Album cover art for Tems’ Born in the Wild.
The Best West African Songs of 2024 So Far
From women taking the lead, to brilliant emerging artists, the first half of 2024 was a pleasantly surprising period for music coming out of West Africa.
The first half of 2024 ushered in a surprising but welcome change in the landscape of African music. It’s women — from Nigeria’s Ayra Starr and Tems, Ghana’s Wendy Shay, Cote d’Ivoire’s Roseline Layo and many others — who are making some of the most influential music coming out of West Africa today.
This list compiles some of their best work, while not forgetting to highlight the incredible trends from across the region including amapiano-infused pop from Cote d’Ivoire to Ghana’s signature rap drill. The year has also seen the rise of brilliant, emerging artists with sharp, compelling perspectives.
Below, is the ultimate guide to some of the best music from West Africa in 2024 so far.
Ayra Starr “Commas” (Nigeria)
The lead single from her stellar and well-lauded sophomore project, The Year I Turned 21, Ayra Starr’s “Commas” is a brilliantly executed Afropop number that showcases Starr’s thrilling versatility. The writing is fun, the production sleek and danceable. Placed side by side with the thematic concerns Starr explores in the album, “Commas”takes on a refreshing, almost introspective tilt as many well-crafted songs tend to.
Tems “Wickedest” (Nigeria)
“Wickedest” is one of the best standouts from Tems’ debut album Born In The Wild. The track opens with a sample of Magic System’s “Premier Gaou” and a bold, stinging declaration that quickly serves up a refreshing, braggadocious side to Tems. “Wickedest”is a stellar bounce track, filled with razor-sharp writing and a thrilling playfulness that makes for a perfect summer banger.
Lyrical Joe “1960” (Ghana)
Ghanaian rapper Lyrical Joe takes no prisoners in “1960.” Everyone is a target and all his discontent is laid bare in a strikingly well-articulated, high-energy track. Fans of Sarkodie will connect to Joe’s fast-paced, technically ambitious rap flows. While not everyone might agree with the thematic concerns he touches on— like dissing fellow industry colleagues and criticizing rappers hiding under the “Afro” umbrella—there is no denying that this artist has something to say and has an arresting, if also scathing, way of saying it.
Suspect95 “Rose Ba” (Cote d’Ivoire)
In “Rose Ba” Ivorian rapper Suspect95 samples the 1985 Ivorian classic “Adjéké” by Rose Ba. The track, from one of Cote d’Ivoire’s brightest and most versatile rappers, is a feisty rap number that opens with Ba’s voice leading the way to Suspect95’s charged rap flow in his distinct, baritone. The song is a well-finished experimental delight, bringing past sonic influences into a modern, fully realized context.
Didi B “W.D (Walt Disney)” (Ivory Coast)
Ivorian rapper Didi B released “W.D” as part of his latest EP Before Olympia. “W.D” follows in Didi B’s signature drill flow, combined with soft R&B influences to create an instant earworm. After filling out arenas in Paris including The Olympia and being an integral part of ‘rap Ivoire’ (Ivory rap), a genre that captures the nuances and realities of being young and Ivorian through local Ivorian creole Nouche) Didi B is defining the taste of Ivory Coast’s dynamic cultural landscape.
Kiff No Beat “C Komen?” (Ivory Coast)
Abidjan hip-hop group Kiff No Beat maked a groovy, amapiano-inspired entry into the year with their latest release. In “C Komen?,” their love interest is cunning and unyielding despite their many expressions of affection, including requests for champagne. “C Komen?’ is a fun, refreshing exploration of the amapiano from another part of the continent outside of Nigeria and Ghana.
Joeboy “Osadebe” (Nigeria)
In “Osadebe” Afropop star Joeboy taps inspiration from “Osondi Owendi,” an Igbo highlife classic from one of the pioneers of said genre, Chief Stephen Osita Osadebe, who (you guessed it) Joeboy’s song is named after. As with Osadebe’s version, Joeboy’s “Osadebe” is also about leading one’s life in full disregard of other people’s opinions or unsolicited concerns.
Bloody Civilian “Head Start” (Nigeria)
Bloody Civilian’s “Head Start” opens with a tame screech and a gripping tension. Co-produced by her, “Head Start,” is in classic Civilian style, a clear, sharply delivered diss at her enemies and people looking to patronize her genius. As with many of her records, Civilian crafts a narrative, devises a compelling groove and maintains her ability to surprise and keep listeners on their toes.
Wendy Shay “Holy Father” feat. Ras Kuuku (Ghana)
Wendy Shay navigates the existential and spiritual in her latest track “Holy Father” alongside renowned Ghanaian reggae/dancehall artist Ras Kuuku. “Holy Father” is a vulnerable, open imploration for protection and spiritual guidance. It’s also, in its catchy Afropop/dancehall mix, an acknowledgment of some of Shay’s deepest fears, like never fully making it or falling off, thereby giving language to some of the heart’s most inarticulate feelings. “This road is a lonely road,” Wendy sings, with her palms open, seeking blessings.
Adji One Centhiago “Soungalo” (Mali)
Taken from his latest eponymous EP Soungalo, Malian singer Adji One Centhiago makes a soft, groovy entry into the year with “Soungalo.” The track is lush and tender, incorporating elements of classic Malian music, soft, trilling guitars wired together by sleek drum pads and percussions. The end material is a gentle, yet danceable track amply populated by Centhiago’s beguilingly breathy vocals.
Taves “Folake” (Nigeria)
“Folake” is a tightly constructed R&B track that easily references The Weeknd’s ethereal vocal productions and emotion-laden songwriting albeit with a unique, deeply Nigerian twist all his own. In “Folake,” Taves takes on mundane matters of affection and desire through introspective, plausibly vulnerable eyes, making the listeners root for his pursuit of love as if it were theirs.
Anitram “Felony” (Liberia)
Liberia’s songbird, Anitram, is an excellent student of the Afropop format. In her latest, “Felony,” she excels at displaying her agile vocal prowess and lighthearted, indelible lyrics. Her hooks are well-timed and her chorus is crafted to be remembered and sung loudly, making for a strong entry into the musical year. While she only has some singles out, Anitram is already building a commendable reputation for herself and her representation of the Liberian music industry.
Tolani “I Believe” feat. QDo (Nigeria)
“I Believe” finds Tolani playing with Afropop’s faster-paced lyricism made even more impressive by witty, but gut-wrenching writing about making it, keeping faith in the face of adversities and finding space for unquenching hope.
Abdou Guité Seck - Ousmane Sonko (Senegal)
While Senegal was making a tumultuous and most important political transition this year, Senegalese singer Abdou Guité Seck released a compelling track titled “Ousmane Sonko,” dedicated to the well-known politician and candidate in the just concluded Presidential elections of the same name. Seck’s “Ousmane Sonko” is a curious, fascinating song defined by groovy strings and tentatively galloping drumming. Removed from its political ambitions, “Ousmane Sonko” is a deeply enjoyable song.
Arka’n Asrafokor “The Truth” (Togo)
Arka’n Asrafokor is the only heavy metal band in Togo. The five-person group — comprised of vocalist and guitarist Rock, keyboardist and vocalist Rico, percussionist and vocalist Mass, bassist Francis and drummer Richardm — are carving out a unique space for themselves in a musical landscape where metal music is completely alien. In “The Truth” taken from their latest EP of the same name, the band brings the local sensibilities of Togolese musical culture to the forefront. From combining local dialects with English in their lyrics to utilizing local instruments, Arka’n Asrafokor continues to subvert the expectations of adopting a Western sound.
Rail Band “Marabayasa” (Mali)
The Rail Band was a famous Malian band that went by many names. It was first known as The Rail Band, later as Super Rail Band, then as Bamako Rail Band, and finally officially recognized as the Super Rail Band of the Buffet Hotel de la Gare. The band, formed in 1970, was known for its compelling works in Cuban jazz. Their Afro-Latin musicality was inventively complemented by homegrown musical elements such as Bambara as well as the Mande Groit praise singer music style. “Marabayasa” was first released in their 1973 self-titled album and has now recently been reissued by Mississippi Records. “Marabayasa” has a strong funk tilt, flourished with lilting trumpeting and warm, sun-drenched vocals.
SGaWD, Moily “Juicebox” (Nigeria)
In “Juicebox,” Nigerian rapper SGaWD plays an irresistible enchantress who is laser-focused on getting exactly what she wants. The sleek Afropop number sees an assist from Ghanaian singer Moily, who seamlessly amplifies the dangerously lush quality of the feature. SGaWD’s rap flows here are relaxed, a few steps slower than what she has come to be known for, which not only captures the tenderly laid-back energy of the song but illustrates her incredible range.
Ashs The Beat “Xalam” (Senegal)
Dakar-born artist Ashs The Beat is a master of deceptive simplicity. His songs often appear simple and predictable just as they begin before they almost always veer off into unpredictable territories sometimes with his vocals, other times with the beat. In “Xalam,” a tender, reflective track, the previous member of Niominka (a Senegalese reggae group) that quality of assumed simplicity makes for a rich, experimental listen.
Victony “Risk” (Nigeria)
Victony’s “Risk,” taken from his debut album Stubborn, is a riveting, sleek Afropop number bolstered by clever writing and a dreamy beat. There are beat changes and soft guitar strings laid over a soft bounce. Like the rest of the work in Victony’s well-executed first project, “Risk”is a finely arranged meeting point of all of Victony’s versatile musical disciplines.
Black Sherif “Zero” feat. Mabel (Ghana)
Ghana’s leading drill rapper, Black Sherif, and British singer Mabel team up on the new track “Zero,” in which they are both completely averse to drama. Sherif, who has significantly established the landscape of Ghanaian drill rap, is choosing peace over the unpredictable messiness that tends to come with being human.
Josey “Tout laisse” (Ivory Coast)
While “Tout Lassie,” from celebrated Ivorian artist Josey might have a melancholic theme, its bouncy, soukous beat moves it into lighter, less moodier territories. The songsends off anecdotal illustrations of the inevitability of endings, of the helpless passage of time and the impermanence of situations.
Roseline Layo “Loulou” (Cote d’Ivoire)
In her latest work, “Loulou,” Senegalese songbird Roseline Layo is all-in with her love. The track features spirited guitar work, soft percussion and Layo’s soft, unforgettable vocals. Layo has created a great love song, filled with hope, unbridled trust and indulgent imaginations, to get us through the summer.
Kwesi Arthur “Fefe Ne Fe” (Ghana)
On Kwesi Arthur’s “Fefe Ne Fe,” TicTac and Tony Tetuila’s 2003 classic of the same name finds new life. While the latter steered their thematic concerns towards desire, Arthur approaches his take on it from a reflective standpoint. It’s Arthur taking a walk through memory lane, taking apart past issues to find new meaning in them. Arthur switches between his slick singing and easy rap flows and is carried by an unrushed, slow-paced Afropop beat.