Music thrives on freshness. In Afropop, there’s no shortage of pop superstars and cutting edge, niche-serving artists, but listeners always have their eyes opened and ears peeled for the Next Best Thing(s). It’s exciting proof that our music and the scene surrounding it is growing forward, broadening to allow artists who’ve been working on their craft in secret, the chance to make their own impact and add to the variety of the music being made by Africans.
This month’s edition of uNder features artists who are at various phases in their careers, but the common denominator is that there’s sufficient proof of their talent. South African singer Nkosazana Daughter has made hits as a collaborator for producers but her recent debut album feels like she’s just getting started; Ghana’s Olivetheboy might be a viral star but he’s logged a significant amount of his 10,000 hours; Nigerian singer Taves is a rookie to most but his catalogue means it’s us that’s playing catch-up. There are four more artists we’ve spotlighted, and we believe each one is worthy of attention because they’ve already shown why.
Read on for our breakdown for all seven artists and listen to the playlist here.
Nkosazana Daughter
For anyone paying close attention to the booming Dance and House music scene in South Africa, Nkosazana Daughter’s dulcet vocals don’t venture far away from several mainstream hits and niche deep cuts. While she can be accurately grouped under the high-pitch vocal range, what makes Nkosazana’s performances standout within the bass and log drum heavy soundscapes is how lightly they land on the ear. Deep London’s “Piano Ngijabulise” perfectly encapsulates this, as well as her her journey developing the sounds of the genre and unique storytelling skills.
“Ukuqala Kwa ukuhlanganipha, Uku mesaba uJehovah/Ay abezwa labantwana, badlala ipiano,” she sings, which loosely translates to “The beginning of wisdom is fearing God/These kids don’t listen, they play piano.” She floats into the hook singing, “Piano ngijabulise, Piano ngikhulekise” —“Piano make me happy, Piano pray for me.” To Nkosazana, ‘Piano is more than a genre. It’s a religion and her expansive catalogue of only 2 years is evidence of that.Undoubtedly, Nkosazana Daughter’s touch across several standout features cements her as a highly sought after collaborator but the recently released LP, ‘Uthingo Le Nkosazana,’ sums her remarkable contribution to Private School Amapiano and Deep House-led excursions.
Nkosazana’s feathery execution slides over varying upbeat and gloomy productions that create her soulful, heartwarming renditions across 13 tracks. She effortlessly holds her own across the conspicuous beats so much so that her fleeting vocals leave an impact beyond their presence. With innumerable cosigns and as one of the most sought after collaborators in urban SA music, Nkosazana isn’t just a mainstay—she’s charting her part into becoming a beacon of excellence.
TAVES
Last year, Taves made a cover of BNXN’s “For Days”and it caught the attention of the singer who immediately took Taves under his wings. Taves’ cover retained the easygoing flow of BNXN’s original but it also showed clean rhymes and deft songwriting. Fairly recently, Taves released “Eleyele,” his first single of 2023, under BNXN’s indie imprint, T.YE, and it also featured songwriting and vocal contributions from BNXN. While it might seem Taves appeared out of nowhere, proof of his consistency are littered across the internet.
Tavves, born Toluwanimi Aluko, began his career at the age of nine as a songwriter before he proceeded to record music on his phone, which he shared with friends while in secondary school. At 16, Taves took recording and releasing music seriously, putting out records inspired by the music he listened to: R&B and Hip-Hop. Projects like 2019’s ‘The Nest: First Day Out’, 2020’s ‘17’, and 2021’s ‘18’ documented Taves’ personal and artistic growth as he laced his sound, a fusion of R&B and Hip-Hop, with stories of love, heartbreak and other struggles.
In 2022’s “Karma” and “Long Time 2.0”with Ned K, Taves experimented with Afropop, replacing the rap bass with Amapiano log drums. His latest single, “Eleyele,” clearly situates him in the Afropop territory but it also does in the aforementioned location, an area in Ibadan, Oyo State, which was influential to Taves’ formative years. On the song, Taves pins for a lover who has left him for the megacity of Lagos and its fineries; he pleads for her return yet he is aware that there is no return to their blissful past. The level of skill Taves exhibits on “Eleyele” marks him as a promising act with huge potential for a mindblowing future.
Olivetheboy
Ghanaian music never has a shortage of viral breakout stars. Since the turn of the decade, Gyakie, Camidoh, Black Sherif, the entire drill scene, and more new stars have been introduced to the local audience and beyond. This year’s biggest breakout story yet is Olivetheboy, the 20-year old singer from Konongo. As with many success stories in music these days, the catalyst was TikTok. A month after the April release of his sophomore EP, ‘Avana’, the third song “GoodSin” shot into popularity amongst Ghanaian TikTok users after a video by the popular dancer and influencer, Endurance Grand, went viral. It’s arguably the biggest song in Ghanaian pop right now.
Even with the fortune of a career-elevating hit song at such a young age, Olivetheboy is far from an overnight sensation. In 2020, he appeared on Kwadwo Sheldon’s YouTube page, after the popular media personality discovered Olive on Instagram, where he would share song covers. In that video, he sang and played the piano, the boyish twang of his tenor voice carrying an impassioned charm. Afropop and Highlife were his chosen genres, he said then, without a release to his name at the time. Shortly after, he signed to Loop Music and released his debut EP, ‘Tanga-Reen’, a collection of songs that carried an optimistic perspective to romantic feelings, and underlined by giddy melodies.
On ‘Avana’, he’s far more in control. The melodies are still vibrant but there’s a little more guile to backup the innate charm of his voice. Where the obvious influence of Afropop superstars like KiDi and Wizkid were overwhelmingly obvious on his debut, there are now mainly references on the path to being a more distinct songwriter. “GoodSin” has put the spotlight on Olivetheboy, he definitely has all the tools to ensure that his budding stardom grows into conversations of greatness.
BIMS
Bims is a musician with many sides. This has been evident since making his entry into the Nigerian scene just before the turn of the 2020s, exciting with hyperrealist bops. “For You” was an early showcase of his range, possessing colourful production even as Bims told the story of an incomplete love. It’s the kind of song Bad Boy Timz would create, but the angst in Bims’ tone exacts its own poignance, while fitting readily within the kind of records to top playlists or rock at parties.
At the core of afropop resides a percussive and thematic urgency, and Bims emerges from that style, harkening to the formative 2000s era. “Enough”further impressed those sensibilities, but Bims stepped into his own on the 2021 tape, ‘Beyond Your Eyes’. Here he merged pomp with renewed sensitivity, the production maturing to capture his expanded focus. The sultry appeal of “In Love”sounds like nothing he’s done before;“Bad Girls” reconstructs amapiano deliveries in quintessential Nigerian melody; pulling the heart’s strings are “Too Deep”and “Return to the Streets,” which, fittingly, are the last songs on the EP.
Ever since Bims has continued to release music, last year putting out “Love Palava (Nack Am)”and “Odd Son”. The latter’s a reflective number whose drums however coaxes dynamism from Bims. “So many things wey man dun face,” he sings amidst the clashing percussion and brazen horns. With a double release coming about a week ago, the stars, surely, would soon align for Bims. “Ife” reaffirms his hit-making quality, the stuff of Asake and Young Jonn, while “Fire” is the trademark Bims record, groove tinged with melancholy, underlining the mission he puts forward on his Spotify biography, to “find expression telling [love] and heartbreak stories”.
Anything with Yusef
Anything With Yusef made an official resounding debut into the scene with a cover of Smoke of LAC’s “Rolling Deep,” offering a unique take on the old school Chicago rap record. However, after taking in the vast pool of sounds emanating from these parts, the Botswana-born singer ventured into Afropop armed with inventiveness and undeniable love for genre-mashing cuts. He shared in a recent interview with the NATIVE that the major selling point for him was the genre’s ability to create melodies that transcend language barriers.
“When I deliver my music, I always try to go for the emotions before I put the lyrics. That’s why it made so much sense for me to do Afrobeat because I don’t know what most of these guys are saying, but I do feel the emotion in some of the songs.” Anything With Yusef is largely driven by emotion and he ensures to reflect that stark vulnerability in disarming honest confessions about self-acceptance across his discography. His debut extended play, ‘I’LL TELL YOU AT MIDNIGHT’expertly showcases a slew of love-themed tracks stacked with raw depictions and breezy productions that are sure to leave listeners in a reflective mood.
Yusef’s emotions translate even clearer on his recently released 2-pack project dubbed ‘Chaos Theory’. The dull melodies of “STUCK IN MY MIND” glide smoothly over an upbeat soundscape as he addresses his muse. “FEEL SOMETHING” on the other handruminates over brazen authenticity and self-love on a gloomy production characterised by subtle Trap embellishments. Across a sparse catalogue, Anything With Yusef swiftly displays emotional maturity through his message and confident delivery, taking us along his journey of self discovery.
xInsomniac
Experimentation lies at the heart of xlnsomniac’s artistry. The man born Israel Ajayi is a multifaceted creative, combining visual and audio talents with almost peerless mastery. In terms of sound, xlnsomniac started releasing music a few years ago, establishing his bedroom pop sound with flagrant touches of electronic music and other relative influences. His penchant for curating worldbuilding experiences can be associated with his long-honed skills as a visual storyteller, as oftentimes his music can soundtrack the thrills of a motion picture.
“Heartshapedglass,”for instance, which is found in his 2021 debut project ‘Cerulean’ is a rollercoaster of a song. Bouncing with soft rock drums and the brooding vocals of xlnsomniac who narrates the heart-stopping feeling of being in love, it benefits from pristine arrangement and the celestial sonic elements. “Muse” and “Away” have such existential undertones, with romantic love placed at the center of its thematic concerns. “Your smile is like a wave, of joy that sweeps away,” he sings before the end of the first verse, before vocal samples depicting tension swoop in.
xlnsomniac’s shape-shifting tendencies has seen him work with talented acts in that familiar sphere between alternative music and alt-pop, from Tochi Bedford to T3agray and Icitooicy. Earlier this year, the music producer and artist continued to burnish his rep with the ‘House of X’ project. It measures just under thirteen minutes but the soundscape is deliriously sprawling, combining his familiar resume of sounds with eclectic rapping (“Runnin”) and pointed influences from Nigerian pop (“All I Had”), arriving at a body of work which opens up his future favourably.
ELIJAH KITAKA
Uganda’s Elijah Kitaka is on a new path but it is a path that doesn’t lose touch with the brilliance of his previous iterations. His 2019 project, ‘Son of Kaloli’, was a compendium of a man’s love for self and country. Dipping into a wide array of genres—Reggae, Dancehall, R&B, Hip-Hop and Rock—Kitaka united intimate and political themes with his great vocals. Utilising a combination of Swahili and English, the music on ‘Son of Kaloli’ called for both moments of dance and ruminations.
Newly signed to the Kampala-based label Swangz Avenue, Elijah Kitaka reemerges as a rebranded artist. On his latest EP ‘Bedroom Essentials,’ Kitaka deals with passionate, sex-filled moments behind closed doors. In contrast to ‘Son of Kaloli,’ ‘Bedroom Essentials’ is looser in structure, opting for fun, groovy rhythms. Yet, ‘Bedroom Essentials’ doesn’t dumb down the listeners; in its new Afropop zone, Kitaka’s brilliant voice is the common denominator. Both ‘Son of Kaloli’ and ‘Bedroom Essentials’ show the artist’s range and skill to make music that resonates beyond themes or genres. It’s just the beginning for Elijah Kitaka.
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...
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 oris 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.
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 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
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...
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.