The 50 Best Afrobeats Songs of All Time (No. 50-31): Staff List

To put it simply, Weird MC was radical. She strode onto the scene with baggy pants, a shaved head and a hip-hop-inspired bravado – incredibly novel for women who were already the minority in Nigerian music. On the Don Jazzy and JJC Skillz-produced “Ijoya,” she proved herself to be ahead of her time not only where aesthetics were concerned, but also in craft. Her slick Yoruba lyricism and rapid-fire delivery, accentuated now and again by talking drums, make “Ijoya” an ageless dance hit, while the song’s inventive visuals made her the first-ever Afrobeats artist to release an animated music video. – BLOSSOM MADUAFOKWA 

Soulfully tinged with R&B tendencies, Nonso Amandi’s breakout hit “Tonight” bathes in an array of genres and thus articulates the breadth and depth of Afrobeats in the middle of the 2010s. The song not only helped spearhead Afro-R&B — a pocket in which artists like Tems comfortably sit today — but also builds on the act of yearning, which Afrobeats is well known for. It adds to the canon of male Afrobeats acts shedding their ego and leaning into vulnerability. And with “Tonight,” the Nigeria-born, Canada-based singer scored a top 10 on Nigeria’s now-defunct Playdata airplay chart. – NICOLAS-TYRELL SCOTT 

There is no Afrobeats without the conscious music of its earliest stars like Timaya. On his 2005 breakout single “Dem Mama,” the Port Harcourt-born singer decried the heavy-handedness of the Nigerian government and its armed forces. Specifically referencing the 1999 massacre in his hometown, Odi, located in Bayelsa State, he wove a haunting tale of the military’s brutal attack that cost 30 lives. Critiquing a democracy that was in its infancy, just as Afrobeats was taking form, “Dem Mama” was both an unflinching portrait of its time and a social justice anthem to rally around. – WALE OLOWOREKENDE 

Long before Afrobeats fully emerged in the early 2000s, indigenous genres like fuji, apala and highlife inspired Nigerian music. “Raise Da Roof” paid homage to that sonic lineage by melding hip-hop and fuji for a futuristic take on Afrobeats, crafting a seminal hit that’s still a party favorite to this day. OJB Jezreel’s skittering production and the synergy between Jazzman Olofin and fuji icon Adewale Ayuba gives the song a playful edge that has provided a template for the future takeover of the genre by fuji-adjacent stars like Asake and Seyi Vibez. – W. OLOWOREKENDE 

“Soweto” emerged as a semi-sleeper hit from Victony’s 2022 EP Outlaw. Masterminded by the ever-talented Tempoe, “Soweto” is led by an addictive guitar riff and Victony’s suggestive pen. The song eventually blew up on social media with smooth TikTok dance challenges and resulted in a four-week No. 1 stint on the UK Afrobeats chart, and a top 10 entry on the U.S. Afrobeats Songs and TurnTable Top 50 (which has since rebranded as the Official Nigeria Top 100), thanks to remixes with Don Toliver and Rema as well as Omah Lay. – B.M. 

With minimal institutional support accessible in the early days of Afrobeats, fraudsters – or “yahoo boys,” as Nigerians affectionately call them – were a critical source of much-needed cash. While Olu “maintains” that the song is simply about a young talent coming into money after securing a lucrative music deal, its lyrics – and Afrobeats history – suggest a naughtier reality. Even as the track’s true meaning remains a matter of debate, its impact doesn’t: “Yahooze” and its corresponding dance craze are just as capable of turning any Afrobeats party on its head as they did in their glory days. – B.M. 

Hip-hop is undoubtedly an integral part of Afrobeats’ DNA, and no label underscored its importance better than Chocolate City. Following the early-2000s success of brothers M.I Abaga and Jesse Jagz, Ice Prince was touted as a star-in-waiting after a series of features and singles as part of the label’s much-vaunted supergroup, The Choc Boiz. Released in June 2010, “Oleku” was the coronation of a new rap monarch: Featuring an all-timer chorus from fellow Choc City star Brymo and lithe bars from Ice Prince, “Oleku” exploded across Nigeria and became one of the country’s most remixed songs. – W. OLOWOREKENDE 

Since breaking into the Afrobeats scene in 2014 with “Woju,” Kizz Daniel has proven his talents pass the tests of time on multiple occasions. Nearly a decade after “Woju,” Kizz Daniel came roaring back with the Tekno-assisted “Buga,” making Afrobeats lovers around the world get up on their feet and dance the day and night away. It became the most Shazam’d song in the world two weeks after its release in 2022 and took over social media with a dance challenge, while later establishing itself as a top contender for that year’s Afrobeats song of the summer. – WONGO OKON 

The Cameroonian American singer-songwriter pours her raw melancholy and a stirring melodic blend of Afrobeats and R&B into her sobering breakout hit “People.” The forthright opening lines serve as a wake-up call for those who can’t see what their friends are really facing, as Libianca’s lithe vocals shed light on the effects of mental health on personal relationships. With remixes featuring Ayra Starr and Omah Lay, Becky G and Cian Ducrot, “People” hit No. 1 on the UK Afrobeats chart and reached No. 80 on the Hot 100.  – HERAN MAMO

By the time Asake released “Peace Be Unto You (PBUY)” in June 2022, he had completed a brazen takeover of Afrobeats, sealing the most unprecedented breakout year in the genre’s history. Built around his signature fusion of amapiano log drums and stacked vocals, “Peace Be Unto You (PBUY)” signaled the rising appeal of the Afrobeats subgenre, street-pop, as a global force to be reckoned with. Performed in a spirited blend of Yoruba, English and Pidgin, the song draws inspiration from Asake’s experiences growing up on Lagos Island, while paying homage to the religious undertones that shaped the origin of Afrobeats. – W. OLOWOREKENDE 

Davido taps South African musician Musa Keys to get the party started with his “Unavailable” hit from the former’s remarkable album Timeless. Davido declares a chant-worthy hook about living rent free in his detractors’ minds, while producers Magicsticks and Rage concoct a top-notch, cross-continental fusion of Afrobeats and amapiano. And its viral TikTok dance craze, which Rihanna, Quavo, Chris Brown and more have contributed to, boosted the song’s global acclaim. “Unavailable” earned Davido his first No. 1 on the U.K. Afrobeats chart and a Grammy nomination in the best African music performance category. – H.M. 

Like a phoenix rising from the ashes, Skales’ dance hit “Shake Body” found its way back into the mainstream earlier this year, all thanks to Spanish football player Lamine Yamal and his fateful post-match TikTok dance video. While Yamal’s dance challenge certainly breathed new life into the hit – and even prompted a new Spanish remix – “Shake Body” lived quite a robust life upon its release 10 years ago. With unrelenting drums, addictive dance breaks and boastful lyrics, the track was an electric breakout that will undoubtedly continue to prove its timelessness. – B.M. 

Lojay cranks up his charm and Sarz turns up the vibes on the swoon-worthy “Monalisa.” The Afrofusion sensation sings the praises of a woman he refers to as “omalicha” and “orekelewa” (meaning “beauty” in Igbo and Yoruba, respectively), while the Afrobeats superproducer paints “Monalisa” with amapiano’s rollicking log drums and sizzling shakers. And the seamless remix with Afrobeats crossover connoisseur Chris Brown boosted the song’s international profile, dominating airwaves at home and overseas. “Monalisa” earned nominations for song of the year, best Afrobeats single of the year and Headies’ viewer’s choice at The Headies in 2022. – H.M. 

Arriving near the end of the COVID-19 lockdowns, Oxlade’s “Ku Lo Sa” provided the balm needed for a healing generation in search of intimacy and meaning with its endearing and soulful calls for affection. The track garnered international acclaim (particularly in America, following its viral COLORS performance) and eventually scored a Camila Cabello remix. Though the original solo version unequivocally remains the superior of the two, the remix — much like the Selena Gomez-added version of Rema’s “Calm Down” that same year — articulated just how far Afrobeats had grown in consumption beyond the West African diaspora in the U.S. – N.S. 

Maleek Berry had the summer of 2016 on lock with his balmy dancefloor filler “Kontrol.” The British Nigerian vocalist/producer flits between Jamaican patois, Yoruba, Ghanaian twi and Pidgin when recalling a headstrong girl who wants to take the lead. But he later summons all the African, London and Caribbean girls to whine their waists to the track’s irresistible Afropop production that’ll make “you wan’ make love to the bassline,” Berry sings on the BRIT silver-certified smash. – H.M.

Tekno’s sound was inescapable between 2016 and 2017. The Nigerian singer/producer was behind the boards on Davido’s 2017 smash “If,” but Tekno had a hit of his own the year prior with “Pana.” The song’s success earned Tekno a record deal with Columbia, further proof of Afrobeats’ growing presence in the American music industry. Tekno wasn’t to be mistaken as a one-hit wonder, since he’d already made a splash with 2015’s “Duro,” and was later featured on “Don’t Jealous Me” (from Beyoncé’s 2019 The Lion King: The Gift soundtrack) as well as the aforementioned “Buga” with Kizz Daniel in 2022. – W. OKON 

You could spend all day arguing what P-Square’s best record is, and you’d be lost somewhere between an argument of popularity and commercial success vs. one of quality and artistic strength. A record that sits comfortably on both sides of that argument is “Personally,” from the group’s sixth album Double Trouble. Released as a single in 2013, “Personally” extended a decade-long run from the duo — who played a huge part in introducing the U.S., the U.K. and other markets to the beauty of African music. So let the arguments continue, but what’s indisputable is the group’s impact. – W. OKON 

Initially recorded against the backdrop of a bitter contractual dispute with Runtown’s former record label, Eric Manny Entertainment, “Mad Over You” went on to become the biggest song of his career. Built around beguiling guitar riffs and an unassuming percussive base, the singer delivers a classic Afrobeats love anthem that unabashedly reiterates his dedication to a romantic interest. The release of “Mad Over You” also coincided with a sonic revolution in Afrobeats, as elements of Ghanaian highlife became an integral part of the genre, providing thematic and sonic inspiration for the song. – W. OLOWOREKENDE 

Don Jazzy’s Mavin Records plays a huge role in today’s Afrobeats scene, as it’s home to stars like Rema and Ayra Starr. But before its current era, Mavin was home to the likes of Tiwa Savage, Reekado Banks and Kordello Bello — who, along with fellow labelmates Dr SID, Di’Ja and D’Prince (as well as Don Jazzy himself), joined forces for “Dorobucci.” The song was an instant success, winning best pop single at The Headies in 2014 and song of the year at the 2015 MTV Africa Music Awards, while helping establish Mavin as a force to be reckoned with. – W. OKON 

Ayra Starr asserts she’s destined for star(r)dom, and validates it with “Rush.” Following her bold Afropop hit “Bloody Samaritan” – which became the first solo song by a female artist to hit No. 1 on the Official Nigeria Top 100 – the Sabi Girl confidently sings about being unstoppable due to her hustle and divine source, with the memorable “E dey rush” hook (meaning her “cup runneth over”) confirming her journey to the top is just beginning. And the anthemic production complements the song’s powerful message. “Rush” earned Starr her first-ever Grammy nomination for best African music performance in 2024. – H.M.