The Best North African Songs Right Now

North Africa is easing back into its usual pace after concluding Ramadan and celebrating Eid al-Fitr. As people reestablish their usual sleeping patterns and work hours, musicians are gearing up for larger project releases. 

In the meantime, the diaspora has kept us afloat - from Sudan’s Dua Saleh and Elmiene to Egypt’s MMKN and Alewya, here are the best tracks by North African musicians in March, spanning a wide range of genres from indie-pop to electronic revivals of traditional classics and Sufi poetry.

Alewya, eejebee - “City of Symbols” (Egypt, Ethiopia, UK) 

Egyptian Ethiopian Londoner Alewya continues to roll out her forthcoming debut album ZERO with “City of Symbols,” the upcoming project’s second release. Furthering her signature, genre-fluid sound, the track blends Ethiopian rhythms and drums from eejebee with London underground production and ethereal synths. Alewya’s vocal line moves between chanting and singing in a poetic exploration of home, migration, and belonging. 

Dua Saleh - “I Do, I Do” (Sudan, US) 

With a song on similar themes and questions, Sudanese American musician Dua Saleh continues the rollout of their upcoming album, Of Earth & Wires, with “I Do, I Do.” The track refers to the Sudanese proverb "He who mixes poison is bound to lick his fingers” and blends the Oud’s folk sound with Saleh’s indie-pop vocals, using Sudanese idioms and colloquialisms to interrogate the aftermath of the war and the heritage lost in it. 

Chaama, Eljoee - “Burakia II” (Morocco, Algeria) 

In a recent interview with OkayAfrica, Moroccan singer Chaama teased her upcoming release “Burakia II,” a follow-up to one of her most successful songs, “Burakia.” A collaboration with her longtime collaborator, Algerian producer Eljoee, the track fuses electronic beats with a traditional religious song, reimagining it for younger audiences. In the middle, they break up the structure with additional Sufi poetry and the familiar repetitional call to Allah, building another layer of spirituality and sound. 

Hosam Omran, MMKN - “Reparations” (Palestine, Egypt) 

Palestinian multi-disciplinary artist Hosam Omran teams up with Egyptian multi-disciplinary artist MMKN for “Reparations,” a song that is as dreamy as it is political. Dreamy, because of the synth scapes, light melodic instrumentation, and the well-rounded vocals falling in line with the catchy syncopated beat. Political, because Omran recalls the afterlives of the Nakba and two wars that displaced his family, demanding reparations for all that has been stolen. It will make you want to sing along until you stop and listen to the depth and heartbreak in Omran’s words. “Reparations” is part of Omran’s rollout for his upcoming album The Sleeping Beauty. 

Souad Massi, Youssoupha - “Congo Connection“ (Algeria, Congo, France)

Renowned French Algerian singer, songwriter, and guitarist Souad Massi, also referred to as the “Tracy Chapman of the Maghreb,” collaborates with French Congolese rapper Youssoupha on “Congo Connection,” track seven of her new album Zagate. The song is heavy, it works with evocative drums, call and response structures, and clear, woeful vocal deliveries that speak out against the injustice of a battered and pillaged country scarred by child exploitation.

Elmiene, Sampha - “Saviour” (Sudan, UK, US) 

Sampha joins Sudanese British singer Elmiene for a live rendition of “Saviour,” the latest release ahead of his upcoming debut album, sounds for someone, which was produced by Sampha. In a simple vocal line that is delivered perfectly by Elmiene’s soulful voice, the singer reflects on childhood desires and issues, doubling down on the introspective, vulnerable tone he has carried through the album’s other releases. Sampha’s simple piano chords turn the song into an intimate ballad. 

Tinariwen - “Erghad Afewo“ (Algeria, Mali) 

Tinariwen’s 10th studio album, Hoggar, is a return to the collective’s roots and a love for collaborative music-making. Track three, “Erghad Afewo,” is accompanied by the project’s main visuals, which tell the story of a young Tuareg boy and girl who are dispersed by state authorities but continue to find their way to each other and to music. The song begins with Tinariwen’s signature desert blues guitars, followed by call-and-response vocals and communal singing.

Molotof, Mayo Imad - “Marageeh” (Egypt) 

Molotof, one of Egypt’s top producers, teams up with emerging artist Mayo Imad for “Marageeh,” a high-energy track that directly channels Cairo’s infectious energy. This is the kind of song you hear blasting from a car driving on a bridge across the Nile to a function somewhere deep in the city. Several beats interlock, creating urgency and a sense of multiplicity matched by Imad’s smooth, autotuned delivery. 

DJ Snake, Asake - “Worship” (Algeria, Nigeria, France)

Closing out Ramadan, Asake released “Worship” with French Algerian DJ Snake after returning from his Umrah pilgrimage to Makkah. The track opens with cinematic violins and a female choir praising God (“Alhamdulillah”) alongside Asake’s lyrics of gratitude. Snake’s use of the flute holds religious significance as the nay flute symbolizes the soul’s longing for the Divine, and the breath of God, in Sufism.