The 40 Best Afropop Songs of 2023

In a sea of songs about moving nyash (a.k.a. booty), WurlD’s “Shake” has a distinct glow. His sweet singing — coy ploys to big up the dancer he wants — is just one slick and sexy layer to it. It’s also rich with vintage drama, marked by lingering piano, soft horns, and static-y tricks in the mix, but it’s pulsing, complex drums situate it squarely in the middle of Africa’s best house and dance music. —M.C.

At the heart of French popular music, Aya Nakamura reigns supreme. “Daddy,” featuring SDM, is a testament to her enduring influence. Beyond its infectious zouk-inspired sound, the track unveils a raw and vulnerable Nakamura, showcasing lyrical prowess in masterful production. And with SDM, their chemistry on the song is nothing short of impeccable. Setting new standards, her sold-out shows at Accor Arena in Paris speak volumes. A dark-skinned Malian woman commanding the French music scene? Revolutionary. Nakamura isn’t just rewriting the script, she’s also crafting a new narrative. —A.T.

Jungeli’s “Pétit Genie,” featuring Imen Es, Alonzo, Abou Debeing, and Lossa, is a standout viral hit of the year. This track not only dominated the charts, but also spawned infectious dance challenges across social media. With its pulsating beats and dynamic collaboration, it has become a staple in the French Afropop scene. “Pétit Genie” is not just good fun; it’s a testament to the collective energy of these artists, and a valuable addition to the ever-evolving landscape of African dance-party hits. —A.T.

Blaqbonez has made a name for himself as a Nigerian rapper with a wicked funny bone, but on “Nyem Ego,” he taps into Igbo tradition (and calls on Jeriq, who raps in Igbo) to give an earnest, emotional perspective on the pursuit of success, particularly in his tenuous industry. “Biko nyem ego” translates to “Please give me money,” a relatable plea in a striking song. —M.C.

When North London’s Arsenal Football Club used ODUMODUBLVCK’s “Declan Rice” to publicly welcome its namesake athlete to the team, it was confirmation that ODUMODUBLVCK, an Abuja-repping Nigerian rapper, has become one of Afropop’s budding star players himself. He flips hip-hop’s basketball-name-dropping tradition by likening himself to the English midfielder, and delivers menacing threats with unmistakably gruff melodies, complemented by smooth keys, unrelenting polyrhythmic drums, and a dribbling synth bass. —M.C.

Star producer Kel-P’s foray from behind the boards to center stage is full circle. He’s perhaps best known for helming much of Burna Boy’s seminal African Giant, but he actually got his start as a singer. This year, he came back to the mic with the outstanding single “One More Time,” a perfect example of his prowess in blending Afrobeats, R&B, and dancehall, his commitment to crowd work (he consulted five female friends of his to make sure the song would make them move, he told Rolling Stone), and his surprisingly strong voice. —M.C.

Kenyan singer Nviiri the Storyteller made his long-awaited comeback with a bang (or perhaps banger, in this case) this year with “Nikilewa.” The track includes Nviiri’s usual buttery blend of Afropop, soul, and R&B that puts the singer’s vocal and composing talents on full display. It also pairs Nviiri with Kenyan music bigwigs Bien and Bensoul, who bring their own complementary vocals and energy to the song. —K.M.

After a brief hiatus, veteran South African house producer DJ Kent returned with 2022’s “Horns in the Sun.” However, it wasn’t until Mörda, Brenden Praise, and Thakzin’s remix of the record that his resurgence was truly felt. The revisit elevated the track by taking its haunting saxophone riff and chords and punctuating them with the thrilling drums of 3-step, the new, inventive South African dance-music sound that fuses Afro tech and amapiano. —M.M.

“Ngozi” is an Igbo word for “blessing,” and Crayon’s gratitude for the object of his affection on his single of the same name is moving. The Nigerian crooner excels at capturing young love on excellent amapiano-tinged songs like 2022’s “Ijo (Laba Laba),” and this follows suit, though more grave in its expression of devotion. Crayon’s labelmate Ayra Starr provides the ultimate assist in one of the best romantic duets of the year. —M.C.

Henry Ohanga, better known to Kenyans by his stage name, Octopizzo, is a force to be reckoned with. The face of Kenyan hip-hop, Octopizzo nails the balance between challenging norms in Kenyan rap and hip-hop and reflecting the temperament, desires, and realities of being Kenyan today. He does all of that and then some on “Wapi Compe,” his most experimental track yet. His round and deep vocal quality, paired with his playfully boastful lyrics (“wapi compe” loosely translates to “where’s the competition”) and whimsical beat, make it compelling and addictive. —K.M.

Wakadinali is one of Kenya’s most beloved (and streamed) acts in the country’s rap scene, thanks to their unapologetic use of Sheng — a colloquial combination of Swahili and English — and local street sound, both of which soar in “Sikutambui.” Its heavy bass and cheeky lyrics made the track a fast fan favorite and a popular sound on TikTok in Kenya. Need some Afropop-inspired motivation on your gym playlist? Pop on “Sikutambui.” —K.M.

In September, news of the untimely passing of 27-year-old street-pop artist Mohbad shook the Nigerian music industry. Although the exact details surrounding the cause of his death remain unclear, he had long alleged that he was being bullied, harassed, and beaten by his former label boss and fellow Afrobeats star Naira Marley. In June, Mohbad released “Pariwo,” featuring his friend and close collaborator Bella Shmurda. It has become one of Afropop’s most powerful songs in 2023, a reminder of Mohbad’s disrupted potential and the beauty that already exists in his artistry. —N.C.J.

Brazy is building a reliable reputation as an alternative It girl, leaving her mark with girlish, biting raps on edgy songs by Lagos’ Cruel Santino, London’s Odeal, and Washington, D.C.’s Kelela. Odeal actually sampled Brazy’s solo effort “Attends” on his “Be Easy,” reimagining her hyper-feminine voice and uber-cool delivery. “Attends” and its uniquely urgent beat sit at the weird and wonderful intersection of techno and Afrobeats, a bright omen for Brazy and the continued creativity of Nigerian rap. —M.C.

Dlala Thukzin’s signature artistic approach straddles and blurs the lines between Afro house, Afro tech and gqom, genres specific to his home country of South Africa. “iPlan” is no different; the enthralling track’s lush, pulsating production made it a mainstay on dance floors. Though sung in the indigenous language of isiZulu, its minimal but impactful vocals and heartfelt messaging about always planning for your romantic partner’s needs despite circumstances widens its resonance. —M.M.

Rema has undoubtedly (and proudly) become an emblem of Afrobeats’ global rise, which has been particularly exciting to watch since his real breakout, “Dumebi,” in 2019. He was a teenager then, as evident in his infectious, youthful lilt. His voice has since dropped, and he’s owning more maturity in his music, too, like on “Charm,” a sultry follow-up to the sugary, massive success of “Calm Down.” From his cunning wordplay to his trademark scales, Rema is in control. —M.C.

When Tems’ “Me & U” dropped in October, Rolling Stone immediately recognized it as “a pulsing and spiritual display of her intimate songwriting and unparalleled voice.” Tems herself has said the song is about her relationship with Jesus, and on it, she creates a type of gospel all her own and unlike much else in the prominent space of Afrobeats’ global crossover. Watching both her elaborate, self-directed music video and her stripped-down performance with just Guilty Beatz on keys are testaments to Tems’ own power. —M.C.

“I Don’t Like You” is a testament to what makes Bloody Civilian one of Nigeria’s most exciting new acts. Not only did she produce the brooding, bumping backdrop herself, replete with thrilling vocal quirks, screeches, and squeaks, she also wrote the song’s sharp admissions, too, wit seeping through her buttery voice. Of all the songs on her excellent debut EP, Anger Management, this one is the catchiest, and the most quietly eviscerating: “It’s not like I hate you/It’s just I don’t like you/And my mama sef no like you.” —M.C.

Dadju and Tayc’s collaboration on “Makila : Wablé” is a magnetic fusion of their distinct musical prowesses. The track pulsates with Afrobeats rhythms, weaving a spellbinding narrative of love and desire. Dadju’s soulful vocals harmonize seamlessly with Tayc’s emotive delivery, creating an irresistible synergy. “Makila” stands as a testament to the collaborative brilliance of France’s R&B kings, offering a melodic journey that captivates from the first note to the last. —A.T.

Tebza De DJ’s unlikely hit “Ka Vulungu” borrows its enchanting vocals and melody from a XiTsonga traditional song to make a hybrid amapiano banger. After the song’s initial version gained virality, a copyright dispute ensued and the track eventually got removed from streaming platforms. Without skinning its essence, Tebza and his collaborators rerecorded and rereleased it. Its modern but nostalgic spin made the spellbinding record appeal to different generations of listeners within South Africa and beyond. —M.M.

Nigeria’s Asake continued his unrivaled run on his sophomore album, Work of Art. “Lonely at the Top,” one of the many standouts from the indelible LP, refreshingly detours away from the amapiano-inflected sound that the street-pop star has become revered for. “Out here on the road chasing my dream because I know no one can chase it for me,” Asake sings as he chronicles his ascents to the apex of his scene. —M.M.

Afrobeats and romantic lyricism are always a winning combination, and Grammy Award-winning singer-songwriter Bien’s “Ma Cherie” proves it. Known as a crooner and one-fourth of Kenya’s most globally recognized bands, Sauti Sol, Bien is at his best on “Ma Cherie.” His vocals are effortlessly sexy, and presented from a new perspective over the song’s modern treatment of quintessential Lingala sounds. If you’re unfamiliar with Bien, “Ma Cherie” is the perfect introduction. —K.M.

Hailing from Paris’ 20th arrondissement, rapper and singer Franglais brings the magic in “Trop Parler.” This track intricately weaves traditional soukous guitar rhythm to create a nostalgic tapestry that pays homage to his Congolese roots. With infectious beats and a waist-winding vibe, “Trop Parler” effortlessly bridges the gap between tradition and modernity. It’s a captivating reminder that Afropop’s heartbeat emits from multiple epicenters. —A.T.

With so many Afrobeats tracks in the Naijapiano space (Naijapiano being a moniker noting the South African amapiano elements many Nigerian artists are taking on), it can be hard for songs in that vein to stand apart. “GWAGWALADA” is one that breaks through the fray with a sweet subtlety that allows all three artists to shine. Though he takes the lead here, Bnxn continues to be one of Afropop’s best sportsmen, always elevating his collaborations with rhythm and finesse. —M.C.

When Nigerian singer and songwriter Lady Donli released her debut album Enjoy Your Life in 2019, the pursuit of self-realization was a major theme of the project, which contained some breakthrough tracks in the Nigerian pop scene. Her second album, Pan African Rockstar, released earlier this year, is a more grounded follow-up. The project’s lead single, “My Ability,” perfectly illustrates Donli’s ongoing rejection of self-doubt and her commitment to reiterating her undeniable ingenuity at making music. Like her past work, Donli blends sounds and inspirations from unpredictable places to produce a refreshing drum-and-bass-heavy tune. —N.C.J.

In an industry that regularly shuns vulnerability in men, Nigerian artist Omah Lay has managed to find his voice in approaching emotional and mental turmoil with a refreshing and self-realized perspective. “Reason,” released on the deluxe edition of his successful album Boy Alone, encapsulates the angst and perpetual uncertainty that underlines the business of being young and clueless. For many young Nigerians, Omah Lay aptly vocalizes the weight of emotional turbulence that Afropop sometimes can evade. —N.C.J.

Tiakola, a rising star in the French rap scene of Congolese origin, and Dave, a British-Nigerian force from London, unite in the groundbreaking “Meridian.” Fresh off clinching several awards at Les Flammes, France’s premier accolade for Black music, Tiakola’s lyrical prowess shines. This multilingual masterpiece — seamlessly weaving French, English, Yoruba, and Pidgin — soared to Number One in France. The collaboration with Dave not only bridges Paris’ and London’s Black music cultures, but also adds a vibrant thread to the tapestry of global Afropop. —A.T.

Burna Boy’s romantic side is one of his best, especially on I Told Them…, his great seventh studio album. The LP doesn’t shy away from some characteristic chest puffing, but he’s boyishly smitten on “Tested, Approved & Trusted,” winding his elegant, Afro-Caribbean flow into some serious game. With a chill bounce and soft sprinkles of saxophone, it’s reminiscent of some of Burna’s top tracks like “On the Low” and “Like to Party.” —M.C.

On “Party No Dey Stop,” Adekunle Gold manages to remain introspective on a club joint. The song features Nigerian street-pop artist Zinoleesky and finds Gold’s writing in one of its most brilliant states. While it might be a firm shift away from Gold’s early, softer-toned, folk-driven sound, his transition into the high-energy enclaves of Afropop has been a smooth, highly rewarding mission for both himself and fans of his music. —N.C.J.

Like Kizz Daniel’s “Buga” last year, Spyro’s “Who Is Your Guy?” is an Afrobeats anthem for the whole family, beloved among elder aunties and youthful cousins alike. The joy in its production is bright and familiar, as Spyro earnestly celebrates platonic love, especially between dudes. Tiwa Savage takes this energy and runs with it on the remix, shouting out her industry friends like Don Jazzy and Olamide with appreciation and admiration. —M.C.

Nigerian superstar and first-time Grammy nominee Ayra Starr has shown her prowess at making deceptively playful records time and time again. In “Sability,” one of her biggest hits in 2023, Starr samples “Coupé Bibamba” from the legendary Congolese artist Awilo Logomba, and finishes it off with a fresh Afropop twist. In this record, Starr, who also received her first VMA nomination this year, is fully grounded in her bad-bitch energy and dares anyone to tell her otherwise. —N.C.J.

ESwatini’s Uncle Waffles’ meteoric rise and journey to superstardom has been inspiring. Less than three years into her career, she has dropped a trilogy of projects and performed on the world’s biggest stages. Her star-studded track “Yahyuppiyah,” the lead single to her sophomore EP, Asylum, has proven her dedication to constantly putting out quality work and how she effortlessly translates the energy of her electrifying DJ sets into her own music. —M.M.

Music had never been in King Promise’s plans. The Ghanaian singer behind “Terminator,” an upbeat, club-ready banger and one of Afropop’s most explosive records in 2023, only ditched his football dreams to pursue music at the end of his university program. It is a trade-off that has since paid off. On the remix of “Terminator,” which was already strong on its own, he teams up with Nigerian producer-turned-artist Young Jonn while establishing himself as one of Afropop’s most dominant, vibrant, and unforgettable voices. —N.C.J.

Kenyan artists sampling other Kenyan artists is almost unheard of — and boldly breaking from that tradition earns Sabi Wu’s “Mi Na Wewe” a top-10 spot on this list. With an unexpected and well-executed sample of 2003’s “Ninanoki,” by Nameless and featuing Amani, one of Kenya’s Genge legends, Sabi Wu’s “Mi Na Wewe” shines amid a sea of new music from East Africa this year. The song completely embodies the young, Kenyan experience, mixing elements of new Nairobi hip-hop and East Coast rap with the finesse of a much more seasoned artist. —K.M.

In September, Gunna shocked fans during a Los Angeles show — one of his first since spending most of last year jailed in Atlanta’s YSL case — by bringing out Nigerian singer Victor Thompson to duet his gospel-meets-Afropop hit, “Blessing (This Year).” Gunna not only understood the assignment on this hopeful track, but elevated it, pushing the performance to viral status and inspiring viewers to call for an official remix. Weeks later, Thompson and the rapper obliged, and a social media sensation was born. With an earworm chorus and a collaboration that symbolizes the future of Afropop, “This Year (Blessings)” made an undeniable mark. —K.M.

Amapiano’s ability to be future leaning while drawing inspiration from the past has always made it remarkable. Tyler ICU’s huge hit perfectly exemplifies this; it samples a 2019 gqom song (also incorporated in Dlala Thukzin’s 2020 track “Nika Nika (Magical Remix)”) to make a speaker-blaring anthem. “Mnike” is an ode to good times and the thumping bass sound of amapiano, with vocalist Tumelo.za promising to supply these to people yearning for them. And indeed, they did — the song and its accompanying dance routine were the soundtrack and staple at numerous festivals, events, and parties across the world — breaking Tyler ICU in the international touring circuit and rising to become the most streamed song back home. —M.M.

This year, Libianca’s Afro-soul went viral thanks to “People,” which courageously deals with the complexities of human connections and mental health with rare vulnerability. For a Cameroonian artist like Libianca, breaking into the mainstream is a remarkable feat; “People” mesmerizingly highlights the power of authenticity and led to Libianca’s global ascent. As the most streamed song on Spotify by a female Afrobeats artist, it reinforces Libianca’s impactful presence now and foreshadows its duration. —A.T.

Vacra’s ascent in the Francophone scene culminated in “Tiki Taka,” one of the year’s biggest hits, though released last November. It’s a daring fusion of electronic beats and Afropop allure shrouded in calculated mystery. Before its release, Vacra’s deliberate anonymity and androgynous sound stirred curiosity about gender and appearance, challenging norms and propelling him into a distinctive musical realm. In an industry fixated on visibility, Vacra prioritizes music over persona. “Tiki Taka” has disrupted conventions from dance floors in Paris to Dakar. —A.T.

This year, baddies around the world got down to Ghanaian-American rising star Amaarae’s “Princess Going Digital.” The track, nestled in the singer’s critically acclaimed Fountain Baby (a Rolling Stone Best Albums of 2023 pick), is a standout in the 29-year-old’s elite discography, exploring the complexities of identity and self-love in the digital age to an infectious, Afro-angst beat. Amaarae’s pretty pipes sparkle on the funky, synthy song and mark a new career high for the singer. —K.M.

When Davido released his fourth studio album, Timeless, earlier this year, he was returning from an uncharacteristically long hiatus marked by tragedy. “Unavailable,” the album’s most prominent single, bubbles with the ebullience and zest for life that Davido is known for and serves as the perfect symbolism for the triumphant place he’s found himself. With a flawless assist from South African producer Musa Keys, “Unavailable” perfects amapiano-Afrobeats formulae, with both genres seamlessly burnishing each other. Its explosive success, global dance challenges, and Grammy nod affirm its ingenuity.  —N.C.J.

Since emerging in 2021 with “Getting Late,” Tyla’s daring blend of pop-R&B melodies with amapiano sensibilities has made her one to watch. Her sensual, global smash “Water” follows in similar terrain, stylistically — and its viral dance challenge mirrors moves from bacardi, a style of house music native to her home country, South Africa. TikTok videos hashtagged tylawater have been watched about 1.2 billion times — and that’s just a sampling of how infectious her airy voice and impeccable rhythms got. While “Water” has skyrocketed and attracted globe-trotting megastars, Tyla’s small but potent discography already shows it’s not a fluke — she’s the real deal. —M.M.