative will expand across Africa and globally, creating a cross-continental network of empowered women ready to shape the future of African music.
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