It’s no known secret that Afropop is growing at a breakneck pace; from welcoming ascendant stars to garnering the attention of audiences beyond its home and selling out big-ticket venues across the globe. According to the IFPI Global Music Report, Sub-Saharan Africa was the only region to see more than 30% growth, becoming the fastest-growing region for recorded music revenues in 2022.
Despite this growth, women in Afropop, who have always been an integral part of the culture’s fabric, are still being shifted to the background either as decoration for their male counterparts, or pitted against one another, and in some cases, maligned by critics and fans alike. Thankfully, we have community-driven initiatives such as Femme Africa bridging this gap in the industry, and creating a space where artists, producers, DJs, A&Rs, music execs and enthusiasts can harness their skills and talents, and increase their reach through live music performances that endear them to listeners. That’s why this International Women’s Month, we’re partnering with the women over at Femme Africa to present our first-ever women-focused curation of Best New Artists across the continent.
With 2023 poised to be an even greater year for the music coming out of Africa, there are plenty of new women artists that we’re excited to watch out for; from bilingual Nigerian rapper Brazy to Ghanaian singer with a voice of gold, Melissa, and Cameroonian singer, Posi, there’s something in here for every listener. Tap in if you wish to be that friend putting people on to good music or if you’re an A&R, looking for the next best thing, this is the group of artists you want to be paying attention to.
WINNY
In association with Femme Africa.
Last year, Winny released “Pretty,” a riveting track that contained a litany of proclamations bordering on abundance, both financial and emotional. “I’m pretty in my own way/And I like to dey sing what’s on my mind/I love broke inna rich way/Stay humble, to make my money with pride,” she sings. It’s both the lyrics and Winny’s emotion-laden vocals that demand attention; the simplicity in her words does not belie the profoundness they carry, and her voice, which reverberates with a certain ache, pulls at the heartstrings. While the Benue State indigene is relatively new to the music scene, a little digging uncovers her consistency with covers of songs from other artists and a 2018 single “Toluwani.”
In music videos for her songs, which she calls “short films,” Winny also offers visual treats alongside the audio delights. In the Prince Akpa-directed video for “Pretty,” Winny favours minimalistic backdrops, allowing her striking fashion style—hair, clothing and accessories—to convey her sense of individuality and expression. In her latest single “Don’t Leave,” Winny recreates the magic of “Pretty” with a patois-influenced delivery as she shares her fear at the possibility of her lover exiting her life; she encourages him to ignore the detractors and stick by her side.
The video for “Don’t Leave,” directed by Prince Akpa, also shares stylistic similarities with that of “Pretty”; both videos evoke the mood of intentionality that runs parallel with Winny’s brand of Afro-inspired R&B/Soul. With her debut, self-titled EP scheduled for release on April 7, Winny’s journey promises to be exciting. It’s a must-watch.
Uzoma Ihejirika
BRAZY
“Attends Shekeleva” was the phrase that had a stronghold on several TikTok users in Lagos and Accra late last year. Off her song, “Attends,” Brazy’s catchy track, adorned by a witty pre-hook,“cheat on me and I’ll cheat on you” made it clear that this rapper was a name that mustn’t be omitted in conversations about the next generation of audacious female rappers in the country. But before the Velli-produced track took audiences by storm, Brazy’s airy, euphonious vocals graced the intro track, “MATILDA” for Cruel Santino’s star-studded album, ‘Subaru Boys: Final Heaven.’
Sitting amongst music industry heavyweights in their own right, Amaarae, Gus Dapperton, Koffee and more, Brazy delivered a clutch, stand-out performance, leading her to accompany Cruel Santino on his Europe tour last year. When we last spoke to Brazy, she shares that she randomly decided to record “Attends”—translating to ‘wait’ in french—before the Paris show held in October 2022 and in 10 minutes, her biggest track yet was born.
However, that wasn’t the genre-fluid, bilingual rapper’s debut on the scene. Still relatively new to the scene, Brazy’s first attempt at music can be seen on the L0la-assisted “Siren.” And for all her singles including “1st Place” and “Gingerbread,” or her numerous collaborations with other female rappers as seen on “Selecta” or “ARI,” Brazy has taken the organic approach to create music. Despite starting her journey out as a means of having fun with friends, Brazy stands out from the crowd not just for her self-assured lyrics and witty penmanship, but also for her eccentric production and sheer ability to create tracks that instantly put you in a good mood. With Brazy already displaying many layers to her artistry, we’re excited to see where she could go sonically next.
Nwanneamaka
MELLISSA
In association with Femme Africa.
With only a few songs under her belt, Mellissa has proven that she is an artist we should keep our eyes out for. While she made her solo debut in 2021 with “Limelight,” audiences first got a whiff of Moliy’s dulcet, hypnotic vocals on “FEEL A WAY” off Amaarae’s critically acclaimed debut album, ‘THE ANGEL YOU DON’T KNOW.’ Assisted by her serial collaborator and sister, Moliy, Mellissa took Amaaarae’s nihilistic party girl anthem to new, unimaginable heights. Pairing perfectly with the two vocalists, the Ghanaian singer’s sleek vocals blended so smoothly that they would all be briefly mistaken for one voice. But that was just the beginning of her stellar collaborations as with each release, she proves to be a versatile artist transforming the worlds created to another dimension.
Another clear standout cut, Boj enlisted Mellissa and Moliy for what would be one of the most streamed tracks on his solo album, ‘Gbagada Express.’ On “In A Loop,” the trio go back and forth over the rhythmic, groovy track as they sing of being stuck in the cycle of a toxic relationship. Carrying the track’s infectious hook, Mellissa’s luminous vocals are especially affecting as she sings, “What we fi do? We’re stuck in a loop/Nobody gonna win this game,” underscoring the romantic tension which vivifies the record. Reiterating her sheer artistry, she delivers another memorable performance with Not3s on “Hear My Sound,” the outro for Ajebutter22’s ‘Soundtrack To The Good Life.’ Still awaiting more solo releases, Mellissa is already a sought-after collaboration with evidently more tricks up her sleeve.
Nwanneamaka Igwe
QING MADI
In association with Femme Africa.
Snippets of Qing Madi’s 2022 debut single “See Finish” were already floating on her Instagram and TikTok pages before she decided to enter a studio and complete the song. The teenage singer had shared that she was in a bad place when she conceptualised the song as a means to purge her emotions. While gloom is the anchor of the finished version of “See Finish,” Qing Madi delivers the song with a mastery that belies her age. “Say I used to be the life of the party/Now the energy inside of me is drained,” she sings as she shares her disinterest in the happenings around her to avoid disappointment. It is a sentiment that many people would relate to and Qing Madi captures those emotions with astute songwriting and great vocals.
In her sophomore single “Why,” Qing Madi’s disappointment is of the romantic kind. She tells off an admirer whose vibes she isn’t comfortable with, preferring her solitude. With a Hip-Hop/R&B bedrock, “Why” and “See Finish” offer a peek into Qing Madi’s personality and artistry, revealing an artist unafraid to share her truest thoughts. In the Jyde Ajala-directed visuals for both songs, Qing Madi also shares her love for dancing, with the choreographed moves paying homage to the late 90s and 2000s R&B. She’s one artist whose name will soon be on every lip.
Uzoma
KEZIAH MALLAM
In a generation where relationships are casual and undefined, Nigerian songbird Keziah stands out with her love-lorn pleas. Commanding attention with her voice on songs like “Over X Over,” Keziah Mallam’s catalogue is a cannon of creative wit characterised by cathartic singles.
Since making her debut in 2020 with “Zo Nan Nyanzu (Come Here Now),” Keziah has only been assuring of her position in the industry. Dedicating her 2022 to music, Keziah set off on an 11-month journey of finding her voice. Releasing 11 self-produced tracks including “Real Me,” she showed off her skilled penmanship by teaming up with groundbreaking artists such as SGaWD, moving on an upward trajectory and receiving nods from her numerous fans. Rapping on an upbeat 808, Keziah and SGaWD show boast of their womanhood “come from London to Lagos and still kept score/ I am my own superman s on my chest I depend on my plans.”
Rounding off 2022 with the Funk-inspired “Goodbye,” Keziah metaphorically bids farewell to a lover as she comes to her senses. Rounding off a chronological journey of falling in and out of love, the bass guitar accentuates her silky vocals as she is ready to step into the next chapter of her life. Her evolving persona and skills as she sets different moods to make her a perfect addition to a relaxing playlist.
Tela Wangeci
POSI
Teresa Eposi Chando has a voice that will wash over you. It’s a cathartic experience to hear the musician sing, with lucent vocals covering the pensive motions of the romantic heart. Living in North Carolina, the artist of Cameroonian descent was a prodigy. By eight years old she could play the piano and violin and for her training, she replicated arrangements on songs such as Beyonce’s “Pretty Hurts.”
In Posi’s music, self-investigation flows alongside the worthy mission of seeking peace. Her debut 2022 debut song “The Plan” featured a moving performance enriched with great perspective. “You don’t have to be on your knees/ Oh, I can’t let life get the best of me,” she mulls over a colourful production that’s right in place with Afropop. Her next single “Trying” had stripped elements with subtly emotive songwriting. Poignant lyrics such as “even when evil comes to me, I deserve to be living free” see Posi holding up the affirmative energy of women musicians like Tems, Asa and Jhene Aiko, all of whom serve as touchstones for her progressive R&B sound.
She released her debut project ‘Troubles of the Heart’early this year; it was put together alongside Posi’s longtime collaborator DJ Wicked. A meditative collection pulsing with intimacy, Posi’s vocals are measured in tone and tradition. It’s a deftly-ambitious project in its use of her vocals and with stories of life and love at the ready, ‘Troubles of the Heart’ becomes an essential look into Posi’s vision of the human condition. Quite the talent, Posi’s career has unfurled to a definite start, and good things would inevitably find her as she continues to stay true to her sensitivity.
Emmanuel Esomnofu
VALERIE OMARI
Not many artists find success in their first album especially when it precedes a debut single. Valerie Omari preaches a different testimony. On her 2017 single “Pray for Me,” a source of solitude for hopeless romantics, it was her clear and emotive vocals that immediately caught your attention.
“Just Like The Rain,” her warm, seductive ditties invite you into her world as she fusses over love that’s exhausted. What’s most interesting about Valerie is her bold approach when penning her lyrics. As she sings “Just as the rain she had me dripping way down,” the bass-assisted single set off a perfect introduction to her escapist lyrics. Releasing the album ‘Therefore I am’ in 2019, she continued to edge closer towards stardom as she curated a confessional letter of self-love and identity.
Taking a slow but sure approach to releasing her music, Valerie has been on a musical journey of releasing intentional pieces that speak to her fans. “If I Tried” lives on the reminiscent 90s R&B singles that pay an ode to true love. Starting her 2023 on a high note, Valerie delivers a stellar performance showcasing her growth as a musical journey. ‘Closure’ is a follow-up of her debut album as she trails on self-discovery after the early stages of a breakup. Valerie Omari is a promising artist peeling a new layer of her artistry with each release.
Tela
GAIDAA
In 2018, Gaidaa burst onto the scene with a show-stealing performance on Dutch-Armenian DJ and producer Full Crate’s “A Storm on a Summers Day” and showed glimpses of her brand of honest R&B/Soul music. A child of Sudanese heritage, Gaidaa, born and raised in the Netherlands, hasn’t shied away from her roots and the unique intersection of cultures at her disposal, as exemplified by her 2019 debut single “Morning Blue,” which she performed in A Colors Show. She followed up “Morning Blue” with “I Like Trouble” and “Falling Higher,” both tracks that entered her 2020 debut EP ‘Overture.’
‘Overture’ was an intricately-woven project that highlighted Gaidaa’s honest lyricism and soulful vocals. On the SabaandJarreau Vandal-featuring “Stranger,” Gaidaa pondered about life’s unpredictabilities and her need to make sense of them. She pledges to stick to her values on “Ride My Way,” and on the Joshua J-assisted “Say Yes (Turquoise),” she proclaims success in her life despite any challenges, singing, “I’ma say yes every time/Yes every time/I’ma stay blessed every time.”
The independent act has performed on stages in the UK, US, Netherlands, and most recently, in her home country of Sudan. In her 2022 single “Figures,” she cites the multiple roles that society foists on individuals, preventing them from living to their fullest potential. Gaidaa’s music is about being honest to oneself and finding your way in the world’s maze – it calls listeners to the power they have to decide their present and future.
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.