Promotional image for Ayra Starr’s album, The Year I Turned 21.
The Best Afrobeats Songs of the Year So Far
Our list for the best Afrobeats songs of 2024 features Tiwa Savage, King Promise, Fireboy DML and more.
The year began slowly, but African music gradually woke up to its typical brilliance. As the months progressed, bonafide hit songs were released and potentially scene-defining albums saw the break of light. The music that we refer to as Afrobeats, which takes from varying styles and genres, witnessed its wings taking shape again with contributions from youngsters and experienced acts alike.
Halfway through the year, the songs have been plentiful and flamboyant, expressively reflecting the consciousness of diverse artists as well as the social material of life that binds all African music. You hear love stories, affirmations of life, and calls to dance — these are the thematic base of the sound. The music, however, flows to its own ebbs, and in the releases this year we’ve seen artists try to break out of established molds, impressing new angles upon trusted elements.
These songs have been selected for their quality, first and foremost, but also their success—on a communal level and as well the individual, as moving a piece further in the musician’s overall artistic direction.
These are the Best Afrobeats Songs of the Year So Far.
Fireboy DML “Everyday”
A warm bassline and Fireboy DML’s dulcet voice: that’s what it takes to create an eternal record like this. Many Afrobeats artists tell love stories but Fireboy creates an associative sound with his narratives: he embodies the message on a deeper level, as he does here in this stellar performance of affection. Featuring fellow Nigerian artist Bloody Civilian in the convincing role of video vixen, the song completed its audio-visual cycle with tactful finesse.
Ayra Starr “Commas”
A glittering standout in the contemporary Afrobeats scene, Ayra Starr’s flowers have been coming at the right time. More listeners are catching up to the jaw-dropping confidence in her singing, the range of her pen and how effortlessly she presents herself: a star, and with all the wins to show for it. “Commas” embodies the victorious period: tightly-written, effervescent, positive, and sexy, it’s a song that combines girly aura with a zest for inner peace and the fine things of life.
Kizz Daniel and Davido “Twe Twe”
The rolling drums here are faintly reminiscent of Juju music, whose pristine quality proves inspirational here, and Kizz Daniel and Davido share chemistry that’s not only complemented by sound but in lyrical sensibilities. “Twe Twe,” a call to twerk and dance, becomes then the most family-friendly hit we’ve heard all year, and this is reinforced by the carefree intimacy of its visuals. It’s a song that burnishes Kizz Daniel’s role as a vintage stylist within the Afrobeats canon.
King Promise “Continental” feat. Shallipopi
Side-by-side, the svelte brilliance of King Promise and the audacious grit of Shallipopi shouldn’t work. That’s at least on paper, because right here is one of the records of the year. Melodic resonance comes from the R&B-influenced Promise, whose glittering performance echoes the introspective sway found across his True To Self album. In his verse, Shallipopi interplays between larger-than-self portraiture and dreamy awe, resulting in one of his most effective verses ever.
Young Jonn feat. Kizz Daniel and Seyi Vibez “Big Big Things”
When three certified hitmakers get on a record, only one outcome is expected: a certified hit. “Big Big Things” embodies greatness on varied levels: Young Jonn’s innuendo-laced songwriting, the grandness of the production, and the different styles each artist impresses on the record. Taking the last verse, Seyi Vibez transforms the song from a ‘piano-nodding Afrobeats record into the stuffed, edgy chants of Fela’s sound, proving the malleable nature of the song.
Tyla feat. Tems “No. 1”
Upon the release of her self-titled debut album, it became evident that Tyla was far from lucky. Her talent was on stellar display, minted into warm, confident records that effortlessly moved between genre sensibilities, while retaining an African and R&B core. On “No 1,” the influence of the latter genre is evident, but so are the fast-paced drums, supplying an urgency to the message of putting oneself first. Tyla and Tems do beautiful justice to the theme with their complementary voices.
Black Sherif “Shut Up”
Realist portraits of life have always been the trademark of Black Sherif. After his memorable debut album The Villain I Never Was, the Ghanaian maverick has leaned into a more gutsy, goth-influenced version of his sound and style. He expresses poignant emotions as ever but with even more zest now, perhaps influenced by his ascending perspective due to popularity. “Shut Up” pokes into some people’s need for constant speech and little introspection: gritty, there’s still some soul to glean.
Odunsi (The Engine) “Resurrect” feat. BNYX and Jeriq
One of the deepest explorers in African music, Odunsi is considered by many as the engine of the alté sound. An excellent singer, producer and curator, his many skills combine into the retro-leaning sound one hears on this record. While the percussion evokes the vibrance of the Igbo ogene instrument, the synths belong to the eighties, realizing a fusion that fits into the distinct styles of the features. BNYX hypes up the anthemic chorus, which is further amplified by Jeriq’s show-stealing verse.
Ayo Maff feat. Fireboy DML “Dealer”
Street-hop has contributed no small part to the lyrical evolution of Afrobeats. Primarily from the mainland of Lagos, acts such as Ayo Maff embody the strife and patience it takes to move oneself out of financial woes and into prosperity. It’s a recurring theme in the subgenre, and “Dealer” ostensibly represents it this year. A compositional masterpiece, the laidback sound tallies beautifully with the astute songwriting, of which Fireboy’s most emotive verse in a while complements.
Victony and Asake “Stubborn”
The music of Victony accounts for the motions of his life. It’s a peculiar skill that he executes the narrative with a grasp on the communal, making his story everyone else’s. That’s the central technique on Stubborn, the artist’s new album, of which this searing collaboration with Asake features prominently. A salvo of a record, it blends the sound-raising style of Victony with Asake’s charismatic verve, telling a fine story of resilience and independent thinking.
TitoM, Yuppe and Burna Boy “Tshwala Bam Remix” feat. BNYX and Jeriq
One of the most penetrating hit songs of last year, the South African musicians behind it extend its shelf life through this remix. They could have chosen no better choice than Burna Boy, who’s shown an affinity for pan-African collaborations of such scale. His name-dropping verse just relates where he is right now as a global star, every line of his decked in confidence and nuance. Alongside the eccentric deliveries of the original, it makes for a fitting remix, if not utterly necessary.
Tems “Love Me Jeje”
“Love Me Jeje,” the most rootsy song Tems has put out to date, can be best described as pristine feel-good music. Sampling Seyi Sodimu’s ‘90s track is phenomenal, but even more so how Tems subverts the vibe into her distinct sound and energy. The lyrics are freewheeling, taking an instantaneous vibe that’s in fine sync with its structured production. With the release of Born in the Wild, the song’s positivity became a crucial part of its narrative arc towards glory.
TAR1Q feat. Khaid “Jigga”
Since entering the Nigerian music scene a few years ago, TAR1Q has consistently demonstrated his ear for melodies. Lovely narratives are embedded into his saccharine vocals and their abilities, propelling him onto a favored spot among the youngsters permeating contemporary Afropop. On “Jigga,” he creates the enthralling prospect of a three-way relationship, with Khaid on the other side of masculine dilemma. With heartwarming melodies and a memorable chorus, they pull it off.
Tiwa Savage “Water & Garri” feat. Richard Bona and The Cavemen.
To accompany her cinematic debut, Tiwa Savage created a soundtrack. One of the standout releases of the year, that 10-track tape birthed this collaboration among the most surprising and yet stellar of its kind. Cameroonian music icon Richard Bona sets the record rolling, his milky vocals infusing gravitas early on, and when Tiwa comes in, it’s in service of the set mood. She knows how to utilize backing vocals and that awareness gives freedom not only to Bona, but also the Highlife duo The Cavemen whose rustic leanings further elevate the record.
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