I have the pleasure of living in the big, busy, diverse, and very diasporic city of Atlanta, where the summertime lituations are about to get very real. There are a ton of great DJs in town spinning all sorts of Afropop and adjacent genres all year long – Afrobeats, amapiano, African, Caribbean, and Brazilian dance music and more – but nationally, it feels like there’s always been this idea that these sounds are especially suited for the summer. I’ve worried this can pigeonhole African artists, stereotype their music, and stifle the success of their crossover, but I’ve also had a few other thoughts.
Over the past five years or so, we’ve seen stars like Wizkid, Tems, Rema, Burna Boy, Uncle Waffles and even more emerging acts find success on tour, on the radio, and/or on social media all year long. Plus, so much of African music does make you feel good, does perfectly soundtrack social situations, and frankly, is a vibe when it’s nice out and you’re shaking off stress. And lastly, artists of all genres often clamor to get their music out in time for summer, too. SZA had originally planned for her hit album SOS to drop in time for a “SZA summer” in 2022, and lowkey panicked when she had to drop in December. In the West, the warmer months are naturally a time folks are freer, more active, and more open to new experiences
So, in anticipation of what I hope will be a summer full of Afropop smashes and in celebration of nearly half a year gone by (insane), I’m naming some of my favorite songs and albums across Afropop and a few derivative scenes, in alphabetical order.
Songs
Black Sherif and Seyi Vibez, “Sin City”
“Sin City,” was a true highlight of Ghanaian rapper-singer Black Sherif’s sophomore album Iron Boy. Though last year, Sherif told me his follow up to 2022’s The Villain I Never Was might not be so heavy, Iron Boy is in fact packed with serious themes and dense sounds. “Sin City” was a much welcome moment of levity, even if he sounds like he’s still balancing hard times and choices on it.
Editor’s picks
Burna Boy and Travis Scott, “TaTaTa”
I, for one, am quite enjoying Travis Scott’s pivot towards the continent. I’ve loved his Rema fandom, I thought he ate on Asake’s “Active,” and now he and Burna Boy make an excellent team on “TaTaTa,” the latest single from his forthcoming album, No Sign of Weakness, set to drop in July (Burna is good for a summer drop – his last four albums have all been released between July and August). The high-octane Brazilian percussion, unabashed sexuality, and pops of humor (“The road I dey go dey front, but I was looking back/’Cause of nyash, all for the sake of nyash,” Burna reveals) make this song so fun.
Darkoo, “Like Dat”
Another thing I’ve been liking is Afrobeats trending backwards, with artists like Rema and Darkoo tapping into the tambour and aesthetics of the genre circa the 2000s and early 2010s. Darkoo has also been tapping into dancehall of that era too, with the Brick-and-Lace-sampling hit “Favorite Girl” and now the music video for “Like Dat,” which channels the video for Sean Paul and Sasha’s “I’m Still in Love With You” from 2002. “Like Dat” and its stark, stringy synths take me back to the hall parties of yesteryear.
Joé Dwèt Filé & Burna Boy, “4 Kampé II”
French Haitian singer Joé Dwèt Filé’s “4 Kampé” was already a kompa smash before Burna Boy hopped on the track, replete with rolling drums, a rousing electric keyboard breakdown, and Filé’s slick creole. With Burna Boy hopping on the track speaking creole too, paying homage to Haitian and Francophone African culture, and also offering his signature lyrical charm in English, it makes for a thrilling meet-up of diasporic relatives.
Len, “See Gbedu”
There are a few tracks by UK rapper Len that keep my love of Alté – experimental pop often from Nigeria – alive, including this one, with dashes of Nigerian pidgin and video game synths. It’s cool but urgent, with Len spitting in a hurried whisper all 86 seconds of this song I could listen to for much longer. Last year, he told The Face how much a visit to Nigeria inspired his last solo album Cobalt: SoMuchMore. “I always want to try and bring things back to Africa – the rhythm, the flex, all of it,” he said.
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Olamidé and Wizkid, “Kai!”
Olamidé is silky smooth on “Kai!” Its the type of song that’s his guest’s, Wizkid’s, usual bag but, this one suits the YBNL boss even better. “Mr. Bombastic, Mr. Romantic,” he flexes, “African boy wey dey do magic/Came in a Porsche, left in a Lambo.” The production is super decadent, dripping with saxophone and totally gives regality, luxury, and crisp, airy linen suits.
Original Koffee, “Koffee”
Look, there’s no denying that African and Caribbean cultures and music are biological siblings, so in the diasporan spirit I do have to shout my girl Koffee out for coming back on the scene after a roughly three-year hiatus with an absolute heater. Ghanaian producer GuiltyBeatz (incredible, multifaceted musician, collaborator to Tems, Beyoncé and many more) laced her with an impeccable background of simple percussion, groovy bass, and rich horns to float on. Koffee’s always been a skilled sing-jay, evoking the flows of some of dancehall’s best deejays and hip-hop’s best rappers, but she’s back with more bite here, owning the scale of her impact and accomplishments.
Rema, “Baby (Is It a Crime)”
“Baby (Is It a Crime)” is Rema’s first solo single since the success of his sophomore album Heis, and it’s uber-cool and nonchalant compared with the frenetic, brooding album. Before the song was released in February, his fans clamored for the Sade-sampling track since he teased a snippet in November. The full version finds Rema at his sensual best. “I just had the biggest debut in my career,” he told me the day it dropped, while we talked for his Rolling Stone cover. It earned nearly 3 million streams on its first day, and had racked up 27.2 million streams as of March 2.
Shallipopi, “Laho”
Shallipopi is one of the coolest street pop acts to emerge from Nigeria in recent years, making a splash with the hit “Cast” featuring Odumodublvck and repping for his hometown of Benin City on Rema’s “Benin Boys.” He’s created another moment with “Laho,” the laid back anthem that’s taken over African social media with the empowering bars, “Minister of enjoyment/Intercontinental/monumental/We go live forever.” Elsewhere, much of the song is performed in Bini, his local language.
Solis4Evr feat. ytboutthataction, “4K”
Solis4Evr and ytboutthataction channel gentle faith and confidence in “4K,” a dreamy, girly meetup where ytboutthataction promises, “I go to church, I’ll never chase you,” as she and Solis brush off disloyal friends and lovers. As an emerging artist from Lagos, Solis hit the streets of Cape Town to ask strangers to judge the song through headphones, and her politeness plus the participants’ earnest responses has made it one of my favorite social videos from a musician this year.
Tiwa Savage, “You 4 Me”
Tiwa Savage has always had strong R&B credentials, having written for Babyface, Fantasia, Monica, and Mýa, plus performing background vocals for Whitney Houston’s final album, 2009’s I Look to You. “You 4 Me” is a charming showcase of that side of her, sampling Tamia’s hit “So Into You” and making it her own with Afrobeats drums and singing with the swagger of a rapper.
Uncle Waffles feat. Royal MusiQ, Uncool MC, Xduppy, & CowBoii, “Zenzele”
As a DJ and producer, Uncle Waffles rarely misses. Here, she’s curated a tip-top crew in Royal MusiQ, Uncool MC, Xduppy and CowBoii for one of her most playful songs yet – I love the fat, circusy horns on this one; it’s like Ringling Bros. and Barnum & Bailey went went amapiano. I also love the adorable, partnered dance that’s popping up with it – my favorite video is of Tyla and her team hitting it.
Albums
Davido, 5ive
I adore the love songs on 5ive, like the driven “Don’t Know” and sensual “Offa Me,” with Victoria Monét. In fact, Davido comes out plainly as a “Lover Boy,” with two of the Francophone Africa’s finest, Tayc and Dadju. On 5ive, Davido celebrates the resilience of love, lilting to his partner that she’s the most important thing that he could sing about on “10 Kilo.” Aptly, the album is at its best on songs like “CFMF” and the single “Funds,” where it trades the amapiano-indebted Afrobeats Davido has refined for refreshing romances with the warmth of previous hits of his like “Assurance” (a clear ode to his wife, Chioma), “Sweet in the Middle,” and “La La.”
Hevi, Hevi
Tanzanian singer-songwriter Hevi’s self-titled EP is another project full of romance, teeming with both devotion and disappointment. Though her sweet voice and classic production shines on all five songs, the breezy serenade “My Rider” is one of my favorites. The way she coos “I’m never never losing you/I choose you/Forever you’re my family,” makes me melt. Hevi only emerged in 2023 and this marks her debut project, but her music exudes the grace and self-assurance of an old soul.
Obongjayar, Paradise Now
On Paradise Now, Nigerian-British shape-shifter Obongjayar weaves together highlife, electro-pop, all kinds of rock, and a touch of rap into a tapestry on which he grieves broken relationships, builds new ones, and asserts himself. He intended to call the album Instant Animal, like the crashing, psychedelic jam session of a song of the same name on Paradise Now. He was thinking about what it means to really surrender to a moment. But instead, he named it after a series of parties where he tested the tracks, translating the thrill of a live performance to what actually ended up on wax.
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Zinoleesky, Gen Z
Though 25 year-old Zinoleesky hasn’t had the same inescapable crossover success as his Nigerian street-pop peer Asake, his cleverly titled sophomore effort Gen Z is a testament to the radiant taste in rich production, cool wit, and youthful zeal that has made him beloved at home. He’s subtly a master of all moods, from the triumphant “2Baba Flex” where he name checks Afrobeats stars by their golden ages, to the sexy, electric “Suit & Tie” with hip-hop crooner Toosii. The latter, plus link ups like “Ayamase” with British rapper Ms Banks prove he’s he’s a malleable collaborator too. World domination might not be far off.
Made in Africa is a monthly column by Rolling Stone staff writer Mankaprr Conteh that celebrates and interrogates the lives, concerns, and innovations of African musicians from their vantage point. Don’t forget to theck out the songs we covered this month and more in the Made In Africa playlist.
