The 40 Best Afropop Songs of 2024

Rosline Layo has a sound that stylishly blends Ivorian flavors with modern Afropop sensibilities. It’s what makes her one of Ivory Coast’s most inventive music artists working today. It’s also why “Loulou” sounds like a beautiful conversation between modern Afropop and Ivory Coast’s early 2000s zouglou. The track features stirring guitar riffs, sparing log drums for that Amapioano kick, and Layo’s syrupy, high-pitched voice. If there is a song that highlights the sharp, experimental state of Ivorian music today, it is “Loulou.”. – N.C.J.

While the volatile state of South African hip-hop remains a constant subject of many online discussions, now and again, a new rapper emerges and breathes fresh energy into the genre – that was at the apex of South Africa’s mainstream music a decade ago. With melodically resonant raps, Durban’s Usimamane fit the bill for 2024 and his aspirational track “Cheque” catapulted him to eminence, helping revitalize Mzansi rap in the process. -M.M.

French-Congolese heavyweights KeBlack and Franglish join forces for “Boucan,” a club-ready banger that doubles as a haters-can-stay-mad anthem. Over infectious beats, the duo lyrically swats away “enemies of progress” with unmatched swagger. Their dynamic chemistry and sharp wit make “Boucan” an instant favorite. Witchcraft didn’t work on them, they brag on the hook, and if this track is any indication, it never will. -A.T. 

Almost like clockwork since rising to prominence in 2002, Jamaican dancehall producer Steven “Lenky” Marsden’s famed Diwali Riddim has powered diasporic pop hits. Those songs build off each other, from Sean Paul’s “Get Busy,” to Lumidee’s “Never Leave You (Uh Oooh, Uh Oooh),” to Rihanna’s “Pon de Replay,” to Nicki Minaj’s “Red Ruby Da Sleeze.” This year, Ghanaian performer Darkoo’s take – explicitly indebted to dancehall duo Brick & Lace’s 2007 banger “Love is Wicked” – put her everywhere. It’s hard to go wrong with the Diwali Riddim in your arsenal and Darkoo’s lover-girl finesse is charming. It even pulled in Rema for a remix, but we prefer Georgia rapper Dess Dior playing the Favourite Girl on the original. -M.C.

In March, Nigerian superstar Wizkid put out PSAs on social media rejecting the notion that he’s just an Afrobeats artist. On “Piece of My Heart” featuring Brent Faiyaz, the Nigerian superstar delivers strong evidence for his argument. The song is a well structured and experimental blend of R&B and Afropop paired with some of Wizkid’s best writing yet. He brings a chameleonic musicality into this sleek, languid track that sounds like a rush of cold water on a hot summer day. -N.C.J.

In a recent TikTok, Sierra Leonean-American artist/influencer Aliyah’s Interlude pleaded with her front camera, banging desperately against a brick wall: “WHY ARE PEOPLE GOING TO THE CLUB AND NOT DANCING?” That’s the exact spirit that invigorates the rave-ready “Take Your Vibes and Go,” where Nigerian singer/songwriter Kah-Lo and rapper/club queen Brazy implore you to get down or exit stage left – and quickly. “​​Came to party to dey stand like fool,” Brazy complains with an audible eye roll. Australian and American electronic producers Kito and Baauer imbibe the song with polyrhythmic African percussion, and Brazy is benevolent enough to give you a step-by-step guide to some dance moves. “Listen, baby, oya, do what I do,” she beckons. -M.C.

Though Ivory Coast’s contributions to Afrobeats are often less recognized than its West African counterparts like Nigeria and Ghana, Suspect95’s “Rose Ba” is not to be missed. Named after the Ivorian singer whose 1985 classic “Adjéké” is sampled in it, “Rose Ba” oozes with soul and grit. Suspect95’s deep baritone keeps impressive pace with the song’s electronic beat, keeping things energizing and interesting too. It’s a big win for Suspec95 and Francophone artists deserving of the spotlight. -K.M.

Nikita Kering’s “Tonight” is full of surprises. Kering’s sensual and haunting vocals are much moodier than the song’s early aughts-esque production, but it feels genuinely innovative — with just the right amount of nostalgia. Though the song’s remix with Kenyan rapper Lilmaina earned more attention, it’s Kering’s original take on the song that’s more intriguing and marks an exciting new path for Kenyan hip-hop and R&B. -K.M.

This endearing linkup slickly traverses eras of Ghanaian Afropop, with rap veteran Sarkodie’s career dating back to the mid 2000s, King Promise emerging around 2019, and OliveTheBoy rising to prominence last year. It also employs some of the most evocative narrative building in Afrobeats this year as the three artists take turns describing being betrayed and the ensuing heartbreak in painstaking detail, revealing that some love stories are just that – completely made up. -M.C.

Some of the best Afrobeats music celebrates the (ideally) eternal union of marriage, and in turn, soundtrack weddings, one of the most significant cultural gatherings across identities, but especially elaborate in Nigerian traditions. “Ogechi (Remix)” captures the bliss of such an affair, with three budding crooners doing some serious and seriously fun pining. Nigerian superstar Davido reportedly summoned them to him just hours before one of his much-admired wedding ceremonies this summer and got on a remix where he inserted his new wife’s name. They all performed it at a later reception. Happily ever after, indeed. -M.C.

For many, Josey needs no introduction: the Ivorian singer has long been a force in Afro-zouk and coupé-décalé. “Tout Laisse” is a poignant reminder of life’s impermanence, a reflection on beginnings and endings, but if there’s one constant, it’s Josey herself. She’s always been here, delivering anthems that resonate long after the music stops. With this track, she solidifies her legacy as one of the genre’s enduring voices. -A.T.

After the career-elevating and international success of 2023’s “Mnike,” Tyler ICU kicked off this year with the release of “Ebasini.” Featuring the vocal arsenal of LeeMcKrazy and Tman Xpress, the electrifying anthem soundtracked many nights out, whether at the club, tavern, or on a bus (as the song’s title suggests). With a proven track record, Tyler’s “Ebasini” reaffirmed his knack for hit-making. -M.M.

Nearly 30 years into her career, there have been many iterations of Tiwa Savage, yet her take on reggae with “Forgiveness” feels a bit like hearing her for the first time. She rides the grove with grace and levity, filling the song with captivating runs and long, powerful notes. She sounds so lovely you might forget she’s a bit of a villain in the story of “Forgiveness”—and maybe that’s the point. Who doesn’t love an antihero? -M.C

Twenty-year old Nigerian singer Taves uniquely reaches back to 1980s synthwave on “Folake,” a lovelorn confessional that sounds as dark and vast as the ocean he compares his paramours movements to. “I’ve been talking to Folake, she know me now/The conversation’s going to quite phenomenal/She got me feeling like there’s nothing impossible,” he croons, with all the promise and melodrama of young love. His star is still rising, but he had a firm place on our playlists this year. -M.C.

Though Kenyan group Watendawili’s “Cham Thum (Atoti)” came out in October 2023, its impact on the landscape of East African Afropop was most palpable in 2024. The song blew up on TikTok earlier this year, thanks to a viral dance challenge. It takes the best of traditional Kenyan sounds — most notably in the song’s introductory guitar riff — and combines it with elements of modern Afropop and Gengetone, creating something that hits home cross-generationally. -K.M.

Over the course of her decade in music, Nigerian singer Niniola built a reputation for Afro-house bangers, predating the recent explosion of Amapiano and turn towards house across hip-hop, pop, and Afrobeats. On “Level,” she not only adapts to Amapiano, she offers one of the most refreshing takes on the genre from a Nigerian artist this year. She sounds right at home. Light, airy, and romantic, “Level” feels like floating across the dancefloor. -M.C.

Odunsi is a titan in Nigeria’s Alté scene whose work has been influenced by old Nollywood’s bright aesthetics and commanding soundtracks. “Resurrect,” however, is a more modern interpretation on Leather Park Vol. 1, his latest album teeming with exciting collaborations that rose from a 10 day recording camp at a Parisian villa. The song puts Odunsi’s experimental energy on full display by melding the spacy production of BNYX (Yeat, Drake, Lil Uzi Vert), the confident growl of rapper Jeriq, and the boyish charm of Odunsi’s own melodies. -K.M.

Bridget Blue and Bien’s “I Choose You” could have weddings on the continent in a chokehold for years to come. Though Blue is an up-and-coming vocalist, she holds her own alongside the more seasoned Bien in this romantic track that marries both Kenyan and global R&B sounds  intentionally and seamlessly. While Kenyan R&B, especially by younger artists, tends to avoid tender explorations of true love, “I Choose You” fully dives in — and it’s a breath of fresh air. -K.M.

Picture this: it’s a slow, warm day at the beach, you’re laying in the arms of a lover who loves you just as much, there is nothing to talk about, no need for activity, and the warmth of each other’s company fills the silence as you watch the sea stretched out before you. That’s what “Odo” by Asa sounds like. The slow-paced track with prominent guitar is the only one the iconic Nigerian singer — known for her folk, soft-rock, soul, and Afropop songs — released this year. With spare but careful lyrics and a moving honesty in her voice, Asa brings easy charm and clarifying insight to love and desire. – N.C.J.

With well-curated performances across the world, the internationally recognized Uncle Waffles continued to elevate her upward trajectory this year. Though 2024 might be her slowest year in musical output (she has released four projects in 17 months since her debut in 2022), the enthralling DJ and performer dropped “Wadibusa” in April. In true Uncle Waffles fashion, a teaser preceded the buoyant track and a dance challenge accompanied it to viral status. -M.M.

In recent years, Tanzania’s most acclaimed star, Diamond Platnumz, has been heavily influenced by sounds from other parts of the continent. On “Komasava (Comment Ça Va),” he taps South Africa’s vocalists Khalil Harrison and Chley for a playful, cross-cultural Amapiano banger that melds KiSwahili and IsiZulu lyrics—and a hook sung in French over a pulsating instrumental. The track also traversed across the Atlantic, with American musician Jason Derulo jumping on the remix.

Dlala Thukzin’s genre-melding and imaginative sound have made him a pioneer in the highly competitive South African dance scene over the past decade. On “Ama Gear,” he takes things to the top again by assembling his frequent collaborators Funky Qla and MK Productions for an entrancing record about having a good time. Zee Nxumalo’s velvety vocals blend seamlessly with the flavorful instrumental, making the track’s seven-minute run time feel short.

Ivorian hip-hop group Kiff No Beat have always taken big swings with their sound. The Amapiano-laced, Afropop architecture of their most impactful hit yet “C Komen?” speaks to the success of these endeavors. Danceable and deliciously energetic, “C Komen?”makes a strong and important statement about Kiff No Beat’s incredible staying power and stellar musicianship, having emerged on the scene in 2009.  Here, the group finds a new bounce that’s refreshing and inventive. -N.C.J.

At his core, Kizz Daniel is a student of life and as such, he understands that humor is the only way to get through it. In “Twe Twe,”featuring Afropop superstar Davido, Daniel reaffirms why he is an unfailing hitmaker by taking details of everyday life and mangling levity out of them. The lyrics are irreverent, light and playful in a way that inspires genuine, good-natured fun. Cast against Nigeria’s current socio-economic crisis, “Twe Twe”is Daniel speaking to and about the times without bogging the subject down with depressing moroseness.- N.C.J.

In the extensive universe of Amapiano, one can never be too sure where the next hit will come from. Following their mainstream breakthrough in late 2023 with “Funk 55,” producer/DJ duo Shakes & Les super-charged their momentum on the LeeMcKrazy-assisted “Funk 99.” The chant-heavy, groovy thumper was a dance floor-filler for most of 2024 and solidified the ascending pair as a formidable force within the hyper-productive scene. -M.M.

“Risk” opens with a whisper, airy and haunting like the soundtrack of an ethereal dream. Then the song promptly shifts into the boundless world Victony creates with his sound; one uninhibited by genres and rich with his harp, singular perspective. Taken from Victony’s latest and most ambitious album Stubborn, “Risk” is about a dangerous love interest, but its sleek, danceable groove softens the edge of the theme. Victony’s high-pitched croons on the record are a strong nod to the whimsical thrill of Ghanaian-American siren Amaarae’s music. -N.C.J.

Released last December, Sarz’s “Happiness” capped 2023 with joy, gained true traction into 2024, and held on to ubiquity. Channeling the feel good vibe of Calvin Harris’ Funk Wav Bounces into Afrobeats, hit-making producer Sarz also tapped two unlikely but synergetic bedfellows for the song in Asake and Gunna, the latter of whom has steadily opened up his sonic palette to the diaspora. It’s been refreshing to hear these men unleashing their inner child, honor their softness, and bottle up sunshine in a song. -M.C.

Dadju & Tayc deliver magic on “La vie d’un…/Ma préférée,” a standout track from their groundbreaking album Héritage. Known for their silky vocals and flawless harmonies, the duo creates a rich, layered experience that feels both intimate and expansive. Of all the collaborations on the album, this one achieves a rare balance, equally showcasing their individual talents while elevating the synergy between them. It also feels like four songs in one, seamlessly transitioning from old school beats to their signature “Afrolove” and beyond, like time-travel. Together, Dadju & Tayc remind us why they’re a winning combination, captivating hearts and dominating playlists in equal measure. -A.T.

Rophnan is one of Ethiopia’s biggest stars, beloved for his fusion of electronic dance music with more traditional fare from his country – and performing in different Ethiopian languages like Amharic, Afaan Oromo, and Tigrinya, allowing him to build a broad coalition of fans. With a video released in February, “Shegiye” has amassed a staggering 16 million views on YouTube as a testament to the beauty of neighborhoods around the capital city of Addis Ababa. With the West dominating entertainment globally West Africa’s hold the continent’s pop music, “Shegiye” glowingly reflects Ethiopia back to its people. They’ve embraced it. -M.C.

“Active” is Asake keeping his trademark cool over some of his most explosive production yet, a carnival of New Orleans bounce, hip-house, and an incessant sample of fuji classic “Raise the Roof” by Jazzman Olofin and Adewale Ayuba. Surprisingly, rage-master Travis Scott and Asake are impressive bedfellows. In his performances of “Active” on his Lungu Boy World Tour, Asake would run laps around arenas, cameramen winded and flanking behind him. It is, in fact, the kind of song that pumps you up enough to take off head first toward a break wall and make it to the other side. -M.C.

Ayra Starr is a master at ennobling the ordinary — her most minute romantic experiences are written with an acute understanding of what it means to come of age today. “Lagos Love Story,” a bouncy, diaristic highlight from her vibrant sophomore album, The Year I Turned 21, is a perfect encapsulation of her playful storytelling, with lyrics that keenly note the quirks that define the tricky state of dating in Lagos. Her voice drives home the message, turning down many notches to a rasp in some moments and turning up when reiterating a catchy observation on an even catchier hook.She may have had bigger songs like “Commas” and “Woman Commando” this year, but “Lagos Love Story” best balances pop power and human vulnerability. -N.C.J.

Picture this: it’s January in Abidjan, Côte d’Ivoire. The Africa Cup of Nations is in full swing, and “Coup du Marteau” is the unofficial anthem electrifying the stadiums. Tam Sir delivers a fusion of Ivorian rap, zouglou and coupé-décalé – a masterpiece that’s unapologetically for us, by us. While many African artists are shifting their sound to fit global tastes, “Coup du Marteau” stays rooted in its Ivorian identity, reminding us of the power of music that speaks directly to its own. Its viral success—over 100 million YouTube views — proves that there’s magic in creating for home first. -A.T.

Though initially dropped at the tail end of 2023, Kabza De Small & Mthunzi’s “Imithandazo” (meaning “our prayers”) reached the peak of its powers this year. On the spiritually indebted track, the featured vocalists (everyone but producers Kabza and Maphorisa) dovetail as they take turns entreating a higher power for fulfilled dreams and success from over the backdrop of a carefully crafted beat by the ever-inventive and dynamic Amapiano virtuoso. -M.M.

After Kenyan singers Bensoul and Bien went toe-to-toe in “Extra Pressure,” the easy-going groove spawned its own wine-your-waist dance challenge. The song highlights the best of modern, East African R&B and the duo’s dreamy voices seem tailor made for the track’s feel good instrumentation — so much so it’s hard to believe the song was originally penned by Bensoul for Bien alone back in 2021.  -K.M.

In 2024, Tiakola’s imprint was everywhere. At just 25, the French-Congolese artist, who’s been honing his craft since his teenage years, delivered a kaleidoscopic mixtape, BDLM Vol. 1, that shot to the top of the French charts, and “Psychologique’” became his defining moment. The track’s hypnotic and titular refrain pulses like a mantra and it’s not just a flex—it’s a declaration of staying power from an artist who’s anything but new to the game. -A.T.

Since rising to mainstream prominence during the COVID-19 pandemic, Amapiano continues to make strides toward becoming one of the continent’s most exported musical styles. Owing to its honeyed vocals, resounding beat, and rhythmic shoulder-jiggling dance, TitoM and Yuppe’s “Tshwala Bam” led this year’s race as the genre’s contender for the biggest and most viral track. To cement this, a light-hearted verse from Nigerian superstar Burna Boy on the remix gave it massive reach. -M.M.

When two of the African diaspora’s brightest stars collide, the result is nothing short of seismic. La Reine de France Aya Nakamura and Mavin Records’ golden girl Ayra Starr made an anthem of unapologetic girl power. A playful, that-man-aint-shit track that blends zouk rhythms with fresh Afrobeats flair, “Hypé” is more than just a song — it’s a cultural moment. The interplay of French and English coupled with the synergy of two powerhouse pop girlies created a track that feels nostalgic and futuristic. It’s a testament to the possibilities when Francophone and Anglophone Africa unite—and easily the most important collaboration of the year. -A.T.

2024 has undoubtedly been a monumental year for Tyla, complete with a historic Grammy win (while surprisingly snubbed for 2025) and a critically acclaimed debut album. Of the latter’s singles, ‘Jump’ is a clear standout. An infectious blend of afrobeats, dancehall, amapiano, and hip-hop, ‘Jump’ sees Tyla more confident than ever. Gunna brings his sex-drive and knack for afrobeats while Skillibeng’s punchy, rasps add extra flavor.  When ‘Water’ could have made her a one-hit-wonder, ‘Jump’ proved Tyla a force to be reckoned with. -K.M.

‘Electric’ barely scratches the surface. From the first beat of “Ozeba,” it feels like you’ve been catapulted into a high-stakes heist, speeding through the streets of Victoria Island in the ultimate getaway car. But Rema? He’s no fugitive — he’s the mastermind who always gets away. This track and the album it belongs to injected a jolt of energy into Afrobeats just as it needed  recharging. “Ozeba” is a full-throttle thrill ride that activates something primal. -A.T.

Sweet and sunny, Tems’ “Love Me JeJe” imbued the whole year – and on the back of a stunning debut album and oft-sold out global tour, it was, in fact, her year – with its bliss. Inspired by a radically different Nigerian hip-hop song of the same name (a 1997 tune from Seyi Sodimu), Tems completely reimagines its rap and boom bap with new lovelorn lyrics wrapped around Sodumi’s cute chorus, tinny guitar, and raw Afro drumming. The way Tems sings about her utter devotion takes the straightforward shape of other moments in her freestyle discography but leaves the gravity of hits like “Higher” and “Free Mind.” Intimate in its simplicity, the song is still structured well enough to be built into a grand, orchestral affair.  —M.C