10 African Music Projects You May Have Missed This Year

With these considerations, OkayAfrica has compiled a list of 10 African music projects from this year that you may have missed. Scanning several genres and sensibilities, there are gems waiting to be discovered here.

Dwin, The Stoic — 'Master of Ballads' (Nigeria)

Dwin, The Stoic, says “ballads” describe his style because they're not a genre but a songwriting sensibility. In the follow-up to his 2018 cult classic, Heavy Heart, Dwin, The Stoic, crafted indelible portraits of everyday people working their way through extraordinary situations. 2024's Master of Ballads represents the pristine side of Afropop songwriting, the virtuosic handling of both the epic and the intimate, represented by artists like Asa and 2Baba. Love takes up the narrative core, but the rough textures of unmediated reality also break in beside the musing on its several forms. With exquisite orchestral music, played mainly by frequent collaborator Rhaffy, this is one of those rare albums that informs one's perspective of life.

Baaba J — 'In Pursuit of Happiness' (Ghana)

The 2020s have come with a lot of excitement for African music. Primarily on the strength of their autobiography-streaked narratives, artists like Baaba J have given a strong voice to the realities of young people across the continent. Baaba's music embodies unpredictability, swirling with sonic influences that range from Afropop to R&B, highlife, and pop. In Pursuit of Happiness achieves a remarkable feat of compression: in just six songs, the Ghanaian artist showcases the riveting depth that's made her a heralded name in the scene. This project is incredibly insightful, as it takes one of pop culture's most iconic phrases and reinterprets it to reflect her ideals and inspirations.

DOTTi The Deity – 'Madam Dearest Vol. 1' (Nigeria)

Tradition prominently influences the art of DOTTi The Deity. Never shy about his Yoruba roots, the artistic traditions weave into DOTTi's music, creating the poetry and pomp necessary to stand out in an oversaturated scene. On his debut outing, For You Knew Me, it was apparent that a masterful handler of complex love stories had emerged. Madam Dearest Vol. 1 is even more spellbinding, a compact collection that plays out like an interlinked group of stories. No two songs on the album sound the same, but the flamboyance of the production and the humor of DOTTi's songwriting assuredly bring them together. Madam Dearest Vol. 1 is one of the most intentional bodies of work released in recent times; in the years to come, more people should (rightly) be calling this a masterpiece.

Bensoul — 'The Party & The After Party' (Kenya)

Several albums have been created to mirror the party feeling, but pulling it off takes more than intent. More than anything, the production should carry the vibrance of the setting while leaving space for the musician to have a vocal influence. Kenyan artistBensoul achieves this alchemy in The Party & The After Party. Heavy on drums and futuristic synths, this sprawling depiction of the East African night scene pulls together the region's sonic influences. While guitars and such melodic instruments have been a trademark within that tradition, Bensoul soars even further through his embodiment of gloss, a pop star who's about the big city life even though they're aware of his roots. This nuanced, almost philosophical, back-and-forth makes this a rewarding listening experience.

Pure Akan – ‘Odo Awaamu’ (Ghana)

Operating beyond the sonic field of contemporary Afropop, Pure Akan is something of an old soul. You hear this in the quaint fashion of his music, a sort of throwback to the hiplife tradition of his native Ghana. You could tell Obrafour influences him, but Pure Akan is more than a vessel for his musical heroes. On Odo Awaamu, he's a visionary, seemingly pulling melodies from thin air while reflecting the effortless versatility of his voice. Throughout its 33-minute runtime, Pure Akan sings, raps and even does some spoken word, never allowing himself upstage the overarching scope. Ostensibly one of the most distinct projects this year, it's an offering sure to grow on listeners.

Xenia Manasseh — ‘Love / Hate Pt. 2’ (Kenya)

Last year, whenXenia Manasseh released the initial Love / Hate album, it was a move that consolidated her long years of repping East African R&B. One of the most recognizable voices from that scene, the project carried a responsibility that was duly dispensed and executed, all on the thrill of Xenia's disarmingly cool vocals. In this year's sequel, she amps up the sound, incorporating zesty touches of genres like trap, hip-hop and amapiano while touching the angst-fueled emotional touchpoints she's made throughout her career. With interesting feature choices, including Waye and Hamzaa, it's one of those rare offerings that resonate with all kinds of ears worldwide.

Clayrocksu – 'Hate It Here' (Nigeria)

When enthusiasts return to Nigeria's musical history, they inevitably find therock boom of the 1970s. That movement, characterized by a feeling for life in its most expressive forms, was major and it has filtered back into the radar of Nigeria's contemporary scene. One of the champions of its modern style is Clayrocksu, whose situation at the fringes of the pop consciousness has kept her sonic bravery and innovation intact. Hate It Here demonstrates her unprecedented genius, showing what a lady with a passion for singing could do with their voice. She performs within the rock tradition but easily breaks from it, incorporating everything from Igbo highlife percussions to the Yoruba talking drum in these songs, essentially giving the music a Nigerian identity that listeners would find appealing.

Aguero Banks – 'The Hero' (Nigeria)

Aguero Banks will be no surprise to anyone paying attention to the Nigerian rap scene this year. Operating within the zonal perimeters of the Southeastern music scene, the stiff-faced rapper has now transcended into a national figure, earning co-signs from cultural figures such as Phyno and Psycho YP. Aguero Banks' expanding reach has been due, first and foremost, to his skill as a rapper, unearthing the most unassuming stories from his hometown of Obiagu in Enugu state. All the evidence of his craftsmanship is bare on The Hero, an album that capitalizes on his cult figure amongst youths from the grittiest parts of the country. Even as a rap album, his ability to string bops is evident, making it enjoyable.

Fancy Fingers — 'Love Language' (Kenya)

It's an impeccable concept to assemble the most gifted female musicians around the continent for an album. It's even more remarkable to hold the songs together with a thematic core, flowing along the tides of those stories. That is what Fancy Fingers, the guitarist from the erstwhile groupSauti Sol, achieves with his debut solo album. With features which include the Kenyan musicians Njerae and Lisa Oduor-Noah, the Nigerian singer and producer Dunnie who features on the titular track — it's a seasoned cast and Fancy Fingers appears intermittently throughout the project, the sweet husk of his vocals providing a solid base for his guests to float upon.

Yimeeka & Black Culture – 'INÓ' (Nigeria)

A joint project between a producer and artist is quite an essential output that combines their strengths across the tapestry of an extended idea. INÓ is no different, a four-track capsule that embraces Black Culture's Afro-house production as a sonic grounding for Yimeeka's expressive vocals. She's in dragon form across these songs, pouring herself into executing the bawdy tales the genre is known for. With lyrics in English and Yoruba, she's reminiscent of the form's progenitor, Niniola. Yimeeka's flourishes are evident: she's soulful and vibrant, and with Black Culture's mastery of the production, it's one of those easy choices for a fun night with sultry intent.