The Songs Of The Summer
Although summer typically falls in the rainy period in Africa, there’s always a party happening, and these are the jams to keep things spirited
No season of the year is as anticipated by many as summer is. The promise of sunny days, clear skies, and lounging with friends has established a long tradition that has come to be defined by music. Over the last half-century, the song of the summer phenomenon has gained popularity as artists, fans, and casual listeners strive to imprint their choices on the broader cultural landscape.
The rise of the internet and the democratization of access to culture have profoundly reshaped the nature of what we consider the ubiquitous song of the summer, with no consensus on what song is the overpowering anthem of the season. That doesn’t mean that there are no songs that still soundtrack the parties, beach hangouts, and warehouse raves that are a fixture of summer months. Afropop is no exception in this regard. Although summer typically falls in the rainy period in Africa, there’s always a party popping off somewhere, and there are jams to keep things spirited.
2025 has not been any different. From South Africa to Ghana and Nigeria, we have had anthems go off that pay homage to the breadth of African expression. Just like how specific songs define the detty December seasons, we have songs that just sound like summer, and this list puts together all the songs that add colour to this joyful part of the year.
CIZA, Jazzworx, Thukuthela – “Isaka (6am)”
Propelled by a viral TikTok challenge from earlier in the year, “Isaka (6am)” became practically inescapable on the internet. The single, originally released in April, soundtracked millions of videos across the internet in just a few weeks of its release, and it has now become a dancefloor favourite across the continent. CIZA’s smooth delivery works nicely with Jazzworx and Thukuthela’s infectious 3-step groove for what is undoubtedly one of the songs of the year already. – B.A
MOLIY, Silent Addy, Shensea, Skillibeng – “Shake It To The Max (FLY)”
Moliy was hard at work in late 2024, building momentum behind what has quickly become her biggest single yet and perhaps the biggest song from the continent so far this year. An uncomplicated viral dance challenge helped the original release become a regional hit. Still, it was the Shenseea and Skillibeng remix from earlier in the year that took the song to the next level. Now, even Cardi B is shaking it to the max. – B.A
Mavo, WAVE$TAR – “Escaladizzy”
Mavo has been one of the year’s most exciting success stories so far. The young singer has been making waves in the underground scene for a minute, but it’s his recent collaboration with rapper WAVE$TAR that has proven to be his breakthrough moment. Everything is in perfect sync on “Escaladizzy”: 2frosh’s hypnotic beat, WAVE$TAR’s silky bridge and Mavo’s eccentric lyrics and flows. Someone please get Armin Boehm (Escalade CEO) on the phone with Mavo already. – B.A
Shallipopi “Laho”
When Shallipopi teased a snippet of “Laho” in February 2025, many listeners were sure that it would go on to be one of the most definitive songs of 2025. Four months on from its releases, and two new versions later, that assertion has proven to be true. The laidback style of Shallipopi’s delivery and infusion of Bini language has made it a hit that has resonated with listeners across the world. – W.O’
Olamide, Young Jonn, Asake, Seyi Vibez ft. Daecolm – “99”
Very rarely does an Afropop Avengers lineup work. Most times, it’s always a case of too many cooks spoiling the broth. But this one works a charm. Yung Willis’ House-inspired beat is soothing and groovy, making it a blissful backdrop for all the featured artists who bring something unique to the table without overstaying their welcome. Also, hats off to Daecolm. Star of the show. – B.A
Davido ft. Omah Lay – “With You”
Both Davido and Omah Lay spoke about this collaboration with enthusiasm a few times before its official release, but I imagine even they might not have envisioned it would take off as rapidly as it did. Those opening guitar licks are enough to cause delirium in functions across the continent at the moment. It’s arguably the undisputed song of the summer already, and judging by its momentum, it’s likely to end up as one of Davido’s biggest songs yet. – B.A
Smur Lee “Management” W.O
In recent years, South-South Street-pop has risen to a place of prominence within the wider Afropop plexus. Rivers-born singer and dancer, Smur Lee, has established herself as an avatar of the sound’s varied flows, thematic references, and delivery patterns. Her year-opening release, “Management,” is cut from the same cloth. There are shoutouts to Elon Musk, praise for luxury-living, and a jet-set lifestyle over a percussion-heavy instrumental. It’s the perfect track for summer revelry. – W.O
Seyi Vibez “SHAOLIN”
Seyi Vibez’s February EP, ‘Children Of Africa,’ arrived like a jolt out of the blues, and no song quite presses home that element of surprise like the Mara-influenced “SHAOLIN.” Produced by larrylanes, it’s a return to the gritty soundscape of another surprise release, ‘Memory Card,’ from 2022. On “SHAOLIN,” Seyi Vibez is at his declarative best, flexing his success and wins while delivery a rage-inducing jam for his core audience as he steps into a new era in his career. – W.O
ODUMODUBLVCK “Pity This Boy”
Released just seven days before Valentine’s Day 2025, “PITY THIS BOY” is ODUMODUBLVCK at his pithiest as he promises a world of luxury to a love interest. Still, like all the best ODUMODUBLVCK songs, that narrative is only the entry point for a more tightly-packed story. On “PITY THIS BOY,” he’s also contending with the overwhelming nature of black tax and the guilt of not being able to help everyone. It’s all delivered in his signature melodious style, helping the song achieve ubiquity as the year has gone on. – W.O
Jazzworx, Mahwoo, Thukuthela ft. GL_Ceejay – “Uzizwa Kanjan”
Johannesburg’s production duo Jazzworx and Thukuthela have been on an impressive run since the turn of the year, becoming one of 3-step’s most prominent flagbearers. “Uzizwa Kanjan,” which quickly became one of the most Shazamed songs in South Africa in only a few weeks of its release, is just one of the few hits they’ve been responsible for this year. The song perfectly captures the duo’s innovative fusion of multiple dance styles and the soothing feeling it evokes. – B.A
Mahwoo, GL_ceejay, Thukuthela ft. Jazzworx “Bengicela”
Is it truly a summer without a dance hit to get folks on the dance floor in surrender to the joys of being alive and with friends? “Bengicela,” South African singer and songwriter MaWhoo’s return after 2024’s ‘The Sound Of Magic, might be sweet and sultry but its earnest plea for hope and deliverance paired with a prominent 3-step pattern make it a strue song of the summer contender. – W.O
Dlala Thukzin, Zee Nxumalo, SYKES – “Mali”
The first instalment of Dlala Thukzin’s ‘031 Studio Camp’ series found the Durban star exploring the boundaries of 3-step and Afrotech. The project produced “Ama Gear,” one of the standout songs of 2024. The second instalment of the series was released earlier this year, and it also came bearing another song of the year contender in “Mali.” The award-winning producer continues to impress with his prolific output and unwavering commitment to evolving the sound of South African Electronic music. – B.A
Joé Dwèt Filé ft. Burna Boy “4 Kampé II”
Originally released in October 2024, the re-up of “4 Kampé” has breathed new life into the catchy tune. Teaming up with Burna Boy, rising Haitian act, Joé Dwèt Filé, invites the Afropop star into the heart of his celebratory track that shows that there’s always the possibility for magic when the Black diaspora unites. – W.O
WizTheMc ft. bees & honey – “Show Me Love”
If there was ever a song perfectly curated to the sunshine and abounding optimism of summer, this mid-tempo house-inspired anthem by South African-born singer and rapper, WizTheMc, hits the mark. “Show Me Love” is an open-ended dedication to romance in its purest form set to the relaxing tempo of beach-bound music. Fellow South African star, Tyla, appeared on another version of the song, adding star power to one of 2025’s most enjoyable anthems. – W.O
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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