There are two major trends that defined West African music in the first half of this year: the unrelenting rise of alternative and underground talent and a rewarding uptick in collaborations between Francophone and Anglophone artists. From Nigeria’s Amma to Ghana’s Rcee, emerging artists from across West Africa have been some of the most promising voices in the music scene. They’re playing with ancient musical forms and articulating them through a thoroughly contemporary style. Their lyrics are just as exciting, often adaptable to the instant gratification of a cultural period defined by quick but impermanent hits, while maintaining a soul that is pure, hopeful, and undeniably unique.
In many ways, West African artists spent much of this year delivering powerful social commentary, ballads, and gorgeous reflections on love and desire.
This year saw singles like “Forgiveness” from Asake’s latest album, M$NEY, a swaggering project littered with moments of reflection, striking introspection, and disarming vulnerability. On the francophone side, artists like Senegal’s Amadeus and Côte d’Ivoire’s Josey combine personal experiences into existential tales that confront our sense of self.
And on the collaboration side, artists like Didi B and Himra have doubled down on regional collaborations. They’ve invited artists like Mavo and Zlatan to some of their hits, marking an auspicious era that might open the floodgates for even more cross-regional collaborations.
Danpapa GTA — “Ikeja” (Nigeria)
Nigerian alt artist Danpapa GTA came into this year swinging. With the release of his energetic pop-rap track “Ikeja”, GTA set the tone for a year filled with surprising yet much-welcomed releases from underground and alternative Nigerian artists. Full of energy, springy and delightfully experimental, “Ikeja” is at once a social commentary on social justice, self-reliance and the dizzying complexities of navigating life in a place with no rules or regulations, much like his music, which he also produces himself. GTA staunchly rejects classic rules, choosing to play with dial tones in “Ikeja” and incorporating electro-music elements for an amped-up energy.
Seyi Vibez ft Omah Lay — “My Healer” (Nigeria)
Picture this: it’s the early hours at a rave, the location is at a remote beach area, and Seyi Vibez’s “My Healer” filters through the speaker like the onset of a high. “My Healer” is one of those rare tracks that are fluid enough to resonate with any crowd. It’s pumped full of energy yet deeply intimate and tender. “My Healer”, which considers desire and love in its lyrics, finds its greatest strengths in its psychedelic, euphoric production. Produced by Tudor Monroe and AOD, this track highlights Vibez and Omah Lay’s greatest strengths: the former's love of gritty experimentation and the latter's ability to craft beautiful storytelling through his writing. Vibez and Omah Lay should consider exploring their creative relationship further.
Priesst — “Akonuche” (Nigeria)
In “Akonuche,” rising Afropop star Priesst promises to move forward with wisdom and conviction, and, without saying it, he urges us to do the same. Central to the making of that promise is the fact that Priesst - with his witty, sharp lyrics, expert use of tone to convey a conspiratorial relationship between him and his listeners - doesn’t actually care if you believe him or not. His conviction is driven by an unshakable resolution that his time has come and nothing will get in his way.
Josey — “Rien du Tout” (Côte d’Ivoire)
Josey has a fantastic knack for turning her listeners into her biggest confidants. She lays her innermost concerns bare to them. They know when she’s swimming in love and when she’s ruminating on matters of the world. She maintains that pattern in “Rien du Tout,” a song in which Josey boldly declares her refusal to engage with topics beneath her station. Josey, like most celebrities, is no stranger to naysayers, rumors, and harmful speculations. “Rien du Tout” is her boldest and definitive response to all that. The song, as always, is danceable but carries a strong, conversational tone. Josey calls out people who are always seeking her opinions on everything, letting them know that she is intentionally checking out mentally and refusing to feed into matters that hold little weight. In her own words, “je ferme mon cerveau,” which loosely translates to “I switch off my brain.”
Falana — “Don’t Go Far” (Nigeria)
There’s a shifting perspective in Falana’s “Don’t Go Far” that makes you wonder who the soulful Nigerian singer is singing to. Is it a friend? A loved one? A lost romantic connection? A blooming romantic interest? Or even a memory? Such is the masterful multiplicity of this song that it draws the ear in for multiple listens to peel away at the messaging. Lyrics-wise, “Don’t Go Far” is stripped back and modestly metaphoric. Falana sings of love as sweet as ripe mangos in June and of wanting to lose herself in love. That simplicity is what allows the song to thrill and dazzle, even with its gentle, undulating beat composed of soul and R&B elements and a rich, folksy sensibility. “Don’t Go Far” is a follow-up to last year’s Afropop-leaning “Nostalgia” but retains the tenderness and whimsical beauty that is all Falana’s.
King Paluta ft Sarkodie — “Give Up and See” (Ghana)
King Paluta and Sarkodie’s “Give Up and See” is a pump-up-your-chest, chin-up, don’t-stop-moving-forward style of motivation that also works as a great, memorable Afropop track. In this energetic and energizing track, Paluta combines sleek rap flows, a catchy hook, a chorus that’s crafted to be easy on the tongue, and lyrics that zing on impact. Sarkodie, who features on this track and lends the message even more prestige, enters the track with a self-assured swagger, complementing the song's message, which urges the listener never to give up. The track features choral backing vocals and the unmistakable signs of a sure hit.
Angélique Kidjo & Ayra Starr — “Aye Kan (Are You Coming Back?”) (Benin/Nigeria)
A cross-generational collaboration between two of Africa’s biggest stars will always be a good idea. Not that this is new for Beninese legend Angelique Kidjo, who routinely collaborates with younger African artists, thereby keeping her discography in conversation with the times. In her latest single, “Aye Kan,” featuring Afrobeats princess Ayra Starr, both artists keep things philosophical yet lighthearted as they sing about holding space for their feelings on life and love. Both women, who share Beninese heritage, Kidjo having been born there and Starr having made it her home for some time, are seamless collaborators whose voices blend into a rich, layered texture. A well-executed and considered collaboration.
Asake — “Forgiveness” (Nigeria)
“Forgiveness”, a catchy Afropop banger is one of the mnay darlings on Asake’s latest and well auded album M$NEY released back in May. Opening with a string solo, “Forgiveness” gently glides through the senses, sinking into a sensitive emotional center that matches the open vulnerability of Asake’s lyrics. In “Forgiveness,” the swaggy yet spiritually grounded superstar is one and alone with his God, recommitting himself to both the high power he believes in and to himself. In a rare moment of emotional sobriety, Asake seeks forgiveness, promises to be the best vessel for his God-given talents, and alludes to a season that has tested his character and significantly challenged his faith. If any track perfectly symbolizes the maturity Asake has undergone in the past few years, it is “Forgiveness”.
Amadeus — “Yàlla Du Juum” (Senegal)
In Amadeus “Yàlla Du Juum,” which translates to God Doesn’t Err in Wolof, God is the center of his focus. The Senegalese superstar spends much of the track expressing his gratitude to God while singing his partner’s praises. “Yalla Du Juum” is groovy and classic Amadeus in its poetic lyricism and sensitive writing style.
Didi B featuring Mavo — “Fire In Your Eyes” (Côte d’Ivoire/Nigeria)
In “Fire In Your Eyes”, Ivorian superstar Didi B teamed up with Nigerian alt-mainstream star Mavo. This pairing might seem odd to fans of both artists; Mavo’s style is intentionally unruly, while Didi B has a sleeker, more traditional rap/Afro-pop sound. “Fire In Your Eyes,” however, proves Mavo’s delightful versatility while solidifying Didi B’s commitment to cross-continental collaboration. In the past, he’s entered successful partnerships with fellow African stars like Zlatan and Fally Ipupa. “Fire In Your Eyes” is sleek and unhurried, with repetitive lyrics and swaggy hooks. This song is a triumphant hit for both artists, showcasing Didi B’s wide taste and attention to the shifting sounds on the Afropop landscape and highlighting Mavo’s flexibility and propensity for lyrics that get you thinking and moving at the same time.
Amma — “I love you” (Nigeria)
Amma’s “I love you” is one of those rare tracks whose virality isn’t entirely hinged on a great clip, circulated as a catchy soundbite. The Nigerian singer bares her heart and feelings on the track, disarming the cynical. Rather than adopting a stoic, disaffected perspective to express her affection, Amma is open about her feelings, refusing to convey her earnestness metaphorically. Perhaps as a nod to her talent, Amma’s yearning isn’t defeatist. It’s a gentle and necessary reminder of what it means to be human, and what it means to be a person who wants and isn’t afraid to articulate the weight of that need.
Rcee — “Sweety” (Ghana)
Rcee’s first introduction to music was at funerals in his hometown of Kumasi in Ghana. From highlife to hiplife, the neo-highlife/afro-pop artist learned from a line of great Ghanaians. Except it would be inaccurate to label Rcee a hip-hop artist. His music, as with “Sweety,” the opener of his EP, sits between contemporary highlife and local funk. It’s at once refreshing and disarming, because you never really expect it if you haven’t heard it before. “Sweety” is ultimately a love song, filled with beseeching words and earnestness. It’s also just technically interesting. While Ghanaian highlife has seen some dilution and contemporary interpretations, it’s fascinating to find artists like Rcee who remain loyal and are revitalizing the classic Ghanaian highlife. And even better, Rcee’s hip persona draws in a crowd that otherwise wouldn't be paying attention to a genre that started everything but remains underappreciated.
Himra ft BabyDaiz & Zlatan — “B**ch & Money” (Côte d’Ivoire)
“Bitch & Money” is a thumping new track from Himra’s new album Sorry I’m Bad. Featuring South African rapper BabyDaiz and Nigeria’s Zlatan, this track is grounded in mischief and driven by the unapologetically bad-boy persona Hiram projects on this new record. Already blowing up on socials and undoubtedly one of the strongest tracks on the project, “Bitch & Money” exemplifies the convention-breaking, grunge sensibility of coupe dècalè. It also helps that Zlatan, who makes street-pop, a Nigerian variant of coupé décalé, brings a sharply complementary perspective to this music. Altogether, “Bitch & Money” is a sure banger from a group of artists who understand exactly how to rile up a crowd and shake things up.
