As the year draws to a close and we look back at some of its best music, there’s no denying how much of 2024’s soundscape was powered by fresh, audacious voices from across the continent who were willing to take chances, step outside of the creative boundaries of their predecessors and carve out their own unique lane in Africa’s music scene.
Take Godwin, the Kaduna, Nigeria-born singer whose deep, introspective records have not only resonated with listeners of his own music, but with moviegoers as well; or Onoola-sama, who continues to build a cult following with her eclectic but recognizable sound throughout her steady climb to stardom.
Rvdical The Kid, whose free-flowing melodies speak to his global influences is just another example of the direction that African music is taking these days – distinct in its own sound, but still having multiple entry-points for any listener. And Kyla Blac, for her part, brings her soulful creations to life with the confidence that many seasoned artists still seek to find in their music. With voices like these leading the way, there’s a lot to be excited about over the next year in African music.
Onoola-sama
For fans of: Moyoswrld, Len, DEELA
It’s hard to put your finger on the kind of music onoola-sama makes. In her Spotify bio, she describes her music as “super cool fun hot sexy music” – and while that’s fairly accurate, it does not adequately capture the breadth of her hugely imaginative sound. The Toronto-based artist is a genre-agnostic shapeshifter who tinkers with some of the decade’s most prevalent and obscure subgenres like Vapor Trap, Alt-R&B, Shoegaze and even blown-out Bedroom rap to create a kinetic fusion with a foot in almost every corner of today’s internet. While her earlier releases like “tangie’reen,” “magenta” and her 4-track debut ‘ode2me’ were all characterized by ethereal, dreamlike production and delivery, 2022’s boisterous “B1TCH3S!” quickly dispelled any notions that onoola-sama could be tied down to a specific genre or sound.
If her initial releases showcased her wispy vocals and melodies, “B1TCH3S!,” which came in late 2022, proved she is just as compelling spitting cutthroat bars over animated beats as she is singing emotionally-charged tunes. Her varying styles all came together on ‘i want what i want,’ her second official project which came in 2023. While the project is also buoyed by eerie production, onoola-sama swaps out some of the melancholic autotuned singing that defined ‘ode2me’ for raging growls about convoluted relationships, drugs and designer clothing, highlighting her versatility and willingness to experiment.
In 2024, onoola-sama’s desire to constantly play with sounds has not diminished in the slightest. After releasing a few successive singles – “myheartbreakparty,”“BRASH,” and “onoola-chan” – through the year that further explored her “super cool fun hot sexy” sound, she released the Soca-inspired ‘fujiBouyon*’ in September. The 3-track pack that takes huge influence from Dominica’s Bouyon music melds frenzied dancefloor energy with some innovative rapping and singing. “fêteRock*,” the standout track on the single pack is an incredibly infectious banger that features a brilliant and fun verse from rising rap star DEELA and begs for the meanest waist whine. “tequila, gin & rum,” onoola’s latest release sees her take another sonic excursion, this time experimenting with other alternative Hip-hop sounds and proving time and time again that she’s not one to be boxed in. -B.A
Rvdical The Kid
For fans of: Odunsi (The Engine) and Tay Iwar.
Look past the sonic abstractions of Rvdical The Kid’s music and there’s a warmth just beneath the surface that hints at a deeper vibrancy. Influenced by Hip-hop but not allowing himself to be limited by its stylistic components, the producer and singer’s music draw from a wide pool of sources that includes Jazz, Shoegaze, and Neo-R&B. Born in Nigeria, and raised in Benin and Baltimore, Rvdical’s music distills distinct aspects of those cultures into a style that’s refreshingly unique and enjoyable while prioritizing self-expression. “I’m definitely global,” he said in an interview with Floor Mag. “I feel like I allow all those parts of myself to express themselves naturally without putting too much thought into it. “I have so many influences so being more of a musician, I feel like I’m a sound curator.”
Rvdical’s preference for free-flowing creation is evident in the unhurried groove of his music and how it rarely follows a defined structure. The instrumentals are orchestral and self-gratifying and the vocals can be fizzing whispers or booming utterances, depending on what Rvdical feels like. He first made an introduction with his 2015 album, ‘Carte Blanche,’ a celebration of freedom and non-conformity that packed skeletal instrumentals, soulful ballads, and dancefloor summons in just seven tracks. Opener, “Miles Away,” pulsates with the essence of being disconnected from the world while the Maesu-featuring “Dopamine” is a lo-fi affirmation of feeling as good as can be.
Just as he emerged onto the scene with a certain mystique, Rvdical retreated for a while before emerging in 2020 with a new extended play titled ‘Little Planet.’ Just like ‘Carte Blanche,’ it’s a beat-led effort with more colour splashed across its runtime, a legacy of his return to Ghana after completing a degree at the University of Maryland. “One thing I do know is that since moving to Accra my sound has become more open, and I would definitely blame the sun for that,” he said in an interview with Asbo Magazine. “Because you can’t be hot and depressed in the sun, so melodically, harmonically the music just naturally becomes brighter.” Whether collaborating with ‘TAYDK’-era Amaarae on the ethereal “Nasa” or Nonso Amadi on “Often,” ‘Little Planet’ offers a unique spin on his electronic style that hints at mastery. – W.O
Kyla Blac
For fans of: Amaeya, Kold AF & Qing Madi
After only a couple of features, Kyla Blac made her debut with a 4-track EP, arriving seemingly more confident than most. Although ‘Only A Minute’ leaned in the low-fi direction, stacked with brief tracks and fleeting messages, Kyla’s soulful vocals are hard to miss. From “Unapologetic,” which offered a glowing Pop-leaning soundscape to “Find Ur Way,” geared more towards R&B while presenting her lush chords over a rhythmic balance between singing and rapping, Kyla Blac is clearly comfortable in her musical lane. After that, the Zimbabwean native took a step back only to return three years later with “PROBLEM”. The Murphy Cubic-production featured daunting piano keys and a reverberating bass where Kyla bitterly reminisces of a previous relationship.
Still, her moment feels like it has only just begun with more refined tracks like “Some Day” under her belt. The Neo-Soul contribution features her infectious vocals stretched across various notes, briefly creating an illusion of multiple voices. She talks about chasing success like there’s no tomorrow and remaining motivated by her responsibilities and support system; “Keep going till I break the chain, too many eyes have prayed for it,” she sings. Thereafter, she joined Sylent Nqo for a heartbreak anthem dubbed “Good One” and Afro-pop number “Energy ” assisted by Da_Kudu and Kbrizzy. For all those ruled by love and searching for those with similar perspectives, look no further than Kyla Blac for all the anguish and buoyant thrills of romance. -N.I
Godwin
For fans of: Asa, Jacob Banks, Dwin The Stoic
Born and raised in Kaduna, Godwin’s music is characterised by his familial experiences, producing what can best be described as kinfolk music. His debut EP, ‘Road to Nirvana,’ released earlier this year, is a tapestry of lived experiences, marked by loss, love, and resilience, with his riveting vocals weaving a fabric of warmth and relatability.
Long before turning to music, Godwin was a celebrated filmmaker and the founder of The Critics, a Kaduna-based film collective popular for its DIY sci-fi films that gained local and international attention from big names in film such as Morgan Freeman. This filmmaking background is evident in Godwin’s lustrous ability to paint evocative emotional landscapes through his lyrics and melodies. Listening to his music can sometimes feel like watching an indie film — raw, authentic, pulsating with emotion and rich with storytelling. This cinematic appeal is one of the most distinct cornerstones of Godwin’s artistry. His latest single, ‘Blood for Blood,’ was featured by Paramount Pictures as one of the soundtracks to the 2024 thriller, ‘Gladiator 2’. The core of Godwin’s artistry is the intimacy across his music, that can be likened to a heartfelt conversation with a close friend. Tracks like “Proud of You” and “Now” from ‘Road to Nirvana’ are rooted in universal themes of self-discovery and grief, earmarking his unique ability to turn deeply vulnerable moments — such as the loss of his mother — into sing-along rhythms.
The 23-year-old expertly blurs the lines between Folk and Alternative music, using minimalist instrumentation, often led by acoustic strings and piano, to set the stage for his spell-binding stories. Ultimately, Godwin’s art isn’t just about the music; it’s about a shared connection with the listener through relatable experiences. Fresh off opening act duties on the European leg of Tems’ ‘Born In The Wild’ tour, and a feature on the soundtrack of the blockbuster, ‘Gladiator 2,’ Godwin is undoubtedly one of the most promising emerging talents today. With a pristine blend of filmmaking and music, the Kaduna native’s art stands as an invitation to feel deeply, dream boldly, and embrace the beauty of shared humanity. – J.F.
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.