Afrobeats is in an interesting place.
Whether it’s the good kind of interesting or the worrying kind depends on who you ask, but one undeniable thing is that the music continues to pour out. Amidst the usual delivery listeners expected from the superstars, music styles and artists on the edges found ways to make impressions this year that reverberated to the center of the Afrobeats mainstream.
Throughout 2025, artists seized upon the relative rise in online communities to share their music. With increased participation, we’ve had artists try to present themselves distinctly, spurring music and aesthetics that seem to signal a new front for Afrobeats. There’s no doubt that after having traveled around the world for global listeners, the genre is returning home, as we’ve heard strong local influences on the best records of 2025.
OkayAfrica’s list of the best 15 Afrobeats songs this year is a collection of what stood out to us, from viral hits to remarkable niche drops.
Straffiti - “Te Wo”
Before breakout acts like Mavo, WAVE$TAR, and Zaylevelten became flag bearers for a lane of Nigeria’s rap underground that bubbled to the surface in 2025, STRAFFITI had occupied a similar niche since the late 2010s, foreshadowing the wave with his 360-degree expression of exuberance, from energetic music to flashy fashion choices. “Te Wo,” one of several highlights from his late November EP, BUR$T, is a delirious banger that packs giddy hedonism into a pop-rap gem—featuring Scotty Olorin, the pair delights in their readiness to woo any woman they want with their deep pockets. It’s not a remotely original idea, and it’s a constant subject matter in Straffitti’s music, but the execution — the slightly cruddy bounce of the beat, and the contrast between Straf’s inventive melodic flow and Scotty’s deadpan rapping — is as perfect as it gets. – Dennis Ade Peter
Mellissa, Moliy, Joey B & Chopstix – “Goodboy (Kweku)”
Every time we’ve heard Mellissa, she seems to be opening the door to a room we’ve forgotten exists. For me, that door is the colorful space of a carefree being, one in tune with the universe. “Goodboy” might carry some romantic undertones, especially in its hook, but its atmosphere carries a more layered emotional presence. Sonically, that’s represented by the hiplife flavor that’s subtly worked into its charged parts, especially the part after the hook in which she riffs on “kweku” and “banku.” These are accomplished vocals, and joined by her sister Moliy, they create a nostalgic vibe that’s given even more pointed direction by Joey B. It’s been a great year for Ghanaian music, and a song like this just reinforced that fact. – Emmanuel Esomnofu
Ayra Starr – “Hot Body”
For years now, Ayra Starr has been inching closer to the song that takes her from scenic superstar to an international one, and “Hot Body” pushed her further in that direction. The first release after a deal with Roc Nation was made public, and it quickly went on to be used across social media to soundtrack several videos from beautiful women around the world. Its sassy, cute vibe was accentuated by its distinct production and Ayra’s ever-reliable songwriting. The best songs can place you in the moment of their making, and this one seems to do that. Every time one hears “look,” there’s an insistent urge that leads the words to follow: “look what a hot body can do.” – EE
Shallipopi - Laho
Snippets can disappoint, especially when the hype train leaves the station before the song arrives and screeches to a halt by the time it’s out. From the moment Shallipopi teased “Laho” on social media, it was certain that it would be one of the most definitive songs of the year. A proven hitmaker known for spinning high-octane bangers, “Laho” slowed down the tempo significantly, but the attitude is so distinctly Benin that it doubles down on what made Shallipopi instantly magnetic as soon as his breakout started. Almost everyone called themselves “Minister of Enjoyment” this year, and everyone sang the hook, whether you immediately understood what was being said or not – a hallmark of a truly infectious slapper. – DAP
Victony – “Gangsta Cry”
Victony shapes vulnerability into a cornerstone of his art. Hailed widely as last year’s best project, Stubborn depicted his come-up through a pop-informed sonic background. On this year’s Very Stubborn, he introduces an even more personal side to the narrative, a vision successfully captured on “Gangsta Cry.” From the tender autobiographical lyrics to the brooding notes that float with lucid purpose, the song is a tale of survival drenched in rap-like verses. Part of loving Victony comes from understanding his tendencies to be nonconforming, and he’s quite that here, seeing as he’s at the prime of his career, and yet choosing not to overlook the scars of the journey. – EE
Rema - “Baby (Is it A Crime)”
For months, fans and listeners asked – borderline begged – for Rema to officially release the Sade-sampling song he teased online with a brief performance video. After the hectic, charged energy of last year’s sophomore album, Heis, pulling inspiration from a classic soul song was a refreshing and intriguing switch-up, and a remarkable show of versatility from one of the most dynamic artists in Afrobeats. Channeling his grizzled loverboy persona from his first album, Rave & Roses, Rema turns on the charisma for one of his smoothest showings, both as a writer and a singer. The lyrics are as self-aggrandizing as the similarly-toned “Charm” from Rave & Roses, and the Sade sample breathes warmth into one of the most exquisite bounces on a Nigerian pop song in 2025. – EE
Oscar Heman-Ackah and 2Baba – “Save Me”
To Kill A Monkey enjoyed a great press run that was bolstered by its unapologetic Nigerian quality. Helping to convey its dramatic temperament was the soundtrack from Oscar Heman-Ackah, one of the most brilliant musical minds of contemporary Nigerian music. On “SAVE ME,” Heman-Ackah brings into the studio the great 2Baba, who has been known to churn out a late-career beauty now and then. That’s the case here, as a warm, choir-supported record spawns a passionate and vulnerable showcase from the veteran. “Save me, save me, save me from myself,” he screams in the first line, quite intent that this wouldn’t be another typical Afrobeats record about the maddening highs of celebrity lifestyle, without considering its potential pitfalls. 2Baba chooses the honesty of the latter, and it’s a beautiful choice. – EE
Nuno Zigi – “Ozam”
Right now, it’s uncontroversial to say Eastern rappers are holding it down for Nigerian hip-hop. From Jeriq to Aguero Banks and Evado, there’s no shortage of rap artists bringing their Igbo heritage into the space of bars and swag. A name that’s often overlooked but no less talented is Nuno Zigi, who’s arguably the scene’s best lyricist at the moment. “OZAM” is sufficient proof. Over a marching drum pattern, he unfurls subtle, hard-hitting lyrics about his unwavering belief in God’s timing. Nuno indeed raps with the assurance of a prophet, seeing the path of greatness before him. “Way ahead of all these boys, but I never let it get to my head / closed mouths still will never be fed,” he raps on the first verse, a fine nod to the work that’s required. Both wise and audacious, it’s a testament to Nuno’s informed artistic perspective. – EE
Asake – “WHY LOVE”
For over three years now, Asake has stayed close to the center of Nigerian music. Though he released music sparingly this year, “WHY LOVE” still shines as a bright light in his catalog. Here we have Asake at his charismatic and playful best, turning his intense attention to a woman he’s intent on having. Afrobeats has a rich history of embodying the drama of romantic situations, and Asake is like Scorsese casting a wide view of the landscape. Even though the song’s delivered mostly in English, that landscape is, however, African, with the amapiano-style drums and the backing adlibs grounding the narrative. Quite simply, it’s a movie you never get tired of seeing. – EE
AratheJay - “Put Am on God”
For years, AratheJay bubbled under, refining his craft and waiting for a wider audience to get hip to him. The breakout came with last year’s bubbly yet soulful “Jesus Christ,” which saw a remix a few months after the OG single dropped. This year’s mission was clearly about taking up space to signal readiness for longevity, a theme that permeated his debut album, The Odyssey, and is represented on the booming highlight, “Put Am on God.” AratheJay is assured over maximalist production, singing his intent for “this shit [to] be forever” with the help of God. His passion swells just beyond the grind thanks to the controlled intensity of his melodic rap flow, a force that manages to tower above pounding 808s and horn blasts. – DAP
Tems – “Big Daddy”
You know it’s a Tems song when there’s a complication to the love fairytale. She’s consistently been a poet for love that doesn’t sit still; love that boils and overfills the brim of every container. That was the idea behind Love Is A Kingdom, her sole musical output of the year. On “Big Daddy,” the EP’s runaway hit, a skittering drum base and vocal sample set the artist to questioning the intent of an ex-lover. “Where were you when there was no one around?” she probes in the first line of the song, quite unrelenting in her desire for affection. Flexing her ability to meld R&B and Afrobeats, it’s a record that lies close to the sensibilities of “Love Me Jeje” in its earthy, colorful flavor, which gives a simple overtone to a layered idea. – EE
Joshua Baraka and JAE5 – “Wrong Places”
Too often, people sell the narrative of Afrobeats being a hedonistic genre without much consideration for other subjects. Over time, we’ve seen that to be false, as African acts have sometimes used their music to advocate for mental health and other emotional issues. Perhaps the best song that fulfills that purpose this year is “Wrong Places,” from the Ugandan act Joshua Baraka. It’s produced by the maverick JAE5, whose low-toned drums and ominous notes provide the perfect atmosphere for Baraka’s singing about being secure in one’s own skin. “Who can you love if you don’t love yourself?” he asks, a poignant reflection whose truth spills onto the entire record. Well written, well produced, and well sung, it’s definitely one of the year’s standouts. – EE
Omah Lay – “Waist”
Few artists in Afrobeats know how to pick their moments like Omah Lay. With fans long expectant for his Clarity of Mind album, he’s jumped on a few features throughout the year, giving glimpses into the current phase of his artistic evolution. He put out “Waist” well into the year, flexing his peerless ability to merge hedonism and reflection. Who else but Omah Lay could have a song with quotables such as “na two people something you carry for waist” and “scatter my enemies, confuse them with little things”? He handles both worlds without losing any grasp on their distinct requirements, helmed by bubbly production from trusted collaborator Tempoe. Across its almost three-minute runtime, you’ll be hard-pressed to find an unsatisfactory moment — everything flows into each other. – EE
Fimí - Gentle Baby
Fimí likes to call herself ‘Flow Daddy,’ and there’s some validity to that. The Nigerian rap artist spent 2025 on a productive run of singles and the release of her debut EP, cumulatively showcasing her dynamism as a bar-ready lyricist and credible maker of catchy rap songs. “Gentle Baby” is one of the catchiest African rap songs released this year, and its mantra is simple: Fimí is ready for her soft life era. The springy bounce of Baba Ö’s beat gives the song its instant fun bent, but it’s Fimí’s flow, slick as Teflon, that is the star of the show. Stress doesn’t exist in the imagined near future she’s manifesting; it’s all about getting “rich so fast, but I don’t wanna shed no sweat.” It’s not yet her reality, but she makes her hopes and delusions sound so damn joyful. – DAP
