The Best West African Songs Right Now

This month’s best songs from West Africa bring together debut artists with established stars, all of whom entered the new year with incredible energy, surprising collaborations, and a willingness to offer something fresh and exciting this year.

Danpapa GTA - “Ikeja (NO GO THIEF)” (Nigeria)

Already a crowd darling, including a co-sign from Mr Eazi, Lagos-bred Danpapa GTA released “Ikeja (NO GO THIEF)” early this month, immediately solidifying himself as an artist to watch. 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 refuses classic rules, choosing to play with dial tones in “Ikeja” and incorporating electro-music elements for an amped up energy. If anyone will lead Nigerian music to a new era of unadulterated energy, youthful angst and vibrant, sharp-tongued lyrics, it is Danpapa GTA.

Stonebwoy, DJ MAC, CrashDummy - “Silent Samurai” (Ghana)

In the surprisingly soulful yet deeply animated “Silent Samurai,” Ghanaian rapper and dancehall icon Stonebwoy sends a strong message to haters and spectators alike: he is not to be messed with, and he isn’t going anywhere. It’s a statement he has more than earned the right to make as one of the triumphant artists in Ghana's intensely competitive music scene. And what better way to enter the year than to set the rules of engagement?

TRK. ft Didi B - “La Vie De Louga V2” (Côte d’Ivoire)

In “La Vie De Louga V2,” Ivorian stars TRK. and Didi B pay tribute to Kiff No Beat, who released a song of the same title in 2015 featuring themes of nightlife in Abidjan, partying and enjoying life in the fast lane. While Kiff No Beat’s original song was purely inspired by hip-hop, TRK. and Didi B’s reinterpretation is grounded in contemporary Ivorian drill, offering a striking look into the evolution of Ivorian rap. “La Vie De Louga V2” also incorporates many of the elements that now define contemporary Ivorian rap, including catchy refrains and often the inclusion of local languages. As a tribute, “La Vie De Louga V2” does an excellent job of honouring the stars that came before. But as a standalone piece of work, it is just as exciting and a bonafide hit in its own right.

Roseline Layo - J’abandonne (Côte d’Ivoire)

On her latest album Élus de Dieu 2, Ivorian music icon Roseline Layo puts together a collection of hits and reflective moments. “J’abandonne,” which translates to “I give up” in French, combines stirring lyrics and a memorable zouglou-inspired beat. Layo has managed to establish herself as one of the foremost female artists working in the Ivorian music industry. Her songs engage and speak to socio-cultural concerns as much as interpersonal matters. And so any new Layo release brings with it a fresh take on the way she is looking at love, faith, relationships and the world.

Wizkid and Asake - “Iskolodo” (Nigeria)

When Wizkid and Asake announced a joint project, the news was met with skepticism, not merely about what the project would sound like, but instead, fans of both stars were more concerned about whether it would materialize at all. Thankfully, both stars debunked those uncertainties with the release of a sparse 4-track EP titled REAL, Vol 1. Tucked in the very middle of this project is “Iskolodo,” a string and horn-heavy track, bolstered by Afro-Cuban sonics and economically applied percussion. “Iskolodo” has no hook, no major refrain, except a chirpy, yet memorable call and response that gives the song the feeling of an easygoing jam session. Except this jam session birthed a song that’s at once relaxed and prospectively relaxing. Rich in tone, playful with productions and memorable for no other reason than putting the ears at ease.

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. That’s the exact feeling this track, featuring Omah Lay and grounded in the sensibilities of house and Afropop, brings to mind. “My Healer,” which considers desire and love in its lyrics, finds its greatest strengths in its psychedelic, euphoric productions. Produced by Tudor Monroe and AOD, this track makes way for Vibez and Omah Lay’s greatest strengths, the former being a lover of gritty experimentation and the latter excelling at crafting beautiful storytelling through his writing. It goes without saying that Vibez and Omah Lay might want to consider exploring their creative relationship even further.

Efue - “Have That Love” (Nigeria)

Efue typically combines elements of soul, Afropop and house in much of her work, but in her latest offering, “Have That Love”, the Lagos-born singer leans into a pared-down, Afro-soul-grounded track. Unfurling like a diary entry with running sentences and little space for rest in between to evoke a feeling of being completely taken over by strong feelings, “Have That Love” features rich lyrics, honest renderings and a strong reflection on the ever-complicating matter of love. With consistency, Efue is on track to carve out a space for herself in the small community of soul singers in the Nigerian music scene.

Priesst - Akonuche (Nigeria)

In “Akonuche” rising Afropop star Priesst promises to move forward with wisdom and conviction. 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 a deep internal guide, as though he has come upon a great source of wisdom very few people have. “Akonuche”, which in Igbo loosely translates to “Wisdom” or “Good Sense,” is great for a gentle groove on the dancefloor just as it is suitable for a moment of reflection on a balcony on a warm evening. Whatever the scenario, Priesst has managed to hack the art of making good, club-ready music meaningful.